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Covid-19: Update: 23rd July 2020

During the current unprecedented situation, Chandos Records continues to trade as normally as possible. As many of our staff are working remotely, we would ask you to submit any queries online here rather than by telephone. CD orders are being despatched on the next working day, but understandably delivery times will vary regionally, and may take significantly longer than usual, depending on your location.  Please note that we will not be despatching 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!

Queen's Medal

Imogen Cooper awarded Queen's Medal for Music

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Gramophone Awards

BBCSO, Bergen Phil & CBSO Orchestral nominees

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Korngold BBC triumph!

Korngold wins Orchestral BBC Music Award 2020

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Schonberg: Erwartung etc

'Record of the week' on BBC 3's Record Review

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Dido & Aeneas

Chaconne release BBC 3's Recommended Recording!

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Sunday Times Pick

Shostakovich is Sunday Times Album of the Week!

Enjoy Symphony No 11

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'

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Colli IP Cover Star

Federico Colli on latest International Piano magazine

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Bartok with Bavouzet

BBC Building a Library recommended recording

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Reicha 250 Anniversary

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

Watch Episode 1

Ralph Couzens Interview

Presto interviews Managing Director Ralph Couzens

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Artist in Focus

Tasmin Little

Celebrated British Violinist Tasmin Little is an exclusive Chandos artist and has recorded more than 25 albums covering a diverse and wide-ranging repertoire, from the great concertos though to new commissions.  Save 25%!

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“… The performances by both Dashon Burton as the Prisoner and Sarah Brailey as the Soul are highly expressive and right in their dimensions; again, despite the Symphony title, this is a smaller work. They are ably backed by New York's Experiential Orchestra and Chorus under James Blachly, in material that was totally new for all…”
“… The performances by both Dashon Burton as the Prisoner and Sarah Brailey as the Soul are highly expressive and right in their dimensions; again, despite the Symphony title, this is a smaller work. They are ably backed by New York's Experiential Orchestra and Chorus under James Blachly, in material that was totally new for all…”
James Manheim – AllMusic.com – August 2020
“… As The Prisoner, Dashon Burton is sympathetically caught, his warm, capacious bass-baritone easily holding the attention thanks to his sensitive way with the text. He’s nicely complemented by the bright, slightly fragile soprano of Sarah Brailey who, though a little pushed at the top, brings an appropriately ethereal quality to The Soul. James Blatchly leads his New York City-based Experiential Orchestra in a suitably grand and stately reading enhanced by sonic engineering of imposing amplitude. The choral writing is straightforward but striking, and well-delivered here by Blachly’s disciplined Experiential Chorus… Throughout her life, recognition was an uphill battle; had Smyth been properly encouraged by a male-dominated establishment, perhaps she would have left us with more. The Prison is not just a fine addition to her discography, it’s a tantalizing example of what might have been.”
“… As The Prisoner, Dashon Burton is sympathetically caught, his warm, capacious bass-baritone easily holding the attention thanks to his sensitive way with the text. He’s nicely complemented by the bright, slightly fragile soprano of Sarah Brailey who, though a little pushed at the top, brings an appropriately ethereal quality to The Soul. James Blatchly leads his New York City-based Experiential Orchestra in a suitably grand and stately reading enhanced by sonic engineering of imposing amplitude. The choral writing is straightforward but striking, and well-delivered here by Blachly’s disciplined Experiential Chorus… Throughout her life, recognition was an uphill battle; had Smyth been properly encouraged by a male-dominated establishment, perhaps she would have left us with more. The Prison is not just a fine addition to her discography, it’s a tantalizing example of what might have been.”
Clive Paget – MusicalAmerica.com – 12 August 2020
“… Blachly ensures that dramatic tension is sustained from the first rumbling C, for low clarinet and strings, through to the final choral echo of the Prisoner’s last words … Dashon Burton is very ‘human’; the Prisoner’s dilemmas feel real and recognisable. The bass-baritone creates touching contrast between self-absorbed introspection and the instinctive desire to connect with the world and hold onto life. Unwaveringly lyrical whether tentative or defiant, Burton’s Prisoner is both vulnerable and possessing of inner strength. Sarah Brailey’s soprano has a lovely tender softness, but it also gleams radiantly: this ‘soul’ is no ethereal haunting but a real presence… The choral singing is terrific: the voices are lithe, animated and shimmer with hope, certainty and conviction.. This is a valuable recording. Whatever its musical merits, as the culmination of a musical life, a record of a loving friendship, and a testament to a personal creed, The Prison deserves the commitment, affection and assured performance that it receives here…”
“… Blachly ensures that dramatic tension is sustained from the first rumbling C, for low clarinet and strings, through to the final choral echo of the Prisoner’s last words … Dashon Burton is very ‘human’; the Prisoner’s dilemmas feel real and recognisable. The bass-baritone creates touching contrast between self-absorbed introspection and the instinctive desire to connect with the world and hold onto life. Unwaveringly lyrical whether tentative or defiant, Burton’s Prisoner is both vulnerable and possessing of inner strength. Sarah Brailey’s soprano has a lovely tender softness, but it also gleams radiantly: this ‘soul’ is no ethereal haunting but a real presence… The choral singing is terrific: the voices are lithe, animated and shimmer with hope, certainty and conviction.. This is a valuable recording. Whatever its musical merits, as the culmination of a musical life, a record of a loving friendship, and a testament to a personal creed, The Prison deserves the commitment, affection and assured performance that it receives here…”
Claire Seymour – OperaToday.com – 18 August 2020
“… The performance is illuminated by her [Brailey] ravishing tone, his [Burton ]authoritative presence, and the superb rendering of the score by Blachly and company… Smyth gives each singer several splendid sequences, and Brailey and Burton use them to full advantage… All praise to Chandos for bringing this work into the world but even more to Blachly, whose engagement with the work began in 2016 when he conducted excerpts of it and who has been the driving force behind its resurrection…”
“… The performance is illuminated by her [Brailey] ravishing tone, his [Burton ]authoritative presence, and the superb rendering of the score by Blachly and company… Smyth gives each singer several splendid sequences, and Brailey and Burton use them to full advantage… All praise to Chandos for bringing this work into the world but even more to Blachly, whose engagement with the work began in 2016 when he conducted excerpts of it and who has been the driving force behind its resurrection…”
Textura.org – August 2020

“… What they [The Chiarosco Quartet] bring to the table is immediately apparent from the opening bars of their latest release, the first three quartets of Haydn’s Op. 76 set. The declamatory three chords announcing the first quartet sets off with a spirited allegro, which is taken at a sprightly clip, setting the scene for a gorgeously realised survey of these works, culminating in a magisterial reading of the Emperor…” ****½

“… What they [The Chiarosco Quartet] bring to the table is immediately apparent from the opening bars of their latest release, the first three quartets of Haydn’s Op. 76 set. The declamatory three chords announcing the first quartet sets off with a spirited allegro, which is taken at a sprightly clip, setting the scene for a gorgeously realised survey of these works, culminating in a magisterial reading of the Emperor…” ****½

Steve Moffatt – Limelightmagazine.com.au – 12 September 2020

“… Captured live during Trevino’s first season at the helm of the Malmö Symphony Orchestra and recorded (and presented here) in numerical sequence, it heralds the young American baton-wielder as a Beethovenian of considerable abilities. The dominant accent is lyrical and fluid with zesty tempi, characterful playful and a pointedly employed penchant for the dramatic. Throughout, Trevino’s interpretative choices discretely accommodate lessons learned from his predecessors even while espousing an agreeable freshness all their own… Spirited vocal contributions from soprano Kate Royal, mezzo Christine Rice, tenor Tuomas Katajala, bass-baritone Derek Welton and the MSO Festival Chorus in the rousingly excitable Choral finale are lithely supported by Malmö’s impressive musicians. A deserved nod, too, for Ondine’s crisp, clear and communicative engineering.” ****

“… Captured live during Trevino’s first season at the helm of the Malmö Symphony Orchestra and recorded (and presented here) in numerical sequence, it heralds the young American baton-wielder as a Beethovenian of considerable abilities. The dominant accent is lyrical and fluid with zesty tempi, characterful playful and a pointedly employed penchant for the dramatic. Throughout, Trevino’s interpretative choices discretely accommodate lessons learned from his predecessors even while espousing an agreeable freshness all their own… Spirited vocal contributions from soprano Kate Royal, mezzo Christine Rice, tenor Tuomas Katajala, bass-baritone Derek Welton and the MSO Festival Chorus in the rousingly excitable Choral finale are lithely supported by Malmö’s impressive musicians. A deserved nod, too, for Ondine’s crisp, clear and communicative engineering.” ****

Michael Quinn – Limelightmagazine.com.au – 10 September 2020

“…Sensitive, sympathetic and deeply nuanced performances are complemented by an incredible surround sound recording from the BIS team in which each delicate intonation is cloaked in rich silence.” *****

“…Sensitive, sympathetic and deeply nuanced performances are complemented by an incredible surround sound recording from the BIS team in which each delicate intonation is cloaked in rich silence.” *****

Lisa MacKinney – Limelightmagazine.com.au – 15 September 2020

“… Weiland’s music is rigorous, skilful, taut in counterpoint, clean in texture, mellifluous, tonal but not in a dated or restrictive way, and structurally traditional. You might call it the relaxed version of Modernism… These pieces, from 2011 and 2012 respectively, were composed for William Hennessy, first violin of the Melbourne Quartet and former leader of the ASQ. The performances could not be bettered, and the recording is perfectly balanced.” ****½

“… Weiland’s music is rigorous, skilful, taut in counterpoint, clean in texture, mellifluous, tonal but not in a dated or restrictive way, and structurally traditional. You might call it the relaxed version of Modernism… These pieces, from 2011 and 2012 respectively, were composed for William Hennessy, first violin of the Melbourne Quartet and former leader of the ASQ. The performances could not be bettered, and the recording is perfectly balanced.” ****½

Phillip Scott – Limelight magazine.com.au – 14 September 2020

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Essex
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