"As for the performance itself, Jones is simply brilliant" (Fanfare)


Musica Dei donum 2015 

“…Boccherini’s sonatas have been recorded before but are certainly not often played. The three sonatas by Cirri are recorded here for the first time. Because of that this disc is of great importance, also considering the quality of these sonatas, and that includes those by Cirri. He has written many more and I am curious to hear them as well as other parts of his oeuvre. Catherine Jones is an outstanding and convincing advocate of his sonatas and plays them with much passion. That also goes for the three sonatas by Boccherini.

Her technical prowess is impressive; these sonatas are very demanding but her technical skills allow her to concentrate on the interpretation. The allegro from the Sonata in A has already been mentioned; that is definitely one of the highlights of this disc. Another one is the last movement from Cirri’s Sonata in g minor which is a tempo di minuetto con variazioni. Here the rhythmic pulse is perfectly conveyed thanks to the marked dynamic accents.

This is cello playing of the highest order and I strongly recommend this disc to all cello aficionados.”
Johan van Veen (© 2015)


Planet Hugill

Brilliantly involving and technically poised performances of 18th century virtuoso cello sonatas

Jones performs the virtuoso solo parts with elegance and zing. In the Boccherini she bring a lovely elan to the bravura string-crossing moments and throughout makes her playing extremely present and involving. All the performers contribute to the delightful vivacity of these performers, with bravura moments but also elegance too in just the right combination. These are performances which make you want to listen to more. You can sample the disc on Jones’s Vimeo posting.

Robert Hugill on Nov 16 2014


The Strad

Stylish sonatas from two quintessential Baroque composers
Robin Stowell on May 2, 2015

Catherine Jones admirably captures the expressive tone, warm cantabile sonority and neat ornamentation characteristic of Boccherini’s playing style. She adopts light, fast bow strokes, phrases imaginatively and performs with taste and finesse, notably in the first movements of nos.1 and 2, and she is eloquent in the expressive slow movements, adding stylish cadenzas as appropriate.
Jones is supported throughout by a sensitive continuo team, which offers a pleasing variety of instrumental colours. The resonant recording has fine body and presence.


by Will Yeoman on July 24, 2015

She presents three sonatas from each, revealing the delight she shares with both composers in the cello’s technical and expressive capabilities.  Jones has previously recorded three Boccherini sonatas from the same collection while a student; the Cirri sonatas – Nos 3, 4 and 5 – are premiere recordings. Her light, responsive touch and pungent, mostly vibratoless tone perfectly match Boccherini’s playfulness, exuberant embellishment of repeated figures and his imitations of the strummed chords of the Spanish guitar, which are redolent of another Italian who worked in Spain, Domenico Scarlatti.
(…) Highly recommended.



Catherine Jones plays with elegance, charm and clarity in her recording of Boccherini and Cirri cello sonatas, ably supported by a continuo team made up of Guilia Nuti, Alison McGillivray and William Carter.
Jones explores characters and colours with a delicate touch and a robust wit, and the subtleties of her playing are captured in an intimate recording that effectively recreates the listening environment of an 18th-century salon. One might have liked to hear more of her consistently tasteful ornaments on repeats, and greater indulgence in the variously grotesque and tragic possibilities of chromatic passages, but certainly not at the expense of her obvious nonchalance and poise.
This recording – to quote Catherine Jones’ liner notes – amply sends a ’breath of Italy’s light, poetry and optimism‘ to 21st-century London, and elsewhere!JR


Fanfare (1)


As for the performance itself, Jones is simply brilliant. She handles the often tortuous, viciously-facile virtuosity of the Boccherini with ease and dexterity. Her tone, even in the upper registers, is clear and secure (no intonation problems at all even above the fingerboard), while in the lower registers and doing double-stops here tone is warm and sonorous.
Performance practice of the time allowed for great flexibility in the continuo, authenticity is not really an issue for me (though purists may disagree) and this combination lends great depth and substance to Jones’s magnificent playing. In short, this is one disc you will want to have in your collection, and I hope Jones continues to explore this mostly-unheard repertory.
Bertil van Boer, March 2015


Fanfare (2)


Results, when as effective as they are here, trump theories on how Boccherini might have performed these sonatas himself and whether he would have thought Jones’s substitution of guitar for harpsichord as the main continuo instrument was a capital idea. Personally, I like it. Together with cellist Alison McGillivray, harpsichordist Giulia Nuti, and guitarist/archlutenist William Carter, Jones performs these musically modest but technically challenging virtuosic cello sonatas with sureness of fingering, bowing, intonation, and beauty of tone. played by William Carter, who is likely familiar to readers from the Academy of Ancient Music and the English Concert.
Catherine Jones and her accompanying musicians nonetheless give in equal measure of their own talents to both composers. Early music specialist Jones studied Baroque cello with Jaap ter Linden at the Royal Conservatorium in The Hague. Together with cellist Alison McGillivray, harpsichordist Giulia Nuti, and guitarist/archlutenist William Carter, Jones performs these musically modest but technically challenging virtuosic cello sonatas with sureness of fingering, bowing, intonation, and beauty of tone. There is none of the nasality or wheezing of a consumptive on his deathbed one sometimes hears emitted by period instruments, nor do Jones and her companions advocate on behalf of some of the less attractive period instrument practices. This is playing which, in the best sense, could pass for historically informed performances on instruments with modern strings and setup.
Jerry Dubins


The Deutsche Harmonia Mundi (DHM) includes Catherine Jones’ own stylish and quite lengthy cadenzas, uses the archlute or guitar in some works, making for greater variety, and adds the three much rarer sonatas by Giovanni Battista Cirri.
Not having knowingly heard anything by Cirri before, I was pleasantly surprised to find myself enjoying his sonatas as much as the Boccherini and hoping that someone would give us more of his music in the near future.  That’s an obvious tribute to the quality of the performances of all the music here – stylish and persuasive, especially from Catherine Jones, who is well supported by the other performers and by a very good recording.
The addition of the unfairly neglected Cirri works make this recording particularly worthwhile but I also enjoyed hearing these performances of the three Boccherini sonatas.

Brian Wilson, January 2015

An enjoyable recording made all the more so by the addition of the little-known Cirri works.


BBC Music
Brief Notes – Issue May 2015
Catherine Jones plays with lustre and elan, supported by refined continuo playing.
1 ta in A Major, Op. 1
De Australische celliste Catherine Carter studeerde in Den Haag bij Jaap ter Linden en maakte vervolgens tien jaar lang deel uit van Ton Koopmans Amsterdam Baroque Orchestra als solocelliste. Uiteraard draaide zij ook mee bij soortgelijke buitenlandse ensembles als The Acadamy of Ancient Music en Il Complesso Barocco. Met Frans Brüggen en diens Orkest van de Achttiende Eeuw trad ze op als soliste in concerten van Leonardo Leo en Johann Christian Bach.
Hier is de continuopartij in handen van klavecimbel en cello – volgens Jones gaat het om een plaatpremière. Voor beide componisten houdt Jones een vurig en overtuigend pleidooi. De curiositeit van het repertoire en de kwaliteit van de muziek doen de rest.



Artistico: **** Tecnico: *****

L’interpretazione di Catherine Jones, accompagnata da Giulia Nuti al cembalo, Alison Mc Gillivray al violoncello e William Carter all’arciliuto o alla chitarra è raffinatissima e si modella sulle caratteristiche della scrittura sia cantabile sia virtuosistica dei due autori, cogliendone tutte le essenziali sottigliezze di fraseggio, articolazione, attacco del suono. Sono interpretazioni animate da talento inventivo, slancio ritmico e vivissimo senso per la delicatezza ma anche per la libertà della resa esecutiva di una musica che deve proprio vivere di ombreggiature,
sfumature di colore, modi di pronunciare, accentare e intonare i periodi e le frasi.
Cesare Fertonani


Il Corriere Musicale
recensione di Cesare Galla, 3 giugno 2015
Ora una talentuosa violoncellista australiana, Catherine Jones, riunisce i due compositori in un CD nel quale l’interesse storico (per Cirri si tratta di una prima registrazione) cede ben presto il passo alla genuina e brillante qualità dell’invenzione dell’uno e dell’altro.
rimane la vivacità esecutiva davvero accattivante della violoncellista di Perth, che ha suono chiaro e molto comunicativo, elegante capacità nel disegnare la linea melodica sia nei movimenti svelti che in quelli lenti, precisione ben scandita e tecnica inappuntabile, forgiata in lunghi anni di perfezionamento nella musica antica e del Settecento fra Olanda e Italia.



Anna Girardi
“If God wanted to speak to Man through music He would do so through Hydn’s works; if, however, He wished to listen to music Himself, He would choose the works of Boccherini”. Queste le parole di Jean Baptiste Cartier contenute nella sua antologia L’Art du Violon che ben ha in mente la violoncellista specializzata in musica barocca Chaterine Jones al momento dell’incisione di questo bel disco che vede tre sonate di Luigi Boccherini.
Bello, infine, che un ulteriore contributo alla nascita di questa incisione derivi da amicizie provenienti da culture, non  a caso, italiana e inglese; culture entrambe conosciute e frequentate dai due compositori. Ecco quindi che ad accompagnare la Jones vi sono Giulia Nuti al clavicembalo, Alison McGillivray al violoncello e William Carter alla chitarra classica.

“I enjoy very much the thought of Boccherini and Cirri, these two Italian cellist composers, both far from their homelands but sending a breath of Italy’s light, poetry and optimism to 18th Century London. I hope the music can speak for itself”. Questo ciò che si augura la violoncellista australiana e basta ascoltare il suono caldo, dolce e vitale che essa produce col suo violoncello per rendersi conto che l’intento è pienamente riuscito: the music can speak for itself!