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  BBC Music Mag Awards

   Four releases are nominated

  Vote here

 

  Grammy nomination

  'Serenade to..' up for award

  Listen

 

Presto Award winner!

Federico Colli wins Top 10 Recording of the Year

Read the full list here

 

Diapason d'Or de l'Année

Chandos won two awards, including Sound Recording

Find out more here

 

ICMA nominations

Chandos has been nominated for two ICMA awards 2019!

Find out more here

 

Album launch

Congratulations to Ferio for a fantastic Rhinegold Live!

Click here for more!

 

Musician in Residence

Ivan Ilic is new Musician in Residence at Ulster University

Click here for more!

 

Lifetime Achievement

Neeme Järvi wins Lifetime Achievement Award

Download 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 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

 

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

 

Grammy Award Winners

Congratulations to distributed labels on Grammy wins

See the list of winners

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“From the agitated opening song, “Er ist gekommen,” to the exhuberant Walzer with its funny keyboard interludes, Clara Schumann’s songs give real pleasure. They are somewhat modest in scope, but show considerable compositional range and even when some of the same texts are used, they aren’t derivative of her husband’s settings. Most important, Clara was a gifted composer of melodies and most of the songs have memorable ones. (Try the tender “Liebst du um Schoenheit” from the op. 12, or Beim Abschied.) The piano parts are resourceful and almost never repeat the same accompaniment pattern from song to song. The six-octave Stein fortepiano used in the recording is the actual one that Clara’s father, Friedrich Wieck, bought for her in 1828. Hedayet Djeddikar’s shapely, characterful playing helps the performance, and hearing the composer’s original instrument’s gentle rumblings and tinkly upper register adds to the recording’s atmosphere.”

“From the agitated opening song, “Er ist gekommen,” to the exhuberant Walzer with its funny keyboard interludes, Clara Schumann’s songs give real pleasure. They are somewhat modest in scope, but show considerable compositional range and even when some of the same texts are used, they aren’t derivative of her husband’s settings. Most important, Clara was a gifted composer of melodies and most of the songs have memorable ones. (Try the tender “Liebst du um Schoenheit” from the op. 12, or Beim Abschied.) The piano parts are resourceful and almost never repeat the same accompaniment pattern from song to song. The six-octave Stein fortepiano used in the recording is the actual one that Clara’s father, Friedrich Wieck, bought for her in 1828. Hedayet Djeddikar’s shapely, characterful playing helps the performance, and hearing the composer’s original instrument’s gentle rumblings and tinkly upper register adds to the recording’s atmosphere.”

Paul Orgel – Fanfare – July 2009

“… Hedayet Djeddikar plays Clara Schumann’s 1828 Stein piano, a Viennese instrument encompassing six octaves. It has a very lovely sound, much more modern in tone color than the fortepianos of Beethoven’s era, but softer and less bright than a modern instrument. It’s the perfect piano for this repertory…”

“… Hedayet Djeddikar plays Clara Schumann’s 1828 Stein piano, a Viennese instrument encompassing six octaves. It has a very lovely sound, much more modern in tone color than the fortepianos of Beethoven’s era, but softer and less bright than a modern instrument. It’s the perfect piano for this repertory…”

John Boyer – American Record Guide – May/June 2009

“This new Naxos seems promising since it also includes first versions of two of the songs from Op. 13. Moreover it was recorded in the Schumannhaus in Zwickau on Clara’s own fortepiano. A period performance in other words…There is no denying that Clara Schumann’s compositions should be taken seriously and there is a lot to admire and return to on this disc.”

“This new Naxos seems promising since it also includes first versions of two of the songs from Op. 13. Moreover it was recorded in the Schumannhaus in Zwickau on Clara’s own fortepiano. A period performance in other words…There is no denying that Clara Schumann’s compositions should be taken seriously and there is a lot to admire and return to on this disc.”

Goran Forsling – MusicWeb-International.com – March 2009
“…Siglo de Oro’s members sing with passion and refinement.”
“…Siglo de Oro’s members sing with passion and refinement.”
The Sunday Times (Culture magazine) – 1 April 2018
“Shevchenko plays superbly: the Three Movements from Petrushka are precise and exhilarating; she gets the dry Sonata and Serenade in A just right...but most memorable are 2½ minutes from the ritual close of Symphonies of Wind Instruments.”
“Shevchenko plays superbly: the Three Movements from Petrushka are precise and exhilarating; she gets the dry Sonata and Serenade in A just right...but most memorable are 2½ minutes from the ritual close of Symphonies of Wind Instruments.”
The Sunday Times (Culture magazine) – 28th April 2018
“…The Choir of St Mary’s, Edinburgh, has a fine track record in this repertory, and the novelty value of this recital warrants a strong recommendation. The shorter selections are especially well handled, for they don’t tax the singers unduly…I also like Duncan Ferguson’s forthright (dare I say it, un-churchy) approach to the lengthy passages of plainchant.”
“…The Choir of St Mary’s, Edinburgh, has a fine track record in this repertory, and the novelty value of this recital warrants a strong recommendation. The shorter selections are especially well handled, for they don’t tax the singers unduly…I also like Duncan Ferguson’s forthright (dare I say it, un-churchy) approach to the lengthy passages of plainchant.”
Gramophone magazine – July 2018
“…The past and the present move hand-in-hand in this well-devised programme. Gabriel Jackson’s setting of the Stabat Mater is startling in its concept. The declamatory opening starkly sets the horrifying scene, but the mother’s grief, which is beautifully expressed, is paramount. James MacMillan’s passionate interpretation is very much of the 21st century, although deeply rooted in the past: with this composer you get the best of both worlds. The Marian Consort is an exceptional group. Here you can savour beautiful vocal lines that are given wonderfully controlled, electrifying performances.” *****
“…The past and the present move hand-in-hand in this well-devised programme. Gabriel Jackson’s setting of the Stabat Mater is startling in its concept. The declamatory opening starkly sets the horrifying scene, but the mother’s grief, which is beautifully expressed, is paramount. James MacMillan’s passionate interpretation is very much of the 21st century, although deeply rooted in the past: with this composer you get the best of both worlds. The Marian Consort is an exceptional group. Here you can savour beautiful vocal lines that are given wonderfully controlled, electrifying performances.” *****
Choir & Organ magazine – July 2018
“… the thing about Julian Anderson’s music is, the more time and effort you invest into listening to it, the better it gets”  Jeremy Summerly
“… the thing about Julian Anderson’s music is, the more time and effort you invest into listening to it, the better it gets”  Jeremy Summerly
BBC Radio 3 Record Review - October 2018
Editor’s Choice 
“…This exquisite late-Renaissance Portuguese polyphonic repertoire is as richly expressive as it is politically poised…This beautiful new album from The Marian Consort is surely one of the best one-to-a-part ensemble recordings of this repertoire. Throughout the programme they nurture a warm blend while drawing out long polyphonic threads to expressive ends.”
Editor’s Choice 
“…This exquisite late-Renaissance Portuguese polyphonic repertoire is as richly expressive as it is politically poised…This beautiful new album from The Marian Consort is surely one of the best one-to-a-part ensemble recordings of this repertoire. Throughout the programme they nurture a warm blend while drawing out long polyphonic threads to expressive ends.”
Gramophone magazine - December 2018
“…The latest from the six-strong Marian Consort, brilliant discoverers, and exponents, of rare repertoire, is Pater peccavi: Music of Lamentations from Renaissance Portugal: rich, ecstatic.”
“…The latest from the six-strong Marian Consort, brilliant discoverers, and exponents, of rare repertoire, is Pater peccavi: Music of Lamentations from Renaissance Portugal: rich, ecstatic.”
The Observer – 4 November 2018
“The instrument offers all the orchestral colours and dynamics you could wish for in this repertoire, [and] what else makes this recital particularly appealing is the clarity of texture with which the Rochdale organ is captured by producer/engineer Paul Baxter …”
“The instrument offers all the orchestral colours and dynamics you could wish for in this repertoire, [and] what else makes this recital particularly appealing is the clarity of texture with which the Rochdale organ is captured by producer/engineer Paul Baxter …”
Gramophone magazine - April 2016
“… Byram-Wigfield takes it all in his unflappable stride, the opening carefully layered, the control scrupulous throughout…”
“… Byram-Wigfield takes it all in his unflappable stride, the opening carefully layered, the control scrupulous throughout…”
BBC Music Magazine - April 2016
“An entire disc of overtures is a bit like enjoying a 7-course tasting menu, and here the results are well worth savouring... a tour de force.” *****
“An entire disc of overtures is a bit like enjoying a 7-course tasting menu, and here the results are well worth savouring... a tour de force.” *****
Choir & Organ magazine – March 2016
“…Delphian scores yet another choral hit with this exceptional and fascinating collection themed around musical representations of the Virgin Mary. And once again, Merton College Choir is the immaculate vehicle for performances that encompass the old and the new.” *****
“…Delphian scores yet another choral hit with this exceptional and fascinating collection themed around musical representations of the Virgin Mary. And once again, Merton College Choir is the immaculate vehicle for performances that encompass the old and the new.” *****
The Scotsman - 29 January 2015
“The jutting vocal fanfares of [Weir’s] Ave Regina caelorum set a brightly celebratory atmosphere at the disc’s beginning… The seven-part writing of Hannah Kendall’s numinous Regina caeli is lucidly balanced out by the singers… Of the other works the glowing Magnificat of 15th-century composer John Nesbitt is particularly notable, bringing gleaming work from the sopranos in particular.”
“The jutting vocal fanfares of [Weir’s] Ave Regina caelorum set a brightly celebratory atmosphere at the disc’s beginning… The seven-part writing of Hannah Kendall’s numinous Regina caeli is lucidly balanced out by the singers… Of the other works the glowing Magnificat of 15th-century composer John Nesbitt is particularly notable, bringing gleaming work from the sopranos in particular.”
BBC Music magazine - Awards Issue 2015
“A fascinating and finely executed collection of anthems and motets… The 35-strong mixed voice choir possess perfect intonation and blend… this is not a disc to be missed.”
“A fascinating and finely executed collection of anthems and motets… The 35-strong mixed voice choir possess perfect intonation and blend… this is not a disc to be missed.”
Choir & Organ magazine - March/April 2015

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