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“… 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
"... The Berlin Baroque Soloists, founded in 1995 by Rainer Kussmaul, are led here by another violinist of the early music scene, Reinhard Goebel, who now concentrates on conducting. Listening to their recordings is always a great pleasure. They eloquently let their interpretation speak with fresh and spontaneous sound. " *****

 

"... The Berlin Baroque Soloists, founded in 1995 by Rainer Kussmaul, are led here by another violinist of the early music scene, Reinhard Goebel, who now concentrates on conducting. Listening to their recordings is always a great pleasure. They eloquently let their interpretation speak with fresh and spontaneous sound. " *****

 

Uwe Krusch – Pizzicato.lu – 14 July 2019

“In this recording, the first movement of Sergei Prokofiev’s Second Piano Concerto is kind of a battle of the giants. A strong orchestra against a strong pianist. Wow! This gets under your skin, especially since the power never becomes a show and Zhang’s tone always sounds full and round. No less exciting is the scherzo, highly virtuosic and urgent, with a lot of colours. With a mix of wild and calm passages the last two movements are mostly ecstatic, always brilliant and musical, never circus-like. Beyond his controlled force, Haochen Zhang impresses with colours and well-nuanced dynamics. The Lahti Symphony provides an incredibly dense and rich sound. Very exciting and gripping! In Tchaikovsky’s First Piano Concerto, Zhang’s approach is very rhetorical and his playing incredibly imaginative … In the orchestra, the conductor reveals details that are not common. And so, despite some mannerisms, the Tchaikovsky Concerto is gripping, not least because of the soloist’s vibrant temperament and his perfect interplay with the orchestra.  The recording is first-rate too.*****

“In this recording, the first movement of Sergei Prokofiev’s Second Piano Concerto is kind of a battle of the giants. A strong orchestra against a strong pianist. Wow! This gets under your skin, especially since the power never becomes a show and Zhang’s tone always sounds full and round. No less exciting is the scherzo, highly virtuosic and urgent, with a lot of colours. With a mix of wild and calm passages the last two movements are mostly ecstatic, always brilliant and musical, never circus-like. Beyond his controlled force, Haochen Zhang impresses with colours and well-nuanced dynamics. The Lahti Symphony provides an incredibly dense and rich sound. Very exciting and gripping! In Tchaikovsky’s First Piano Concerto, Zhang’s approach is very rhetorical and his playing incredibly imaginative … In the orchestra, the conductor reveals details that are not common. And so, despite some mannerisms, the Tchaikovsky Concerto is gripping, not least because of the soloist’s vibrant temperament and his perfect interplay with the orchestra.  The recording is first-rate too.*****

Remy Franck – Pizzicato.lu – 17 July 2019

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