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Martin Jones | PnOVA American Piano Series, Vol. 5: Music by Harry Bulow, Robert Fleisher, Jonathan Newmark, Tim Reed, William Neil

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PnOVA American Piano Series, Vol. 5: Music by Harry Bulow, Robert Fleisher, Jonathan Newmark, Tim Reed, William Neil

by Martin Jones

British virtuoso pianist Martin Jones brings world premiere performances of contemporary classical music by some of the most exciting young composers working today. Hear ground-breaking music people are talking about.
Genre: Classical: Piano solo
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  Song Share Time Download
1. Mixed Motives
8:19 $0.99
2. Gig Harbor
3:23 $0.99
3. Six Little Piano Pieces: No. 1
1:23 $0.99
4. Six Little Piano Pieces: No. 2
0:37 $0.99
5. Six Little Piano Pieces: No. 3
2:01 $0.99
6. Six Little Piano Pieces: No. 4
1:18 $0.99
7. Six Little Piano Pieces: No. 5
1:26 $0.99
8. Six Little Piano Pieces: No. 6
0:39 $0.99
9. Piano Sonata: I. Overture
3:40 $0.99
10. Piano Sonata: II. Intermezzo
4:15 $0.99
11. Piano Sonata: III. Scherzo
2:09 $0.99
12. Piano Sonata: IV. Fugue
3:56 $0.99
13. 5 Misappropriations: I. Rarefactions
5:25 $0.99
14. 5 Misappropriations: II. .1 Grams
3:18 $0.99
15. 5 Misappropriations: III. Someplace Prior
2:34 $0.99
16. 5 Misappropriations: IV. Waltz for Bill
3:18 $0.99
17. 5 Misappropriations: V. Post-Modernistic Shout
2:34 $0.99
18. 6 Preludes: No. 1
1:52 $0.99
19. 6 Preludes: No. 2
2:01 $0.99
20. 6 Preludes: No. 3
1:46 $0.99
21. 6 Preludes: No. 4
1:39 $0.99
22. 6 Preludes: No. 5
3:06 $0.99
23. 6 Preludes: No. 6
3:10 $0.99
Downloads are available as MP3-320 files.


Album Notes
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 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 recorded the complete piano and concerto music of Richard Rodney Bennett for Metronome Records as well as many chamber music discs. In 2017, Mr. Jones released piano duos and duets by Camille Saint-Saens in two volumes, the virtuoso arrangements for piano by Earl Wild featuring music of Sergei Rachmaninoff among other composers on theNimbus Recordings label. Future projects include two concertosby Francis Shaw and piano works by Graham Hair. This recording marks Mr. Jones fifth release on the PnOVA Recordings labelas Volume No. 5 in the PnOVA American Piano Music Series.

Mixed Motives (2017) (Bulow) was first performed as an improvised piano solo in order to extend a concert that the composer
had organized as Director of Wind Activities at Santa Barbara City College in California. The composer decided to improvise the solo in part to make the concert longer since another chamber group planned for the evening were unable to present their music. The title is a play on words since it represents the content of the work while also referencing the unique circumstance for its creation. The piece itself consists of short musical figures and motives that are juxtaposed with each other in a minimalistic style. The fully realized written composition was not completed until the summer of 2017.

Gig Harbor (2010) (Fleisher), a retirement gift for the composer's NIU colleague Harold Kafer and his wife Cecelia, is titled for the lovely Pacific Northwest town they now call home. Melodic and harmonic content derives from the names Cecelia, Harold, Kafer,
DeKalb, and Gig Harbor. The closing quotation from Debussy’s La Mer combines two pentatonic subsets: the “DeKalb” motive in
the bass, answered by the “Harold” motive mentioned above.

The Six Little Piano Pieces (Fleisher) were composed under the influence of Schoenberg’s Sechs Kleine Klavierstücke, Op. 19 for Martin Jones, mostly in 2018. (Each piece here references one of Schoenberg’s.) No. 1 has a new middle section derived from the opening phrase and No. 2 begins with a brief gesture from pieces in Op. 19. Much of no. 1 and most of no. 6 date from the early 1970s. No. 3 comprises multiple encryptions of the name ‘Martin Jones.’ No. 4 combines material from a mass Jones composed as a student and Schoenberg’s Verklärte Nacht. No. 5 recalls a familiar tune known as “Westminster Chimes.” (An interior phrase recalls another Schoenberg solo piano work.) No. 6 is largely unchanged. In recognition of Schoenberg’s lifelong triskaidekaphobia, this movement’s 13 measures served as a model for each piece in the set.

The Piano Sonata (2014) (Newmark) “began as an essay in sonata form after the composer had not written anything in this form in many years. The sonata form movement became the first of four. The other three movements all derive from motives in the first.” The first movement, orchestrated, received its premiere as a stand-alone overture from the Trinity Chamber Orchestra of Washington, DC in Bethesda, Maryland in June 2015.

Five Misappropriations for Solo Piano (Reed) is a collection of short piano pieces, each of which is an homage to a different jazz
pianist. Each piece extracts one or two elements of the pianist’s style and re-evaluates those elements in terms of the composer's own compositional language. Some of the pieces are relatively faithful to the pianist’s style, while others distance (or misappropriate) the stylistic elements from their original context. Rarefactions takes the characteristic quartal/quintal harmonies typical of McCoy Tyner’s playing and inserts them (awkwardly) into a simple process piece. .1 Grams is modeled after the Children’s Songs ofChick Corea, and Someplace Prior is inspired by Keith Jarrett's Köln Concert. Waltz for Bill is an homage to Bill Evans and Post-Modernistic Shout is a take on James P. Johnson-style stride playing.

Six Preludes (2018) (Neil) present interpretive challenges for the pianist and evoke diverse emotional responses from the listener. “I was inspired by the improvisatory nature of the short pieces that were common in the Baroque era and reached a pinnacle in the Romantic era. Each of these pieces dramatically thread rhythmic and melodic motifs into a tapestry of sound, each with its own unique character.”



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