Martin Jones | PnOVA American Piano Music Series, Vol. 2

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PnOVA American Piano Music Series, Vol. 2

by Martin Jones

Contemporary Classical Music by today's most current composers.
Genre: Classical: Piano solo
Release Date: 

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  Song Share Time Download
1. Toccata Diabolica
4:36 $0.99
2. Moana
6:07 $0.99
3. Bumian
7:16 $0.99
4. Clavier Book 2: I. Capriccio
2:26 $0.99
5. Clavier Book 2: II. Aria - III. Toccata
8:16 $0.99
6. Clavier Book 2: IV. Pavan
5:29 $0.99
7. Toccata Forsennata
4:50 $0.99
8. Dreamscape
6:05 $0.99
9. Extractions: I. —
1:17 $0.99
10. Extractions: II. —
2:38 $0.99
11. Extractions: III. Interlude
1:12 $0.99
12. Extractions: IV. —
2:12 $0.99
13. Toccata Inquieta
6:14 $0.99
Downloads are available as MP3-320 files.


Album Notes
PnOVA American Piano Series volume 2 presents new music by composers from the mid-Atlantic region of the United States in a world premiere performance by Martin Jones. Martin Jones has been one of Britain’s most highly regarded solo pianists since first coming to international attention in 1968 when he received the Dame Myra Hess Award. That same year he made his London debut at the Queen Elizabeth Hall and his New York debut at Carnegie Hall. He has since been in demand for recitals and concerto performances on both sides of the Atlantic. He is a prolific recording artist and his many discs for Nimbus Records include the complete works of 17 composers including Mendelssohn, Brahms, Debussy, Grainger, Szymanowski and many first recordings of Spanish music. He has recorded the complete piano and concerto music of Richard Rodney Bennett for Metronome Records as well as many chamber music discs. The latest issue will be the complete works of Franz Reizenstein for Lyrita Records and Roger Ducasse for Nimbus Records. Future projects include two concertos by Francis Shaw and piano works by Graham Hair. This recording marks his second release on the PnOVA Recordings label as the second volume in the PnOVA American Piano Music Series.

Music by Scottish-American composer Jennifer Margaret Barker has been hailed by critics in North America, Europe and Asia as “extraordinarily moving,” “soul-stirring,” “at once gripping and timeless,” “blazingly alive, with lovely, aching melodies,” “show-stopping,” “anything but passive,” “beautiful...warm,” “haunting” and “illuminated by dreamy images.” Barker’s compositions have been commissioned and performed by symphony orchestras, choirs, chamber ensembles and solo artists on six continents. Her compositions have been featured on documentaries and promotional videos; exhibited as music-video art in galleries; utilized as underscoring to theatrical productions; released on CDs and DVDs; and broadcast on American public radio, Hong Kong radio, Swedish radio and the BBC. Barker is currently Professor of Composition at the University of Delaware. Moana (2010) and BuMian (2011) are a set of two pieces for solo piano. They were inspired by a trip to Australasia, more specifically Hong Kong, Singapore, Australia, Tasmania and New Zealand in 2007. Moana was inspired by the streams, rivers, waterfalls, lakes and oceans of southeast Australia, Tasmania and New Zealand. The title means ocean, sea, large lake in Maori. BuMian was inspired by the islands of Hong Kong. The title is in Mandarin, and translates as “sleepless.”

Christopher Cook received the Doctor of Music degree from Indiana University where he served as assistant director of the Center for Electronic and Computer Music. He is a recent recipient of a Fromm Music Foundation commission from Harvard University and has received awards from the National Endowment for the Arts, the American Society of Composers, Authors and Publishers, the Music Teachers National Association, and the National Assembly of Local Arts Agencies. His compositions are widely performed in university and festival settings in the United States and abroad. He is Director of Music Theory and Composition at Christopher Newport University. Dreamscape is a prelude inspired by a quote from Hyperion, a poem by John Keats. The poem describes the overthrow of the primeval order of the Gods by Jupiter, son of Saturn the old king. The powers of nature are depicted in beautiful descriptive moments. The excerpt evokes such a moment: a landscape at night when we dream. Fuzzy sections depicting falling asleep and waking frame Dreamscape. In the center of the piece there are moments of flight and fancy akin to the sometimes chaotic episodes experienced during deep or REM sleep.

Mark Hagerty is an award-winning, highly individualistic American composer who pursued classical training as an instrumentalist, singer, and composer, and then determined his own path, outside of any tradition or institution. He has developed two practices - one that extends pre-classical forms, and one that sets all traditions aside in favor of more extreme forms and modes of expression. He strives for a deep connection with performers and listeners, and his music has found enthusiastic audiences internationally and across the US. He is currently working in larger forms and exploring the melding of sound sculpture with more intimate musical expression. Web site: Hagerty wrote three Clavier Books during and after a two-year
period in the Netherlands when he and his wife and collaborator, harpsichordist Tracy Richardson, lived without broadcast or recorded sound, a harpsichord their sole access to music. Two centuries of literature for that instrument provided inspiration and instruction. The Clavier Books extend historical models formally and harmonically, imagining directions the Baroque might have taken were it not for the shift to the Rococo and early classical styles and their retreat from depth and complexity. This dynamic pianistic realization by Martin Jones is the first recording of these pieces on the piano.

Kent Holliday is a native of St. Paul, Minnesota, and began piano studies with his father at age five. He received a B.A. in music and philosophy at Hamline University in 1962, and an M.A. and Ph.D. in composition-theory from the University of Minnesota in 1964 and 1968. His major composition teachers were Paul Fetler and Dominick Argento at the University of Minnesota, Pietro Grossi, S2FM Studio De Fonologia, Florence, Italy, and Witold Szalonek, Hochschule der Kunst, Berlin, Germany. Holliday is currently Professor of Music at Virginia Tech, where he has taught since 1974. The three toccatas in Toccata Triptych were composed many years apart, the Toccata Forsennata being written in the 1960s and the other two within the last decade. The virtuoso challenges of these toccatas, literally “touch” pieces, allow the keyboardist to demonstrate his/her skills in the execution of scales, arpeggios, repeated notes, ornamentation, and dynamic range perhaps more than in any other genre. The tradition goes back at least as far as Scarlatti in the eighteenth century, and persisted throughout the romantic period. eg. Schumann. Perhaps the most famous piano toccata composed in the twentieth century is the one by Prokofiev. Though difficult technical challenges vary in each of these three toccatas, they all strive to end with a showmanship kind of bang, not a whimper.

Byron W. Petty, flutist, pianist, composer, and conductor, holds a Bachelor of Music degree in flute performance from the Peabody Conservatory of The Johns Hopkins University. He is currently a Lecturer in Music (flute) at Washington and Lee University in Lexington, VA, where he has taught courses in Composition and Musical Analysis as a Visiting Assistant Professor of Music. Petty served as Composition Chair for the Mid-Atlantic chapter of the College Music Society (1996-1998) and as Independent Composer Representative on the National Executive Committee for the Society of Composers Inc. from 2000 through 2002. He was selected as the Virginia Music Teachers Association Commissioned Composer for 1995. Petty’s compositions also appear on PARMA Recordings Navona Label. Extraction No. 1 opens with an octatonic scale which is developed throughout. A quiet mood builds in energy before ending softly, “as if in the distance.” Extraction No. 2 has a propulsive upward push alternating with slower, lyrical quintuplet and septuplet lines. A sparse texture leads to another quiet ending. The third Extraction is an Interlude with warm chords giving way to a light, subtle humor. Extraction No. 4 is quite syncopated with changing meters, sudden outbursts, and hints of American jazz idioms.

PnOVA Recordings is the contemporary classical label of multi-media publishing company MahinMedia, whose catalog includes interactive applications built for the Apple mobile devices, electronic book publications, audio recordings, and a select cadre of artists. PnOVA Recordings is dedicated to the introduction of new music, especially music written for piano, but also represents a venue for recording rising artists in the classical music genre. All recordings use state-of-the-art digital converters capturing 96kHz 24-bit samples. Discover the complete catalog of apps, recordings and books at: Contact us at: or write c/o: 400 Salem Avenue, Ste 2G, Roanoke, VA 24016



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