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 Pauls 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 werent 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 Joness keyboard music also sets up an intriguing comparison and question: how well do these Setts fare when put up alongside Handels Keyboard Suites?
