JOHN JONES (1728-1796)
Eight Setts of Lessons for the Harpsichord

CD I

Lesson I
01 Preludium
02 Allmand
03 Lentement
04 Allegro
05 Andante affettuoso

Lesson II
06 Larghetto
07 Allegro ma non troppo
08 Largo
09 Giga
10 Vivace / Allegro

Lesson III
11 Allemand
12 Courant
13 Saraband
14 Giga (Presto)
15 Gavot (Andante)

Lesson IV
16 Siciliana
17 Allegro
18 Andantino
19 Allegro

CD II

Lesson V
01 Andante moderato
02 Allmand
03 Corrante
04 Andante
05 Minuet (Presto)

Lesson VI
06 Largo
07 Allegro
08 Pastorale
09 Air / Minuetto andante

Lesson VII
10 Moderato
11 Allegro
12 Grave
13 Gig
14 Rondeau (Andante)

Lesson VIII
15 Spiritoso
16 Allegro
17 Minuet
18 March (Grave)

19 Brillante
(Lessons for the Harpsichord, 1761)

—

About this CD

A fascinating insight into English instrumental music from the mid-eighteenth century is being provided by Mitzi Meyerson for her latest Glossa recording: the Eight Setts of Lessons for the harpsichord by John Jones. Even today, a considered view of musical life in Baroque London is likely to overlook the presence of composers such as John Jones (or the probably unrelated Richard Jones – two separate releases of his chamber music have been recorded by Mitzi Meyerson), whose music is liable to be swept aside in favour of that all commanding figure of Georg Frideric Handel. Yet, this John Jones concurrently held three important London organ posts for forty years, including at St Paul’s Cathedral.

Alas, little of Jones’ compositional output remains except for these harpsichord Setts (or Suites), full of eighteenth-century inspiration and dance movements such as Sicilianas, Allemandes, Gavottes and Minuets. If Jones shows himself aware of orchestral scores by Handel, his music also nods – like Handel did – in the direction of CPE Bach. Such revelations to be found in the music of John Jones would amount to little if it weren’t for the virtuosic brilliance and expressive characterization of the music provided by Mitzi Meyerson, as she has so richly demonstrated over recent years in forgotten gems by the likes of Gottlieb Muffat, Claude-Benigne Balbastre, Giovanni Battista Somis, as well as the just mentioned Richard Jones.

This new recording of John Jones’s keyboard music also sets up an intriguing comparison and question: how well do these Setts fare when put up alongside Handel’s Keyboard Suites?