Chandos Records Classical Music CDs and MP3 Downloads OnLine
Chandos Records

My Wish List

Close

News and Artists

Gordon Langford

We announce the death of our dear friend Gordon Langford on 18th April 2017. He was a composer,  (with thousands of fans in the Brass Band world) pianist and close friend and colleague of the founder of Chandos Records, Mr Brian Couzens. May he rest in peace.

 

Recording of the Month

'Immense and implacable power, astonishing'

BBC Music (Apr. 2017)

 

2 labels join our website

We are delighted to announce two labels returning to our website

 

 

Ivan Ilić signs with Chandos

The pianist has signed a multi-album recording contract, starting with Reicha's music.

Read more

 

24bit96: high-res and discounts

Find all about all about Hi-Res and USB Fidelity and get discounts on Chandos SACDs releases.

 

2 labels join our website

We are delighted to welcome two new labels to our website.

 

 

Editor's Choice

'Jean-Efflam Bavouzet plays dazzling Mozart concertos.'

Pianist (Feb. 2017)

Special Offers

 

33 Percent

ALBUMS CHANGE DAILY!

Find out more
50 Percent

Offer changes hourly!

Twitter
Videos

Watch our latest Chandos videos featuring behind the scenes footage and interviews.

More videos

Latest Reviews
"Outstanding. This is a very superior sampler ... a survey as representative as it is kaleidoscopic"  
"Outstanding. This is a very superior sampler ... a survey as representative as it is kaleidoscopic"  
The Sunday Times
"Michael Finnissy's recital of short pieces by himself and friends... is a particular treat."
"Michael Finnissy's recital of short pieces by himself and friends... is a particular treat."
The Sunday Times 1993
"Payne's most impressive work to date, and one of the finest pieces of orchestral writing premiered in London in the last ten years... the use of a big orchestra (marshalled expertly by Andrew Davis) is imaginative and powerful. An important achievement."
"Payne's most impressive work to date, and one of the finest pieces of orchestral writing premiered in London in the last ten years... the use of a big orchestra (marshalled expertly by Andrew Davis) is imaginative and powerful. An important achievement."
The Guardian

“Washington Post, The Liberty Bell and The Stars and Stripes Forever are all well known, but most of the music here proves a discovery. Sousa is much more than military bombast and brass-band oompah, and Jarvi clearly has an affection for this American Johann Strauss ...”

“Washington Post, The Liberty Bell and The Stars and Stripes Forever are all well known, but most of the music here proves a discovery. Sousa is much more than military bombast and brass-band oompah, and Jarvi clearly has an affection for this American Johann Strauss ...”

Hugh Canning – The Sunday Times (Culture magazine) – 23 April 2017

“...Little is one of the most open-hearted players around, with a watertight virtuosity to match. These are direct and generous performances to savour.”  ****

“...Little is one of the most open-hearted players around, with a watertight virtuosity to match. These are direct and generous performances to savour.”  ****

Fiona Maddocks – The Guardian – 23 April 2017

“... Listening through this programme gave me a lot of new insights in the American treasure of songs...”

“... Listening through this programme gave me a lot of new insights in the American treasure of songs...”

Göran Forsling– MusicWeb-International.com – 17 April 2017

“...This is a fantastic CD. It is full of imaginative, interesting and well-wrought music that has the distinct advantage of being totally approachable and enjoyable. Jim Parker has a unique voice in music that manages to seamlessly cross the divide between popular, classical and light.”

“...This is a fantastic CD. It is full of imaginative, interesting and well-wrought music that has the distinct advantage of being totally approachable and enjoyable. Jim Parker has a unique voice in music that manages to seamlessly cross the divide between popular, classical and light.”

John France – MusicWeb-International.com – 17 April 2017
"...Interesting and exciting performances of appealing modern liturgical music – with an Argentinian twist."

 

"...Interesting and exciting performances of appealing modern liturgical music – with an Argentinian twist."

 

Michael Wilkinson – MusicWeb-International.com – 17 April 2017

“It’s now ten years since Glossa first released La Venexiana’s recording of L’Orfeo, but it sounds as fresh today as the day it first rolled off the press...  Mirko Guadagnini sings Orfeo as a tenor, but his voice inhabits that territory half-way between tenor and baritone, something that suits this part brilliantly... The rest of the supporting cast is every bit as good. Emanuela Galli sets a high standard as Euridice and La Musica. Speranza has a fruity, distinctive voice, while Charon sounds gravelly and threatening. Pluto and Proserpine manage to sound regal but also humane, and Apollo’s deus ex machina makes for a satisfying ending. Furthermore, the chorus acts as well as they sing, full of gay abandon in the love music of Act 1, then shot through with grief after Euridice’s death. The acoustic of a church suits the music remarkably well and the recording still sounds very successful indeed...”

“It’s now ten years since Glossa first released La Venexiana’s recording of L’Orfeo, but it sounds as fresh today as the day it first rolled off the press...  Mirko Guadagnini sings Orfeo as a tenor, but his voice inhabits that territory half-way between tenor and baritone, something that suits this part brilliantly... The rest of the supporting cast is every bit as good. Emanuela Galli sets a high standard as Euridice and La Musica. Speranza has a fruity, distinctive voice, while Charon sounds gravelly and threatening. Pluto and Proserpine manage to sound regal but also humane, and Apollo’s deus ex machina makes for a satisfying ending. Furthermore, the chorus acts as well as they sing, full of gay abandon in the love music of Act 1, then shot through with grief after Euridice’s death. The acoustic of a church suits the music remarkably well and the recording still sounds very successful indeed...”

Simon Thompson – MusicWeb-International.com – 18 April 2017

“It’s now ten years since Glossa first released La Venexiana’s recording of L’Orfeo, but it sounds as fresh today as the day it first rolled off the press...  Mirko Guadagnini sings Orfeo as a tenor, but his voice inhabits that territory half-way between tenor and baritone, something that suits this part brilliantly... The rest of the supporting cast is every bit as good. Emanuela Galli sets a high standard as Euridice and La Musica. Speranza has a fruity, distinctive voice, while Charon sounds gravelly and threatening. Pluto and Proserpine manage to sound regal but also humane, and Apollo’s deus ex machina makes for a satisfying ending. Furthermore, the chorus acts as well as they sing, full of gay abandon in the love music of Act 1, then shot through with grief after Euridice’s death. The acoustic of a church suits the music remarkably well and the recording still sounds very successful indeed...”

“It’s now ten years since Glossa first released La Venexiana’s recording of L’Orfeo, but it sounds as fresh today as the day it first rolled off the press...  Mirko Guadagnini sings Orfeo as a tenor, but his voice inhabits that territory half-way between tenor and baritone, something that suits this part brilliantly... The rest of the supporting cast is every bit as good. Emanuela Galli sets a high standard as Euridice and La Musica. Speranza has a fruity, distinctive voice, while Charon sounds gravelly and threatening. Pluto and Proserpine manage to sound regal but also humane, and Apollo’s deus ex machina makes for a satisfying ending. Furthermore, the chorus acts as well as they sing, full of gay abandon in the love music of Act 1, then shot through with grief after Euridice’s death. The acoustic of a church suits the music remarkably well and the recording still sounds very successful indeed...”

Simon Thompson – MusicWeb-International.com – 18 April 2017

“Majestically apt recordings of two barely-known Croatian concertos.”

“Majestically apt recordings of two barely-known Croatian concertos.”

Rob Barnett – MusicWeb-International.com – 18 April 2017

“...a Missa Solemnis that, for me, really taps into the spirituality of Beethoven’s vision. There is depth and insight in every movement, and the overall result is as moving as it is musically impressive...”

“...a Missa Solemnis that, for me, really taps into the spirituality of Beethoven’s vision. There is depth and insight in every movement, and the overall result is as moving as it is musically impressive...”

Simon Thompson – MusicWeb-International.com – 19 April 2017

“...Operetta lovers will find a lot to enjoy here.”

“...Operetta lovers will find a lot to enjoy here.”

Göran Forsling – MusicWeb-International.com – 20 April 2017

Recording of the Month

“...Naxos’ warm recording is first-class, and Christopher Husted’s excellent annotations are comprehensive. For the adventurous and discerning listener, there’s much to enjoy here. These quartets have found their true advocates in the Villiers Quartet, who surmount every challenge with consummate mastery and committed musicianship.”

 

Recording of the Month

“...Naxos’ warm recording is first-class, and Christopher Husted’s excellent annotations are comprehensive. For the adventurous and discerning listener, there’s much to enjoy here. These quartets have found their true advocates in the Villiers Quartet, who surmount every challenge with consummate mastery and committed musicianship.”

 

Stephen Greenbank – MusicWeb-International.com – 20 April 2017

“... A distinguished, enthralling and deeply rewarding set which does justice to Bach’s great masterpiece.” 

“... A distinguished, enthralling and deeply rewarding set which does justice to Bach’s great masterpiece.” 

John Quinn – MusicWeb-International.com – 20 April 2017
“... this recording shows that the music can be convincingly done by a choir reared in the Anglican/Episcopalian choral tradition. What matters most is the quality of the training imparted to the choir and in this instance it’s clear that John Scott had prepared his singers very thoroughly. The quality of the singing is very pleasing indeed, not least the tuning... The recording was engineered by John C Baker. I think he’s done a very fine job, presenting the choir in very attractive sound and also giving us a nice sense of the resonance of the Saint Thomas acoustic. The notes are by John Scott himself and they provide an excellent guide to the music.”

 
“... this recording shows that the music can be convincingly done by a choir reared in the Anglican/Episcopalian choral tradition. What matters most is the quality of the training imparted to the choir and in this instance it’s clear that John Scott had prepared his singers very thoroughly. The quality of the singing is very pleasing indeed, not least the tuning... The recording was engineered by John C Baker. I think he’s done a very fine job, presenting the choir in very attractive sound and also giving us a nice sense of the resonance of the Saint Thomas acoustic. The notes are by John Scott himself and they provide an excellent guide to the music.”

 
John Quinn – MusicWeb-International.com – 21 April 2017

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