Patrick John Jones is a London-based composer and sound designer. His music is most often performed in concert halls and occasionally in museums, art galleries, and libraries. It has been described as ‘strange, eerie…expressive’ (Britten Sinfonia Blog), ‘assured…compelling’ (Bachtrack), ‘acerbic’ (The Guardian) and ‘remarkably fresh’ (The Philharmonia Blog).
His work has been performed by artists and ensembles including the London Symphony Orchestra, Britten Sinfonia, Ensemble 10/10, the Philharmonia Orchestra, Quatuor Diotima, Mahan Esfahani, The Kreutzer Quartet, Octandre, Psappha, the Tritium Trio, the Berkeley Ensemble, and the Ulysses Ensemble.
He was a joint winner of the Calefax Composers Competition in 2020, received the RPS Composition Prize in 2015, and the Britten Sinfonia’s OPUS award in 2014
Patrick recently completed a Leverhulme Early Career Fellowship at Guildhall School of Music & Drama (2021-2024), a project that involved collaborations with St Paul’s Cathedral, The John Rylands Library, and Octandre Ensemble. He undertook a PhD in Composition from 2013-2017 at the University of York, supervised by Dr Thomas Simaku and funded by the Arts and Humanities Research Council. Prior to this, he took an MMus in composition at Kings College London (2012) and a BA (Hons) in Music at the University of York (2010). He has taken part in a number of courses and summer schools for emerging composers, including the advanced composition course at Dartington Summer School (2019), taught by Harrison Birtwistle, the Britten-Pears Composition Course (2017), taught by Colin Matthews, Michael Gandolfi, and Oliver Knussen, and the Philharmonia Academy (2015-16), mentored by Unsuk Chin.
'Patrick’s installation not only highlighted the breadth of the collections of the Rylands, but synthesised them in harmonious fashion, with Victorian birdsong, the sounds of the BBC radiophonic workshop, and the voices of medieval Europe all blending seamlessly together beneath the echoes of galactic nuclei spiralling into space.'
Jacob Thompson, Rylands Blog
'verbinden sich dabei dustere und dramatische Momente derart phanomenal, dass man sich zu der Frage hinreissen lasst: Hort sich so das Nirwana an?' / TRANS: 'dark and dramatic moments combine in such a phenomenal way that one lets oneself be carried away with the question: 'Is this what nirvana sounds like?'
Oliver Steinke, Die Rheinpfalz
‘Tentative gestures involving flutter-tonguing on flute and clarinet – a sound once banished as a cliché but which here sounded remarkably fresh – built tension slowly. In the foreground all seemed swirling movement; in the background were subtly varied chordal patterns, surging like the sea’s swell. Once again, abstract process joined hands with the evocation of natural process’
Ivan Hewitt, Philharmonia Blog
‘In such lofty company it would have been easy for the work of a young composer to be overshadowed, but Jones is clearly far too able and imaginative a composer to allow that to happen. Described as a descent in to and out of a bizarre musical ‘landscape’, the piece suggested certain affinities with the music of Harrison Birtwistle in its juxtaposition of musical blocks. However the comparison was not unflattering, as both the materials and the form were assured and compelling.’
James Moriarty, Bachtrack
'an intricate, nervy dance that slips constantly between the playful and sinister with deadpan wit...This commendable release is a welcome introduction to a terrific new wave of composing talent.’
BBC Music Magazine
'Spectacular Jones, Graceful Nielsen...the lunchtime concert really came to life with the OPUS2014 winner, Patrick John Jones’s Uncanny Vale, a new work for wind quintet, which explored harmonic and timbral possibilities in a pioneering way. Creating a strange, eerie atmosphere, the work was altogether more expressive than Berkeley or Seeger, and really captured the audience’s imagination, exploring ideas of fantasy and the mind.'
Carl Wikeley, Britten Sinfonia Blog
‘The other new piece on the bill, Unfurl, by Patrick John Jones, was more arresting, with an acerbic clarinet seeping across a bed of strings like a dark stain’
Alfred Hickling, The Guardian
'Uncanny Vale is a compact work that combines long melodic lines with energetic outbursts. The piece is a lively and engaging conversation for 5: whirlwinds alternate with lyrical passages, in which the individual players take the lead in turn. The jury was impressed by the excellent – often virtuosic and detailed – instrumental writing.'
Jury of the Calefax Composers Competition
16 players & fixed media
20′
2024
fl(=picc & alto).ob.cl.bsn(=cbsn) – perc(2) – pno(=cel) – hp – str: 1.1.1.1.1
Immense Bleak Electric Advertisement of God has not yet been publicly performed, but was workshopped by Octandre Ensemble with the help of artistic directors Jon Hargreaves and Christian Mason and the musicians listed below.
From a workshop by Octandre Ensemble, Milton Court Concert Hall, September 2024
Flute: Noemi Gyori
Oboe: Anna Durance
Clarinet: Adam Slater
Bassoon: Patrick Bolton
Horn: Julian Faultless
Trumpet: Shane Brennan
Trombone: Raph Clarkson
Percussion 1: Calum Huggan
Percussion 2: Angela Wai Nok Hui
Harp: Anneke Hodnett
Piano: Jo Havlat
Vn I: Mandhira de Saram
Vn II: Rosie Kennally
Va: Chihiro Ono
Vc: Corentin Chassard
Cb: Rosie Moon
sound installation
17′
2024
Sonilluminations was a sound installation hosted by the John Rylands Research Institute and Library, Manchester, in July 2024.
The music draws from the eclectic collections held by the library, including their ornithological illustrations, medieval manuscripts, Jodrell Bank observatory records, broadside ballads, and Delia Derbyshire papers.
reed quintet
10′
2020
oboe (=cor anglais), clarinet (=clarinet in E♭), soprano saxophone, bass clarinet, bassoon
Uncanny Vale is a compact work that combines long melodic lines with energetic outbursts. The piece is a lively and engaging conversation for 5: whirlwinds alternate with lyrical passages, in which the individual players take the lead in turn. The jury was impressed by the excellent – often virtuosic and detailed – instrumental writing.
– Calefax Composers Competition jury
Joint winner of the Calefax Composers Competition 2020
Studio recording by the Calefax Reed Quintet, May 2021
An unattributed example of a 17th century anthropogenic landscape from the Flemish school
violin & cello
3′
2019
Live recording from world premiere
10.07.2019 – Kaleidoscope Chamber Collective, Pittville Pump Room, Cheltenham (WORLD PREMIERE)
violin & cello
5′
2018
The three-minute version above was written and filmed on Psappha’s ‘Composing for…’ scheme in Spring 2018.
A revised five-minute version was prepared for a concert performance later in the year.
15/11/2018 – Psappha, St. Michael’s, Manchester (WORLD PREMIERE)
symphony orchestra
5′
2022
3(2=alto.3=picc). 3(3=ca). 3.3(3=cbsn) – 4.3.3.1 – timp.perc(2) – pno (=cel) – hp – str: 14.12.10.8.6
Recording available on request
Composed for the London Symphony Orchestra as part of the LSO Panufnik Composers Scheme 2020-22
A red sprite is a rare optical phenomenon of the upper atmosphere associated with thunderstorms. Alien in appearance, red sprites are the product of lightning-like electrical discharges and appear in flashes up to fifty miles above the earth in the startling forms of glowing crimson jellyfish or jagged, branching figures. Although something like them has been reported for centuries, sprites were only formally discovered in 1989. They have since been observed many times, from the ground, from aeroplanes and from the International Space Station.
Appropriately for their ethereal, supernatural appearance, sprites are named after the elf-like creatures of European mythology (such as Ariel or Puck), and in his Song of a Red Sprite Patrick John Jones gives voice to the atmospheric sprite who hovers in the sky, materialising occasionally to survey the storms below. The work begins ‘nocturnal with heavy air and electrical crackle’ as clouds of string and wind air sounds billow around a portentously descending chromatic bassline. Cutting across this thunderhead are jagged, pointillistic countermelodies, an irregular rhythmic ostinato and atmospheric shivers and sizzles. As these move around at unexpected speeds and across a wide instrumental palette the sprite may be heard to flash and flicker in hidden corners of the orchestra’s sonority.
– Tim Rutherford-Johnson
symphony orchestra
7′
2015
1(picc). 2.3.3.2.1(cbsn) – 4.3.3.1 – perc(4) – pno – cel – hp – str: 14.12.10.8.6
Composed on receipt of the University of York’s Sir Jack Lyons Celebration Award, which funded the commission and a residency at the Banff Centre, Alberta, Canada
28/11/2015 – University of York Symphony Orchestra (cond. John Stringer), Sir Jack Lyons Concert Hall, York (WORLD PREMIERE)
Live recording from world premiere
Kießling, Johannes: Untersuchungen über Dämmerungserscheinungen : zur Erklärung der nach dem Krakatau-Ausbruch beobachteten atmosphärisch-optischen Störung. Hamburg und Leipzig : Verlag von Leopold Voss, 1888. ETH-Bibliothek Zürich, Rar 29145, https://doi.org/10.3931/e-rara-56381 / Public Domain Mark
16 players & fixed media
20′
2024
fl(=picc & alto).ob.cl.bsn(=cbsn) – perc(2) – pno(=cel) – hp – str: 1.1.1.1.1
Immense Bleak Electric Advertisement of God has not yet been publicly performed, but was workshopped by Octandre Ensemble with the help of artistic directors Jon Hargreaves and Christian Mason and the musicians listed below.
From a workshop by Octandre Ensemble, Milton Court Concert Hall, September 2024
Flute: Noemi Gyori
Oboe: Anna Durance
Clarinet: Adam Slater
Bassoon: Patrick Bolton
Horn: Julian Faultless
Trumpet: Shane Brennan
Trombone: Raph Clarkson
Percussion 1: Calum Huggan
Percussion 2: Angela Wai Nok Hui
Harp: Anneke Hodnett
Piano: Jo Havlat
Vn I: Mandhira de Saram
Vn II: Rosie Kennally
Va: Chihiro Ono
Vc: Corentin Chassard
Cb: Rosie Moon
mixed octet
7′
2018
clarinet (=bass clarinet), bassoon, french horn, 2 violins, viola, cello
Composed on the PRS Accelerate Scheme 2018
24.11.2018: The Berkeley Ensemble, St James Piccadilly, London (WORLD PREMIERE)
16 players
5′
2017
fl(=picc).ob.cl(=bcl). bsn(=cbsn) – perc(2): 1: crot/large susp.cymbal / 2: vibr/glock/tam-t – pno – hp – str: 1.1.1.1.1
Composed on the Britten-Pears composition course 2017
22.06.2018 – Britten-Pears Young Artist Ensemble (cond. Jonathan Berman), Britten Studio, Snape
14.07.2017 – Ulysses Ensemble (cond. Jonathan Berman), Britten Studio, Snape (WORLD PREMIERE)
Live recording from 2018 performance
1. Tbilisi Funicular – Inside the Trolley
2. ‘Orion Head to Toe’ by Rogelio Bernal Andreo (Creative Commons Attribution-Share Alike 3.0 Unported)
mixed octet
7′
2016
picc(=afl).cl. – hn – perc(1): vib/crot/hi-hat/2 bongos/4 toms/BD/large susp.cymbal/ tam-t – str: 1.0.1.1.1
‘… there are spread
On the blue surface of thine aëry surge,
Like the bright hair uplifted from the head
Of some fierce Maenad, even from the dim verge
Of the horizon to the zenith’s height,
The locks of the approaching storm …’
– Ode to the West Wind, Percy Bysshe Shelley
Written for the Philharmonia Orchestra’s Music of Today Series as a result of receiving the 2015 Royal Philharmonic Society Composition Prize
23.06.2016 – members of the Philharmonia Orchestra (cond. Diego Masson), Royal Festival Hall, London
Live recording from world premiere
solo piano & 9 players
15′
2016
picc(=afl).cl.ob(=CA) – perc(1): mar/glock/4 toms/BD – pno(solo) – str: 1.1.1.1.1
Written on receipt of the University of York’s Terry Holmes Composer/Performer Award 2015, based on a joint application with pianist Jin Hyung Lim
Cast should ideally be performed in an auditorium where three separate instrumental groups can be placed behind/around the audience.
04.05.2016 – Jin Hyung Lim (piano), University of York Chamber Ensemble (cond. John Stringer), Sir Jack Lyons Concert Hall,
York (WORLD PREMIERE)
Live recording from world premiere
mixed sextet
6′
2014
clarinet, bassoon, trumpet, violin, cello, double bass
A contagious clarinet flourish spreads through the ensemble.
Written on Sound & Music’s Portfolio scheme
20/11/2015: Chimera Ensemble, Sir Jack Lyons Concert Hall, York
18/03/2014: Ensemble 10/10, Epstein Theatre, Liverpool (WORLD PREMIERE)
Live recording from world premiere
reed quintet
10′
2020
oboe (=cor anglais), clarinet (=clarinet in E♭), soprano saxophone, bass clarinet, bassoon
Uncanny Vale is a compact work that combines long melodic lines with energetic outbursts. The piece is a lively and engaging conversation for 5: whirlwinds alternate with lyrical passages, in which the individual players take the lead in turn. The jury was impressed by the excellent – often virtuosic and detailed – instrumental writing.
– Calefax Composers Competition jury
Joint winner of the Calefax Composers Competition 2020
Studio recording by the Calefax Reed Quintet, May 2021
An unattributed example of a 17th century anthropogenic landscape from the Flemish school
mixed sextet
6′
2020
flute, clarinet, piccolo trumpet, violin
‘an intricate, nervy dance that slips constantly between the playful and sinister with deadpan wit…This commendable release is a welcome introduction to a terrific new wave of composing talent.’
– BBC Music Magazine
Members of the London Symphony Orchestra
DARREN BLOOM conductor
DAVID LEFEBER Recording Producer/Engineer
COLIN MATTHEWS Producer
Recorded at Henry Wood Hall, London on 21 December 2020
Catalogue number: NMC DL3046
Release date: 23 July 2021
clarinet trio
10′
2019
clarinet, piano & cello
Composed on the Dartington Advanced Composition Course 2019, mentored by Harrison Birtwistle.
23.08.2019 – Tritium Trio, Dartingon Hall, Dartington (WORLD PREMIERE)
string quartet
10′
2017
09.11.2017 – Diotima Quartet, University of York Music Department, York (WORLD PREMIERE)
wind quintet
11′
2014
flute (=alto), oboe (=cor anglais), clarinet (=E♭ clarinet), horn, bassoon
Uncanny Vale was co-commissioned by Britten Sinfonia and Wigmore Hall following OPUS2014, a competition for unpublished composers. The commission was made possible by the generous donations of 22 people including principal commissioners Roger and Susan May and one donation in memory of Ettore Fenaroli, as part of Britten Sinfonia’s Musically Gifted campaign. Wigmore Hall acknowledges the support of André Hoffmann, president of the Fondation Hoffmann, a Swiss grant-making foundation.
PERFORMANCES
03/12/2014 – Britten Sinfonia, Wigmore Hall, London
01/12/2014 – Britten Sinfonia, West Road Concert Hall, Cambridge
28/11/2014 – Britten Sinfonia, St Andrew’s Hall, Norwich (WORLD PREMIERE)
RECORDING
Live recording from West Road Concert Hall performance
An unattributed example of a 17th century anthropogenic landscape from the Flemish school
mixed quartet
10′
2014
flute, percussion (2 singing bowls/rattle/vib/2 bongos/2 toms/BD/large susp.cymb/5 tpl.bl), violin, and cello
Commissioned by Dark Inventions for their 2014 Firewheel tour
Published by the University of York Music Press
Recording by Dark Inventions
16/04/2014 – Dark Inventions, Capstone Theatre, Liverpool
11/05/2014 – Dark Inventions, Left Bank, Leeds
10/05/2014 – Dark Inventions, National Centre for Early Music, York
08/05/2014 – Dark Inventions, The Engine House, Manchester (WORLD PREMIERE)
viola
5′
2021
Composed on the Psappha ‘Composing for…’ scheme 2021
Heather Wallington – viola
Mark Thomas – Director of Photography
Rob Kelledy – Sound recording and Mastering
Tim Williams – Editor and Producer
piano
3.5′
2020
Music for the eels at Sumida Aquarium in Tokyo during the 2020 COVID-19 Lockdown.
Written for Robin Haigh’s Twenty project.
trumpet
1′
2019
Composed on the Dartington Advanced Composition Course 2019, mentored by Harrison Birtwistle.
23.08.2019 – Tritium Trio, Dartingon Hall, Dartington (WORLD PREMIERE)
violin & cello
3′
2019
Live recording from world premiere
10.07.2019 – Kaleidoscope Chamber Collective, Pittville Pump Room, Cheltenham (WORLD PREMIERE)
violin & cello
5′
2018
The three-minute version above was written and filmed on Psappha’s ‘Composing for…’ scheme in Spring 2018.
A revised five-minute version was prepared for a concert performance later in the year.
15/11/2018 – Psappha, St. Michael’s, Manchester (WORLD PREMIERE)
bass clarinet & piano
13′
2017
13/06/2017 – SCAW, Sir Jack Lyons Concert Hall, York (WORLD PREMIERE)
solo mezzo-soprano and prepared piano
5′
2022
05/02/2022 – Jessica Summers and Jelena Makarova – Unitarian Chapel, York, UK (WORLD PREMIERE)
choir
5′
2019
sopranos, altos, and unison male singers
A setting of George Herbert’s Prayer (1)
Published in UYMP Anthems for Sopranos, Altos and Unison Male Singers
performance poet & bass clarinet
6′
2017
03/06/2017 – Shringi Kumari and Sapphire Littler – Stained Glass Centre, York, UK (WORLD PREMIERE)
installation
17′
2024
stereo speaker pair & optional video
Sonilluminations was a sound installation hosted by the John Rylands Research Institute and Library, Manchester, in July 2024.
The music draws from the eclectic collections held by the library, including their ornithological illustrations, medieval manuscripts, Jodrell Bank observatory records, broadside ballads, and Delia Derbyshire papers.
electroacoustic
8′
2022
Marble Anthem is a response to the monument to Sir John Stainer, by Henry Peagram, 1903, at St Paul’s Cathedral.
It was commissioned as part of the ’50 Monuments in 50 Voices’ project, a collaboration between St Paul’s Cathedral and the History of Art department at the University of York, which you can find out about here.
You can read more about the piece on the project’s blog here.
Marble Anthem uses the St Paul’s Cathedral Choir’s 1989 recording of ‘I Saw the Lord’ released on Hyperion records, conducted by John Scott and with Andrew Lucas playing the organ. The impulse response recordings were made on 25th August 2022 by members of the OpenAIR project at the University of York: Professor Damian Murphy, Dr Aglaia Foteinou and Dr Frank Stevens.
This work is one of the outputs of a Leverhulme Early Career Fellowship project, funded by the Leverhulme Trust and hosted by Guildhall School of Music & Drama.