The
Secret of Excess
Supercharged dancing by a cadre programmed for speed and complexity
Supercharged dancing by a cadre programmed for speed and complexity
Monday, 17 September 2012
Michael Jones British cellist ....Village voice
Barely Silent has a fine score, parts of which are played live by composer Alan
Terricciano and Michael Kevin Jones on piano and cello.
Jones Maruri duo New York 2013
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Public Programs
Jones Maruri Cello-Guitar Duo Based in Spain, the noted duo of cellist Michael Kevin Jones and guitarist Agustin Maruri present a concert of music from the baroque to contemporary periods, including the New York premiere of Drew Heminger's "Songs from America." Benedetto Marcello, Sonata in G Schubert, Sonata in A minor, D. 821 "Sonata Arpeggione" Drew Hemenger, "Songs from America," after traditional American Folk Songs, New York Premiere Erik Marchelie, "Don Quijote y Dulcinea" de Falla, "Suite Española" Thursday, March 14, 2013, 7:30 p.m. Tickets: $35; $25 Members
Please call (212) 685-0008 ext. 560 or e-mail tickets for information.
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© The Morgan Library & Museum, 225 Madison Avenue, New York, NY 10016, (212) 685-0008
Jones Maruri Don Quijote
Marchielie: Don Quixote &
Dulcinea; Eclipse; 3 Estampes; Dance.
American Record
Guide
MARCHIELIE:
Don Quixote & Dulcinea; Eclipse; 3 Estampes; Dance; REBAY: Waltz; Tango;
HAUSWIRTH: Konzertino: GNATTALI: Sonata; HEMENGER: Songs from America; JENTSCH:
Sonata
Michael Kevin Jones, vc; Agustin Maruri, guitar
Emec 63--75 minutes
With the exception of Gnattali, I did not know any of these composers before putting the disc in my player. Nor did I expect the unusual pairing of cello and guitar to be particularly revelatory or even reasonable. I was wrong. This release gripped me immediately, largely because of the superb playing of Jones and Maruri. Cellist Jones is the main attraction, his magnificent tone and expansive phrasing an irresistible figure against the ground of Maruri's accompaniment. The music is largely conservative, neoromantic fare; without Jones's beguiling cello I suspect much of it would be forgettable.
The six works by French composer Erik Marchelie that open the program are the most satisfying of the safely lyrical pieces here; Marchelie's rich harmonies and soaring melodies are ideally suited to Jones and Maruri's approach. Works by Ferdinand Rebay and Hans Hauswirth inhabit the same tonal landscape, but by this point in the program I was itching for something less saccharine. To my surprise, Gnattali's sonata largely failed to deliver on this front; it is blander, formally stiffer than much of his music, and it is not until III that it really leaps out with some spirited textures and exchanges between the two instruments.
Seven American folk song and spiritual arrangements by the young American composer Drew Hemenger follow. The almost vocal directness of Jones's playing carries these simple arrangements. It is not until the final work that a real affective contrast finally arrives: Walter Jentsch's sonata, one of several world premiere recordings here, is coarse, angular, and austere. After so much triadic sweetness its effect is paradoxical: a bitter palette cleanser.
The packaging is very attractive, the sound is excellent--with a realistic balance between guitar and cello--and the notes are extensive.
Michael Kevin Jones, vc; Agustin Maruri, guitar
Emec 63--75 minutes
With the exception of Gnattali, I did not know any of these composers before putting the disc in my player. Nor did I expect the unusual pairing of cello and guitar to be particularly revelatory or even reasonable. I was wrong. This release gripped me immediately, largely because of the superb playing of Jones and Maruri. Cellist Jones is the main attraction, his magnificent tone and expansive phrasing an irresistible figure against the ground of Maruri's accompaniment. The music is largely conservative, neoromantic fare; without Jones's beguiling cello I suspect much of it would be forgettable.
The six works by French composer Erik Marchelie that open the program are the most satisfying of the safely lyrical pieces here; Marchelie's rich harmonies and soaring melodies are ideally suited to Jones and Maruri's approach. Works by Ferdinand Rebay and Hans Hauswirth inhabit the same tonal landscape, but by this point in the program I was itching for something less saccharine. To my surprise, Gnattali's sonata largely failed to deliver on this front; it is blander, formally stiffer than much of his music, and it is not until III that it really leaps out with some spirited textures and exchanges between the two instruments.
Seven American folk song and spiritual arrangements by the young American composer Drew Hemenger follow. The almost vocal directness of Jones's playing carries these simple arrangements. It is not until the final work that a real affective contrast finally arrives: Walter Jentsch's sonata, one of several world premiere recordings here, is coarse, angular, and austere. After so much triadic sweetness its effect is paradoxical: a bitter palette cleanser.
The packaging is very attractive, the sound is excellent--with a realistic balance between guitar and cello--and the notes are extensive.
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