JOHN JONES Eight Setts of Lessons for the Harpsichord
Mitzi Meyerson, harpsichord
Total playing time 51:02 + 56:02 Recorded in Berlin (Dorfkirche Rahnsdorf), Germany, in December 2014 Engineered and produced by Maria Suschke Executive producer: Carlos Céster Booklet essay by Mitzi Meyerson English - Français - Deutsch
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JOHN JONES (1728-1796)Eight Setts of Lessons for the Harpsichord
Lesson I 01 Preludium 02 Allmand 03 Lentement 04 Allegro05 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 Andantino19 Allegro
Lesson V 01 Andante moderato 02 Allmand 03 Corrante 04 Andante05 Minuet (Presto)
Lesson VI 06 Largo 07 Allegro 08 Pastorale09 Air / Minuetto andante
Lesson VII 10 Moderato 11 Allegro 12 Grave 13 Gig14 Rondeau (Andante)
Lesson VIII 15 Spiritoso 16 Allegro 17 Minuet18 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?