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Mozart’s Il re pastore – Harvard Radcliffe Chorus
“The orchestra was tight and energetic, with Grand Harmonie’s period winds — wooden flutes, valveless brass, tangy reeds — providing especially brisk colors. (Where modern horns might smooth out harmonies, the four natural horns injected ear-opening fizz and funk.) Directing from the fortepiano, conductor Edward Elwyn Jones garnished the overall brisk pace with enough lilt to keep the phrases airborne.”— Matthew Guerrieri, The Boston Globe
“Edward Elwyn Jones, Music Director of the Harvard Radcliffe Chorus and organist and choirmaster at Harvard’s Memorial Church, assembled a stellar ensemble consisting of five remarkable singers and the excellent players of the period ensemble Grand Harmonie in a concert performance of Mozart’s Il re pastore (The Shepherd King)…” — Virginia Newes, The Boston Music Intelligencer
Britten’s The Prodigal Son – Intermezzo Opera
“The orchestra under Edward Jones was pointed and poignant.”— Jeffrey Gantz, The Boston Globe
Vaughan Williams’ Dona Nobis Pacem – BMOP and Harvard Radcliffe Chorus
“On Sunday, May 3rd, the Harvard Radcliffe chorus and the Boston Modern Orchestra Project, conducted by the chorus’s regular director Edward Elwyn Jones, offered a short program of two choral works to texts by Walt Whitman, the preeminent poet of the Civil War.
Edward Elwyn Jones marshaled the choral and orchestral forces, with two fine soloists, into a splendid and moving event.(Vaughan Williams’s Dona nobis pacem)” — Steven Ledbetter, Boston Music Intelligencer
C.P.E. Bach’s Die Israeliten in der Wüste – Harvard University Choir
“The Israelites in the Wilderness [Die Israeliten in der Wüste] is about extreme people in extreme circumstances, who wander with no water or food until Moses strikes a rock, whence flows water.
…This performance, by the Harvard University Choir under Jones with soloists Amanda Forsythe, Jessica Petrus, Jonas Budris, and David McFerrin, the Harvard Baroque Orchestra and Grand Harmonie, was beautiful and most engaging.” — Letitia Stevens, Boston Music Intelligencer
Handel’s Athalia – Harvard Memorial Church
“…it is [Handel’s] Athalia (1733) that is generally considered to be the first great English Oratorio. The work played at Harvard’s Memorial Church under the vivid direction of Edward Elwyn Jones on Friday evening.
It is hard to imagine better advocates for the piece than Jones and his assembled forces.
…The expert continuo group was comprised of Jones (at the harpsichord), Carrai, Thomas Sheehan (organ and harpsichord), Sally Merriman (bassoon) and Benjamin Rechel, bass.
Credit goes to Jones for programing this rarity, assembling a superb cast, orchestra and chorus and presiding over marvelously detailed execution with a clear sense of architecture.” — Michael Beattie, Boston Music Intelligencer
Gluck’s Orfeo ed Euridice– Grand Harmonie
“Jones kept the proceedings moving without ever pressing, and Grand Harmonie made some spectacular sounds: from string ensemble work that was fragile and glassy to period wind hell-music that got a little imprecise, but was gratifyingly raunchy. And it bears repeating that the Harvard University Choir sang with such tonal polish and personality that they were missed when they went quiet.” (WILLIBALD, Orfeo ed Euridice)— Brian Schuth, An Orphic Christoph Willibald at Mem Church
Handel’s Alexander Feast –Harvard Radcliffe Chorus
“The whole evening was presided over at the harpsichord by the musically and obviously skilled conductor Edward Elwyn Jones. He has become a major player in the Boston/Cambridge musical scene over recent years and every good thing one has heard about him seems to be true.” (HANDEL Alexander’s Feast, Harvard/Ratcliffe Chorus, Sanders Theatre) — Donald Teeters, Boston Music Intelligencer