Jablonski, Marek (Michael)

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GroveI (H. Davies)

R. van Peer: Interviews with Sound Artists taking part in the Festival Echo: the Images of Sound II (Eindhoven, 1993)

D. Senn: ‘Systems for Nonlinear Instruments and Notation’, Journal of New Music Research, xxiii (1994), 209–34

F. Gertich: ‘Real erklingender mechanismus’, NZM, Jg.156, no.2 (1995), 4–13

T. Kellein: Fluxus (London, 1995)


Jones, John

(b ?London, 1728; d London, 17 Feb 1796). English organist, harpsichordist and composer. He became organist of the Middle Temple in London on 24 November 1749, of the Charterhouse (following Pepusch) on 2 July 1753, and of St Paul’s Cathedral (following Greene) on 25 December 1755. He was elected a member of the Royal Society of Musicians in 1750, and was also appointed Vicar Choral at St Paul's in 1757. In a misleading statement, the English Musical Gazette (1 January 1819) commented unfavourably on his ability as a cathedral musician: ‘Jones … appears not to have been worthy of the situation, for he was not capable of doing the duty for a length of time after the appointment: and as he could not play from score he employed himself in arranging the Anthems in two lines’. As Shaw points out, ‘from the seventeenth century, all English organists used skeleton scores on two staves’. Jones retained all three organists’ positions until his death, when he was buried in the Charterhouse cloister. He is frequently mentioned in the Recollections of R.J.S. Stevens, who in 1768 auditioned to become a pupil of Jones, but as the terms were ‘so exorbitant … my father declined the matter altogether’. Stevens eventually became a temporary deputy of Jones at the Charterhouse, for which he was paid 2s. 6d. for a month’s work. In 1786 Jones applied to the governor of the Charterhouse for the vacant position of ‘Register’, but was refused because of his lack of legal training. According to the chapel register, Jones married Sarah Chawner at Sudbury, Derbyshire, and their children were baptized at the Charterhouse from 1785. A Thomas Jones was apprenticed to him in 1764.

Jones’s vocal music consists of a few solo songs and a collection of 60 chants (1785), one of which was sung at George III’s state visit to St Paul’s on 23 April 1789 and at many of the annual meetings of the Charity Children; Haydn attended the latter in 1791, and noted the melody of the chant (no.24 of the double chants) in his diary, adding: ‘In my whole life nothing has moved me so deeply as this pious and innocent music’. In 1836 Crotch based a keyboard fugue on another chant by Jones.

Jones published three volumes of harpsichord music, Eight Setts of Lessons in 1754 and a further two volumes in 1761. The subscription list for the 1761 sets contains nearly 300 names including Abel, Avison, Boyce, Burney, Camidge and Nares. Handel’s influence is apparent, but it is his orchestral music rather than his harpsichord music which is a source of Jones’s inspiration. Jones’s writing is often vigorous and dramatic and his keyboard style is generally eclectic. His movements are frequently longer than those of his contemporaries, especially in his later works, which show an increasing awareness of the galant style.

It is doubtful whether this Jones was the composer of the set of harpsichord and violin sonatas published in 1782, but more probable that he was a sub-director of the Handel Commemoration (1784). Another John Jones is listed in Mortimer’s London Universal Directory (1763) as a violinist in His Majesty’s Band.


all printed works published in London


60 Chants, Single and Double (1785)

Songs: Sincerity’s now out of date, 1v, fl (c1745); To the dark and silent tomb [On an infant just born to die], 1v, fl (c1750); The Captive (c1750); Ah, pleasing scenes (glee), 4vv, pf (c1795)

2 songs, GB-Lbl, doubtful authenticity

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