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The vocal pieces are performed equally well with some arresting imitative singing in Celsa sublimatur, calm beauty in Tota pulchra es…and extraordinary fluency in the complex cross-rhythms of... — BBC Music Magazine, April 2016, 4 out of 5 stars More…

What strikes me most about this recording is the judicious use of registrations and stops by harpsichordist Brice Sailly. This not only gives the necessary timbral variety to the various movements,... — Fanfare, September/October 2021 More…

Legrenzi’s real gifts lie in writing catchy tunes, the adroit manipulation of short motifs and attractive quasi-fugato writing. Clematis have responded with carefully thought-out phrasing, a... — Gramophone Magazine, September 2016 More…

Meunier has devised a programme suitable for Passiontide and Easter, exquisitely delivered with just the right degree of refined expression in the voices to make all sound natural rather than... — Choir & Organ, March 2021, 5 out of 5 stars More…

Baù is at his best in the slower, singing movements. Take the Grave that opens Sonata No 6 in A: it’s difficult to imagine a more heartfelt performance. There’s a lovingness to Baù’s sound,... — Gramophone Magazine, October 2022 More…