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August marks 100 years since pioneer Tommy Reilly's birth

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Recommended

“…In every respect, these fresh and vital interpretations by Yang and Schwabe make this disc a complete success.”

Recommended

“…In every respect, these fresh and vital interpretations by Yang and Schwabe make this disc a complete success.”

Robert Cummings – MusicWeb-International.com – 2 August 2019
Artistic Quality 10     Sound Quality 10
 
“…There’s plenty for Kožená to do technically and expressively–and she, and her orchestral partners, leave us, as they say, “wanting more”. I was expecting something good, but not extraordinary. But, even among all the Baroque vocal music recordings of every size and shape and concept occupying the catalog lists, this–and especially Kožená–truly is extraordinary.”
Artistic Quality 10     Sound Quality 10
 
“…There’s plenty for Kožená to do technically and expressively–and she, and her orchestral partners, leave us, as they say, “wanting more”. I was expecting something good, but not extraordinary. But, even among all the Baroque vocal music recordings of every size and shape and concept occupying the catalog lists, this–and especially Kožená–truly is extraordinary.”
David Vernier – ClassicsToday.com – August 2019
“…A lovely disc, with an energised Iceland Symphony Orchestra sounding thoroughly Gallic under Yan Pascal Tortelier’s baton. Superb sonics too.”
“…A lovely disc, with an energised Iceland Symphony Orchestra sounding thoroughly Gallic under Yan Pascal Tortelier’s baton. Superb sonics too.”
Graham Rickson – theartsdesk.com – 17 August 2019

“…As an introduction to MacMillan, this couldn't be bettered. The performances are incredibly assured, and it's a surprise to discover that this is a largely amateur choir. Immaculately recorded with full texts and translations, too: heartfelt, accessible music for grown-ups.”

“…As an introduction to MacMillan, this couldn't be bettered. The performances are incredibly assured, and it's a surprise to discover that this is a largely amateur choir. Immaculately recorded with full texts and translations, too: heartfelt, accessible music for grown-ups.”

Graham Rickson – theartsdesk.com – 17 August 2019

“… The Hilliards, who have recorded Casken before, sing with limpid clarity and moments of earthy force. There is an additional setting by Pérotin (Viderunt omnes, arranged by Casken) and three early strophic settings in three and four voice parts. Mysterious but tightly controlled; the perfect prelude to Casken’s vocal masterpiece.” ****

“… The Hilliards, who have recorded Casken before, sing with limpid clarity and moments of earthy force. There is an additional setting by Pérotin (Viderunt omnes, arranged by Casken) and three early strophic settings in three and four voice parts. Mysterious but tightly controlled; the perfect prelude to Casken’s vocal masterpiece.” ****

Brian Morton – Choir & Organ magazine – September 2019

“… the discipline and characteristic bright tone of the early tracks are warmed in more emotional interpretations of Morton Lauridsen’s O magnum mysterium and The Road Home by Stephen Paulus, which for me are the highlights of the disc.” *****

“… the discipline and characteristic bright tone of the early tracks are warmed in more emotional interpretations of Morton Lauridsen’s O magnum mysterium and The Road Home by Stephen Paulus, which for me are the highlights of the disc.” *****

Clare Stevens - Choir & Organ magazine – September 2019

“… A thoughtfully assembled collection of familiar and unfamiliar Howells, beautifully captured in King’s Chapel, and a marvellous celebration of Cleobury’s contribution to the musical life of the College.” *****

“… A thoughtfully assembled collection of familiar and unfamiliar Howells, beautifully captured in King’s Chapel, and a marvellous celebration of Cleobury’s contribution to the musical life of the College.” *****

Philip Reed – Choir & Organ magazine – September 2019

“... The mass for All Saints is a beautiful creation … LaBarocca deliver the music with passionate reserve and immaculate control.” ***

“... The mass for All Saints is a beautiful creation … LaBarocca deliver the music with passionate reserve and immaculate control.” ***

Brian Morton – Choir & Organ magazine – September 2019

“…As ever, nimble choral singing and loveliness of line delights… universal praise must flow to soprano Carolyn Sampson, who not only graces this work, powering magisterially through her aria, but also takes sublime ownership of the solo ‘moral’ cantata ich bin in mir vergnügt BWV30a. There’s glorious playing from the orchestra and a proper acknowledgement of the excellent obbligato soloists.”

“…As ever, nimble choral singing and loveliness of line delights… universal praise must flow to soprano Carolyn Sampson, who not only graces this work, powering magisterially through her aria, but also takes sublime ownership of the solo ‘moral’ cantata ich bin in mir vergnügt BWV30a. There’s glorious playing from the orchestra and a proper acknowledgement of the excellent obbligato soloists.”

Rebecca Tavener – Choir & Organ magazine – September 2019
"... the music is well-crafted, the arias often charming and the chorales familiar and straightforward. This recording from Hungarian musicians under the directions of Gyögy Vashegyi is a fine achievement, and very welcome. The Purcell Choir is a small chamber choir with an attractive, bright tone; the period instruments of the Orfeo Orchestra are led by no less a figure than Simon Standage. Only a few slips in vocal intonation rob the disc of a fifth star." ****
"... the music is well-crafted, the arias often charming and the chorales familiar and straightforward. This recording from Hungarian musicians under the directions of Gyögy Vashegyi is a fine achievement, and very welcome. The Purcell Choir is a small chamber choir with an attractive, bright tone; the period instruments of the Orfeo Orchestra are led by no less a figure than Simon Standage. Only a few slips in vocal intonation rob the disc of a fifth star." ****
Philip Reed - Choir & Organ magazine - September 2019
"This is a fine collection of largely unusual transcriptions played on a new symphonic organ, Casavant's Opus 3875 ... Jan Kraybill, organ conservator at the Kauffman Center, plays with considerable verve and a feeling both for colour and for the grand gesture... this is very enjoyable ..." ****
"This is a fine collection of largely unusual transcriptions played on a new symphonic organ, Casavant's Opus 3875 ... Jan Kraybill, organ conservator at the Kauffman Center, plays with considerable verve and a feeling both for colour and for the grand gesture... this is very enjoyable ..." ****
Chris Bragg - Choir & Organ magazine - September 2019

Artistic Quality 10       Sound Quality 9

“Here is an enjoyable album of 20th-century British string music. If you don’t know the composer Herbert Howells, familiarity with the string works of Vaughan Williams (and a bit of Britten) will give you some idea of what to expect… Richard Hickox leads highly engaging performances with the City of London Sinfonia. Chandos’ recording boasts clarity and wide dynamic range …”

Artistic Quality 10       Sound Quality 9

“Here is an enjoyable album of 20th-century British string music. If you don’t know the composer Herbert Howells, familiarity with the string works of Vaughan Williams (and a bit of Britten) will give you some idea of what to expect… Richard Hickox leads highly engaging performances with the City of London Sinfonia. Chandos’ recording boasts clarity and wide dynamic range …”

Victor Carr Jr – ClassicsToday.com – August 2019

Recommended

“…Chandos provides vivid and well balanced sound in all works… if one wants a coupling of these two concertos, I would make his [Bavouzet] performances on this Chandos disc my first choice.”

Recommended

“…Chandos provides vivid and well balanced sound in all works… if one wants a coupling of these two concertos, I would make his [Bavouzet] performances on this Chandos disc my first choice.”

Robert Cummings – MusicWeb-International.com – 21 August 2019

“… The Chandos recording is ideally sensitive to the openness in Williams’s youthful baritone, which can shift eloquently both to a disarming clarity in his middle register to a haunted, veiled quality; he charts the miller’s minute dissection of ‘she-loves-me, she-loves-me-not’-type observations with deadly accuracy, and in his higher voice his light, flexible vibrato is immensely expressive… All this works powerfully in the pivotal songs, from ‘Pause’ (XII) to ‘Die böse Farbe’ (XVII), in which he teases out the millers amazement, jealousy and loss with unswerving insight, and the intertwining imagery of fate, flowing water and the colour green reveal how thoroughly both artists have understood the cycle’s poetic and emotional arch, gathering to a quietly devastating close. Burnside’s role at the piano is equally subtle, as he makes the distinction between confrontation and reflection with artless directness, and the recording ensures that the piano’s retreats never sound artificial… The Williams-Burnside duo is seriously sympathetic, with the sort of imagination that ensures there is something new to hear after many hearings of this fine release…” *****

“… The Chandos recording is ideally sensitive to the openness in Williams’s youthful baritone, which can shift eloquently both to a disarming clarity in his middle register to a haunted, veiled quality; he charts the miller’s minute dissection of ‘she-loves-me, she-loves-me-not’-type observations with deadly accuracy, and in his higher voice his light, flexible vibrato is immensely expressive… All this works powerfully in the pivotal songs, from ‘Pause’ (XII) to ‘Die böse Farbe’ (XVII), in which he teases out the millers amazement, jealousy and loss with unswerving insight, and the intertwining imagery of fate, flowing water and the colour green reveal how thoroughly both artists have understood the cycle’s poetic and emotional arch, gathering to a quietly devastating close. Burnside’s role at the piano is equally subtle, as he makes the distinction between confrontation and reflection with artless directness, and the recording ensures that the piano’s retreats never sound artificial… The Williams-Burnside duo is seriously sympathetic, with the sort of imagination that ensures there is something new to hear after many hearings of this fine release…” *****

Peter Reed – ClassicalSource.com – 20 August 2019

Performance ***      Recording ****

“…There is fine solo work from tenor Mark Dobell in ‘Invictus’, setting a poem by William Ernest Henley… Kirsty Hopkins brings her fresh soprano to ‘The Song of Mary Magdalene’ … The choral singing is committed if occasionally scrappy, and the small chamber band accompanies neatly.”

Performance ***      Recording ****

“…There is fine solo work from tenor Mark Dobell in ‘Invictus’, setting a poem by William Ernest Henley… Kirsty Hopkins brings her fresh soprano to ‘The Song of Mary Magdalene’ … The choral singing is committed if occasionally scrappy, and the small chamber band accompanies neatly.”

Terry Blain – BBC Music magazine – Christmas 2018

“…The programming is thought-provoking, once again pitting Haydn, the earthy intellectual, against his younger contemporary, the sophisticated and well-travelled savant… Christophers once again demonstrates that his 203-yer-old band are in rude health.”

“…The programming is thought-provoking, once again pitting Haydn, the earthy intellectual, against his younger contemporary, the sophisticated and well-travelled savant… Christophers once again demonstrates that his 203-yer-old band are in rude health.”

David Threasher – Gramophone magazine – January 2019

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