Daniel Jones (1912-1993) composed in a wide range of genres, yet the cornerstone of his prolific output is the Symphony, memorably described by him as a dramatic structure with an emotive intention. Though each of his thirteen symphonies is a unique and highly personal statement, the cycle as a whole maintains an unwavering consistency of quality and vision. Daniel Jones demonstrates a steadfast integrity throughout, never bowing to the latest trends. His priority is always to communicate directly with the listener. Paul Conway
We were already indebted to the enterprising Lyrita label for several recordings of music by Daniel Jones. The new release very usefully fills some gaps with unique recordings of both works. Better still, further releases like these from BBC recordings are in preparation for later in the year and 2018: Symphonies Nos. 3, 5 and 12 (BBC Welsh Orchestra/Bryden Thomson) and 13. My own benchmark for twentieth-century music is well met by these and Jones other symphonies: accessible works but without any suggestion of sounding facile. Jones described the symphony as a dramatic structure with an emotive intention. If I find more of the latter than the former here, thats no bad thing on this occasion. Paul Conways valuable programme notes authoritative and informative complete a most recommendable release. –Brian Wilson, MusicWeb-InternationalIn a Gramaphone Bryden Thomson said of Daniel Jones; He knows what he wants, he knows what he s writing and he knows when it isn t right. You can t say that about a lot of composers these days. Precisely when Jones first conceived the idea of composing a cycle of 12 symphonies each based on a different note of the chromatic scale as tonal centre in unclear but it was probably not during the writing of the First (1944-47), originally designated in E minor . At 50 minutes long, it is Jones s largest symphony, in which the fledgling symphonist revealed his mastery and understanding of the medium for the first time. His view of the symphony evolved radically, with goal-driven forms and growing concision neither Nos 10 (1981-82) nor 11 (1983) exceed 20 minutes. There are few obvious resonances in the musical language, though I have always thought the structures of the First and 43 minute-long Second (1950, centred around A, neither major or minor) nodded towards Russian models. With its increased use of percussion, No 2 is brighter in tone that its predecessor, with a recurring allusion to Vaughan Williams s F minor Symphony in the finale. Both the Tenth and Eleventh Symphonies follow dramatic-tragic courses, the latter a memorial to his friend George Froom Tyler, erstwhile chairman of the Swansea Festival. The reception of Joness music has usually been respectful rather than enthusiastic, even in these august pages so let me raise the bar somewhat. These are strong and important works that repay familiarity. The performances by the BBC Welsh Symphony Orchestra and Thomson are finely realised, alive to their rhythmic intricacies and growing orchestrational confidence. Lyrita s remastering provides depth and clarity to the studio-bound sound. As with the symphonies of Havergal Brian, a cycle of which is also near completion, what is needed next is for these symphonies to be taken up in both concert hall and studio. –The Gramophone
