CBA - Howard Shelley Discography

Discography

Howard Shelley has now made over 100 recordings. He has ongoing relationships with Hyperion Records and Chandos Records and a back catalogue on EMI, Philips, Lyrita, Amon Ra, Tring & Regis. Full discography below.

Most recent releases:

CLEMENTI: The Complete Sonatas - Vol 4
Six Sonatas Op 25, Sonata in F Op 26, Three Sonatas Op 33, Sonata in E flat Op 41
Hyperion CDA66738/4

Shelley is a first-rate advocate, with passage-work of crystalline clarity, light-footed pedalling, and communicating a sense of deep commitment to this unjustly under-rated repertoire. Unreservedly recommended." BBC Music Magazine / December 2009

"I've been fortunate enough to review the last two volumes in this series and the hallmarks remain the same: stunning recording quality, exemplary programme notes by the leading authority on Clementi, two discs for the price of one and generous playing time on each, and piano playing of the first order from Howard Shelley. Clementi's sonatas have had to wait for a long time before receiving a survey as authoritative as this and such is the quality that I doubt anyone will attempt to match it." International Record Review / October 2009

For reviews of Howard Shelley's earlier volumes of Clementi Sonatas please click here

Schumann Piano Concerto, Op 54
Grieg Piano Concerto, Op 16
Saint-Saëns Piano Concerto No 2, Op 22
Orchestra of Opera North

Chandos CHAN 10509

For audio samples or downloads please click here

France's Classica magazine chose this CD as 'Choc' of the month (July/August 2009) with an exceptional review reprinted here in English translation and in the original French (below):

Howard Shelley shakes up the discography
The evidence is unmistakeable: the concertos of Schumann, Grieg and Saint-Saëns, so often subject to laboured interpretations, burst into life with unique passion under the fingers of Howard Shelley.
Howard Shelley, the surprise winner of Classica's comparative assessment of both the 1st and 3rd concertos of Rachmaninov, dares to direct three big romantic concertos from the keyboard, a highly unusual step, but one which succeeds in formidable fashion.
His boldness is rewarded most particularly in the Schumann concerto which, contrary to the usual scheme of things, avoids being treated as a vehicle for star soloist with pallid orchestral accompaniment. This work - as much or perhaps even more than the 4th and 5th concertos of Beethoven - requires a continuous and subtle interweaving of piano with the continuous orchestral contribution, something which presupposes total empathy between conductor and pianist, but is so rarely achieved. Even Karajan responds somewhat coolly and too often drowns the sublime lines of Dinu Lipatti (though this is perhaps due to the mono recording).
Howard Shelley succeeds perfectly in controlling the phrases and lovingly interlacing the melodies, supported by an excellent orchestra, magnificently coloured, perfectly disciplined, responsive, and well capable of following the lively tempos which he demands from them.
For those listeners used to traditional versions, the opening phrase of the Schumann concerto could be felt as a real slap in the face. "What? The first theme briskly announced by the piano without the habitual slowing down, swooning or poetic ecstasy? I've never heard such a thing! What sacrilegious dryness!" they might be tempted to exclaim. Indeed, it has almost never been heard thus, but the more the music continues the more it becomes obvious: this hackneyed work now rings with an incomparable charm and natural flow.
Even the highly-charged Argerich and Harnoncourt didn't go so far in their mould-breaking version recorded live (on Teldec, unfortunately with a European chamber orchestra playing numerous wrong notes).
In fact, Howard Shelley in a very erudite footnote to the liner notes, explains and clearly justifies his wish to follow the metronomic indications of Schumann, as well as contemporary accounts of the interpretative wishes of Grieg and Saint-Saëns. Consequently he avoids the pitfalls into which almost all other versions of the Schumann and Grieg Concertos fall (as already discussed in the comparative discography of Repertoire): weighing down and romanticising with misplaced Brahmsian gravity, a misinterpretation to which, among others, the famous reading of Geza Anda and Rafael Kubelik succumbs: theirs is luxurious, opulent, comfortable, purring, like a Rolls Royce interior, and one can certainly sample it with a degree of pleasure, but is it really the truth of these works? And it can become unbearable when great artists such as Arrau-Davis or Bolet-Chailly put on leaden boots!
In the Schumann, Shelley has only one fore-runner: Jan Penenka and Karel Ancerl with a quasi-Mozartian lightness and grace (but in a horribly creaky mono recording).
In the Grieg, he gives us the purety and freshness of the Norwegian fjords only attained elsewhere by the extraordinary naturalness of John Ogdon and Paavo Berglund. Adherents of a sweeter and more romantic interpretation might still prefer the incomparable poetry of Perahia-Davis in these two works.
Besides this traditional coupling, Shelley gives us, as a bonus, an amazing version of Saint-Saëns's 2nd concerto; perhaps not as sumptuous in the initial Andante Sostenuto as that of Collard-Previn, but wildly exhilarating in the two other movements, here again executed according to the metronome indications of the jokey Camille, usually considered impracticable, and never heard in this way before. His performance throughout is much superior to that of Stephen Hough and Sakari Oramo, sometimes put forward as a recommendation but which, in comparison, seems sentimental and lumbering.
To sum up, Howard Shelley succeeds in giving wonderfully original new interpretations of these three warhorses of the repertoire, an absolute must-have.

Howard Shelley bouscule la discographie
L'évidence s'impose: les lectures si souvent ressassées des concertos de Schumann, Grieg et Saint-Saëns jaillissent sous les doigts de Howard Shelley avec une ardeur inconnue.
Howard Shelley, vainqueur surprise de deux grandes discographies comparées de Classica consacrées aux Concertos no.1 et no.3 de Serge Rachmaninov (avec Bryden Thomson chez Chandos), ose ici diriger du piano trois grands concertos romantiques, chose fort inhabituelle, mais qui se révèle une formidable réussite. Son audace se justifie tout particulièrement dans Schumann, car contrairement aux idées trop souvent reçues, il ne s'agit en rien d'un concerto pour soliste superstar avec un orchestre délivrant un pâle accompagnement. Cette oeuvre - autant, voire plus, que les Concertos no.4 et no.5 de Beethoven -, requiert une permanente et subtile imbrication du piano dans un tissu orchestral omniprésent, ce qui suppose une absolue complicité entre chef et pianiste, si rarement atteinte. Même Karajan répond un peu froidement et surtout couvre trop (mais c'est peut-être la captation mono) le chant sublime de Dinu Lipatti (EMI). Howard Shelley réussit à la perfection l'unification des phrasés et l'entrelacement amoureux des lignes, s'appuyant sur un excellent orchestre aux magnifiques couleurs, parfaitement discipliné et réactif, capable de suivre les tempos endiablés qu'il leur impose. Car le début du Concerto de Robert Schumann risque d'être ressenti comme une véritable gifle par l'auditeur habitué aux versions traditionnelles: "Quoi ? Le premier thème est ici énoncé par le piano prestement, nerveusement, sans le rallentando habituel, sans pâmoison ni poésie extatique ? Mais on n'a jamais entendu une chose pareille ! Quelle sécheresse sacrilège !" sera-t-on tenté de s'écrier. Effectivement, on n'avait quasiment jamais entendu cela, mais plus la musique avance, plus l'évidence s'impose : l'oeuvre si ressassée sonne avec un charme et un naturel incomparables ! Même les survoltés Martha Argerich et Nikolaus Harnoncourt n'étaient pas allés aussi loin dans leur version iconoclaste captée en live (par Teldec, avec malheureusement un Orchestre de chambre d'Europe multipliant les couacs !) De fait, Howard Shelley revendique et justifie clairement dans une partie fort érudite de la notice du disque, sa volonté de suivre les indications métronomiques de Schumann, comme les témoignages de certains contemporains sur les volontés interprétatives de Grieg ou Saint-Saëns. Il évite ainsi l'écueil dans lequel tombent la quasi-totalité des versions des Concertos de Robert Schumann et d'Edvard Grieg (dénoncées jadis lors de discographies comparées de Répertoire) : alourdir et romantiser le propos d'une pesanteur brahmsienne déplacée, contresens auquel succombe entre autre la célèbre lecture de Géza Anda et Rafael Kubelik (DG) : c'est luxueux, opulent, confortable, ronronnant, comme un intérieur de Rolls Royce, et l'on peut y goûter un certain plaisir, mais est-ce bien la vérité de ces oeuvres ? Et cela peut devenir insupportable lorsque d'aussi grands artistes que Arrau-Davis (Philips) ou Bolet-Chailly (Decca) chaussent des semelles de plomb ! Dans Schumann, Shelley ne connaît qu'un précurseur : Jan Panenka avec Karel Ancerl, (Praga Digitals) d'une légèreté et d'une grâce quasi mozartiennes (mais dans une mono affreusement grinçante).
Dans Grieg, il nous rend la pureté et la fraîcheur glacée des fjords norvégiens seulement atteinte par l'extraordinaire naturel de John Ogdon et Paavo Berglund (EMI). Certes, les tenants d'une lecture plus douce et romantique pourront toujours préférer l'incomparable poésie de Perahia-Davis (Sony) dans ces deux oeuvres.
Outre ce couplage traditionnel, Shelley nous offre en prime une formidable version du Deuxième Concerto de Saint-Saëns, peut-être pas aussi somptueuse dans l'Andante sostenuto initial que celle de Collard-Prévin (EMI), mais follement grisante dans les deux autres mouvements, là encore exécutés selon les indications métronomiques jugées ordinairement impraticables du facétieux Camille, et qu'on n'avait jamais entendus ainsi. Sa prestation apparaît à chaque instant très supérieure à celle de Stephen Hough et Sakari Oramo (Hyperion), qu'on présente parfois comme une référence, mais qui semble en comparaison mièvre et pataude. Bref, de ces trois chevaux de bataille du répertoire, Howard Shelley réussit des relectures formidablement originales, à connaître absolument !

HAYDN 'London' Symphonies - boxed set
Orchestra della Svizzzera Italiana
Hyperion CDS44371/4

Classic FM Disc of the Month
"What makes Howard Shelley's take on the London symphonies so appealing is that it seems to sweep away all the detritus of tradition, reputation and revolution - presenting performances of the symphonies that are ultra-clean, pleasingly joyous and straightforwardly entertaining. There's a lightness to the Orchestra's performance that lets you in on the detail, but it doesn't feel like a self-conscious demonstration of the music's inner workings, rather a natural orchestral conversation. Fine and dedicated as these performances are, they let Haydn speak for himself. And ultimately, he's the most persuasive of all when it comes to reassessing this music's capacity for entertainment."

"what comes through in these readings is Haydn's remarkable humanity and with, the latter not only with regard to his sophisticated humour but of a wide-ranging yet aesthetically driven imagination as well... if I had to choose between this new set and those of such celebrated conductors as Bernstein and Karajan I'd go with Shelley's. His readings are generally more animated and suggest greater variety from one work to the next... Prevailingly musical and stylish in doing justice to these corner-stones of Viennese classicism." International Record Review, February 2009

Le Monde de la Musique 'CHOC':
"These interpretations have an extraordinary vitality... and Nos 86 (The Miracle) or No 93 for example one simply could not imagine done better".
"Ces interprétations dégagent une extraordinare vitalité... et dans la 96e (Le Miracle) ou la 93e par exemple, on ne saurait faire mieux."

For more reviews and sound clips please click here

Reviews of some of Shelley's recent recordings

HILLER
Piano Concertos
No 1, Op 5
No 2 Op 69
No 3 'Concerto espressivo' Op 170
Tasmanian Symphony Orchestra
CDA 67655

"[Second Concerto in F sharp minor] It is one of the gems of the genre, the first to be written in that key and with many surprising features such as the soloist kicking off proceedings fiercely and without any introduction … No 1 is a brilliant display vehicle... In No 3, presumed lost until recently, Hiller again strives to be innovative in terms of structure and handling of material... Once more, one has to take off one's hat to Howard Shelley for leading such exuberant performances while simultaneously tackling demanding keyboard writing with amazing agility, innate elegance and complete stylistic empathy" (Gramophone - Editor's Choice June 2008)

"These dexterous and remarkably self-confident concertos... are studded with delights... As a pianist, Hiller was known for his delicate touch - and Shelley reflects that characteristic in the breathtaking finesse of his playing. At the same time, there's plenty of bravura here, too, which Shelley handles with enviable technical panache... All in all, another triumph in this ear-opening series" (International Record Review, April 08

"One of the more successful of Hyperion's prodigal disinternments of Romantic Piano Concertos. We have learnt from Howard Shelley's previous contributions to the series to expect brilliant and stylish playing, and he does not disappoint here. He also give full value to the lyrical elements" (BBC Music Magazine, May 08)

"It is clear that soloist/conductor and ensemble share a close musical relationship, with often-thrilling interplay occurring in the inordinate amount of back-and-forth between piano and orchestra in these works. Plenty of this is on display in the Third Concerto, a particularly fine work that balances devilishly demanding pianistic pyrotechnics with the prevailing significance of expression as specified by the composer... Shelley's virtuosity and musicianship glisten in the opening movement, with its haunting development section... Shelley and his TSO ensure that the F-sharp minor Second Concerto is every bit as successful, from its attention-wresting opening gambit, to the marvellously angular piano melody at about 2:08 in the Andante espressivo, to the uplifting appearance of the second subject in the major at the end of the concerto. Even the early, bravura F-minor concerto is full of deft wit and charm, its finale a magnificent and forward-looking crossbreed of waltzes by Chopin and Johann Strauss that allows Shelley to exploit his magnificent pianism to the full... An enchanting disc" (MusicalCriticism.com)

SPOHR
Symphonies No 4 in F Op 86, No 5 in C minor Op 102
Overture 'Das befreite Deutschland'
(Orchestra della Svizzera Italiana)
Hyperion CDA 67622

"Spohr the symphonist repays the attention this disc merits; his programmatic fourth symphony features a slow finale that set a precedent for Tchaikovsky and Mahler, while Shelley and his fine Italian players capture the expressive power of the turbulent fifth" (Observer)

"The Fifth Symphony... carries a weightier burden of grief in the wake of some personal losses... especially in the Larghetto, a dark movement beautifully scored with low strings and sombre brass... Howard Shelley and his orchestra give it a fresh and vivid performance" (International Record Review)

"Here is a follow-up to the recording of Louis Spohr's first two symphonies that I praised last October... There's a lovely anticipation of 'Forest Murmurs' from Wagner's Siegfried; similarly, the Larghetto of Symphony No 5 might put you in mind of Mendelssohn's Scotch Symphony. Shelley gets both delicacy and passion from the excellent orchestra" (Classic FM Magazine)

"[Shelley] exhibits a keen understanding of Spohr's music and also has the ability to effectively communicate this to his orchestra…playing is clean, clear and crisp - with tempos that allow the music to unfold comfortably. The aural perspective mimics concert hall realism, but it also allows for Spohr's lovely wind coloration too. The result is another Hyperion release that offers us further insight into the process of Spohr’s symphonic development" (Fanfare, USA)

"Shelley's triumphant achievement... Expert engineering and highly informative notes complete a handsome presentation that suggests this will be a landmark cycle in the burgeoning recorded legacy of Louis Spohr" (American Record Guide)

Henri HERZ (1803-1888)
Piano Concerto No 3 in D minor Op 87
Piano Concerto No 4 in E major Op 131
Piano Concerto No 5 in F minorOp 180
Tasmanian Symphony Orchestra
Hyperion CDA 67537

A GRAMOPHONE magazines "EDITOR'S CHOICE" June 2006:
"A labour of love, this, for Howard Shelley. So rare is this music that he was obliged to carry out detective work at the British Library and elsewhere. The results are a delight. Playful, charming, at times breathtaking in their virtuosity..a more stylish or scintillating advocate than Shelley would be hard to imagine"

Johann Nepomuk HUMMEL

Piano Concerto in A
O du lieber Augustin
L'enchantement d'Oberon
Le Retour à Londres
London Mozart Players
Chandos CHAN 10374

"Howard Shelley adds to his formidable list of recordings of long-neglected Hummel works, three of the concertante pieces for piano which he directs from the keyboard.. Shelley's gifts of agility and articulation mean he can make such decorative writing a delight." Gramophone June 2006

"All these pieces are vividly performed by the London Mozart Players, while pianist Howard Shelley throws off Hummel's copious cascades of notes with appropriate panache... Shelley's virtuoso pianism is a delight in itself." BBC Music Magazine March 2006

"Collectors of the series can rest assured that this latest volume fully sustains the high standards already set. Shelley couldn't play a dull or ugly note if his life depended on it, so all those long-spun, mellifluous cantilenas flow with a meltingly lovely tone, and when the music goes into note-overdrive, he makes everything sound vital and compelling." International Record Review April 2006

Ignaz MOSCHELES (1794-1870)

Piano Concerto in C Op 34
Piano Concerto No 4
Piano Concerto No 5 (final volume of 3 CD series)

Hyperion CDA67430

The Gramophone / April 2005

"Few events in the never-ending expansion of recorded repertoire have been more welcome, or less expected, than the revival of the fortunes of Ignaz Moscheles in Tasmania. This delightful disc brings Hyperion's series of his complete piano concertos to a fitting close.
Here is an astonishing composer-pianist who understood everything that the instrument of his time could do. He has been lucky to find, in Howard Shelley, such an effective and sympathetic champion. Directing the performances from the keyboard, Shelley takes every prestidigitational hurdle with immaculate enthusiasm and aristocratic aplomb. He displays an exemplary range of touch and fluidity, communicates an intense pleasure in the music and indeed seems to revel in its abundant charm. The recording is of the same excellent standard as previous releases in this series."
International Record Review / April 2005

Johann Nepomuk HUMMEL (1778-1837)

Piano Concerto in C Op 34
Rondo brillant Op 56
Rondo brillant Op 98

Chandos CHAN 10216

"This is exquisitely crafted music, played with irresistible flair by Shelley and his orchestra"
Sunday Times "Classical CD of the week" 11 July 04

"Shelley's playing throughout is dazzling, clean and precise in all the cascades of virtuoso fingerwork, and with beautifully inflected decorative lines in the slower music, reminding us of Hummel's influence on Chopin. And Shelley somehow manages go combine this with purposeful direction of the orchestra - which responds with first-rate playing, notably from the woodwind. Highly recommended."
BBC Music Magazine Sept 04

"This is Hummel at his most delightful, full of sparkling ideas deliciously delivered by Shelley. These are rarities well worth sampling, unlikely to be performed or recorded better."
Gramophone Sept 04

"Both of these pieces (the Rondos) could easily be taken for Chopin, and Shelley's flair for the grand gesture seems quite in keeping. This is far and away the best entry yet in Shelley's Hummel cycle."
American Record Guide Sept/Oct 2004

"It is hard to imagine a more sheerly pleasurable listening experience than this. Shelley is completely at home with Hummel's idiom - always easy on the ear whether brilliant or lyrical - and the orchestra is superbly responsive."
International Record Review Sept 04

Henri HERZ (1803-1888)

Piano Concerto No 1 in A Op 34
Piano Concerto No 7 in B minor Op 207
Piano Concerto No 8 in A flat Op 218

Hyperion CDA67465

"Rescued from oblivion, Henri Herz's Piano Concertos Nos 1,7 and 8 are dusted down to emerge into scintillating light.. Such is Howard Shelley' s expertise that the superficiality becomes engaging. There are few more dextrous or musicianly pianists that Shelley and although I would dearly love to hear him in, say , the Chopin concertos, I am more than grateful for an artist who, like Herz himself, can make you think 'that a bird has escaped from his fingers and went undulating and singing through the air.'"
Gramophone / Aug 04

"It may be true that the music of Henri Herz predeceased him, but the three piano concertos recorded here ooze with enough virtuosic flair and charm to captivate modern listeners. You'll hear those bel canto like runs, figurations and embellishments that Chopin later made famous, fiery cascading triplets, ricocheting leaps and, of course, the repeated notes that were Herz's speciality. None of Herz's technical thickets fazes Howard Shelley, though: he can bend the lines to milk a felicitous modulation or give full operatic scope to busy, high-register filigree."
BBC Music Magazine / Aug 04

"Howard Shelley who performs the dual role of piano soloist and orchestral director, delights in the charm and the considerable technical challenge of it all, and with his always fluent and controlled fingerwork he makes it sound easy. It's not. And the Tasmanian Symphony Orchestra covers itself with glory with some bright sounds, cultivated playing and unfailingly crisp ensemble."
International Record Review / Sept 04

ALWYN	Piano Concerto No 1 (London Symphony Orchestra/Richard Hickox)	Chandos / CHAN 9155
	Piano Concerto No 2 (London Symphony Orchestra/Richard Hickox)	Chandos / CHAN 9196
	re-released on one CD	Chandos / CHAN 9935
BALAKIREV	Piano Concerto No 1 (BBC Philharmonic / Vassily Sinaisky)	Chandos / CHAN 9727
BEETHOVEN	(The Complete Piano Concertos) Royal Philharmonic Orchestra/Michael Roll piano	Tring Int
	Nos 2 & 3	TRP076
	No 4 & Triple concerto	TRP077
	No 1 & 5	TRP075
BENEDICT	Piano Concertos Op 45, Op 89 Tasmanian Symphony Orchestra	Hyperion / CDA 67720
BERKELEY, Lennox	Piano Concerto BBC National Orchestra of Wales/Richard Hickox	Chandos / CHAN 10265
BRIDGE	Phantasm BBC National Orchestra of Wales/Richard Hickox	Chandos / CHAN 10112
CARWITHEN	Piano Concerto (London Symphony Orchestra / Richard Hickox)	Chandos / CHAN 9524
CASADESUS, Robert	Symphonies 1, 5 & 7 Northern Sinfonia & chorus	Chandos / CHAN 10263
CLEMENTI	The Complete Piano Sonatas - Opp 1,2,7 & 8	Hyperion / CDA 67632
CLEMENTI	The Complete Piano Sonatas - Vol 2 Opp 9, 10, 11 & 12	Hyperion / CDA 67717
CLEMENTI	The Complete Piano Sonatas - Vol 3 Opp 13, 30, 23, 24 & 12	Hyperion / CDA 67729
CLEMENTI	The Complete Piano Sonatas - Vol 4 Opp 25, 26, 33, 41	Hyperion / CDA 67729
CHOPIN	24 Preludes, B flat minor Sonata	Regis Records / RRC 1120
CHOPIN	Four Scherzi, Berceuse, Fantasie	Chandos / CHAN 9018
CHOPIN	Sonata No 3, 4 Impromptus, Barcarolle	Chandos / CHAN 9175
CRAMER	Piano Concertos No 2 Op 16, No 7 Op 56 & No 8 Op 70 (London Mozart Players / conductor & soloist)	Chandos / CHAN 10005
DICKINSON	Piano Concerto (BBC Symphony / David Atherton)	EMI / CDC 7475842
DOHNANYI	Nursery Variations (BBC Philharmonic / Matthias Bamert)	Chandos / CHAN 9733
DOHNANYI	Piano Concerto No 1 (BBC Philharmonic / Matthias Bamert)	Chandos / CHAN 9649
DOHNANYI	Piano Concerto No 2 (BBC Philharmonic / Matthias Bamert)	Chandos / CHAN 10245
FARRAR	Variations for Piano and Orchestra (Philharmonia / Alasdair Mitchell)	Chandos / CHAN 9586
FERGUSON	Piano Sonata / Partita for Two Pianos (with Hilary Macnamara)	Hyperion / CDA 66130
FERGUSON	Piano Concerto (City of London Sinfonia / Richard Hickox)	EMI / CDC 7496272
FINZI	Eclogue (City of London Sinfonia / Richard Hickox	EMI / CDC 7496272
FRANCK	Symphonic Variations (London Symphony Orchestra / Geoffrey Simon)	Cala / CACD1/6
GERSHWIN	Piano Concerto in F. Rhapsody in Blue, 2nd Rhapsody (Philharmonia / Yan Pascal Tortelier)	Chandos / CHAN 9092
GERSHWIN	I Got Rhythm - Variations (BBC Philharmonic / Yan Pascal Tortelier)	Chandos / CHAN 9325
GRIEG SAINT-SAENS SCHUMANN	Piano Concerto Piano Concerto No 2 Piano Concerto (Orchestra of Opera North) - release Mar 09 -
GOOSSENS	Phantasy Concerto for Piano (Melbourne Symphony Orchestra / Richard Hickox) - release Feb 09 -	Chandos / CHSA 5068
HAYDN	The 12 'London' Symphonies due for release Feb 2009 (Orchestra della Svizzera Italiana)	Hyperion / CDS44371/4
HERZ	Piano Concertos Nos 3,4 & 5 Tasmanian Symphony Orchestra	Hyperion / CDA 67537
HERZ	Piano Concertos Nos 1,7 & 8 Tasmanian Symphony Orchestra	Hyperion / CDA 67465
HILLER	Piano Concertos No 1 Op 5, No 2 Op 69, No 3 Op 170 (Tasmanian Symphony Orchestra)	Hyperion / CDA 67655
HINDEMITH	Four Temperaments (BBC Philharmonic / Yan Pascal Tortelier)	Chandos /CHAN 9124
HOWELLS	Piano Concertos Nos 1 & 2 (BBC Symphony Orchestra / Richard Hickox)	Chandos / CHAN 9897
HUMMEL	Piano Works Rondo Op 11; Caprice Op 49; Variations on a theme from Gluck's 'Armide' Op 57; La contemplazione Op 107 No 3; Rondo all'Ungherese Op 107 No 6, La bella capricciosa Op 55; Sonata Op 13	Chandos / CHAN 9807
HUMMEL	Piano Concerto in C Op 34, Rondo Brillant Op 56, Rondo Brillant Op 98 (London Mozart Players)	Chandos / CHAN 10216
HUMMEL	Piano Concerto in A flat Op 113; Concertino in G Op 73; Gesellschafts Rondo in D Op 117 (London Mozart Players / conductor & soloist)	Chandos / CHAN 9558
HUMMEL	Piano Concerto Op 110; Concerto for Piano and Violin Op 17 (London Mozart Players / conductor & soloist with Hagai Shaham violin	Chandos / CHAN 9687
HUMMEL	Piano Concerto in F Op post 1; Piano Concerto in A S4/W24; Theme & Variations Op 97 (London Mozart Players / conductor & soloist)	Chandos / CHAN 9886
HUMMEL	Freudenfest Ov; Mandolin Concerto in G, Trumpet Concerto in E flat; Ballet Music for 'Das Zauberglöcken' (Urgan Agnas trumpet / Howard Shelley conductor)	Chandos / CHAN 9925
HUMMEL	Piano Concerto in C; Rondo Brillant Op 56; Rondo Brillant Op 98 (London Mozart Players / conductor & soloist)	Chandos / CHAN 10216
HUMMEL	Violin Concerto in G; Potpourri for viola & orch; Variations for piano & orch (London Mozart Players / James Ehnes violin/viola	Chandos - CHAN 10255
HUMMEL	Piano Concerto in A, O du lieber Augustin, L'enchantement d'Oberon, Le Retour à Londres (London Mozart Players, Howard Shelley)	Chandos - CHAN 10374
KALKBRENNER	Piano Concertos Nos 1 & 4 (Tasmanian Symphony Orchestra)	Hyperion / CDA 67535
KORNGOLD	Piano Concerto (Left Hand) Op 17a (BBC Philharmonic / Matthias Bamert)	Chandos / CHAN 9508
KROMMER	Oboe Concerto (London Mozart Players / Sarah Francis oboe, Howard Shelley conductor)	Hyperion / CDA 66411
LIAPOUNOV	Piano Concerto No 2 (BBC Philharmonic / Vassily Sinaisky)	Chandos / CHAN 9808
MACFARREN	Concertstuk Tasmanian Symphony Orchestra	Hyperion / CDA 67720
MENDELSSOHN	Concerto no 1 Op 25; No 2 Op 4; Capriccio brillant (London Mozart Players / conductor & soloist)	Chandos / CHAN 9215
MESSIAEN	Turangalîla-symphonie (BBC Philharmonic / Yan Pascal Tortelier)	Chandos / CHAN 9678
MOSCHELES	Piano Concertos Nos 2 & 3; Anticipations of Scotland (Tasmanian Symphony Orchestra / conductor & soloist)	Hyperion / CDA 67276
MOSCHELES	Piano Concertos Nos 1, 6 & 7 (Tasmanian Symphony Orchestra / conductor & soloist)	Hyperion / CDA 67385
MOSCHELES	Piano Concertos Nos 4 & 5 (Tasmanian Symphony Orchestra (conductor & soloist)	Hyperion / CDA 67430
MOZART	Concertos Nos 21 K467 & 24 K491 (City of London Sinfonia conductor & soloist)	Regis Records / RRC 1067
MOZART	Piano Concertos	Chandos
	Vol 1 Concertos Nos 20 K.466 & 23 K.488	Chandos / CHAN 8992
	Vol 2 Concertos Nos 9 K.271 & 17 K.453	Chandos /CHAN 9068
	Vol 3 Concertos Nos 14 K.449 & 27 K.595	Chandos / CHAN 9137
	Vol 4 Concertos Nos 19 K.459 & 12 K.414	Chandos / CHAN 9256
	Vol 5 Concertos Nos 13 K.415 & 24 K.491	Chandos / CHAN 9326
	Vol 6 Concertos Nos 21 K.467 & 22 K.482 (London Mozart Players conductor & soloist)	Chandos / CHAN 9404
MOZART	Oboe Concerto (London Mozart Players / Sarah Francis oboe, Howard Shelley conductor)	Hyperion / CDA 66411
MOZART	Symphonies No 35 Haffner & No 38 Prague (Royal Philharmonic Orchestra / Howard Shelley conductor)	Tring / TRP059
MOZART/WILBY	Concerto for violin and piano K315f (Academy of St Martin-in-the-Fields / Iona Brown) part of Philips 4-CD set of violin concertos	Philips / 422508-2
RACHMANINOV	The Complete Solo Works [9 volumes]	Hyperion
	Variations Op.22 & 42	CDA 66009
	Sonata No.1 Op.28, Sonata No.2 Op.36 [revised]	CDA 66047
	Ten Preludes Op.23 / Morceaux de Fantasie Op.2	CDA 66081
	Thirteen Preludes Op.23	CDA 66082
	Etudes-Tableaux Opp.33 and 39	CDA 66091
	The Early Piano Works / Sonata No.2 [original]	CDA 66198
	Moments Musicaux Op.16 / Morceaux de Salon Op.10	CDA 66184
	The Two-Piano Works (with Hilary Macnamara)	CDA 66375
	The Transcriptions	CDA 66486
RACHMANINOV	The Complete Piano Concertos [2 volumes]	Chandos / CHAN 8882/3
	Concertos Nos 1, 4 & Paganini Rhapsody	Chandos / CHAN 9192
	Concertos Nos 2 & 3 (Scottish National Orchestra / Bryden Thomson)	Chandos / CHAN 9193
RACHMANINOV	The Complete Song Cycle [3 volumes] (Sergei Leiferkus, Alexandre Naoumenko, Maria Popescu, Joan Rodgers)	Chandos
	Vol 1: Op 4; Op 18; Op 14	CHAN 9405
	Vol 2: Op 21; Op 26	CHAN 9451
	Vol 3: Op 34; Op 38	CHAN 9477
	32 Songs for Baritone (Sergei Leiferkus)	CHAN 9374
	Rachmaninov Songs (Joan Rodgers)	CHAN 9644
REINECKE	Symphony No 2 in C minor Op 134; No 3 in G minor Op 227 (Tasmanian Symphony Orchestra / Howard Shelley conductor)	Chandos / CHAN 9893
RUBBRA	Sinfonia Concertante (BBC National Orchestra of Wales / Richard Hickox)	Chandos / CHAN 9538
	re-released	Chandos / CHAN 9966
SAINT-SAENS	Carnival of the Animals (Scottish Chamber Orchestra / King's Singers / Carl Davis)	EMI / CDC 747708-2
SCHUBERT	Piano Sonata No 13 D784; No 18 D894 (Howard Shelley forte-piano)	Amon Ra / CD-SAR13
SCHUBERT	Symphonies Nos 3 & 5 (Royal Philharmonic Orchestra / Howard Shelley conductor)	Tring / TRP058
SCHUMANN	Carnival Op 9; Kinderszenen Op 15; Toccata Op 7	Chandos / CHAN 8814
SCOTT, Cyril	Piano Concerto No 2 (BBC Philharmonic / Martyn Brabbins)	Chandos / CHAN 10211
SPOHR	Symphonies No 4 in F Op 86, No 5 in C minor Op 102 Overture 'Das befreite Deutschland' (Orchestra della Svizzera Italiana)	Hyperion / CDA 67622
SZYMANOWSKI	Symphony No 4 Op 60a (BBC Philharmonic / Vassily Sinaisky)	Chandos / CHAN 9478
SMITH, Alice Mary	Symphony in A minor Symphony in C minor Andante for clarinet & orchestra (London Mozart Players/Angela Malsbury, cl)	Chandos / CHAN 10211
SZYMANOWSKI	Symphony No 4 Op 60a (BBC Philharmonic / Vassily Sinaisky)	Chandos / CHAN 9478
TIPPETT	Fantasia on a theme of Handel (Bournemouth Symphony Orchestra / Richard Hickox)	Chandos / CHAN 9233
TIPPETT	Piano Concerto (Bournemouth Symphony Orchestra / Richard Hickox	Chandos / CHAN 9333
	re-released on one CD	Chandos / CHAN 9934
VAUGHAN WILLIAMS	Piano Concerto (London Symphony Orchestra / Bryden Thomson)	Chandos / CHAN 8941
VAUGHAN WILLIAMS	Piano Concerto (Royal Philharmonic Orchestra / Vernon Handley)	Lyrita / SRCS 130
VAUGHAN WILLIAMS	Epithalamion (London Philharmonic / Bach Choir / Sir David Willcocks)	EMI / CDC 7476992
VAUGHAN WILLIAMS	On Wenlock Edge (Britten Quartet / Philip Langridge)	EMI / CDC 754346-2

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Caroline Baird Artists is a full member of the International Artist Managers' Association