I have nothing but praise for James Lisney's piano playing; he combines velvet touch and wide range of colour with complete understanding of phrasing and dynamic shading. This is someone who can really give the mechanical box of wires and wood a singing soul. The Telegraph
James Lisney
I have nothing but praise for James Lisney's piano playing; he combines velvet touch and wide range of colour with complete understanding of phrasing and dynamic shading. This is someone who can really give the mechanical box of wires and wood a singing soul.
The Telegraph

Gloucestershire Echo Review

1 Feb 2010

James Lisney: Schubert - Pittville Pump Room, Cheltenham Monday 1st February 2010 From a velvet glove to an iron hand, James Lisney interpreted Schubertís Moments Musicaux and Impromptus in meaningful and impassioned piano playing, concentrating on those written in 1827. Moments Musicaux D780 swept from the tender graceful sections of No 1, with purringly soft pianissimo sections, to the ever-familiar dancing Andantino No 2, to the continuously busy movement of No 4 and insistent demanding Allegro Vivace No 5. Capturing magnetic linking narratives in the two separate sets of Impromptus, James imbued wonderful colour and warmth in his performance. Beginning with impelling and long-held widely-spaced G octaves in D 899, the journey took us through Schubertís abstract imagery. The familiar languid melody of the No 3 In G Flat played sensuously in this black-noted key gave way to the tumbling accompaniment of No 4. The final set of Impromptus D 935 brought Jamesí gentlest of touches producing whispers of notes in No 1, the familiar Rosamunde theme in No 6 and a dazzlingly technical display in the scale runs, trills, hemiolia and other devices in the final Impromptu No 8. Concluding with Chopinís Impromptu In G Flat, the seduction of a laudatory audience was complete. Jill Bacon



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