Howard Shelley


Howard Shelley has now made over 130 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.

Recent Release:

DELIUS: Piano Concerto
Royal Scottish National Orchestra / Andrew Davis

CHAN 10742

Recent releases reviewed:

DOBRZYNSKI: Piano Concerto in A flat, Op.2
Lessel Piano Concerto in C, Op.14
Lessel Adagio and Rondo a la Polonaise Op.9

NIFCCD 101 (4CD box set)

Review from BBC Music Magazine / May 2012

BEETHOVEN: Complete works for piano & orchestra
Piano Concertos 1-5; Op 61 (arr from Violin Concerto); WoO4 (orch. Shelley);
Rondo WoO6, Triple Concerto; Choral Fantasia

CHAN 10695 (4CD box set)

A selection of the wonderful reviews this set has garnered in the press in the first month:

Gramophone Editor's Choice & Critic's Choice / January 2012:
"A pianist whose quiet musicality and unobtrusive virtuosity shine through everything he touches… The benefits of directing from the keyboard are evident both in the intimacy and the immediacy of his approach."

Time Out 24 Nov 2011:
"…played and conducted by one of the most stylish pianists around, Howard Shelley. His crisp elegance is a constant joy; he can also probe and energise. These are unaffected and deeply satisfying performances… a special set for a lifetime's enjoyment."

Classic FM CD of the month, December 2011:
"Shelley's delicate and beguiling touch immediately draws the listener in, and when the strings answer his perfectly weighted phrase with equally gentle seductiveness before building to a glorious climax you're already asking yourself: why can't all recordings sound this good?"

International Record Review, December 2011:
"From the careful shaping of the opening phrases of the First Piano Concerto it's clear that Howard Shelley and his orchestra are going to give imaginative and attentive accounts of these works. The playing of the Orchestra of Opera North is superb throughout the set, and from Shelley's first solo entry there's a natural flow and sense of purpose to his playing that makes for captivating listening."

CLEMENTI: The Complete Sonatas - Vol 6
Piano Sonatas Op 40 Nos 1-3, Op 50 nos 1-3
Hyperion CDA67819

"Praise has been plentiful for Howard Shelley's Clementi piano sonata cycle, and rightly so. This must be one of the most handsome of all recent homages to a lesser-known composer, with nothing about the performances, recording or presentation falling sort of first-class... Shelley is a perfect advocate for this music, the limpidness of his playing being allied to utter sensitivity of dynamic and phrasing. If one of this cycle's abiding impressions has been of a gifted composer with a natural flair for the piano but inconsistently firing inspiration, then another must be out an outstanding performer offering him the very best of his considerable musicianship and understanding at every turn. A heartening achievement of all counts" Gramophone / November 2010

"The complete set proves a benchmark which I doubt will be moved for a very long time."
Performance *****
Recording *****

BBC Music Magazine, December 2010

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 awarded this a CHOC DE L'ANNEE for 2009. The 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

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" (
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

ALWYNPiano 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 CDChandos / CHAN 9935
Piano Concerto in E Op 18
Piano Concerto No 4
BBC Scottish Symphony Orchestra
Hyperion / CDA 67595
BALAKIREVPiano Concerto No 1
(BBC Philharmonic / Vassily Sinaisky)
Chandos / CHAN 9727
BEETHOVENThe Complete Works for Piano & Orchestra
Orchestra of Opera North
Chandos / CHAN 10695
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
BENEDICTPiano Concertos Op 45, Op 89
Tasmanian Symphony Orchestra
Hyperion / CDA 67720
BERKELEY, LennoxPiano Concerto
BBC National Orchestra of Wales/Richard Hickox
Chandos / CHAN 10265
BBC National Orchestra of Wales/Richard Hickox
Chandos / CHAN 10112
CARWITHENPiano Concerto
(London Symphony Orchestra / Richard Hickox)
Chandos / CHAN 9524
CASADESUS, RobertSymphonies 1, 5 & 7
Northern Sinfonia & chorus
Chandos / CHAN 10263
CHOPIN24 Preludes, B flat minor SonataRegis Records / RRC 1120
CHOPINFour Scherzi, Berceuse, FantasieChandos / CHAN 9018
CHOPINSonata No 3, 4 Impromptus, BarcarolleChandos / CHAN 9175
CHOPINSonatas Opp 4, 35, & 58
performed on historic pianos (an Erard of 1849 and Pleyel of 1848)
CHOPINPiano Concertos Nos 1 & 2
Sinfonia Varsovia, piano soloist Jan Lisiecki
NIFC 200
CLEMENTICapriccios and VariationsHyperion CDA 67850
CLEMENTIThe Complete Piano Sonatas - Opp 1,2,7 & 8Hyperion CDA67819
CLEMENTIThe Complete Piano Sonatas - Vol 2 Opp 9, 10, 11 & 12 Hyperion / CDA 67717
CLEMENTIThe Complete Piano Sonatas - Vol 3 Opp 13, 30, 23, 24 & 12 Hyperion / CDA 67729
CLEMENTIThe Complete Piano Sonatas - Vol 4 Opp 25, 26, 33, 41 Hyperion / CDA 67729
CLEMENTIThe Complete Piano Sonatas - Vol 5 Opp 34, 36, 37, 46 Hyperion / CDA 67814
CLEMENTIThe Complete Piano Sonatas - Vol 6 Opp 40, 50 Hyperion / CDA 67819
CRAMERPiano Concertos No 2 Op 16, No 7 Op 56 & No 8 Op 70
(London Mozart Players / conductor & soloist)
Chandos / CHAN 10005
DELIUSPiano Concerto in C minor
(Royal Scottish National Orchestra / Andrew Davis)
Chandos / CHAN 10742
DICKINSONPiano Concerto
(BBC Symphony / David Atherton)
EMI / CDC 7475842
DOBRZYNSKIPiano Concerto in A Op.2
with Sinfonia Varsova
DOHNANYINursery Variations
(BBC Philharmonic / Matthias Bamert)
Chandos / CHAN 9733
DOHNANYIPiano Concerto No 1
(BBC Philharmonic / Matthias Bamert)
Chandos / CHAN 9649
DOHNANYIPiano Concerto No 2
(BBC Philharmonic / Matthias Bamert)
Chandos / CHAN 10245
FARRARVariations for Piano and Orchestra
(Philharmonia / Alasdair Mitchell)
Chandos / CHAN 9586
FERGUSONPiano Sonata / Partita for Two Pianos
(with Hilary Macnamara)
Hyperion / CDA 66130
FERGUSONPiano Concerto
(City of London Sinfonia / Richard Hickox)
EMI / CDC 7496272
(City of London Sinfonia / Richard Hickox
EMI / CDC 7496272
FRANCKSymphonic Variations
(London Symphony Orchestra / Geoffrey Simon)
Cala / CACD1/6
GERSHWINPiano Concerto in F. Rhapsody in Blue, 2nd Rhapsody
(Philharmonia / Yan Pascal Tortelier)
Chandos / CHAN 9092
GERSHWINI Got Rhythm - Variations
(BBC Philharmonic / Yan Pascal Tortelier)
Chandos / CHAN 9325
Piano Concerto
Piano Concerto No 2
Piano Concerto
(Orchestra of Opera North)
Chandos / CHAN 10509
GOOSSENSPhantasy Concerto for Piano
(Melbourne Symphony Orchestra / Richard Hickox)
Chandos / CHSA 5068
HAYDNThe 12 'London' Symphonies
(Orchestra della Svizzera Italiana)
Hyperion / CDS44371/4
HERZPiano Concertos Nos 3,4 & 5
Tasmanian Symphony Orchestra
Hyperion / CDA 67537
HERZPiano 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
HINDEMITHFour Temperaments
(BBC Philharmonic / Yan Pascal Tortelier)
Chandos /CHAN 9124
HOWELLSPiano Concertos Nos 1 & 2
(BBC Symphony Orchestra / Richard Hickox)
Chandos / CHAN 9897
HUMMELPiano 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 13Chandos / CHAN 9807
HUMMELPiano Concerto in C Op 34, Rondo Brillant Op 56, Rondo Brillant Op 98
(London Mozart Players)
Chandos / CHAN 10216
HUMMELPiano 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
HUMMELPiano Concerto Op 110; Concerto for Piano and Violin Op 17
(London Mozart Players / conductor & soloist with Hagai Shaham violin
Chandos / CHAN 9687
HUMMELPiano Concerto in F Op post 1; Piano Concerto in A S4/W24; Theme & Variations Op 97
(London Mozart Players / conductor & soloist)
Chandos / CHAN 9886
HUMMELFreudenfest Ov; Mandolin Concerto in G, Trumpet Concerto in E flat; Ballet Music for 'Das Zauberglöcken'
(Urgan Agnas trumpet / Howard Shelley conductor)
Chandos / CHAN 9925
HUMMELPiano Concerto in C; Rondo Brillant Op 56; Rondo Brillant Op 98
(London Mozart Players / conductor & soloist)
Chandos / CHAN 10216
HUMMELViolin Concerto in G; Potpourri for viola & orch; Variations for piano & orch
(London Mozart Players / James Ehnes violin/viola
Chandos - CHAN 10255
HUMMELPiano Concerto in A, O du lieber Augustin, L'enchantement d'Oberon, Le Retour à Londres
(London Mozart Players, Howard Shelley)
Chandos - CHAN 10374
KALKBRENNERPiano Concerto No 2 OP 85, Piano Concero No 3 Op 107
Allegro ed Adagio di bravura Op 102
Hyperion / CDA 67843
KALKBRENNERPiano Concertos Nos 1 & 4
(Tasmanian Symphony Orchestra)
Hyperion / CDA 67535
KORNGOLDPiano Concerto (Left Hand) Op 17a
(BBC Philharmonic / Matthias Bamert)
Chandos / CHAN 9508
KROMMEROboe Concerto
(London Mozart Players / Sarah Francis oboe, Howard Shelley conductor)
Hyperion / CDA 66411
LEIGHTONPiano Concerto No 3 Op 57 'Concerto Estivo'
(BBC National Orchestra of Wales / Martyn Brabbins)
Chandos / CHAN 10608
LESSELPiano Concerto in C Op.14
with Sinfonia Varsova
LIAPOUNOVPiano Concerto No 2
(BBC Philharmonic / Vassily Sinaisky)
Chandos / CHAN 9808
Tasmanian Symphony Orchestra
Hyperion / CDA 67720
MENDELSSOHNConcerto no 1 Op 25; No 2 Op 4; Capriccio brillant
(London Mozart Players / conductor & soloist)
Chandos / CHAN 9215
(BBC Philharmonic / Yan Pascal Tortelier)
Chandos / CHAN 9678
MOSCHELESPiano Concertos Nos 2 & 3; Anticipations of Scotland
(Tasmanian Symphony Orchestra / conductor & soloist)
Hyperion / CDA 67276
MOSCHELESPiano Concertos Nos 1, 6 & 7
(Tasmanian Symphony Orchestra / conductor & soloist)
Hyperion / CDA 67385
MOSCHELESPiano Concertos Nos 4 & 5
(Tasmanian Symphony Orchestra (conductor & soloist)
Hyperion / CDA 67430
MOZARTConcertos Nos 21 K467 & 24 K491
(City of London Sinfonia conductor & soloist)
Regis Records / RRC 1067
MOZARTPiano ConcertosChandos
Vol 1 Concertos Nos 20 K.466 & 23 K.488 Chandos / CHAN 8992
Vol 2 Concertos Nos 9 K.271 & 17 K.453Chandos /CHAN 9068
Vol 3 Concertos Nos 14 K.449 & 27 K.595Chandos / CHAN 9137
Vol 4 Concertos Nos 19 K.459 & 12 K.414Chandos / CHAN 9256
Vol 5 Concertos Nos 13 K.415 & 24 K.491Chandos / CHAN 9326
Vol 6 Concertos Nos 21 K.467 & 22 K.482
(London Mozart Players conductor & soloist)
Chandos / CHAN 9404
MOZARTOboe Concerto
(London Mozart Players / Sarah Francis oboe, Howard Shelley conductor)
Hyperion / CDA 66411
MOZARTSymphonies No 35 Haffner & No 38 Prague
(Royal Philharmonic Orchestra / Howard Shelley conductor)
Tring / TRP059
MOZART/WILBYConcerto 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
Piano Concertos in C Op 100 & E flat Op 68
Piano Concerto in F minor Op 5
Hyperion / CDA 67915
RACHMANINOVThe Complete Solo Works [9 volumes]Hyperion
Variations Op.22 & 42CDA 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
RACHMANINOVThe Complete Piano Concertos [2 volumes]Chandos / CHAN 8882/3
Concertos Nos 1, 4 & Paganini RhapsodyChandos / CHAN 9192
Concertos Nos 2 & 3
(Scottish National Orchestra / Bryden Thomson)
Chandos / CHAN 9193
RACHMANINOVThe Complete Song Cycle [3 volumes]
(Sergei Leiferkus, Alexandre Naoumenko, Maria Popescu, Joan Rodgers)
Vol 1: Op 4; Op 18; Op 14CHAN 9405
Vol 2: Op 21; Op 26CHAN 9451
Vol 3: Op 34; Op 38CHAN 9477
32 Songs for Baritone (Sergei Leiferkus)CHAN 9374
Rachmaninov Songs (Joan Rodgers)CHAN 9644
REINECKESymphony No 2 in C minor Op 134; No 3 in G minor Op 227
(Tasmanian Symphony Orchestra / Howard Shelley conductor)
Chandos / CHAN 9893
Piano Concerto in D minor
Piano Concertos Nos 1 in E Op 18 & 2 in A Op 189
Tasmanian Symphony Orchestra
Hyperion CDA 67765
RUBBRASinfonia Concertante
(BBC National Orchestra of Wales / Richard Hickox)
Chandos / CHAN 9538
re-releasedChandos / CHAN 9966
SAINT-SAENSCarnival of the Animals
(Scottish Chamber Orchestra / King's Singers / Carl Davis)
EMI / CDC 747708-2
SCHUBERTPiano Sonata No 13 D784; No 18 D894
(Howard Shelley forte-piano)
Amon Ra / CD-SAR13
SCHUBERTSymphonies Nos 3 & 5
(Royal Philharmonic Orchestra / Howard Shelley conductor)
Tring / TRP058
SCHUMANNCarnival Op 9; Kinderszenen Op 15; Toccata Op 7Chandos / CHAN 8814
SCOTT, CyrilPiano Concerto No 2
(BBC Philharmonic / Martyn Brabbins)
Chandos / CHAN 10211
SMITH, Alice MarySymphony in A minor
Symphony in C minor
Andante for clarinet & orchestra
(London Mozart Players/Angela Malsbury, cl)
Chandos / CHAN 10211
SPOHRSymphonies No 7 in C Op 121, No 9 in B minor Op 143
Introduzione in D WoO5, Festmarsch in D WoO3
Hyperion / CDA 67939
SPOHRSymphonies No 4 in F Op 86, No 5 in C minor Op 102
Overture 'Das befreite Deutschland'
(Orchestra della Svizzera Italiana)
Hyperion / CDA 67622
SPOHRSymphonies No 1 in E flat Op 20, No 2 in D minor Op 49, Grand Concert Overture in F Wo01
(Orchestra della Svizzera Italiana)
Hyperion / CDA 67616
SPOHRSymphonies No 3 in C minor Op 78, No 6 in G Op 116, Overture 'Der Fall Babylons' Wo063
(Orchestra della Svizzera Italiana)
Hyperion / CDA 67788
SPOHRSymphonies No 8 in G Op 137, No 10 in E flat Wo08, Overture 'Der Zweikampf mit der Geliebten' Wo050
(Orchestra della Svizzera Italiana)
Hyperion / CDA67802
SZYMANOWSKISymphony No 4 Op 60a
(BBC Philharmonic / Vassily Sinaisky)
Chandos / CHAN 9478
SZYMANOWSKISymphony No 4 Op 60a
(BBC Philharmonic / Vassily Sinaisky)
Chandos / CHAN 9478
TIPPETTFantasia on a theme of Handel
(Bournemouth Symphony Orchestra / Richard Hickox)
Chandos / CHAN 9233
TIPPETTPiano Concerto
(Bournemouth Symphony Orchestra / Richard Hickox
Chandos / CHAN 9333
re-released on one CDChandos / CHAN 9934
(London Symphony Orchestra / Bryden Thomson)
Chandos / CHAN 8941
(Royal Philharmonic Orchestra / Vernon Handley)
Lyrita / SRCS 130
(London Philharmonic / Bach Choir / Sir David Willcocks)
EMI / CDC 7476992
(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