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Lifetime Achievement

Neeme Järvi wins Gramophone Lifetime Achievement Award 

Download your free album here

Finley's special release

Gerald Finley has released a single ahead of LNOTP 2018.

Download the track

Album of the Week

New release Finzi album is the Guardian's Album of the Week.

Download the album

Gramophone Nomination

For Bergen Philharmonic's Grieg album, congratulations!

Click for the full shortlist

Doric String Quartet 

Doric Quartet feature on the cover of the Strad

Read a snippet here

100th anniversary of RAF

Some of the finest RAF bands on one album to celebrate

Listen here

Ilic: Reicha Rediscovered

All 4 episodes of the series are now available.

Watch here

Chart success!

Rodney Bennett's Orchestral Works Vol. 2 is at #2 (July 13)

See the full list here

Allan Clayton: RPS winner

Allan wins RPS 2018 Singer award - congratulations!

Order his new album here

Apple Music Curator

Hear new playlists, remember classics, discover new music.

Explore our new profile here

Juno Award Nominees

Congratulations to our Juno Award Nominees

See the list of nominees

Grammy Award Winners

Congratulations to distributed labels on Grammy wins

See the list of winners

New from our partner labels

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Editor’s Choice – Vocal Section

“… Prospective purchasers can rest assured that Sarah Connolly is at her characteristically supple, golden-toned and intelligent best throughout, and she enjoys impeccable support from Joseph Middleton. Chandos’s sound and presentation are likewise beyond reproach, and it all adds up to a disc that I have not the slightest doubt will give enormous satisfaction for many moons to come.”

Editor’s Choice – Vocal Section

“… Prospective purchasers can rest assured that Sarah Connolly is at her characteristically supple, golden-toned and intelligent best throughout, and she enjoys impeccable support from Joseph Middleton. Chandos’s sound and presentation are likewise beyond reproach, and it all adds up to a disc that I have not the slightest doubt will give enormous satisfaction for many moons to come.”

Andrew Achenbach – Gramophone magazine – September 2018

Editor’s Choice – Vocal Section

“… Perfectly balanced and beautifully recorded, this is another outstanding release from Lionel Meunier and his team.”

Editor’s Choice – Vocal Section

“… Perfectly balanced and beautifully recorded, this is another outstanding release from Lionel Meunier and his team.”

Lindsay Kemp - Gramophone magazine – September 2018

“…What makes Denoth’s offering a must-have is a musical sensitivity exemplified as much by his curation as by his playing.”

“…What makes Denoth’s offering a must-have is a musical sensitivity exemplified as much by his curation as by his playing.”

William Yeoman - Gramophone magazine – September 2018

“… This is a fine solo disc debut and one that offers genuine and quality alternative to the existing pile.”

“… This is a fine solo disc debut and one that offers genuine and quality alternative to the existing pile.”

Charlotte Gardner - Gramophone magazine – September 2018

“The more I continued listening to this recital, the more I felt that it was one of the finest all-Liszt discs I had heard for a very long time. Produced by the pianist himself, it is also very well recorded … This is Vol 49 of Naxos’s Liszt Complete Piano Music and must count among the most successful of the series, not merely because of the Filipec but because of the felicitous programme …”

“The more I continued listening to this recital, the more I felt that it was one of the finest all-Liszt discs I had heard for a very long time. Produced by the pianist himself, it is also very well recorded … This is Vol 49 of Naxos’s Liszt Complete Piano Music and must count among the most successful of the series, not merely because of the Filipec but because of the felicitous programme …”

Jeremy Nicholas - Gramophone magazine – September 2018

“… one has to admire the natural freedom of Taylor’s playing in both composers … this disc is an exhilarating vindication of the harpsichord as a solo instrument for music old and new.”

“… one has to admire the natural freedom of Taylor’s playing in both composers … this disc is an exhilarating vindication of the harpsichord as a solo instrument for music old and new.”

Lindsay Kemp - Gramophone magazine – September 2018

Editor’s Choice – Instrumental Section

“… listening delight from first note to last… this volume is another stepping stone towards what must surely end up as a major modern recording landmark in the Haydn discography.”

Editor’s Choice – Instrumental Section

“… listening delight from first note to last… this volume is another stepping stone towards what must surely end up as a major modern recording landmark in the Haydn discography.”

David Threasher - Gramophone magazine – September 2018

Editor’s Choice – Instrumental Section

“… Dunford is known for his sensitive, imaginative continuo work in ensembles … So, one might expect his solo playing to exhibit a certain expansiveness, theatricality even, or at least a liberal use of harmonic, melodic and rhythmic ornamentation. But no. What we get with Dunford’s Bach is instead a certain purity, a relatively unadorned line which assimilates articulation in favour of flow and clarity. The expression - of form or emotion – is all in the phrasing, which relies on the art of silence as much as a subtle rubato. It’s quite beautiful and refreshing, as though excrescences have been shorn away to reveal the classical architecture underneath…”

Editor’s Choice – Instrumental Section

“… Dunford is known for his sensitive, imaginative continuo work in ensembles … So, one might expect his solo playing to exhibit a certain expansiveness, theatricality even, or at least a liberal use of harmonic, melodic and rhythmic ornamentation. But no. What we get with Dunford’s Bach is instead a certain purity, a relatively unadorned line which assimilates articulation in favour of flow and clarity. The expression - of form or emotion – is all in the phrasing, which relies on the art of silence as much as a subtle rubato. It’s quite beautiful and refreshing, as though excrescences have been shorn away to reveal the classical architecture underneath…”

William Yeoman - Gramophone magazine – September 2018

“…This is one of the best things I’ve yet heard from the Busch in their evolving Dvorak series, naturally recorded, with first-rate notes from Jan Smaczny.”

“…This is one of the best things I’ve yet heard from the Busch in their evolving Dvorak series, naturally recorded, with first-rate notes from Jan Smaczny.”

Harriet Smith - Gramophone magazine – September 2018

“… Jurowski knows the score well (he’s conducted it several times in the theatre) and he draws outstanding playing from the orchestra. There’s a wealth of great music here …”

“… Jurowski knows the score well (he’s conducted it several times in the theatre) and he draws outstanding playing from the orchestra. There’s a wealth of great music here …”

Hugo Shirley - Gramophone magazine – September 2018

“…There’s a mercurial quality in Wang’s playing that gives her performance of the First Concerto a markedly choreographic feeling – not balletic, exactly, but sculptural and mobile… The BBC Philharmonic have gone from strength to strength in this series. They are superb, idiomatic partners for Wang in the concertos and have the opportunity for their own virtuoso display in the Variaciones concertantes (1953)… the recorded sound is spectacular.”

“…There’s a mercurial quality in Wang’s playing that gives her performance of the First Concerto a markedly choreographic feeling – not balletic, exactly, but sculptural and mobile… The BBC Philharmonic have gone from strength to strength in this series. They are superb, idiomatic partners for Wang in the concertos and have the opportunity for their own virtuoso display in the Variaciones concertantes (1953)… the recorded sound is spectacular.”

Andrew Farach-Colton – Gramophone magazine – September 2018

“… His [Blackford] writing is thematically concentrated, notably evocative and clearly heartfelt. It is close to Szymanowski in sound and in its solutions in pitting solo violin sound against a lustrous orchestra in this case the Czech Philharmonic, against which Waley-Cohen’s violin tone is characteristically strong and steely, notably in the double-stopped cadenza over a drone in ‘The Mourner’ …”

“… His [Blackford] writing is thematically concentrated, notably evocative and clearly heartfelt. It is close to Szymanowski in sound and in its solutions in pitting solo violin sound against a lustrous orchestra in this case the Czech Philharmonic, against which Waley-Cohen’s violin tone is characteristically strong and steely, notably in the double-stopped cadenza over a drone in ‘The Mourner’ …”

Andrew Mellor - Gramophone magazine – September 2018

“… Wilson’s performance with the BBC Scottish Symphony Orchestra is most accomplished … the biggest testament to Bennett’s prowess as a composer – is the fact that whether he’s flexing his intellectual muscle in the Second Symphony, schmoozing in the Sax Concerto’s slow movement or simply having a good time in the Partita, this is unmistakably the work of the same composer.”

“… Wilson’s performance with the BBC Scottish Symphony Orchestra is most accomplished … the biggest testament to Bennett’s prowess as a composer – is the fact that whether he’s flexing his intellectual muscle in the Second Symphony, schmoozing in the Sax Concerto’s slow movement or simply having a good time in the Partita, this is unmistakably the work of the same composer.”

Edward Seckeron – Gramophone magazine – September 2018

“… Aspromonte brings an impressive range of vocal colour to the task, on full display at moments such as the highly dramatic reading of the opening strophe of the prologue to Cesti’s L’Argia. While the bright silvery tones of her upper register are prominent features, there is also much expressive use of darker and warmer tones in these fluid and flexible accounts, packed with sensitive detail, and alive to the essential unity of words, music and meaning.”

“… Aspromonte brings an impressive range of vocal colour to the task, on full display at moments such as the highly dramatic reading of the opening strophe of the prologue to Cesti’s L’Argia. While the bright silvery tones of her upper register are prominent features, there is also much expressive use of darker and warmer tones in these fluid and flexible accounts, packed with sensitive detail, and alive to the essential unity of words, music and meaning.”

Iain Fenion – Gramophone magazine – August 2018

“… it’s the choruses and the dances that provide the most appealing music, and the Purcell Choir and Orfeo Orchestra under György Vashegyi do them proud… The scoring throughout is delightful … a winner.”

“… it’s the choruses and the dances that provide the most appealing music, and the Purcell Choir and Orfeo Orchestra under György Vashegyi do them proud… The scoring throughout is delightful … a winner.”

Richard Lawrence - Gramophone magazine – August 2018

“… well worth hearing.”

“… well worth hearing.”

Lindsay Kemp - Gramophone magazine – August 2018

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