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Samuel Jones, a native of Mississippi (b. 1935), graduated from the Central High School in Jackson and received his undergraduate degree with highest honors at Millsaps College. He acquired his professional training at the Eastman School of Music, where he earned his M.A. and Ph.D. degrees in composition under Howard Hanson, Bernard Rogers, and ...
Mar 14, 2024 · Samuel Jones’ Flute Concerto recalls Hindemith in the elegance of its shaping, its lyrical impulse, and in the coherence of its architecture. The sonics (stereo and surround) are in the best tradition of the label. Jones’ Violin Concerto was originally intended for Nadja Salerno-Sonnenberg but she sustained an injury to her arm in the lead ...
of the third concerto recorded here: the Flute Concerto [1-3], the only one of Jones’ six concerti that was not premiered under the baton of Gerard Schwarz. “At the second season of the All-Star Orchestra, when the Violin Concerto was recorded,” Jones recalled, “at one of the breaks we went to the cafeteria for a little repast, and I was
Oct 25, 2023 · BMOP/sound releases debut album of Samuel Jones's three concerti. Performances by Boston Modern Orchestra Project (BMOP), Flutist Jeffrey Khaner, Violinist Michael Ludwig, and Trombonist Joseph ...
Composed in 2010 to honor Gerard Schwarz at the beginning of his final season as Music Director of the Seattle Symphony, Jones’ Cello Concerto was premiered on September 11, 2010 at the gala opening concert of the season, with the Maestro’s son, then 19 years old, as soloist, for whom the work was written. He played the concerto (and all ...
Samuel Jones was a pupil of Howard Hanson at the Eastman School. He has been composer-in-residence at Seattle since 1997. Amongst the works he has written for Gerard Schwarz's orchestra is Janus (1997) and a Horn Concerto (2008); the latter presumably for that outstanding hornist John Cerminaro, the Seattle principal.
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The concerto begins with a bold, unaccompanied assertion by the solo cello, a sweeping proclamation which also plays a central role in the unfolding architecture of the piece. I have endeavored to write a work that exploits and celebrates the inimitable qualities of this great instrument, its capacity for drama, lyricism, and depth of expression, as well as its exciting technical capabilities.
