Here are some kind words from writers young and old, including an incredibly perceptive(!) and intelligent(!) review from a member of the Britten Sinfonia Academy for young musicians:

Santoor Suite

Nach der Pause folgt sehr modern das erst im vergangenen Jahr vom jungen englischen Komponisten Patrick John Jones eigens für Bindewald und ihr Cembalo umgeschriebene Stuck ‘Santoor Suite’. Hier entfuhrt die Musikerin einerseits in die Heimat der Santoor, des trapezformigen Seiteninstuments Irans, Pakistans und Kaschmirs, andererseits verbinden sich dabei dustere und dramatische Momente derart phanomenal, dass man sich zu der Frage hinreissen lasst: Hort sich so das Nirwana an?

Oliver Steinke, Die Rheinpfalz, September 2017

Locks of the Approaching Storm

‘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, June 2016

Uncanny Vale

‘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, December 2014

‘Spectacular Jones, Graceful Nielsenthe 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 Student 2014-15), Britten Sinfonia Blog, December 2014


‘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, March 2014


‘dramatically assured’

Steve Crowther, York Press, May 2014