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Get your free copy of the new Classical Music magazine issue featuring our star violinist Tasmin Little.

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Gramophone Awards

Congratulations to Silesian Quartet, winner of the Chamber Award for their Bacewicz album.

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Congrats to our new CBE!

Sarah Connolly and Gerald Finley recognised in Queen's Birthday Honours.

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Orchestral Choice

'Every detail is clear and well placed in these excellent recordings.'

BBC Music, July 2017

 

JiÅ™í BÄ›lohlávek (1946-2017)

The leading conductor passed away on June 1st, after a long-term illness. He leaves behind him a tremendous discography, including major recordings with the Czech Philharmonic and BBC Symphony Orchestras.  Click here for more.

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Latest Reviews

“The Gabrieli’s latest themed CD, beautifully produced in all respects, celebrates the concision and intensity of 20th-century British part songs...Probably best in small doses. These miniatures are rich, each in need of proper savouring.”  ****

“The Gabrieli’s latest themed CD, beautifully produced in all respects, celebrates the concision and intensity of 20th-century British part songs...Probably best in small doses. These miniatures are rich, each in need of proper savouring.”  ****

The Observer ? 8 October 2017

“In the Second Symphony the period strings' lighter articulation gives Brahms's rhythms a sprightlier feel than in many modern sessions. …in Gesand der Geister Gardiner avoids any awkward episodic feeling by making the music tell the story of Goethe's poem fluently and with character.”  ****

“In the Second Symphony the period strings' lighter articulation gives Brahms's rhythms a sprightlier feel than in many modern sessions. …in Gesand der Geister Gardiner avoids any awkward episodic feeling by making the music tell the story of Goethe's poem fluently and with character.”  ****

BBC Music magazine - April 2009

“[The 1st movement's opening horn theme is] played on natural horn, already outmoded by Brahms’s time...the phrase is lightly broken, in the baroque fashion. Such well-defined colours and detailed attention to articulation collide with the idea of this work as predominantly warm, relaxed and lyrical, and Gardiner sometimes scrubs perhaps a little too vigorously on the patina of inherited performance traditions. Still, he certainly provokes fresh thinking.”  ***

“[The 1st movement's opening horn theme is] played on natural horn, already outmoded by Brahms’s time...the phrase is lightly broken, in the baroque fashion. Such well-defined colours and detailed attention to articulation collide with the idea of this work as predominantly warm, relaxed and lyrical, and Gardiner sometimes scrubs perhaps a little too vigorously on the patina of inherited performance traditions. Still, he certainly provokes fresh thinking.”  ***

The Sunday Times - 1 March 2009

“Gardiner's speeds are so relaxed that the music almost falls over. Still, they emphasise the melancholic strain in a work easily pigeonholed as a lyrical effusion. You can also enjoy the wide colour palette of the period instruments of the Orchestre Révolutionnaire et Romantique. Nathalie Stutzmann's expressive way with the Alto Rhapsody is a delight; and the Schubert items for male chorus make interesting companions.”   ***

“Gardiner's speeds are so relaxed that the music almost falls over. Still, they emphasise the melancholic strain in a work easily pigeonholed as a lyrical effusion. You can also enjoy the wide colour palette of the period instruments of the Orchestre Révolutionnaire et Romantique. Nathalie Stutzmann's expressive way with the Alto Rhapsody is a delight; and the Schubert items for male chorus make interesting companions.”   ***

The Times - 14th February 2009

“John Eliot Gardiner and the ORR continue their Brahms symphonies series with this live recording of No 2, with the heartfelt Alto Rhapsody (soloist Nathalie Stutzmann) and three Schubert choruses as a bonus. Energy and meticulous phrasing truly ignite this score. Strings use limited vibrato, with judicious portamento and expressively varied bowing.”

“John Eliot Gardiner and the ORR continue their Brahms symphonies series with this live recording of No 2, with the heartfelt Alto Rhapsody (soloist Nathalie Stutzmann) and three Schubert choruses as a bonus. Energy and meticulous phrasing truly ignite this score. Strings use limited vibrato, with judicious portamento and expressively varied bowing.”

The Observer - 8th February 2009

“John Eliot Gardiner's Brahms cycle, performed across two seasons in several venues, was at pains to place the four symphonies, the German Requiem and the Alto Rhapsody in the context of music that Brahms is known to have admired, and which influenced his own works. For the disc of the Rhapsody and the Second Symphony, recorded in the Salle Pleyel, Paris, in November 2007, that context is provided by three of Schubert's male-voice choruses. Two of them are sung by the Monteverdi Choir in Brahms's own arrangements, while the most substantial, the Gesang der Geister über den Wassern, seems a direct antecedent of the writing for male voices in the Alto Rhapsody, which Natalie Stutzmann sings with gravity. The account of the symphony is impressive too - the Orchestre Révolutionnaire et Romantique sounds on more secure form than it was for the London leg of this tour - and Gardiner's swift reading is always dramatically sure footed.”

“John Eliot Gardiner's Brahms cycle, performed across two seasons in several venues, was at pains to place the four symphonies, the German Requiem and the Alto Rhapsody in the context of music that Brahms is known to have admired, and which influenced his own works. For the disc of the Rhapsody and the Second Symphony, recorded in the Salle Pleyel, Paris, in November 2007, that context is provided by three of Schubert's male-voice choruses. Two of them are sung by the Monteverdi Choir in Brahms's own arrangements, while the most substantial, the Gesang der Geister über den Wassern, seems a direct antecedent of the writing for male voices in the Alto Rhapsody, which Natalie Stutzmann sings with gravity. The account of the symphony is impressive too - the Orchestre Révolutionnaire et Romantique sounds on more secure form than it was for the London leg of this tour - and Gardiner's swift reading is always dramatically sure footed.”

The Guardian - 6 February 2009
‘A confirmation of Britain’s blissful affinity with French romanticism.’ 
‘A confirmation of Britain’s blissful affinity with French romanticism.’ 
Classique News
‘[Sir Simon’s] stewardship is key to the success of this reading… Finley’s Golaud is an outstanding achievement… The orchestral playing is excellent, the recording clear and immersive.’ 

 
‘[Sir Simon’s] stewardship is key to the success of this reading… Finley’s Golaud is an outstanding achievement… The orchestral playing is excellent, the recording clear and immersive.’ 

 
BBC Radio 3 Record Review
‘Gerald Finley’s [Golaud is exemplary], and Christian Gerhaher and Magdalena Ko?ená bring character to Pelléas and Mélisande.’ ****

 
‘Gerald Finley’s [Golaud is exemplary], and Christian Gerhaher and Magdalena Ko?ená bring character to Pelléas and Mélisande.’ ****

 
Financial Times
‘[This release] is a credit to the LSO’s own record label… Gerald Finley’s composed yet menacing Golaud is superb, and to have Bernarda Fink and Franz-Josef Selig as Geneviève and Arkel is real luxury casting. Under Rattle’s leadership the orchestra is a true protagonist in the drama.’  ****
‘[This release] is a credit to the LSO’s own record label… Gerald Finley’s composed yet menacing Golaud is superb, and to have Bernarda Fink and Franz-Josef Selig as Geneviève and Arkel is real luxury casting. Under Rattle’s leadership the orchestra is a true protagonist in the drama.’  ****
The Guardian
"First performed in 1991, Lento is a timeless piece, both an intensely personal continuation of the English pastoral tradition and a far more convincing assertion of the continuing expressive power of tonal music than anything in Pärt's world of faux-religiosity."

 
"First performed in 1991, Lento is a timeless piece, both an intensely personal continuation of the English pastoral tradition and a far more convincing assertion of the continuing expressive power of tonal music than anything in Pärt's world of faux-religiosity."

 
Andrew Clements - The Guardian
"An enigmatic orchestral chorale … like Gorecki’s Third Symphony, it is stuff that cults are made of ..." 
"An enigmatic orchestral chorale … like Gorecki’s Third Symphony, it is stuff that cults are made of ..." 
Gramophone magazine

“As I said when I reviewed this disc in its Marco Polo garb in 1999: “recording engineers and acoustic architects of the world should be flying to Pécs to use and study this fine concert hall. The sound of this recording is magnificent. There’s magnificence and beauty among the blistering tragedy of these two symphonies of the last century.”

“As I said when I reviewed this disc in its Marco Polo garb in 1999: “recording engineers and acoustic architects of the world should be flying to Pécs to use and study this fine concert hall. The sound of this recording is magnificent. There’s magnificence and beauty among the blistering tragedy of these two symphonies of the last century.”

Rob Barnett - Musicweb-International.com - September 2017

“A thrilling performance of L’Homme et son désir expands our idea of Milhaud beyond ‘beef-on-the-rood’. The eerie wordless choir evokes sultry passions.” ***

“A thrilling performance of L’Homme et son désir expands our idea of Milhaud beyond ‘beef-on-the-rood’. The eerie wordless choir evokes sultry passions.” ***

Classics FM magazine ? September 2005

“This is magnificent ... I urge the purchase of this disc forthwith... This new Naxos disc has caused me to revise my opinions upwards. Everyone of these performances is stunningly good, but more importantly – the musical understanding of the conductor Jean-Claude Casedesus has come as a series of revelations ...”

“This is magnificent ... I urge the purchase of this disc forthwith... This new Naxos disc has caused me to revise my opinions upwards. Everyone of these performances is stunningly good, but more importantly – the musical understanding of the conductor Jean-Claude Casedesus has come as a series of revelations ...”

Robert Matthew-Walker ? International Record Review ? October 2005
'The recorded sound, full of presence and atmosphere, is state-of-the-art'
'The recorded sound, full of presence and atmosphere, is state-of-the-art'
BBC Music Magazine

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