Albums

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Classical - Released November 2, 2018 | Chandos

Hi-Res Booklet
£11.99
£7.99

Classical - Released November 2, 2018 | Chandos

Hi-Res Booklet
£11.99
£7.99

Chamber Music - Released November 2, 2018 | Chandos

Hi-Res Booklet
£11.99
£7.99

Classical - Released November 2, 2018 | Chandos

Hi-Res Booklet
£11.99
£7.99

Classical - Released November 2, 2018 | Chandos

Hi-Res Booklet
£11.99
£7.99

Classical - Released November 2, 2018 | Chandos

Hi-Res Booklet
£11.99
£7.99

Classical - Released October 5, 2018 | Chandos

Hi-Res Booklet
Sir Andrew Davis returns to his exploration of Holst’s orchestral works with the brilliant BBC Philharmonic, a series initiated almost ten years ago by the late Richard Hickox, then taken over by another expert in British repertoire. This selection of orchestral works by Holst provides a remarkable overview of his career, ranging from such early works as A Winder Idyll – composed in 1897 when he was still studying at the Royal College of Music – to the Scherzo of a symphony on which he was working towards the end of his life. None of the music recorded here was published in his lifetime, and the Scherzo – rarely heard though it is – is the only work to have entered the repertoire. A Moorside Suite, originally written for brass band, is featured here in the composer's rarely heard arrangement for strings. The young British cellist Guy Johnston is the soloist in Invocation, one of Holst’s most significant works, calling for a subtle balance of virtuosity and expressive qualities. © Chandos
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Chamber Music - Released October 5, 2018 | Chandos

For its very first recording on Chandos, the Arcadia String Quartet presents what has been at the very heart of its musical career and influences: the complete string quartets by Bartók. With the music of the Hungarian composer, the members of this Romanian ensemble, neighbours of his birthplace, have won such major careershaping competitions as Osaka, the Wigmore Hall, and Hamburg. Bartók’s attachment to the string quartet – as to no other genre – was to the keystone of the Viennese tradition, but with the aim of moving the medium out of its native city a little, into the countryside of alternative tonalities and rhythms. The six mature works he wrote are being revealed here with all the singular patterns, mixed modalities, bitterness, lamentations, and, at times, bright folk influences which they contain. © Chandos
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Classical - Released October 5, 2018 | Chandos

Hi-Res Booklet
To commemorate the centenary of Parry’s death, Rumon Gamba and the BBC National Orchestra of Wales offer this rare album of major works never recorded before, at the centre of which stands the original version of Symphony No. 4. These works highlight Parry’s skills as an orchestrator to supreme effect, the music full of attractive thematic invention, the scores wonderfully expansive, the canvas more intellectual, the many ideas more bold and passionate. The works prove to be a much severer challenge for the musicians but are here masterfully tackled thanks to both orchestra and conductor’s experience performing forgotten or unpublished British repertoire. The Suite moderne was written for the Three Choirs Festival. Despite its popularity, the work remained unpublished at Parry’s death and is performed here in a new edition by Jeremy Dibble. The album is completed by Parry’s one and only ballet score, Proserpine. A triptych in miniature, the colourful score is full of great delicacy. © Chandos
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Classical - Released October 5, 2018 | Chandos

Hi-Res Booklet
With this surround-sound recording of Berlioz’s Requiem, Edward Gardner and the Bergen Philharmonic Orchestra tackle the infinite and the immeasurable. All the grandiose, striking beauty of the Requiem’s large-scale ceremonial is encapsulated by first-class vocal and orchestral forces, fully utilising the spatial possibilities of Grieghallen in Bergen. The matching of space and sonority was one of Berlioz’s lasting obsessions, one experience in St Paul’s Cathedral in London throwing Berlioz into a delirium of emotion from which he took days to recover. His Grande Messe des morts, notorious for its requirement of four brass bands in addition to a large orchestra and chorus, taken here from live concerts, has often been seen as one of the most emotionally powerful works of its kind. Setting a solemn and austere, even ascetic text, the music is not that of an orthodox believer but of a visionary, inspired by the dramatic implications of death and judgement. © Chandos
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Classical - Released September 7, 2018 | Chandos

Hi-Res Booklet
£11.99
£7.99

Classical - Released September 7, 2018 | Chandos

Hi-Res Booklet
£11.99
£7.99

Classical - Released September 7, 2018 | Chandos

Hi-Res Booklet
£11.99
£7.99

Classical - Released September 7, 2018 | Chandos

Hi-Res Booklet
£23.98
£15.98

Chamber Music - Released September 7, 2018 | Chandos

Hi-Res Booklet
£23.98
£15.98

Chamber Music - Released July 6, 2018 | Chandos

Hi-Res Booklet
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Classical - Released July 6, 2018 | Chandos

Hi-Res Booklet Distinctions Gramophone Editor's Choice
Alright, so perhaps "120 years of the melodies of the Royal College of Music" is a bit of a stretch, given that the first of the composers to study here was Thomas Dunhill in 1893, and the last was Anthony Turnage in 1982, but as he is now a teacher there, we can perhaps let that go. In any case, Sarah Connolly's magnificent selection of English songs from throughout the 20th and early 21st centuries bears witness to the richness of the English melodic stage: Britten of course, Holst, Somervell, Gurney and Tippett are among the more famous, including beyond Britain's shores; but also there are some rather better-kept, but essential, secrets in the form of Morean, Rebecca Clarke, Stanford, Bridge and Parry: all of which make for quite a trip through time. Note that the album contains three discographic world firsts, one of which is fairly obvious – Farewell by Turnage, written especially for Sarah Connolly, for this recordings – and another stupefying, two mélodies by Britten, which the composer had first conceived for his magical 1947 Charm of Lullabies and left to one side, because it was his habit, in his melodic cycles, to do a bit more than required in order to later have the option of pruning some back. These two lullabies remained in the manuscript. They were fairly difficult to decipher, but still clear enough that they have finally been brought out of their Sleeping Beauty suspended animation, sixty years on. We should add that Connolly's rich and sumptuous voice, delicately accompanied by Joseph Middleton, works wonders with this exquisite repertoire. © SM/Qobuz
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Concertos for wind instruments - Released July 6, 2018 | Chandos

Hi-Res Booklet Distinctions 5 de Diapason - 5 Sterne Fono Forum Klassik
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Solo Piano - Released July 6, 2018 | Chandos

Hi-Res Booklet Distinctions Gramophone Editor's Choice - 5 étoiles de Classica
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Classical - Released June 1, 2018 | Chandos

Hi-Res Booklet
This third album of orchestral works by the great Argentine composer brings together iconic, virtuoso, and colourful works by Alberto Ginastera, which illustrate three very different times of his life and language. Written in 1961, the Piano Concerto n° 1 has as its point of departure a sonata for piano which he had written earlier, and which flirts with atonalism in a language which is broadly inspired by the works of Bartók. The Variaciones Concertantes from 1953 are in a completely different language, tonal and joyful, a kind of concerto for orchestra, and they make an ideal entry point for such a varied and plentiful body of work. Each of the twelve movements uses instruments from orchestra in solo roles, as Bartók, Lutoslawski (an exact contemporary) and Britten had also done. The Concierto Argentino is older still. It is a work from the conservatory, written by a 19-year-old Ginastera, which he often wanted to revise, but never did. All the better, as the work's imperfections and inexperience bear witness to an extravagantly-gifted composer, who had developed, if not quite a language all of his own, then at least a disconcerting confidence for this first, very respectable sally. As on the previous two albums, we find here the case and the verve of Spanish conductor Juanjo Mena and the subtle, imaginative touch of Chinese-American pianist Xiayin Wang. © François Hudry/Qobuz

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