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To mark the 150th anniversary of one of the most popular of all classical composers, Grammyr-winning conductor Yannick Nézet-Séguin and his 'Fabulous Philadelphians' present Rachmaninoff's Symphonies Nos. 2 and 3, and the symphonic poem Isle of the Dead. This release completes their two-part survey of the three symphonies and other major orchestral works and, like the first instalment of 2021, continues to build on the orchestra's incomparable Rachmaninoff legacy.

Chandos’ featured release is a new recording of the first English operatic masterpiece, Purcell’s tragedy Dido and Aeneas. Starring Sarah Connolly, Gerald Finley, with the Orchestra and Choir of the Age of Enlightenment, it is released to commemorate the 350th anniversary of Purcell’s birth.

Rachmaninoff’s tone poem The Isle of the Dead was composed in Dresden in 1908 – 09, inspired by the 1880 painting of that name by the Swiss symbolist Arnold Böcklin. The painting depicts a ferryman rowing a coffin towards the Isle of the Dead, and Rachmaninoff, unusually setting the piece in five beats to the bar, captures the atmosphere and the motion of oars in the water in the most extraordinary detail. Dedicated to the outstanding Ukrainian-born coloratura soprano Antonina Vasilyevna Nezhdanova, the ‘Vocalise’ was first performed, by her with the composer, in January 1916. After creating a version with orchestral accompaniment, Rachmaninoff then produced the version heard here, for orchestra alone. Following the Russian revolution and his exile to the USA, the compositional output of Rachmaninoff declined dramatically. In great demand both as a virtuoso performer and as a conductor, he toured extensively, but struggled to incorporate ‘modern music’ into his compositional style. In the mid 1930s he acquired a holiday villa in Lucerne, and surprised the world with his ‘Paganini’ Rhapsody, quickly followed by the Third Symphony. Sinfonia of London and John Wilson demonstrate exceptional ensemble playing throughout, and their glowing string sound suits this repertoire perfectly.

Manuel Cardoso (1566–1650) was one of the most important composers of the golden age of Portuguese polyphony around the turn of the seventeenth century. But history has not been kind to him: the 1755 Lisbon earthquake that ruined the Convento do Carmo, where he spent most of his working life, also resulted in the loss of the only attested image of the composer and a good deal of his music – and much of that which survived has been neglected, his Masses included. This series will shed long-overdue light on these forgotten masterpieces, beginning with two ‘parody’ Masses, so called because they are based on existing music, in this instance two Palestrina motets.