Chandos Sale Summer 2026
Over 400 titles from Chandos are on sale now on ArkivMusic!
Chandos Records is one of the world’s premier classical music record companies, best known for its ground breaking search for neglected musical gems.
Discover titles from Brahms, Rachmaninoff, Strauss and more; as well as performances from the BBC Scottish Symphony Orchestra, Sinfonia of London, Arcadia Quartet and more!
Shop the sale before it ends 9:00am ET, Tuesday, July 28th, 2026.
476 products
Revive / Ferio Saxophone Quartet
For its second album on Chandos, the young Ferio Saxophone Quartet presents a set of unique arrangements of milestones from the baroque repertoire, from Corelli via Bach to Handel. Including many premiere recordings, these fresh interpretations, full of flair and vitality, played on instruments that combine elements of brass and woodwind, bring the tunes and counterpoint to a fascinating new register. The Ferio Quartet plays with power, warmth, and dexterity. “Playing is of the highest level throughout.” (Classical Music) “Intensely musical performances… the artistry of the performances is beyond question.” (Gramophone) “The Ferio Quartet plays with a nimble technique, mature phrasing, exquisite and forceful dynamics, and excellent balance, blend, and teamwork.” (American Record Guide)
Tchaikovsky Plus One, Vol. 1 / Douglas
REVIEWS:
Musorgsky’s magnum opus requires pianism of dazzling virtuoso panache, and here Douglas is really in his element. His supreme technical ease and tonal control when the notes start flying – as in the ‘Ballet of the Chicks in their Shells’, ‘Limoges’, and (especially) ‘Baba Yaga’ – brings a special sense of frisson.
– BBC Music Magazine
I don’t know how long he has had these works in his repertoire but they sound like old friends, well played-in. Few performances of Pictures have been imbued with such musical and textual integrity; each section is deftly characterised; the full tonal and dynamic range of the piano brought appropriately to bear.
– Gramophone
Elgar: The Music Makers & The Spirit of England / Connolly, Staples, Davis, BBC Symphony

Distinguished British music interpreter Sir Andrew Davis joins forces with the BBCSO once again, this time with acclaimed soloists Dame Sarah Connolly and Andrew Staples, in this thoughtful presentation of the last two substantial choral works of Sir Edward Elgar. The matury of Elgar as an orchestrator is obvious in both works on this album, notably, in ‘The Music Makers’ (1912), during passages in which he quotes from ‘Sea Pictures’ and the Violin Concerto, and in representing the sound of aircraft in ‘The Spirit of England’ (1917). Elgar uses self-quotation to reflect: ‘The Music Makers’ is a canvas of self-reflection, written quickly following a period of illness. The orchestral introduction is introspective, melancholic, and noble, before the words of Arthur O’Shaughanessy’s poem and much self-quotation within the music offer an insight into the sense of nostalgia and awareness of the loneliness of the creative artist felt by the composer. ‘The Spirit of England’ reflects on the sadness and desolation of war felt by a nation, with the inclusion of quotations from ‘The Dream of Gerontius’ in some of the more negative stanzas that Elgar found harder to set. Specified in the score for tenor or soprano, all three movements are sung here by a tenor in a recording first.
Mozart: Piano Concertos, Vol. 3 - K. 450 & 451; Quintet K. 452 / Bavouzet
This third volume in the series from the electrifying combination of Jean-Efflam Bavouzet and Manchester Camerata under Gabor Takacs-Nagy explores the final two of the six piano concertos of the year 1784, on which Mozart staked his reputation as both a performer and composer. Alongside these works features the pioneering Quintet for Piano and Winds, also from 1784, the first written for this combination of instruments and a work which Mozart regarded as his finest to date. The consecutive Kochel numbers of the three piano works hint at a remarkable story: not only were they all written in the same extraordinarily productive year, but all were completed in the same month, March, when Mozart was just twenty-eight years old. The two concertos form a pair, and in letters to his father Mozart makes it clear that he wrote them for his own performance: “Nobody but I owns these new concertos in B flat and D,” adding in another letter, two weeks later, “I consider them both to be concertos which make one sweat.” Heard in this context, Bavouzet’s playing is all the more astonishing.
REVIEWS:
Jean-Efflam Bavouzet has joined forces with Gábor Takács-Nagy and the Manchester Camerata to record the complete Mozart piano concertos. This is the third volume in the series. Bavouzet has won awards for his recordings of Haydn, Debussy, Prokofiev and Grieg. This recording shows that he is also a born Mozartian.
The three works on this recording all date from 1784 when Mozart was newly married and beginning to forge a freelance career for himself. The Piano Concerto in D Major K451 uses trumpets with timpani and has a distinctive military character. Takács-Nagy’s tempo is spot on in the opening movement marked Allegro assai. He and the Manchester Camerata open the movement with vibrancy and dynamism, and bring an infectious enthusiasm to Mozart’s springy dotted rhythms. Bavouzet’s phrasing and passagework are a model of classical decorum, and he uses subtle rubato to superb effect. There is excellent interplay between piano and orchestra, with phrases passing seamlessly between the players. The music is beautifully characterised. The militaristic opening theme gives way to the camp, whimsical second subject. The Manchester Camerata’s woodwind section are enchanting at the start of the slow movement. Bavouzet brings charm and restraint to the movement before giving us a moment of heart-stopping poetry in the interlude before the return of the opening them. The finale has enormous fizz and sparkle. There is tight, spirited interplay between soloist and orchestra. Bavouzet brings enormous energy to the increasingly elaborate passagework. It is impossible not to be swept along with the joys of music-making.
This is an outstanding recording and is worthy to sit alongside the great Mozart concerto recordings such as those by Perahia and Uchida.
-- MusicWeb International
Berlioz: Grande Messe des Morts, Op. 5 / Gardner, Bergen Philharmonic
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.
Mendelssohn: String Quartets, Vol. 1 / Doric String Quartet
-----
REVIEW:
Op. 44/3 is the longest of the quartets, and the outer movements can sometimes come across as prolix. The Doric’s performance steers clear of this trap – again through the controlled variety and technical ease of their music-making – as well as tripping the light fantastic in the scherzo, and laying bare the emotional ambiguity of the Adagio. I look forward to Volume 2.
– BBC Music Magazine
Reicha Rediscovered, Vol. 2 / Ilić
The eagerly awaited volume 2 in the fascinating exploration of Antoine Reicha’s keyboard music by the trailblazing pianist Ivan Ilic is now out! Ilic here digs into a crucial aspect of Antoine Reicha’s music: counterpoint and the manner in which Bach’s music served as a point of departure for Reicha’s eclectic, fertile mind and wide variety of musical styles. If most of these etudes are made up of a Prelude paired with a Fugue, their variety offers the album great diversity, and unveils the compositional genius of Antoine Reicha: here are unexpected moods and textures, sophisticated canons, cheeky invertible counterpoint, chaconnes and minuet-like character pieces, even a piece the only unifying characteristic of which seems to be its tumbling scales in dotted rhythm. Ilic’s unique interpretations are supported by enlightening booklet notes, written by the pianist himself, shedding light on revelatory moments in the composer’s life. While the musical world will soon become saturated with celebrations of the 250th anniversary of the birth of Beethoven, his friend and exact contemporary Antoine Reicha will enjoy a renaissance with this unmissable series.
Beethoven: Three Piano Trios, Op. 1 / Trio Goya
In this new Chaconne release, Trio Goya offers unique accounts of Beethoven’s early piano trios, revealing on period instruments and in the magical acoustic of the Britten-Pears Auditorium at Aldeburgh’s Snape Maltings the extraordinary range of colors and narratives that these pieces suggest. Beethoven’s Opus 1 features amongst Trio Goya’s central repertoire, played regularly in the UK’s most prestigious venues and beyond. After a recent Wigmore Hall concert, Early Music Today wrote that “Trio Goya sent us home spinning on the delights and laughter of early Beethoven. His piano trio opus 1 No. 1 frothed and bubbled down the finale's theme, the musicians swept along by their own hell-for-leather, immaculately kept tempo.” These pieces mark a kind of beginning in Beethoven’s career. They were indeed planned and executed, over a period of two years, with unprecedented care and skill; they mark the start of a new creative period for the young genius, which is distinct from the younger Bonn years and is fully deserving of the label ‘first maturity’ conferred by the musicologist Lewis Lockwood.
Haydn: The Complete Piano Sonatas, Vol. 7 / Bavouzet
"Bavouzet’s Haydn is unmatched in its zest and its wit. But it is also substantial, informed and deeply rewarding."
--The New York Times on Bavouzet's Haydn Sonatas cycle, 2022
Alongside an internationally acclaimed celebration of Debussy’s centenary, Jean-Efflam Bavouzet continues his sumptuous journey through Haydn, the installments consistently praised for their intelligent approach and clear and vivid interpretations. Recorded on a modern Yamaha CFX in the warm acoustic of Potton Hall in Suffolk, the series has now reached Volume 7, which showcases several rarely heard sonatas, some of which have been considered of dubious authenticity or outright apocryphal. With the exception of No. 13 (Hob. XVI: 6), absolutely and unarguably authentic, these sonatas survive only in the form of copies, and to establish a chronology is difficult, even impossible. But through Jean-Efflam Bavouzet’s playing, all these pieces are revealed in their purest essence and diversity, from the energetic, witty, and ironic to the graceful, tender, and intimate.
REVIEWS
Extremely well recorded in Potton hall in Suffolk, Bavouzet’s Yamaha enables him to bring ideal clarity to these elegant works.
--BBC Music Magazine
Jean-Efflam Bavouzet’s Haydn isn’t a comfortable ride but a vivid one. Take his stimulating approach to Sonata 58’s first movement; it has warmth, athleticism and a feel of being improvised while missing nothing of Haydn’s harmonic, rhythmic and dynamic twists. There’s a certain quirkiness about it, but that is exactly Haydn’s.
--MusicWeb International (Michael Greenhalgh)
Vaughan Williams: Piano Concerto, Serenade To Music, Etc / Oundjian, Toronto Symphony
REVIEWS:
The Chandos catalogue already boasts a superb performance of the Piano Concerto by Howard Shelley, coupled with the Ninth Symphony in Bryden Thompson’s rather forgotten yet quite brilliant series. Canadian pianist Louis Lortie is outstanding in this new performance.
Listeners should pay keen attention to this beautiful performance by the Toronto Symphony Orchestra’s principal oboe, Sarah Jeffrey. She is absolutely in sympathy with the music, producing a most pleasing tone, and is in complete command of the work’s technical demands.
Serenade to Music was originally composed for sixteen solo voices. The composer conceived the work for particular singers whose solo passages are marked with their initials in the score, but he was always keen to adapt works in order to secure performances. This performance uses just four soloists alongside the admirable Elmer Iseler Singers, a group of twenty or so voices. Thus, the soprano, for example, sings solo passages that were originally assigned to four different singers and, no doubt, tailored to each particular voice. I expected to miss the change of vocal quality from one phrase to another, but in the end this didn’t bother me at all, perhaps because the soloists are so distinguished. Peter Oundjian’s pacing of the work is ideal, and the sounds he coaxes from his excellent orchestra are as ravishing as they should be in this work.
Teng Li is the Toronto Symphony Orchestra’s principal viola player, and she plays Flos Campi as if it really means something to her. She produces a rich, nourished tone and plays the more robust passages without the slightest suggestion of roughness. Her viola really speaks, her playing richly communicative. The choir is excellent, the orchestra too, and by careful attention to Vaughan Williams’s markings, Oundjian achieves something very special.
Peter Oundjian’s work in Toronto was marked by a number of recordings of Vaughan Williams symphonies on the orchestra’s own label. Here, on Chandos, he treats us to a mouth-watering programme that more than deserves a place in any Vaughan Williams collection.
– MusicWeb International
The solo playing by Toronto Symphony principal Teng Li offers deep weight of tone, rapturous phrasing, and a musical personality that mesmerises the ear; the choral singing is superbly focused and (easier said than done) flawlessly in tune, with a classy orchestral accompaniment to match. Sarah Jeffrey (also a Toronto principal) is at first less impressive in the Oboe Concerto, her playing increasingly searches out the music’s poignant heart, memorably so in the finale.
– BBC Music Magazine
Telemann: The Concerti-en-suite / Tempesta di Mare
-----
REVIEW:
It’s all top-drawer stuff. Not least thanks to the beautifully blended sound of the whole: crisp strings, mellow woodwind, subtle-but-there harpsichord and theorbo and a gorgeous soft-focus halo of horns. In short, every instrumental timbre is beautifully looked after.
– Gramophone
Adams: Absolute Jest & Naive and Sentimental Music / Oundjian, RSNO
-----
The RSNO’s playing captures all the delicacy, grandeur and zing of Adams’s complex score, while the Doric String Quartet brings sumptuous sweetness and laser-like clarity to its solo part. There follows a magnificent reading of Naïve and Sentimental Music, with Oundjian skilfully managing the balance of pace and introspection.
– BBC Music Magazine
Roussel: Evocations, Pour une fete de printemps & Suite in F / Tortelier, BBC Philharmonic
Maestro Yan Pascal Tortelier celebrates his twenty-five-year recording career and seventy-album discography on Chandos with this album of three of Roussel’s most remarkable compositions. It follows a highly praised Birmingham concert with the same forces, namely the exceptional BBCPO and CBSO Chorus, and three revelatory soloists: Kathryn Rudge, 2017 BBC New Generation Artist, the young tenor Alessandro Fisher, joint first prize winner at the 2016 Kathleen Ferrier Awards, and François Le Roux, famous for his award-winning performances of French operas. Although very rarely recorded, Évocations stands as a monument in the compositional life of Roussel, depicting scenes, sounds, and colors from his experiences of India. Also featured are the audacious Pour une fête de printemps, originally composed as a Scherzo for his controversial Second Symphony, and the later Suite in F, which was performed in Paris several times after its Boston premiere, to critical acclaim.
Bacewicz: Piano Quintets, Quartet for 4 Violins, Quartet for 4 Cellos / Silesian Quartet
The 2017 Gramophone Award-winning Silesian Quartet here presents its second recording on Chandos, again devoted to the works of the Polish female composer Grazyna Bacewicz, in a rare programme full of contrast and individuality. The four works brought together here – two unusual quartet formations and two piano quintets – form an integral part of the central, chamber music strand in Bacewicz's output. While the Quartet for Four Violins and the First Piano Quintet have maintained a strong presence in both concerts and recordings, the intriguing Quartet for Four Cellos and Second Piano Quintet are lesser-known pieces. This is yet another must-have, preceding the fiftieth year of Bacewicz's death commemorations, a composer whose music is now considered by broadcasters, promoters, critics, and artists as an essential part of the Polish repertoire.
-----
REVIEW:
Bacewicz can generate momentum in the space of a four-minute movement and integrates eloquent bleakness with some of the sharpest, most light-footed musical wit since Haydn…This disc deserves to make a lot of converts.
– Gramophone
Latin Winds / Rundell, Heron / RNCM Wind Orchestra
From Spain to Mexico and Brazil, the RNCM Wind Orchestra, under the conductors Clark Rundell and Mark Heron, here celebrates the strong Latin tradition of wind bands in an exhilarating programme. The album prominently features works by one of the most iconic composers for winds, the Brazilian Villa-Lobos. Their liveliness, freely changing modalities, ease of flow, and likeable sonorities are a striking compositional signature, the unusual Concerto Grosso exploring a unique sound world with concertante discussion among the four wind soloists and the wind band. Also heard are the tender wind Adagio by Rodrigo and his arrangement for band of his first major symphonic work, Per la flor del lliri blau, which in dreamily evoking the age of mediaeval tales inspired his Concierto de Aranjuez. We are brought to Mexico with a stunning work by one of the country’s most popular composers, Carlos Chávez, celebrating a range of popular national genres: the march, waltz, and song.
Brahms: Violin Sonatas / Little, Lane
This Brahms album with the internationally acclaimed duo Tasmin Little and Piers Lane will stand as a landmark in their already highly praised discography of romantic chamber music repertoire. Standing amongst the summits of the genre, the three violin sonatas by Brahms, his only ever published ones, are a pure demonstration of radiant effusiveness and romanticism in that they call for great virtuosity as well as empathy from both instruments equally. Although written twenty-five years later, they have their origin in 1853 when Brahms made the acquaintance of the Schumanns and, above all, of the great violinist Joseph Joachim, who would remain one of his closest and most musically influential friends. From the profoundly lyrical Op. 78 and Op. 100 to the more pianistic Op. 108, this recording reveals Brahms at his most intense, poetic, and melodic. Faultless support is delivered by a duo that has now established itself as a major force in romantic repertoire.
Fanfares / Wilson, Onyx Brass
Among all the many Chandos brass recordings, each release having played a major role in the label’s successful history, this one may well be the loudest. In the vast acoustic of St. Jude’s Church, London, rendered in surround-sound, and in the largest ensemble format to which it has ever expanded, Onyx Brass, under the energetic direction of John Wilson, brings together four dozen fanfares by fourteen British composers of the past century and a half. Including works by Arnold, Bax, Bliss, Imogen Holst, Ketelbey, and Tippett- with numerous premiere recordings, this album is an unmissable celebration of stirring, brilliant, joyous, exciting, varied, sometimes military, and always optimistic music.
Granados: Piano Works / Xiayin Wang
-----
REVIEW:
Both books of Goyescas are essentially sensual and/or passionate love poems, something that she conveys with sensitivity and obvious affection.
– Gramophone
Vaughan Williams: Songs of Travel / Gilchrist, Dukes, Tilbrook
Having previously recorded British repertoire on Chandos, James Gilchrist joins the pianist Anna Tilbrook nine years after their previous recording, in a lyrical journey through some of Vaughan Williams’s best songs and rarely heard chamber works. They are joined by Philip Dukes, ‘Great Britain’s most outstanding viola player’, according to The Times. This album captures the composer’s love for both the voice and the viola, bringing together five works for tenor and piano, two for tenor, viola, and piano, and two works for viola and piano alone. Central to the recording is the fresh, invigorating, and at times reflective cycle ‘Songs of Travel,’ composed between 1901 and 1904, of special interest is also an arrangement of ‘Rhosymedre’ by the chief music critic of The Times, Richard Morrison, recorded here for the first time and performed by the same forces who gave the premiere of the arrangement in St. John’s Smith Square in 2016 to critical acclaim.
Janitsch: Rediscoveries from the Sara Levy Collection
The Philadelphia-based baroque orchestra Tempesta di Mare here reveals an unparalleled musical legacy, presenting long forgotten works by the German baroque composer Johann Gottlieb Janitsch, confined for centuries to unexamined archives. The works formed part of an enormous music collection which belonged to Sara Levy, the great-aunt of Felix Mendelssohn. She was a distinguished harpsichordist, collector, and influential figure in the musical life of late-eighteenth- and early-nineteenth-century Berlin. Removed from the Berlin Sing-Akademie towards the end of World War II, her musical library was for many decades considered lost or destroyed. It was unearthed in Kiev only in 1999 and returned to Germany in 2001, where it is now again accessible to the public. While there can be no doubt that the instrumental oeuvre of Janitsch matched the diversity of that of some of his more prominent Berlin colleagues, the emphasis of his compositional output lay on chamber music, especially Quadros, four of which are featured here. The typical, prevailing dialogic structure of the Ouverture grosso highlights the influence which thematic play had on the rest of his work.
Copland: Orchestral Works, Vol. 3 - Symphonies / Wilson, BBC Philharmonic
The exploration by John Wilson of Copland’s major orchestral output with the BBC Philharmonic has now reached Volume 3, with this invigorating programme recorded in surround-sound. It opens with An Outdoor Overture, a cheerful and breezy piece which Copland composed in 1938, intending to spearhead an initiative encouraging ‘American Music for American Youth’. Originally written for organ and orchestra, the First Symphony is presented here in its revised version (1926-28) for large orchestra. The six concise movements of Statements (1932-35) introduce a new style, their gritty soundscapes being stunning examples of what Copland later would refer to as ‘hard-bitten’ pieces. The concluding work is the expressive, fantastical Dance Symphony (1929) which explores different styles of symphonic movements, its dark aura a residue of its origin as a ballet on a grotesque vampire theme, composed 1922-25 and named Grohg. The symphony has remained a highly controversial piece ever since.
Bartok: Concerto for Orchestra, Dance Suite & Rhapsodies / Ehnes, Gardner, Bergen Philharmonic
Four years after a highly successful Bartok recording with the Melbourne Symphony Orchestra, Edward Gardner here returns to the composer on SACD, with James Ehnes as solo violinist, and his Bergen Philharmonic Orchestra. The central piece in this recording is the Concerto for Orchestra, the largest work that Bartok completed during the last five years of his life and described by the composer, in the program notes for its 1944 premiere, as ‘a gradual transition from the sternness of the first movement and the lugubrious death-song of the third, to the life-assertion of the last one.’ It is joined by the Dance Suite, the immediate predecessor, among Bartok’s few works for full orchestra without a soloist, of the Concerto for Orchestra, though by more than two decades; and by the violin Rhapsodies, the colorful folk influences of which are revealed by James Ehnes, a specialist in the repertoire, who already has recorded the complete sonatas as well as the concertos for violin and for viola to critical acclaim.
Silver Voice / Bryan, Tovey, Orchestra of Opera North
Elgar: Falstaff / Williams, Davis, BBC Philharmonic

Sir Andrew Davis takes his multi-award-winning Elgar discography to the next level with breathtaking interpretations of Falstaff, Elgar’s most accomplished and characteristic work, and several orchestral songs, with exemplary support from the BBC Philharmonic, all recorded in surround-sound. Owing to its technical challenges and more complex harmonic language, the composer always had a high opinion of Falstaff, saying that he had enjoyed writing i Gramophonet ‘more than any other music I have ever composed and perhaps for that reason it may prove to be among my best efforts’. His earlier music for Grania and Diarmid pays tribute to the Irish legend of Diarmuid and Grainne; the Funeral March is probably Elgar’s noblest creation, and echoes the popular Pomp and Circumstance Marches. The various less well-known songs, given heroic interpretations by the baritone Roderick Williams OBE, span the multiple facets of Elgar’s style, from the stern and dramatic impressions of Op. 60 to the satirical and impish jollity of ‘Kindly do not SMOKE’.
-----
REVIEW:
This is a superbly perceptive traversal of Elgar's Falstaff, evincing a strength of purpose, emotional candor, and meticulous attention to detail. Right from the outset there's an irresistibly idiomatic swagger, acquity, and temperament. Baritone Roderick Williams is at his eloquent best in an attractive selection of orchestral songs.
– Gramophone
Beethoven: Complete Piano Sonatas / Bavouzet
Jean-Efflam Bavouzet’s landmark series of Beethoven’s complete sonatas is now available as a complete set and at a very special price. Bavouzet has taken this programme to the most prestigious venues around the world and continues to perform it. Gramophone has nominated him several times for its Artist of the Year award, arguing that ‘Bavouzet’s chronological journey through the Beethoven sonatas has not been surpassed in the last 30 years. Yes, it’s that good.” Repackaged as a box of nine individual albums, and each including the original booklets with their usual personal ‘performer’s note,’ this is a must have.
Past praise of previously released sets that make up this complete edition:
Beethoven: Piano Sonatas Vol. 2
His lean, pinpointed sonority, rhythmic directness, freedom from mannerisms, and strong linear awareness convey both a strong sense of classical style and expressive economy. Bavouzet’s dynamic range is not particularly large, yet his subtle variety of articulations, thoughtful accentuation, and very discreet use of the sustain pedal give the playing a distinctive profile that recalls other intimate, Apollonian Beethoven stylists like Wilhelm Kempff, Walter Gieseking, and Robert Casadesus.
– ClassicsToday.com
Beethoven: Piano Sonatas Vol. 3
The meticulous workmanship and musical intelligence informing Jean-Efflam Bavouzet’s previous Beethoven cycle installment are equally apparent throughout this third and final volume. Many pianists would be happy to claim Bavouzet’s authority and mastery
– ClassicsToday.com
