The Event
Masterworks
@ Pittville Pump Room
Tickets from £5.00
Tue 26th Jun 2012
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please call 0844 576 2210
Available Dates
| Tue 26th Jun 2012 7:30pm | from £5.00 |
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Joy Lisney, Cioloncello
James Lisney, Violoncello
Bach: Sonata in D, BWV 1023
Debussy: Sonata (1915)
Prokofiev: Sonata in C, Op.119
Vriend: JOY (2011) – first UK performance
Chopin: Sonata in G, Op.65
Joy Lisney, now nineteen, has been a regular visitor to the Pittville Pump Room since 2009. Now at Clare College, Cambridge she is just completing a successful series of concerts that have included a London debut at St Johns, Smith Square; two performances at the Amsterdam Concertgebouw (including a performance with Dame Emma Kirkby); recitals at the Cambridge and Limburg Festivals; and the first performances of JOY by Jan Vriend, the distinguished Dutch composer who has made his home in Tetbury. JOY was inspired by a performance that Joy gave of the Chopin Sonata in g, opus 65 and the music is haunted by the music of Chopin and Debussy – there is even a reference to Beethovens Ode to Joy!
“With just as much pleasure, we heard the flowering artistry of Joy Lisney. She is still in her teens, beginning her career, yet playing with an aplomb and rapport, a definition and vitality, an insight and ardour that many cellists better known and more experienced would do well to honour. Her sensitive musicianship was manifest. Her lyricism was uplifting and haunting. Her abrasive vitality in Suite Italienne was sensational. The Chopin was a revelation. This was clearly a true partnership between cello and piano – just as it was a truly living partnership between father and daughter [a fact I feel bound to stress because it contributed so significantly to the close understanding shown in this particular performance]. James Lisney – no mean virtuoso – accompanied Joy with a vigour and discretion of the utmost musicianship. As a result, the long first movement was an impressive success, a momentum derived from the discipline of Chopin’s eloquent intellect, especially clearly delineated, here. Moments of counterpoint, for example – places where the piano so easily pounds the cello into background obscurity – had exemplary delicacy and clarity, allowing the subtlety of Chopin’s inspiration to shine forth.” The Classical Source 2010
More information
- Category: Music, Classical Music
