Turina’s principal works are conceived for large forces and on a broad canvas, but he turned to the piano for the creation of suites of evocative miniatures throughout his life. 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. The same year he made his London debut at the Queen Elizabeth Hall and his New York debut at Carnegie Hall, and ever since has been in demand for recitals and concerto performances on both sides of the Atlantic. He is a prolific recording artist and his many major projects include the complete solo piano works of Mendelssohn, Brahms, Debussy, Grainger, Stravinsky, Korngold, Szymanowski, Granados, Guastavino, Mompou, Ernesto Halffter, Joaquin Nin, Has Gál, Jean Françaix, Jean Roger-Ducasse, and Alan Richardson. “Martin Jones as a recording artist has been part of my listening experience for almost as long as I’ve been collecting albums. Seeing his distinguished and still active career celebrated by Nimbus Records in this way is a true delight.” (Dominy Clements, musicweb-international.com)

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REVIEW:

Martin Jones, one of Britain’s most highly-regarded pianists since first coming to international attention in 1968 when he received the Dame Myra Hess Award, offers a beautiful rendering of Spanish composer Joaquin Turina’s piano works, compiling an earlier recording from 1999 with some newer ones. These are miniatures that evoke dance rhythms of Spain. Cinco Danzas is especially well done, but there could be some small disagreements with interpretation. IV has a wonderful rhythmic feel, with evenness of playing. 'Fiesta’ has a sense of dynamic growth, with a constant ostinato-like rhythm. 'Danza Ritmica’ could have a quieter opening (it is marked pianissimo and lighter). To nitpick a little, the work could be a hair faster. Jones could aim for longer phrasing, especially in the running 16th notes that occur often. His range of sound is impressive. 'Seguriya’, marked allegro vivo, could be approached with a quicker pace. His use of the left hand articulation, slightly non legato, brings out the melodic line perfectly, and the work comes to a wonderful finish. The start of El Castillo de Almodovar is extremely beautiful, but I do wish for a more ominous and softer turn, as that movement is marked ppp. Still, besides these quibbles, this recording is a delight.

– American Record Guide (Sang Woo Kang)