Piano Music of Oscar Fernândez

"Martin Jones plays works from the earlier part of his life and starts with the two miniatures that make up his op.1. The influence of impressionism can be felt in the shifting chromaticism of the opening slow waltz. The second is a humorous moto perpetuo étude coruscating across the keyboard. The Nocturne written the following year makes much of the left hand accompaniment rising and falling on open fourths while the tune weaves around it; notes of disquiet are brought in when the left hand takes up the melody and accompaniment leaving the right hand to swirl around in triplets. Arabesca and Miragem (mirage) are both evocative tone paintings, the first of a sultry, dusty landscape while the veiled swirling figuration of the second creates a more Debussy like impression... Once again Martin Jones brings this music to colourful life. The music sparkles and dances under his fingers and he is as touching in the simplicity of the lullabies as he is bold in the more technically demanding pages. This CD and its companions in this series have really opened my eyes and ears to the colourful, inventive and evocative works of these three giants of Brazilian music." Rob Challinor Full review here] 

"You have to hand it to Martin Jones. Now in his 84^th year, he has amassed an extraordinary discography of over 90 recordings on the Nimbus label, including the complete piano works of no fewer than 17 composers. Here, he adds another name, unfamiliar to most of us and one which, as far as I can see, has never graced these pages, one of the myriad South American composers who had enormously successful careers in their own country but who are virtually unknown on this side of the world. If you don’t know, Oscar Lorenze Fernândez (1897-1948) was a prolific Brazilian composer, teacher and conductor called by one of his countrymen’s music critics Fernândez Brasileirissimo ‘in appreciation of his devotion to the spirit of native folklore’. His music uses both quotes of popular songs and melodies of his own written in the native vein… it is a joy to hear Martin Jones again and I am glad to have been introduced to Senhor Fernândez." Jeremy Nicholas, Gramophone 

"Even in this student phase of Fernândez's career, he seems to have had a characteristic lyrical quality. The centerpiece is a trio of 1930s works called Suite Brasileira, each with three movements. Even here, Fernândez is not really a follower of Villa-Lobos. In a way, he is more conservative, but this means he can explore charming Brazilian pop genres like the modinha and the serenade-like semesta that Villa-Lobos rarely touched. He was also capable, however, of the big, public-facing Afro-Brazilian mode, as can be heard in the Jongo finale of the Suite Brasileira No. 3. Pianist Martin Jones seems to have undertaken this project out of sheer enthusiasm, and it is likely to find admirers even in Brazil; he catches a quiet tuneful quality in Fernândez's music that makes for delightful listening. The Nimbus label backs him up with ideal sound from the Wyastone Estate Concert Hall." James Manheim, All Music