Melodies that emerge from musical folk memory or jump o the printed page to lodge themselves in the listener’s mind: such ‘earworms’ are the raison d’être of this inventive album, eervescent and haunting by turn. Rising talent Tabea Debus makes an immediate impression as she joins the roster of Delphian house artists, coaxing an astonishing spectrum of moods and timbres from an array of Renaissance and Baroque recorders. Equally astounding is the tightness and responsiveness of her interaction with gamba player Jonathan Rees and lutenist Alex McCartney, while solos for recorder alone bookend the programme chronologically with music from the fourteenth century and the twenty-first.

MusicWeb International
    There isn’t a dull or uninteresting track anywhere on this CD ... Tabea Debus is the kind of virtuoso who makes you forget how superb she is technically, by the completeness with which she puts all her skill at the service of the music she plays, so that one’s attention is focused on the music, not on her.

Presto Classical August 2020
    There’s a lovely sense of affectionate irreverence about this German recorder-player’s debut recording which rather put me in mind of her fellow Delphian artist Ed Lyon’s Seventeenth-Century Playlist last year – as on that album, Renaissance and baroque works are despatched with an almost folky exuberance, and it’s a toe-tapping joy. Of the new works, Freya Waley-Cohen’s suitably hyperactive Caffeine stands out as a peppy wake-up call. Katherine Cooper

Early Music America
    Debus has curated a wide-ranging and downright catchy compendium for her instrument. Yet this album’s most addicting quality may be her playing … Releases like this make recorder jokes obsolete.

Record Review
    A romp through catchy tunes from the 14th century all the way through to contemporary solo recorder pieces... Debus is a brilliant recorder player on a variety of instruments … It's all really well put together and recorded.