RICHARD JONES Sets of Lessons for the Harpsichord London, 1732
Mitzi Meyerson
GCD 921805 2 CDs – digipak
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Performing artists
Mitzi Meyerson, harpsichord
Production details
Recorded in Berlin (Nikodemus Kirche), Germany, in March 2010 Engineered and produced by Maria Suschke Executive producer: Carlos Céster Design: Valentín Iglesias Booklet text by Cassandra Hull English - Français - Deutsch - Español
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RICHARD JONES (?-1744)
Sets of Lessons for the Harpsichord
CD I [52:33]
First Set [D minor] 01 Prelude 02 Vivace 03 Tocatt 04 Sarabanda 05 Gavot 06 Minuet 07 Toccatta 08 Giga
Second Set [E major] 09 Prelude 10 Paspie 11 Allemanda 12 Minuet 13 Giga 14 Sarabanda 15 Giga
Third Set [B-flat major] 16 Prelude 17 Sarabanda 18 Allegro 19 Minuet 20 Boree 21 Largo 22 Giga
CD II [59:48]
Fourth Set [A minor] 01 Largo 02 Allemanda 03 Sarabanda 04 Minuet 05 Boree 06 Giga
Fifth Set [B minor] 07 Prelude 08 Allemanda 09 Corente 10 Sarabanda 11 Giga 12 Boree13 Sarabanda14 Vivace
Sixth Set [mixed keys] 15 Allemende 16 Sarabanda 17 Brisk Air 18 Minuet 19 March 20 Scotch Air 21 Hornpipe 22 Corente 23 Minuet 24 Gavote 25 Slow Air26 Minuet
Acerca de este CD
De Richard Jones sólo sabemos que fue un violinista consumado en Londres y que empezó a dirigir la Drury Lane Orchestra en 1730. La única noticia de su muerte fue una necrológica publicada en un periódico local en 1744. Compuso dos colecciones de sonatas para violín y bajo continuo y este volumen de obras para clave fechado en 1732.
La clavecinista norteamericana Mitzi Meyerson, tras sus brillantes incursiones en la música de Claude-Bénigne Balbastre y Gottlieb Muffat, presenta ahora la primera grabación completa de las Suits or Setts of Lessons for the Harpsicord or Spinnet (sic) de Jones, una colección de piezas representativas del mejor barroco inglés. Esta música gozó de gran aprecio cuando se compuso, pero no podía competir con la abrumadora popularidad de Georg Friedrich Haendel en la Inglaterra de su tiempo, una situación que provocó que Jones y muchos de sus contemporáneos ingleses desaparecieran virtualmente en la oscuridad.
Meyerson, en la entrevista que se incluye en el libreto del disco, menciona que en las composiciones de Richard Jones percibe «muchas influencias - la profundidad de Johann Sebastian Bach, la vivacidad de Vivaldi y la fresca melodiosidad de Purcell». Un gran descubrimiento que merece ser disfrutado por todos los amantes de la música barroca para tecla.
Mitzi Meyerson has been delving of late for Glossa into unjustly forgotten keyboard repertory from the Baroque. Praised by no less a critic than Nicholas Kenyon for her recording of Gottlieb Muffat’s Componimenti Musicali per il Cembalo (“Eureka! I’ve known these wonderful pieces for years, having bought an old edition of the music, but have never heard them properly performed. So it’s a joy to hear Mitzi Meyerson’s glorious realisation of these 18th-century suites, which lie at the heart of the high baroque style...”), Meyerson now turns her attention to the shadowy figure of Englishman Richard Jones. [read more...]
Mitzi Meyerson’s insight into (and experience with) the harpsichord literature of the Baroque is such that when she makes a visit to the recording studio, one knows that something rare, fascinating and illuminating will emerge. This has been the case in recent years with both the Claviersuiten by Georg Böhm and the Musique de Salon of Claude-Bénigne Balbastre (which have also appeared on Glossa); the latest exploration beyond the mainstream undertaken by Mitzi Meyerson – Muffat’s Componimenti Musicali – is charged with the same character and sense of expectation. This is not the Georg Muffat who studied in Paris with Lully but his son, Gottlieb (also known as Theofilo), who spent much of his career in Vienna and whose set of six harpsichord suites Componimenti Musicali appeared towards the end of the 1730s. [read more...]
Mitzi Meyerson signals her return on Glossa with a further example of her ability to seek out entertaining music that for too long has been ignored and perform it with all the subtlety, charm and musical skill that such music demands. For her new Glossa release she presents a demonstration of the compositional joys provided by one of the lesser-known French keyboard masters – Claude-Bénigne Balbastre. In her substantial discography there are already recordings given over to other bypassed talents such as Jacques Duphly, Georg Böhm, Antoine Forqueray and even the Fourth Book of François Couperin. [read more...]