"… 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."
Joy is delighted to have been awarded the post of Composer in Residence at Cambridge University Music Society for the 2016-17 season. …
Cambrige University Chamber Orchestra perform 'Thread of the Infinite', May 2017.
Lisney’s work, representing a kind of Coleridgean celebration of the ‘One Life’ in Nature, is developmental and cumulative, with one motif impacting on another in an organic and haunting sequence, through all of which runs a consistent theme or ‘thread,’ from the opening to the conclusion of the piece, and played on a Cor Anglais.
The audience was held by the hypnotic, sometimes eerie, effects produced by intervals of shivering strings with some startling brass and percussive interventions.
Joy was duly called onstage to acknowledge the deserved appreciation she received for what was an interesting, original and obviously much appreciated composition.
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Conducting the Seraphin Chamber Orchestra, May 2017
There, in the first chord (and at which one could smile contentedly), was established the spirit of Vaughan Williams – and the King’s chapel-bell, a regular at concerts, chimed eight o’clock without one’s having a care in the world. With a well-defined, slower tempo than is much heard, Joy Lisney enhanced the luminosity of tremolo-infused beauteous calm that is part of RVW at his best...
Park Lane Group Recital, St. John's Smith Square, April 2017
...The work [Jan Vriend's Symphonic Dances] gave full rein to Joy’s formidable technique while also demonstrating how such technique should always serve the music. This is clearly the type of music she relishes – she’s very alert to rapidly shifting moods, contrasting motifs, expansive writing and technical challenges – and her enjoyment was evident: this was playing suffused with style and energy.
Concert For Peace, St. James' Piccadilly, December 2015:
Haydn Concerto in D major:
Joy Lisney held the audience throughout with her fluent and flawless performance, all delivered with apparent ease. Her musicianship shone through, with the graceful tunes in the first movement, combined with its inherent virtuosity, and the slow movement showed a deeply committed cantabile style. The finale was delivered with real élan, leading to a standing ovation from the audience. It was lovely to hear a young player with such talent at the beginning of a promising international career.
Dutch composer Jan Vriend about Joy Lisney:
Joy Lisney is an asset to cherish and nurture! And it is to be hoped that her phenomenal talent will remain as unassuming and committed to the cause of music as it is now.
Her focus on the music she plays is total and without any mannerism or affectation.
It flows straight from her person to the audience, as if her instrument is a mere extension of her body, creating an unadulterated musical bond of sheer honesty and directness. Her understanding of the music of whichever period and style is utterly mature and her intent on conveying that understanding infectious and entirely natural – musical communication ‘pur sang’!
The same can be said of the rapport between Joy and her father, James, whose accompanying skills are on an equal footing and rest on a shared respect for the music. Audiences cannot fail to respond accordingly.
... a musical treat of rare quality.
(Haslemere festival 18th April, 2013)
... 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.
(Classical Source, concert with Emma Kirkby, 2010)
Joy Lisney may have only just entered adulthood, yet she plays with the sort of poise and authority a seasoned performer twice her age would envy. From the opening measures of the Lutoslawski, she was commanding, her deep involvement in this music evident in the articulate and passionate sounds she wrought from her instrument.
(St. John's Smith Square, 2011)
... presented a mature and magical performance of this fiendishly difficult concerto with a calmness and skill that belied her tender years and that would leave many an established soloist feeling jealous of her extraordinary technique.
Already hailed as `the new Jacqueline Du Pre` at the age of seven, Joy is indeed a star in the making - if not, indeed, already fully fledged.
(Shostakovich concerto 2010)
Ravel – Sonata for Violin and Cello (Krysia Osostowicz - violin)
Brahms – Piano Quartet No. 1 in G minor Op.25 (with Krysia Osostowicz, Alinka Rowe, Mishka Momen)
Conducting the Seraphin Chamber Orchestra
Gustav Mahler - Adagietto from Symphony No. 5
Alma Mahler - 5 Lieder (orch. for strings)
Gustav Mahler - Urlicht from Symphony No. 2 (orch. for strings)
Franz Schubert - Quartet No. 14 Death and the Maiden (arr. Gustav Mahler)
Elgar Cello Concerto
with the Petersfield Orchestra, conducted by Mark Biggins
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