Chandos Records

My Wish List

Close

News and Artists

Album of the Week

Ivan Ilic's Haydn release is Classic FM's top pick!

Listen

LPO's New Conductor

Edward Gardner to be next LPO Principal Conductor.

Read

Landmarks

40-disc Anniversary Box Set is now yours to explore.

Buy

We are 40!

Thanks for all your support and congratulations.

Here's to the next 40!

Sue Revill

(1955-2019) An irreplaceable friend and colleague.

A Tribute

Tasmin Little Honoured

Tasmin Little awarded Personality of Year at BBC

Explore discography

Apple Music Curator

Hear new playlists, remember classics, discover new music.

Explore our new profile here

Special Offers

33 Percent

ALBUMS CHANGE DAILY!

Find out more
50 Percent

Offer changes hourly!

Twitter
Latest Videos
Latest Reviews

“… The Tinker’s Wedding Overture (1948) is a celebratory comedy overture redolent of the Edwardian era. Being Brian, however, the music has its quirks: it is craggily episodic, and he writes for tuba as though it were a flute. Symphony No 7 from the same year continues the Elgarian pomp with trumpet fanfares but soon veers into Brian’s unsettled stylistic deconstruction. Again, the orchestration offers unexpected challenges, especially its ever-busy bass lines and use of percussion, including xylophone. The single-movement Symphony No 16 (1960) is alternately mysterious and aggressive, harmonically astringent, and completely isolated from British music of the time. Alexander Walker and the orchestra have recorded several of his symphonies and are comfortable with his idiom. Walker knows how to balance the sometimes incongruous elements, as the musicians manage the climactic outbursts while retaining a light touch…”   ****½

“… The Tinker’s Wedding Overture (1948) is a celebratory comedy overture redolent of the Edwardian era. Being Brian, however, the music has its quirks: it is craggily episodic, and he writes for tuba as though it were a flute. Symphony No 7 from the same year continues the Elgarian pomp with trumpet fanfares but soon veers into Brian’s unsettled stylistic deconstruction. Again, the orchestration offers unexpected challenges, especially its ever-busy bass lines and use of percussion, including xylophone. The single-movement Symphony No 16 (1960) is alternately mysterious and aggressive, harmonically astringent, and completely isolated from British music of the time. Alexander Walker and the orchestra have recorded several of his symphonies and are comfortable with his idiom. Walker knows how to balance the sometimes incongruous elements, as the musicians manage the climactic outbursts while retaining a light touch…”   ****½

Phillip Scott – Limelightmagazine.com.au – 13 August 2019

“…Oramo opens with the early Lemminkäinen Suite … He coaxes colour and detail from the orchestra in these performances, right from the opening horns that plunge us into the heart of Finnish mythology…. The luminous colours Oramo produces in the Lemminkäinen Suite are rendered even more vividly here [Belshazzar’s Feast suite], particularly in the percussive Exoticism of the ‘Oriental’ march that opens the suite. Subtle renditions of the tranquil central movements, Solitude and Nocturne, come up best, however – hear Michael Cox’s gorgeous flute solo in the Nocturne. Between the larger works, Spring Song (written during Lemminkäinen) makes for a fine palate cleanser.”   ****½

“…Oramo opens with the early Lemminkäinen Suite … He coaxes colour and detail from the orchestra in these performances, right from the opening horns that plunge us into the heart of Finnish mythology…. The luminous colours Oramo produces in the Lemminkäinen Suite are rendered even more vividly here [Belshazzar’s Feast suite], particularly in the percussive Exoticism of the ‘Oriental’ march that opens the suite. Subtle renditions of the tranquil central movements, Solitude and Nocturne, come up best, however – hear Michael Cox’s gorgeous flute solo in the Nocturne. Between the larger works, Spring Song (written during Lemminkäinen) makes for a fine palate cleanser.”   ****½

Angus McPherson - Limelightmagazine.com.au – 13 August 2019

“… Like Shostakovich, Matthews decided against a monumental Ninth. Written in five movements, the work is based on a carol that he composed for his wife. It has dramatic moments, but is generally light in intensity… Matthews is a genuine symphonist and squeezes every drop of developmental interest out of his theme… Matthews’ English roots are clear in this lovely work [Variations] … The Double Concerto for Violin, Viola and Strings is another attractive work in the same vein, where string soloists Trickey and Bradley show genuine rapport. Performances and sound quality are first rate.” *****

“… Like Shostakovich, Matthews decided against a monumental Ninth. Written in five movements, the work is based on a carol that he composed for his wife. It has dramatic moments, but is generally light in intensity… Matthews is a genuine symphonist and squeezes every drop of developmental interest out of his theme… Matthews’ English roots are clear in this lovely work [Variations] … The Double Concerto for Violin, Viola and Strings is another attractive work in the same vein, where string soloists Trickey and Bradley show genuine rapport. Performances and sound quality are first rate.” *****

Phillip Scott – Limelight magazine – 13 August 2019

“… The playing throughout this disc is exemplary. I like Gardner’s choice of slightly faster tempos as it gives a real sense of drive and momentum throughout. The CBSO is on wonderful form, with Gardner bringing out the very best from the orchestra. The recorded sound on the hybrid SACD is up to Chandos’ usual high standard … the booklet notes are excellent … So, an excellent disc of Mendelssohn’s overtures, to which I will often return.”

“… The playing throughout this disc is exemplary. I like Gardner’s choice of slightly faster tempos as it gives a real sense of drive and momentum throughout. The CBSO is on wonderful form, with Gardner bringing out the very best from the orchestra. The recorded sound on the hybrid SACD is up to Chandos’ usual high standard … the booklet notes are excellent … So, an excellent disc of Mendelssohn’s overtures, to which I will often return.”

Stuart Sillitoe – MusicWeb-International.com – 16 August 2019

However valuable John Wilson’s back catalogue, this August 30 Chandos issue might just prove to be his most substantial recording achievement to date… “ *****

However valuable John Wilson’s back catalogue, this August 30 Chandos issue might just prove to be his most substantial recording achievement to date… “ *****

David Gutman – ClassicalSource.com – 19 August 2019

“…It’s altogether a fine collection of unfamiliar music.” ****

“…It’s altogether a fine collection of unfamiliar music.” ****

Andrew Clements – The Guardian - 13 June 2019

“…Superb, then: this is an ideal Howells starter pack, beautifully packaged and produced.”

“…Superb, then: this is an ideal Howells starter pack, beautifully packaged and produced.”

Graham Rickson – theartsdesk.com – 10 August 2019

“… Susanna Mälkki’s quick-witted Helsinki Philharmonic performance is outstanding, and sumptuously engineered to boot.”

“… Susanna Mälkki’s quick-witted Helsinki Philharmonic performance is outstanding, and sumptuously engineered to boot.”

Graham Rickson – theartsdesk.com – 10 August 2019

“… Henning Lucius dispatches Loewe’s filigree passagework with ideal lightness, while Lena Eckels, newly appointed viola professor at the Lübeck Music Academy, gives Loewe’s Hispanic impersonations a delightful lilt.”

“… Henning Lucius dispatches Loewe’s filigree passagework with ideal lightness, while Lena Eckels, newly appointed viola professor at the Lübeck Music Academy, gives Loewe’s Hispanic impersonations a delightful lilt.”

Carlos Maria Solare – The Strad – August 2019

“… Perfectly matched – all three instruments are Stradivaris – and immaculately balanced in a lively yet radiant acoustic (the SACD surround track is especially beguiling), the finest compliment that one can pay this captivating account is that not for one moment does one feel that one is listening to a transcription. The ensemble’s declared intention was an ‘unveiling’ of Bach’s masterpiece – the result is a triumph of combined technical ingenuity and musical insight.”

“… Perfectly matched – all three instruments are Stradivaris – and immaculately balanced in a lively yet radiant acoustic (the SACD surround track is especially beguiling), the finest compliment that one can pay this captivating account is that not for one moment does one feel that one is listening to a transcription. The ensemble’s declared intention was an ‘unveiling’ of Bach’s masterpiece – the result is a triumph of combined technical ingenuity and musical insight.”

Julian Haylock – The Strad – August 2019

“…An intriguing, well-considered issue …”

“…An intriguing, well-considered issue …”

Robin Stowell – The Strad – August 2019

“…This is, in short, a really top-notch interpretation with Klaus Mertens and all, adding to our understanding of Telemann’s highly productive Hamburg years, through his amazing protean and prismatic musical imagination, tempered by the religious inspirations and impulses of the texts. O how lucky are we to turn a singular musical event into a multiple listening experience at the flick of a switch! ..”

“…This is, in short, a really top-notch interpretation with Klaus Mertens and all, adding to our understanding of Telemann’s highly productive Hamburg years, through his amazing protean and prismatic musical imagination, tempered by the religious inspirations and impulses of the texts. O how lucky are we to turn a singular musical event into a multiple listening experience at the flick of a switch! ..”

David Bellinger – earlymusicreview.com – 28 July 2019

“Joseph Haydn created several versions of The Seven Last Words of Christ. Nicolas Stavy plays the seldom performed version for a keyboard instrument. He has the sensibility and the composure to develop the long lines engagingly. So, the pianist succeeds in giving an interpretation which will fascinate everyone interested by a spiritual piano playing.” *****

“Joseph Haydn created several versions of The Seven Last Words of Christ. Nicolas Stavy plays the seldom performed version for a keyboard instrument. He has the sensibility and the composure to develop the long lines engagingly. So, the pianist succeeds in giving an interpretation which will fascinate everyone interested by a spiritual piano playing.” *****

Uwe Krusch – Pizzicato.lu – 9 August 2019

“…very successful, with attractive and ambitious yet immediately accessible music.”  *****

“…very successful, with attractive and ambitious yet immediately accessible music.”  *****

Remy Franck – Pizzicato.lu – 2 August 2019

“… Altogether we experience a very emotional and exciting performance.” *****

“… Altogether we experience a very emotional and exciting performance.” *****

Guy Engels – Pizzicato.lu – 12 July 2019

“… The performances are at the same time serene and expressive, which gives them a very special note.” *****

“… The performances are at the same time serene and expressive, which gives them a very special note.” *****

Uwe Krusch – Pizzicato.lu – 13 July 2019

Back to Top
Chandos Records
Chandos House
1 Commerce Park
Commerce Way
Colchester
Essex
CO2 8HX
United Kingdom