Pierlot's tempos are well-judged, and he rarely if ever pushes them beyond the possibilities of natural declamation. He is also susceptible to the infinite expressive nuances in the music. …a rewarding issue enhanced by the inclusion of the organ Prelude and Fugue in G major, BWV 541, and the Fuga sopra il Magnificat, BWV 733, played by Francis Jacob on an instrument modelled after an 18th-century organ from Bach's time.

…this reading of the Magnificat is as vitally conceived and multi-dimensional as I can recall. …the Ricercar Consort convey, in the exultant framing movements and "Omnes generationes", a rare combination of visceral rhythmic verve and vocal energy. The solo movements are also bursting with personality, soprano Anna Zander delivering a robustly fluent "Et exultavit" and her counterpart, Maria Keohane, a sensually captivating "Quia respexit", whose oboe d'amore obbligato dovetails her lines with imploring beauty.

The best ever Magnificat recording? In my view it certainly is.

An electrifying performance of one of Bach’s most justly celebrated works, and what a cracking recording it is…a totally captivating CD and highly recommended.

Philippe Pierlot and the Ricercar Consort set the bar high with this multi-award-winning recording of the Magnificat; sensitive to the changing nuances of the various movements, he is assisted by similarly expressive soloists. Maria Keohane's plangent 'Quia respexit' is a particular highlight.