Paul Conway writes: "In 2017 Martin Jones visited the National Library of Wales, and uncovered manuscript scores of these and many other piano works written by the young Dan Jones. "The depth and range of the works presented on this release suggest that Jones was a natural composer for the piano and until his symphonic odyssey had begun, he used this medium, along with that of the string quartet, for some of his most profound utterances." The two movements which comprise the Sonatina in A minor (1943) have the heft and scope of a fully-fledged sonata, so the diminutive title is surely a reflection of the brevity of the score rather than an indication of lightness or insubstantiality. The shadowy opening Tragico con moto movement is in thrall to the swaying, arpeggiated idea with which the music begins. The following movement opens with a solemn theme and continues with a series of variations that ranges from fluency and nobility to reticence and, ultimately, bluff geniality."
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Paul Conway writes: "In 2017 Martin Jones visited the National Library of Wales, and uncovered manuscript scores of these and many other piano works written by the young Dan Jones. "The depth and range of the works presented on this release suggest that Jones was a natural composer for the piano and until his symphonic odyssey had begun, he used this medium, along with that of the string quartet, for some of his most profound utterances." The two movements which comprise the Sonatina in A minor (1943) have the heft and scope of a fully-fledged sonata, so the diminutive title is surely a reflection of the brevity of the score rather than an indication of lightness or insubstantiality. The shadowy opening Tragico con moto movement is in thrall to the swaying, arpeggiated idea with which the music begins. The following movement opens with a solemn theme and continues with a series of variations that ranges from fluency and nobility to reticence and, ultimately, bluff geniality."
