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Mozart/Jones: Violin Sonatas Fragment Completions (World Premieres)


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Mozart Fragment of a Sonata in B-Flat Major for Piano and Violin, Fr 1782c - Jones Completion 3
Mozart Fragment of a Sonata in A Major for Piano and Violin, Fr 1784b - Jones Completion 4
Mozart Fragment of a Sonata in G Major for Piano and Violin, Fr 1789f - Jones Completion 1
Mozart Fragment of a Fantasia in C Minor for Piano and Violin, Fr 1782l - Jones Completion 1
Mozart Fragment of a Sonata in B-Flat Major for Piano and Violin, Fr 1782c - Jones Completion 2
Mozart Fragment of a Sonata in A Major for Piano and Violin, Fr 1784b - Jones Completion 1
Mozart Fragment of a Sonata in G Major for Piano and Violin, Fr 1789f - Jones Completion 2


• World premiere recordings of six Sonata-Allegros and a Fantasia for violin and piano.

• Fragments composed by Wolfgang Amadeus Mozart, completed by Timothy Jones.

• First collaboration of Rachel Podger with pianist Christopher Glynn on Channel Classics.

• Each Sonata Fragment comes with two different completions. The Fantasia with one completion.

Baroque violinist Rachel Podger and Grammy Award winning pianist Christopher Glynn have recorded an album of previously unfinished Mozart violin sonatas, completed by Professor Timothy Jones. This album of world premiere recordings features four particularly beautiful fragments for violin and piano that were left incomplete following Mozart’s untimely death. Alongside their careers as celebrated musicians, performers, and educators, all three artists hold senior teaching positions at the Royal Academy of Music.

With the release of Mozart/Jones: Violin Sonatas Fragment Completions, Rachel continues her Mozart Sonatas series that began in 2004. This ninth disc concludes the highly acclaimed project, and it is Rachel’s 27th release for Channel Classics Records produced by Academy Principal, Professor Jonathan Freeman-Attwood.

Describing the completion process, Professor Timothy Jones said:

“(…) At the heart, I wanted to see what would happen if I tried to ‘perform’ the notation in the same way that it seems Mozart did – to write very fast and in a particular hierarchical way; if I paid detailed analytical attention to the immediate stylistic context of each fragment; and, noting that Mozart never repeats himself, if I applied the principle of stylistic models, not their letter. Of course, I have no idea how Mozart might have worked these fragments into finished pieces. So an important part of the project was to undertake multiple completions of each fragment (…)”

Additional information









Jonathan Freeman-Attwood

Recording engineer

Simon Kiln

Recording location

St John’s Upper Norwood, London

Recording date

November 2020

Analog to digital converter

Horus / Merging Technologies


Jared Sacks

Mastering engineer

Jared Sacks

Mastering equiment

Van den Hul cables


Grimm Audio LS1


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Press reviews

MusicWeb International

(…) I need hardly add my appreciation of Rachel Podger’s part in the proceedings; I’ve run out of words of praise in reviewing some of her other recordings: just see my Recording of the Month review of her Vivaldi ‘Four Seasons’ (…) Unsurprisingly, given this label’s reputation, the recording is first-rate.(…) The booklet, too, is detailed and informative, including Timothy Jones’ assessment that his work ‘inevitably disfigures’ the music; on the contrary, it brings these otherwise neglected fragments to life. (…)

LimeLight Magazine: “Editor’s Choice” 5 out of 5

(…) an utter delight from start to finish. (…) The genuine musical conversation among composer, “completist” and musicians is palpable. This is Mozart’s musical world in microcosm,. (…) This is not reconstruction. This is living music. 

De Gelderlander 5 out of 5

(…) De twee toppers dalen moeiteloos af naar de kern van de muziek zoals die door Mozart en in zijn kielzog Jones is bedoeld. De opname is voortreffelijk en laat kleur, uitstraling en balans prima tot hun recht komen.(…) Voornaamste pluspunt: het album is van een dusdanige kwaliteit dat ook de luisteraar die de hand níet op de verschillen tussen de aanvullingen weet te leggen, ongetwijfeld in de ban van deze intrigerende klanken komt. Zeker in de betoverende uitvoering door het duo Podger en Glynn.

BBC Radio 3 ‘Record Review’

I think the match between Rachel Podger’s 18th century violin and Christopher Glynn’s forte-piano is just perfect; and I hope listeners enjoy their wonderfully guileless opening sound and also the sense of the thrilling harmonic adventure that they’re going to take us on.

Winnipeg Free Press 5 out of 5

(…) performed with conviction by baroque violinist Rachel Podger and Christopher Glynn on fortepiano. (…) What is most fascinating is that Jones is not satisfied with merely one original addition per sonata, but offers two different “takes,” aptly referred to as Completion 1 and Completion 2, for each work.

The Sunday Times

(…) Four of these substantial movements — we hear alternative versions of three — sound as close as possible to the real thing, enchantingly played by both musicians.

Presto Music – Recording of the Week

(…) The task of performing two different completions of the same material and rendering both persuasive and appealing is one that most musicians would probably never expect to be faced with, yet Podger and Glynn convey every nuance of both Mozart and Jones, presenting each of the latter’s musical ‘hypotheses’ with conviction and sensitivity. (…) 5 out of 5

(…) It is important to note that Jones’s approach to the completions, though inevitably speculative, is respectful to Mozart’s fragmentary material and is based on impressive and insightful scholarship. (…) Glynn’s playing throughout is wonderfully imaginative, marked by sensitive phrasing and crisp articulation that makes it a perfect foil to Podger’s vibrant and expressive performances on her usual Pesarinius 1739 instrument.

The Scotsman 4 out of 5

(…) it’s hard not to imagine them as echt Mozart. Jones’ realisations sparkle because he doesn’t allow himself to be creatively confined by the snatches of original material. (…)


(…) the actual Mozart material here is high-quality stuff from the 1780s that is well worth the encounter, not least the broodingly emotional, CPE Bach-like Fantasia. So rest assured, you can sit back and enjoy. (…) The performances also add to the fun.


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