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                        Covid-19

Updated 31st March 2020

During the current unprecedented situation, Chandos records will remain open as usual. As many of our staff are now working remotely, we would ask you where possible to submit any queries online here rather than by telephone. CD orders are being despatched on the next working day as normal, but understandably delivery times will vary regionally, and take significantly longer than usual, depending on your location. As of 31st March, we will not be dispatching orders to countries placed ‘on suspension’ by UK’s Royal Mail. We thank you for your understanding, and wish all our customers a healthy outcome!

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Gerard Schurmann

Remembering Gerard, who passed on 24 March at 96.

Explore Gerard's Film Music

Parry: Judith

BBC Record Review
'Record of the week'

Enjoy the recording

Colli IP Cover Star

Federico Colli on latest International Piano magazine

More

Bartok with Bavouzet

BBC Building a Library recommended recording

Enjoy the recording

Reicha 250 Anniversary

Enjoy Ivan Ilic's celebrated docu-series on composer.

Watch Episode 1

Presto's Pick of Week

Presto Classical enjoys premiere recording Judith.

Enjoy

BBC Awards nominee

Korngold up for BBC Music Magazine Award

Read BBC Review

Wilson on Gramophone

John Wilson is February's cover star!

Enjoy Escales recording

Ralph Couzens Interview

Presto interviews Managing Director Ralph Couzens

Read

Artist in Focus

Ivan Ilic

His discography for Chandos includes the premiere recordings of transcriptions of Haydn Symphonies by Carl David Stegmann, and an ongoing series of the works of Antoine Reicha, who’s 250th anniversary we celebrated on the 26th of February.

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"This lively set has been around in various incarnations for almost 60 years, but Naxos presents it in better, more forward and unobstructed sound than ever before. It's a big, echt-Italian reading of the score, with Gigli, no teenager at the time (I believe he was 53), still the centerpiece of the work as Riccardo (the Boston, rather than Swedish, names are used)....for the most part he's close to ideal, singing with his customary beautiful tone, personality, and spontaneity, and making us care about the character as probably no other tenor on records does. Fedora Barbieri's Ulrica is likewise effective. She's at the start of her career but already singing with big tone (if less chest-push than later), intelligence, accuracy, and innate style. Gino Bechi's huge voice, too, is caught at its most youthful, but (as later in his career) he always sounds menacing, even when he shouldn't. Still, a big healthy sound like his is to be treasured...The Rome forces play very well under Serafin, and the rest of the cast is idiomatic and interested. The bonus tracks, comprising a bit more than a half-hour of music, offer famous singers of the 1920s and '30s in scenes from the opera. Impressive are Giannina Arangi-Lombardi, gushing verismo temperament as Amelia, and Riccardo Stracciari's big-toned Renato. Tenor Alessandro Bonci sounds very out of sorts....Gigli fans will exult."

"This lively set has been around in various incarnations for almost 60 years, but Naxos presents it in better, more forward and unobstructed sound than ever before. It's a big, echt-Italian reading of the score, with Gigli, no teenager at the time (I believe he was 53), still the centerpiece of the work as Riccardo (the Boston, rather than Swedish, names are used)....for the most part he's close to ideal, singing with his customary beautiful tone, personality, and spontaneity, and making us care about the character as probably no other tenor on records does. Fedora Barbieri's Ulrica is likewise effective. She's at the start of her career but already singing with big tone (if less chest-push than later), intelligence, accuracy, and innate style. Gino Bechi's huge voice, too, is caught at its most youthful, but (as later in his career) he always sounds menacing, even when he shouldn't. Still, a big healthy sound like his is to be treasured...The Rome forces play very well under Serafin, and the rest of the cast is idiomatic and interested. The bonus tracks, comprising a bit more than a half-hour of music, offer famous singers of the 1920s and '30s in scenes from the opera. Impressive are Giannina Arangi-Lombardi, gushing verismo temperament as Amelia, and Riccardo Stracciari's big-toned Renato. Tenor Alessandro Bonci sounds very out of sorts....Gigli fans will exult."

Robert Levine – ClassicsToday.com – January 2002

"This lively set has been around in various incarnations for almost 60 years, but Naxos presents it in better, more forward and unobstructed sound than ever before. It's a big, echt-Italian reading of the score, with Gigli, no teenager at the time (I believe he was 53), still the centerpiece of the work as Riccardo (the Boston, rather than Swedish, names are used)....for the most part he's close to ideal, singing with his customary beautiful tone, personality, and spontaneity, and making us care about the character as probably no other tenor on records does. Fedora Barbieri's Ulrica is likewise effective. She's at the start of her career but already singing with big tone (if less chest-push than later), intelligence, accuracy, and innate style. Gino Bechi's huge voice, too, is caught at its most youthful, but (as later in his career) he always sounds menacing, even when he shouldn't. Still, a big healthy sound like his is to be treasured...The Rome forces play very well under Serafin, and the rest of the cast is idiomatic and interested. The bonus tracks, comprising a bit more than a half-hour of music, offer famous singers of the 1920s and '30s in scenes from the opera. Impressive are Giannina Arangi-Lombardi, gushing verismo temperament as Amelia, and Riccardo Stracciari's big-toned Renato. Tenor Alessandro Bonci sounds very out of sorts....Gigli fans will exult."

"This lively set has been around in various incarnations for almost 60 years, but Naxos presents it in better, more forward and unobstructed sound than ever before. It's a big, echt-Italian reading of the score, with Gigli, no teenager at the time (I believe he was 53), still the centerpiece of the work as Riccardo (the Boston, rather than Swedish, names are used)....for the most part he's close to ideal, singing with his customary beautiful tone, personality, and spontaneity, and making us care about the character as probably no other tenor on records does. Fedora Barbieri's Ulrica is likewise effective. She's at the start of her career but already singing with big tone (if less chest-push than later), intelligence, accuracy, and innate style. Gino Bechi's huge voice, too, is caught at its most youthful, but (as later in his career) he always sounds menacing, even when he shouldn't. Still, a big healthy sound like his is to be treasured...The Rome forces play very well under Serafin, and the rest of the cast is idiomatic and interested. The bonus tracks, comprising a bit more than a half-hour of music, offer famous singers of the 1920s and '30s in scenes from the opera. Impressive are Giannina Arangi-Lombardi, gushing verismo temperament as Amelia, and Riccardo Stracciari's big-toned Renato. Tenor Alessandro Bonci sounds very out of sorts....Gigli fans will exult."

Robert Levine – ClassicsToday.com – January 2002
"...[Colin Matthews’ Postludes] has an expressively elegiac nature. There is some virtuoso writing here, especially a dazzling part for oboist Nicholas Daniel, and members of the Britten Sinfonia shine." ****
"...[Colin Matthews’ Postludes] has an expressively elegiac nature. There is some virtuoso writing here, especially a dazzling part for oboist Nicholas Daniel, and members of the Britten Sinfonia shine." ****
The Financial Times
'Anna Meredith's Tripotage Miniatures are wittily vivacious' 
'Anna Meredith's Tripotage Miniatures are wittily vivacious' 
The Sunday Times

Classical Album of the Week

“… Bavouzet’s crisp, fortepiano-like articulation and the brilliance of the Camerata in the five overtures make these discs captivatingly fresh.”

Classical Album of the Week

“… Bavouzet’s crisp, fortepiano-like articulation and the brilliance of the Camerata in the five overtures make these discs captivatingly fresh.”

Hugh Canning – The Sunday Times – 22 March 2020

“… When composing, Busoni managed to combine the light Italian music with the German text. He wrote the text himself. The first merit of the recording is that it reveals compositional treasures. But it also convinces with fresh, lively orchestral colors that Gerd Albrecht got from the Radio Symphony Orchestra Berlin. The group of singers is equally good. The voices are clearly put in the foreground by the recording technique. Of course, this makes it easier to understand the text and also makes it possible to hear every nuance…” ****

“… When composing, Busoni managed to combine the light Italian music with the German text. He wrote the text himself. The first merit of the recording is that it reveals compositional treasures. But it also convinces with fresh, lively orchestral colors that Gerd Albrecht got from the Radio Symphony Orchestra Berlin. The group of singers is equally good. The voices are clearly put in the foreground by the recording technique. Of course, this makes it easier to understand the text and also makes it possible to hear every nuance…” ****

Uwe Krusch – Pizzicato.lu – 9 March 2020

Pizzicato Supersonic

“… The love and admiration for Tartini’s music is obvious in these captivating performances. Chouchane Siranossian’s playing is characterized by great naturalness – a quality that has become very rare among modern baroque violinists – without ever degenerating into casualness. An important characteristic is the fine shaping of the concertos, the delicate agility of both the solo violin and the ensemble…. As a listener, you feel comfortable throughout the entire program: the Tartini concertos are extremely well served by Chouchane Siranossian, and you can clearly hear that the technically challenging music does not cause her any difficulties. The performances are brilliant and virtuoso, often movingly tender, but also melancholic, mischievous or full of irony in a very inspired and personal style, which clearly stands out from the baroque mainstream, because there is nothing wild in these performances, nor pure design, because Siranossian and Marcon concentrate primarily on making the music expressive.”

Pizzicato Supersonic

“… The love and admiration for Tartini’s music is obvious in these captivating performances. Chouchane Siranossian’s playing is characterized by great naturalness – a quality that has become very rare among modern baroque violinists – without ever degenerating into casualness. An important characteristic is the fine shaping of the concertos, the delicate agility of both the solo violin and the ensemble…. As a listener, you feel comfortable throughout the entire program: the Tartini concertos are extremely well served by Chouchane Siranossian, and you can clearly hear that the technically challenging music does not cause her any difficulties. The performances are brilliant and virtuoso, often movingly tender, but also melancholic, mischievous or full of irony in a very inspired and personal style, which clearly stands out from the baroque mainstream, because there is nothing wild in these performances, nor pure design, because Siranossian and Marcon concentrate primarily on making the music expressive.”

Remy Franck – Pizzicato.lu - 6 March 2020

“In addition to operas and other works composed for public occasions, there are always those created for a private setting. Salieri created such works for a wedding, a silver wedding or other celebrations. This release combines cantatas with small instrumental pieces, so that a varied collection was created. This is the result of the persistent work of the Salieri scholar Timo Jouko Hermann, who also conducts this overall fine performances.” ****

“In addition to operas and other works composed for public occasions, there are always those created for a private setting. Salieri created such works for a wedding, a silver wedding or other celebrations. This release combines cantatas with small instrumental pieces, so that a varied collection was created. This is the result of the persistent work of the Salieri scholar Timo Jouko Hermann, who also conducts this overall fine performances.” ****

Uwe Krusch – Pizzicato.lu – 3 March 2020

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