 
1/ London. The Times,10/12/85
Ieuan Jones, a harpist of exceptional musical imagination and stylistic panache, played a programme of original compositions for the harp at the Purcell Room. It was refreshing to hear no transcriptions for once: eighteenth century sonatas like those by Rossler-Rosetti and C.P.E. Bach revealed with stark immediacy Jones` skill at fleshing out the simplest of gallant formulae with luminosity of colour, timbre, mobile phrasing and astute pacing.
His ability to sustain more oblique harmonies and structure was tested in Tailleferre`s Sonata, and his skill as an entertainer in Renie`s Legende. Britten`s Suite confirmed the meticulous acoustic sensitivity of an artist I very much look forward to hearing again.
2/ The Independent 17/7/91
Rodrigo.was treated to a magnificently spirited performance of his Concierto Serenata, played with dazzling virtuosity here by Ieuan Jones.The piece combines most of Rodrigo`s winning ways to novel effect.
3/ The Advertiser,Croydon 10/2/89
Flying on the wings of Pegasus.
The winsome voice of the harp floated across the boards at the Ashcroft Theatre on Tuesday to open the Spring series of lunchtime concerts.
Making a welcome return to Fairfield was the gifted young harpist Ieuan Jones, who studied with Marisa Robles at the Royal College of Music and whose playing has since been highly acclaimed both at home and abroad.
There could hardly been a more auspicious beginning to a new season.
Mr Jones` mercurial fingers seemed to be impelled by some unseen force and flew over the strings as if invested with the wings of Pegasus, while producing extraordinarily beautiful sounds.
His choice of programme varied widely and contained something for every taste.
.It was delightful to hear Erik Satie`s Gymnopedie No.1 played so expressively on the harp instead of the customary piano.
But the music with which the concert opened was written so many years earlier. This was the Sonata in G by CPE Bach, here the hushed, ruminative adagio and the two sparkling Allegros were tellingly contrasted.
There followed the Impromptu Caprice by Gabriel Pierne, whose march of the Little Lead Soldiers charmed me as a very young child. I greatly admired the innate delicacy with which Mr Jones achieved the echo effect in the opening passages and the wide variety of tone he produced.
Added to the dexterity of his playing was a feeling of joie de vivre which gave it an extra dimension. This was particularly noticeable in his account of Paris born Marcel Grandjany`s Fantasy.
Liszt`s haunting Consolation No.3- played with compelling simplicity- was followed by the ubiquitous Liebestraume No.3, interpreted with equal charm.
The concert ended with the Introduction Cadenza and Rondo by Parish-Alvars (himself a virtuoso of the harp),who, as Peter Avis points out in the programme notes, was credited with having played Beethoven`s piano concertos on the harp.
But that as it may,in this work- he shows the executant no mercy. Ieuan Jones met its demands with stunning virtuosity.
Ida Holmes-Moss
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