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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

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Latest Reviews

“… Lucy Crowe is an enchanting Galatea: warm and womanly in ‘As when the dove’, full of tender regret in ‘Heart, the seat of soft delight’. Tenderness – without regret – is the hallmark of Allan Clayton’s Acis in ‘Love in her eyes sits playing’, and his tone is always beautiful, even in his vigorous preparation for battle. The bet-known number is ‘O ruddier than the cherry’, with its incongruous, penny-whistle accompaniment: Neal Davies, less lumbering than some, almost makes Polyphemus a credible suitor. In this tenor-heavy cast, Benjamin Hulett and Jeremy Budd are mellifluous with, like the rest, excellent diction…”

“… Lucy Crowe is an enchanting Galatea: warm and womanly in ‘As when the dove’, full of tender regret in ‘Heart, the seat of soft delight’. Tenderness – without regret – is the hallmark of Allan Clayton’s Acis in ‘Love in her eyes sits playing’, and his tone is always beautiful, even in his vigorous preparation for battle. The bet-known number is ‘O ruddier than the cherry’, with its incongruous, penny-whistle accompaniment: Neal Davies, less lumbering than some, almost makes Polyphemus a credible suitor. In this tenor-heavy cast, Benjamin Hulett and Jeremy Budd are mellifluous with, like the rest, excellent diction…”

Richard Lawrence – Gramophone magazine – August 2018
Editor's Choice - Vocal Section
 
"...As compelling sonically as it is historically, this is a recording whose interest extends well beyond the specialist - a glorious re-creation not just of a lost composer but of an era."
Editor's Choice - Vocal Section
 
"...As compelling sonically as it is historically, this is a recording whose interest extends well beyond the specialist - a glorious re-creation not just of a lost composer but of an era."
Alexandra Coghlan - Gramophone magazine - August 2018
"... Convincing and original, this recital sits in the upper echelons of a significant list of eminent accounts of these favourite Bach cantatas."
"... Convincing and original, this recital sits in the upper echelons of a significant list of eminent accounts of these favourite Bach cantatas."
Jonathan Freeman-Attwood - Gramophone magazine - August 2018
"... Hopefully Pietmontesi is going to record the remaining two books, for this is very fine."
"... Hopefully Pietmontesi is going to record the remaining two books, for this is very fine."
Harriet Smith - Gramophone magazine - August 2018
"... In Debussy's centenary year, which has brought so many fine new recordings it is good to have this marvellous disc restored to the catalogue."
"... In Debussy's centenary year, which has brought so many fine new recordings it is good to have this marvellous disc restored to the catalogue."
Patrick Rucker - Gramophone magazine - August 2018

“… A deeply satisfying programme from a player at the peak of his powers.”

“… A deeply satisfying programme from a player at the peak of his powers.”

Malcolm Riley - Gramophone magazine - August 2018

“…When it comes to choosing a thorough survey of Stravinsky’s violin music, Gingolts’s mastery of the composer’s idiom makes this CD and it earlier companion credible front-runners … BIS’s SACD sound is superb.”

“…When it comes to choosing a thorough survey of Stravinsky’s violin music, Gingolts’s mastery of the composer’s idiom makes this CD and it earlier companion credible front-runners … BIS’s SACD sound is superb.”

Richard Bratby - Gramophone magazine - August 2018
"... excellent disc ..."
"... excellent disc ..."
Charlotte Gardner - Gramophone magazine - August 2018

“… The Neaves’ Debussy is all sparking elegance and wit … “

“… The Neaves’ Debussy is all sparking elegance and wit … “

Tim Ashley – Gramophone magazine – August 2018

“… In the arresting (and still underrated) Piano Concerto, Oundjian forms a splendidly combustible alliance with Louis Lortie, who process as commandingly articulate and powerfully imaginative a proponent as any I have yet encountered. Not only does the big-boned solo writing hold absolutely no terrors for him, the experienced French-Canadian virtuoso locates every ounce of crepuscular mystery from the slow movement and ravishingly soft epilogue. Rest assured, Oundjian and his admirably spruce Toronto band are with him every step of the way … Oundjian also presides over a deeply sympathetic rendering of Flos campi, that sensuous and exotic paean to earthly love … Boasting top-notch contributions from the TSO’s principal viola, Teng Li, and the Elmer Iseler Singersm it’s an uncommonly lucid, entrancingly detailed performance to have you marvelling afresh at this music’s intoxicating beauty, soaring poetry and bracingly adventurous harmonic scope. AS for the remaining items, both the Oboe Concerto and Serenade to Music enjoy supremely mellifluous treatment…”

“… In the arresting (and still underrated) Piano Concerto, Oundjian forms a splendidly combustible alliance with Louis Lortie, who process as commandingly articulate and powerfully imaginative a proponent as any I have yet encountered. Not only does the big-boned solo writing hold absolutely no terrors for him, the experienced French-Canadian virtuoso locates every ounce of crepuscular mystery from the slow movement and ravishingly soft epilogue. Rest assured, Oundjian and his admirably spruce Toronto band are with him every step of the way … Oundjian also presides over a deeply sympathetic rendering of Flos campi, that sensuous and exotic paean to earthly love … Boasting top-notch contributions from the TSO’s principal viola, Teng Li, and the Elmer Iseler Singersm it’s an uncommonly lucid, entrancingly detailed performance to have you marvelling afresh at this music’s intoxicating beauty, soaring poetry and bracingly adventurous harmonic scope. AS for the remaining items, both the Oboe Concerto and Serenade to Music enjoy supremely mellifluous treatment…”

Andrew Achenbach – Gramophone magazine – August 2018

“… It [Concertino for flute and orchestra] is an attractive, assured piece, played with delicacy by the orchestra’s principal flute, Lena Kildahl… There is plenty to listen to, again and again, in these four pieces but you can hear why the ballet suite The Dethroned Animal Tamer has been placed first on this disc. There is canny pastiche, dramatic clarity and theatrical colour in this 1942 work but more than anything there is a directness that us wholly Danish… The Aarhus Symphony Orchestra play it with exhuerance…”

“… It [Concertino for flute and orchestra] is an attractive, assured piece, played with delicacy by the orchestra’s principal flute, Lena Kildahl… There is plenty to listen to, again and again, in these four pieces but you can hear why the ballet suite The Dethroned Animal Tamer has been placed first on this disc. There is canny pastiche, dramatic clarity and theatrical colour in this 1942 work but more than anything there is a directness that us wholly Danish… The Aarhus Symphony Orchestra play it with exhuerance…”

Andrew Mellor - Gramophone magazine - August 2018
"...She [de la Vega]  is a charming, persuasive, advocate for these two indelible works. The English Chamber Orchestra, too, offer fine support and, with a range of tone colours (the muted central movement of the G major First Concerto is a particular highlight) match de la Vega's recreative imagination. Pentatone has played its part as well, capturing these performances ... in particularly clear sound, without letting it become too analytical ..."
"...She [de la Vega]  is a charming, persuasive, advocate for these two indelible works. The English Chamber Orchestra, too, offer fine support and, with a range of tone colours (the muted central movement of the G major First Concerto is a particular highlight) match de la Vega's recreative imagination. Pentatone has played its part as well, capturing these performances ... in particularly clear sound, without letting it become too analytical ..."
David Threaser – Gramophone.co.uk – August 2018
"... BIS's terrifically clear sound captures these works, sparklingly performed in Odense, in all their appealing whimsy."
"... BIS's terrifically clear sound captures these works, sparklingly performed in Odense, in all their appealing whimsy."
Guy Rickards – Gramophone magazine – August 2018
"... This is playing of a class that has often been denied Haydn, so frequently the victim of cynical rehearse/record schedules. The leisurely pace of the 'Haydn 2032' project allows the players to live with the music and make sure it falls truly under the fingers by the time they find themselves under the microphones. As one listens more, one realises the extent to which Antonini and his ensembles are 'in tune' with Haydn - even in his most neglected symphonies - to a greater extent than almost any other band. There's not only a fluency to the playing but a palpable joy in the corporate sound made by these musicians..."
"... This is playing of a class that has often been denied Haydn, so frequently the victim of cynical rehearse/record schedules. The leisurely pace of the 'Haydn 2032' project allows the players to live with the music and make sure it falls truly under the fingers by the time they find themselves under the microphones. As one listens more, one realises the extent to which Antonini and his ensembles are 'in tune' with Haydn - even in his most neglected symphonies - to a greater extent than almost any other band. There's not only a fluency to the playing but a palpable joy in the corporate sound made by these musicians..."
David Treasher - Gramophone magazine - August 2018

“… Gardner demonstrates an unerring sense of how the tricky transitions work in this piece [Sym No. 2] and his appreciation of its harmonic delights is self-evident. And he has the seasoned instincts of the BBC Symphony Orchestra ensuring a naturalness and spontaneity through all the phrasing… The Serenade for Strings is a lovely, understated bonus, the gorgeous slow movement blossoming at its heart without a trace of emotional excess…”

“… Gardner demonstrates an unerring sense of how the tricky transitions work in this piece [Sym No. 2] and his appreciation of its harmonic delights is self-evident. And he has the seasoned instincts of the BBC Symphony Orchestra ensuring a naturalness and spontaneity through all the phrasing… The Serenade for Strings is a lovely, understated bonus, the gorgeous slow movement blossoming at its heart without a trace of emotional excess…”

Edward Seckerson – Gramophone magazine – August 2018
"... the musicians on this Signum recording respect the letter of the score. Pianist Min-Jung Kym and violinist Zsolt-Tihamér Visontay meet the concerto's [Mendelssohn's] considerable technical demands with aplomb..."
"... the musicians on this Signum recording respect the letter of the score. Pianist Min-Jung Kym and violinist Zsolt-Tihamér Visontay meet the concerto's [Mendelssohn's] considerable technical demands with aplomb..."
Andrew Farach-Colton - Gramophone magazine - August 2018

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Colchester
Essex
CO2 8HX
United Kingdom