 On ne sait pas grand-chose de Richard Jones, sinon qu’il composa plusieurs masques et autres ouvrages lyriques qui se frayèrent un chemin vers les scènes londoniennes malgré l’omniprésence de Haendel, hélas tous perdus à ce jour. Nous restent trois recueils de musique instrumentale publiée de son vivant. Violoniste de formation et d’état, jouant dans tous les orchestres des théâtres, d’ailleurs ses Suites de clavecin, emplies d’admirables musiques où le noble le dispute aux danses souvent d’inspiration populaire, où percent les influences italiennes, l’avouent par leur nature mélodique, Jones est donc aujourd’hui un peu moins une énigme grâce à Francesco Fornasaro. Le panache et l’ampleur qu’il donne aux six opus révèlent un cahier où les splendeurs abondent et qui ne pâlit pas face aux Suites de Haendel, alors tant goutées des amateurs aux bords de la Tamise. Son clavecin si sonore, une copie d’après Hemsch signée Jim Hall, aux registres contrastés, n’est pas pour peu dans cette réussite qui donne envie de connaitre les Airs et Suites pour violon. (Discophilia - Artalinna.com) (Jean-Charles Hoffelé) New recordings of six superb Baroque suites by a London contemporary of Handel, graced a vision and ingenuity out of all proportion to his fame. The music scene in London during the first half of the 18th century was entirely dominated by the presence of Handel, which was so overwhelming that it obscured most of the excellent musicians of the period. We know very little about Richard Jones, and nothing certain until he joined the Drury Lane orchestra as a violinist in the late 1720s, becoming its first violin and leader towards 1730. Very little of his music has survived beyond these suites: a cantata, and two sets of violin-centred chamber suites. The six suites rival the keyboard music of Handel and Purcell for their variety and inventiveness. Jones does not follow the traditional order for suites of dances: The first set includes two toccatas, the second two gigues, the fifth two sarabandes, with a corrente placed at the end of the group, while the sixth features no fewer than three minuets, the last of which closes the series. The suites are also rich in harmony, with some bold inventions and plenty of vigorous rhythm that can be quite challenging from the technical point of view. Apart from the more deliberately English character of the sixth and last suite with its prominent traces of British folk music, the collection reveals considerable Italian influence, whereas there is very little of the nascent galant style. Yet Richard Jones clearly had the intellectual freedom, eccentricity and independence to invest his music with an incredible variety of influences and references, ranging from the pathos and impetuous wildness of Vivaldi to the depth of Bach, the seductive grace of the French school, a touch of Handel’s majestic solemnity, the melodious freshness of Purcell and the dramatic, sensual impact of opera. As Francesco Fornasaro remarks in his booklet essay on the life and work of Jones: ‘This is harpsichord music of the highest order: beautiful, poignant and intellectually satisfying.’ Born in 1971, the Florentine musician studied harpsichord in Ferrara. In 2017 he won First Prize in the Concerto for Harpsichord and Orchestra category of the Wanda Landowska International Harpsichord Competition in Bari. The present release marks his debut on Brilliant Classics.
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