“…these four tracks are all immensely impressive,”
Bartlett, Clifford. “Our Lady: Music from the Peterhouse Partbooks The Byrd Ensemble, Markdavin Obenza.” Early Music Review December 2011.
“This choir of 11 young singers under the artistic direction of Markdavin Obenza makes a splendid impression here. The sound is rich, full-voiced, and perfectly blended, the sopranos soaring, the lines beautifully sustained, the vowels ringing, and the musica ficta perfectly in tune—in other words, this is a choir at the level of the very best English choirs. (International concert management, take note!) They are making a major contribution to this repertoire, and I can only hope that the practicalities of music-making in the U.S.A. will not prevent them from continuing this work over the long term. To my knowledge, two of the four works included here are previously unrecorded (the lovely Magnificat, which opens the disc, and the Salve Regina), but even if there were no premieres, this collection would be fundamental to any lover of this repertoire. The engineering is first-rate, and the design of the informative booklet attractive."
Moore, Tom. “Recording Reviews.” Early Music America February 2012.
"...myriad contrasts of vocal colour and harmonic language to grasp the ear. As sung by the Byrd musicians, every expressive subtlety is placed in luminous and urgent context."
"Like the Tallis, the pieces by his colleagues require utmost precision of pitch, seamless unfolding of lines and clarity of texture for the music to work its wonders. The dozen or so members of the Byrd Ensemble, including artistic director Markdavin Obenza, are more than equal to the task. The sopranos are especially pure and radiant, and inner voices emerge or blend with magisterial refinement."
"Given the beauty of what the Byrd conveys through microphones, the ensemble must sound almost unworldly when performing in an ecclesiastical acoustic."
Rosenberg, Donald. "Our Lady." Gramophone August 2012.
"Obenza's most significant accomplishment is creating what he calls a "unified" rather than a "blended" choral sound with only two voices per part - not an easy task, yet one the Byrd Ensemble manages to achieve to splendid affect."
"The sopranos are crystal-clear, soaring to their highest notes with effortless grace yet never overbalancing the other sections, while the altos produce a focused brightness that can sometimes border on the reedy without crossing the line. The tenors' sound is warm and lovely..."
"From beginning to end, the ensemble's commendable intonation highlights the Tudor composers' deft control of harmonic tension as well as their penchant for harmonic cross-relations. All the singers approach the music with a gutsy intensity that is often sorely lacking in small choirs from both sides of the Atlantic, especially when approaching this repertoire."
Lebedinsky, Henry. "Our Lady: Music from the Peterhouse Partbooks." Fanfare September/October 2012.