Saturday 24th. February 2024 at 7.30 p.m.

St. DAVID'S CHURCH, EXETER

ISCA ENSEMBLE with

JOEL MUNDAY  violin

VANESSA HRISTOVA  viola

JOE SHARP  oboe

Mahlerian triumph!

Exeter Cathedral Concert 6th. November 2021 with Luka Okros - piano

Takashi Yoshimatsu: And birds are still .... Op. 72

Beethoven :  Piano Concerto No. 1 

MAHLER : SYMPHONY no. 1 'Titan' 

Saturday 31st October Sidmouth Parish Church at 3 p.m.
Isca Ensemble Chamber Orchestra directed by Roger Hendy
Mozart : Symphony No 29 in A major K201
Mozart : Bassoon Concerto  in B-flat K 191 (Lynda Edwards - soloist)
Pergolesi : Stabat Mater (Chloé Stratta & Anna McLachlan - soloists)

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Saturday 12th. December Sidmouth Parish Church at 3 p.m.
A special celebrity Recital
Joel Munday - violin  (prize-winning young artist from Devon)
Lucas Krupinski - piano (internationally renowned young pianist from Warsaw)
César Frank : Violin Sonata, other works by Bach, Schumann and Ravel
Artists' websites
https://www.joelmunday.co.uk
https://www.lucaskrupinski.co.uk

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Superb Sidmouth Concert.

Devon-born Joel Munday (violin) teamed up with Polish pianist Lucas Krupinski in a special concert in Sidmouth Parish Church on Saturday 12^th December coordinated by Roger Hendy, MD Isca Ensemble.

In Bach’s Violin Sonata B1003, Joel Munday displayed an immaculately controlled technique producing clear, diligently shaped dynamics, agogics and articulation throughout with due attention to some finely crafted expression to every motif. With flawless intonation, his playing produced a serene and highly charged emotional atmosphere. 

Schumann’s Second Violin Sonata followed with great impact. The ensemble was superb and the musicians immediately conveyed the stature of this substantial piece. The urgency of the music swept onwards with Lucas Krupinski bringing out the many countermelodies and rhythmic quirks that bring this work close in style to Brahms. The emotional centre of the piece was the slow movement where poignant pianissimo pizzicato passages followed by a beautifully paced chorale theme were so lovingly developed by Joel. The performance found room for light and shade among busy energetic rhythms.

Lucas Krupinski then gave a truly outstanding performance of Ravel’s ‘La Valse’. His interpretation brilliantly set out to evoke Ravel’s aim to create ‘a dancing, whirling, almost hallucinatory ecstasy’. Playing with exceptional virtuosity, Lucas successfully projected all the extravagantly voluptuous Straussian episodes of the piece with great panache resulting in a standing ovation. 

César Franck’s Violin Sonata was then performed with extraordinary maturity allowing the cyclical ideas of the piece to permeate through. Playing with a warm rich tone and supported by lush flowing piano accompaniment, Joel tastefully projected the swaying opening motif. In the Allegro the performers let loose with a gutsy, powerful sound whilst the beautifully crafted, anguished theme of the third movement conveyed yet more highly charged emotion. The musicians poured out their souls in the Allegro poco mosso aiming to drain every last ounce of sound from the violin and piano thus propelling the listeners towards the radiance of the triumphant final bars. The performance deservedly received a sustained and enthusiastic show of appreciation from the audience.

The concert was giving in memory of the late Joyce Hall from Sidmouth. 

Haydn : Te Deum in C.      Exeter Cathedral Concert 19th. October 2019

Haydn : The Creation.   Extracts from the Exeter Cathedral Concert 19th. October 2019

Concert review.

ISCA ENSEMBLE AT ST. DAVID’S CHURCH, EXETER

SATURDAY 7th. MARCH 2020.

For its latest appearance the Isca Ensemble chose a different venue from its more usual one at Sidmouth Parish Church. Although playing in larger surroundings, it reduced its numbers to that of a chamber orchestra when it played at Exeter’s St. David’s Church on Saturday. Furthermore, there was a choice of programme to match, with a number of Baroque pieces and Pergolesi’s sensationally successful Stabat Mater in its twelve numbers.

Under Roger Hendy’s able direction the orchestra showed itself to be just as much at home as in the larger symphonic repertoire. It was the Double Flute Concerto in G minor, by Johann Quantz that opened the programme. He was well-known as a flautist in the eighteenth century and ended up in the employment of the musical Frederick II, King of Prussia. Robert Stephenson and Sophie Brewer stepped from the orchestra to take the solo parts. And this they did admirably, providing a beautifully balanced duo, with some charmingly nuanced phrasing, in their bright, incisive interpretation, while the orchestra provided well- judged support.

For a couple of Bach arias Isca brought in a two of fine young sopranos with experience in both the operatic and oratorio world. Chloé Stratta chose as her contribution. Blute nur, du liebes Herz! (Bleed out you loving heart!)  from Bach’s St. Matthew Passion. This well-known aria was sung with the requiste depth of feeling, and the orchestra provided a perfect foil. It was the turn of Anna Marie McLachlan to sing the second Bach aria. From the Ascension Oratorio, it is essentially a trio sonata, with the voice and unison violins taking the two melody parts, supported by the continuo. This difficult form was nicely handled by singer and orchestra under Roger Hendy’s capable helm.

Joe Sharp, again showing the quality of the orchestra’s members, undertook the solo part of the popular D minor Oboe Concerto by Alessandro Marcello, and it was given a stunning delivery with playing of real confidence and panache.

It was the turn of the two ladies to face the limelight for the Pergolesi Stabat Mater, one of the greatest works ever written in praise of Mary who stood at the foot of the Cross during her son’s agony.  And all this, by a young composer who died at 26. The two worked together perfectly with the Ensemble, bringing the poignant inner parts of the work well to the fore. 

All in all, this was a delightful professionally presented concert with quality playing and singing throughout.

© John Dalton – March 2020  

Recordings of the David Trombone Concertino with Raddon Stephenson as soloist.

Review

Review - East DevonPress.

Packed church hears great programme of music.

Sidmouth Parish Church was well packed with concert-goers on Saturday evening last to hear a terrific programme of music delivered by the ISCA ensemble, enlarged to cope with the increased orchestration of the pieces played. Music Director Roger Hendy programmed three excellent and popular works for this event aimed at providing additional funds to Hospiscare through a retiring collection.

The jubilant and cheerful Academic Festival Overture by Brahms opened the proceedings. The orchestra worked through the more stately opening themes to revel in the boisterous subsequent sections. Worthy of mention were the fanfares and good contributions from both brass and percussion. The piece raised academic eyebrows at its premiere but has been a firm concert favourite ever since.

Emmanuel Bach has become a regular visitor to Sidmouth through the ISCA ensemble and we have seen his confidence and ability grow thanks to coaching from top flight ensembles and workshops with famous conductors and players. In Sibelius’ Violin Concerto therefore, not an easy piece to cope with, he gave a strong and commanding performance, enough to have a good proportion of the audience on their feet at the end. He and the orchestra built up the power and drama of the opening well, made an eloquent slow movement and, with good support from the lower strings, a strong and confident finale.

After the interval Roger and his orchestra concluded with more Brahms; his ever popular 4th Symphony. Perhaps we can see why Brahms might have thought he would not surpass this in any other symphonic work for it to be his final symphony.

The strings created a lyrical opening to the first movement and continued in building up to its grand climax. In the slow second movement the brass and wind drew out the heroic and romantic nature of the folk idioms written in it. The third movement is another full blooded affair with ebullient cascades from brass and wind sections.

The players did not fail in the finale, maintaining their momentum to bring this fine piece to a triumphant conclusion.

SHS.

Review.

ISCA CLOSE SEASON ON A HIGH.

The ISCA Ensemble, with musical director Roger Hendy, gave the 2017 Joanna Leach Memorial Concert last Saturday in Sidmouth Parish Church, closing their current season and producing over £500 from the retiring collection for the work of Hospiscare.

The Ensemble started their programme enthusiastically with a vigorous performance of Mozart’s Overture to the Marriage of Figaro. The popular tumble of tunes poured out with great jollity.

The main work was Beethoven’s piano concerto no 4, featuring pianist Andreas Boyde, who has built his reputation with electrifying performances for many of London’s leading orchestras. Pianist and orchestra were excellent together, Boyde’s articulate keyboard work producing a crisp and clear performance throughout the piece; the ensemble showing they had the mastery of the necessary gradations of light and shade in their playing.

Each of the three movements had its high points. Boyde’s cadenza playing was a consummate display of technical skill in the first. It was probably he also who set the more measured pace of the andante second which, with sympathetic orchestral support, gave it an added measure of gravitas to great effect. The lively third went at a good brisk pace, finishing with a flourish of great exuberance from both pianist and orchestra.

After the interval came Haydn’s symphony no 102. The orchestra developed the vigorous main section in exemplary fashion, as they did with the intricate and elegant adagio movement which followed.  The minuet movement danced playfully as it should before the almost unexpectedly jaunty finale brought the piece to an end.

The final work was Dvorak’s Czech suite, a set of pieces inspired by the folk music of his homeland. The orchestra excelled here too. The prelude was a smooth and graceful pastoral setting reminiscent of the gentle drone of bagpipes. In the polka the players developed the dance from its slow beginning to a lively end. The minuet presented rounds of happy country dances. The beautiful Romance gently led to the finale, a furiant which built up to an energetic and boisterous conclusion to the work, the concert and a very successful season.

SH-S.

Review.

ISCA CONCERT HELPS RESTORE VICTORIA WINDOW.

Visit by the Bishop of Crediton.

With every concert in Sidmouth Parish Church the ISCA Ensemble seems to go from strength to strength under the tireless guidance of Musical Director Roger Hendy. Saturday last was no exception in an enthralling programme with two visiting and very fine soloists, Dutch violinist Amarins Wierdsma and German violist Christoph Slenczka. The special guest of honour was Revd Dame Sarah Mullally visiting the church as the new Bishop of Crediton.

Beethoven’s Romance for violin and orchestra was Amarins’ opportunity to shine, opening as sweetly as one could wish. She excelled in her solo role but, what a refreshing change, she also played along with the orchestra between her solo spots; this was sheer enjoyment for her. The audience clearly appreciated the close integration between soloist and orchestra.

Mozart’s Sinfonia Concertante for violin, viola and orchestra introduced Christoph. From the start the two again played in with the orchestra. In their solo roles they showed excellent co-ordination passing phrases back and forth between themselves. Their complete awareness of each other, from their experience as players in the Barbican String Quartet, added to the joy of the exuberant first movement which earned appreciative applause before moving on to the gracefully spiritual slow movement. The finale returned to more joyous mood with the lighthearted themes passed between soloists and orchestra.

Rector Philip Bourne then explained the benefit of this and other Isca Ensemble concerts in helping meet the church’s £6,000 outstanding burden from the restoration of the Victoria window. This also provided a window of escape for Amarins who had to travel to play in the Amsterdam Concertgbouw the next day! 

The first half closed with the familiar theme of Bizet’s Carmen Suite enthusiastically introduced by the percussion, setting the tone for the hugely enjoyable mix of pieces from the opera.

After the break Christoph returned to the platform for Bruch’s Kol Nidrei, a hauntingly beautiful piece drawn from Jewish tradition. He got exactly the feel of the work, his viola singing clearly and sweetly through the long beautiful phrases.

Roger and his players brought the evening to a resounding conclusion with de Falla’s suites from The Three Cornered Hat. From the opening fanfare of brass and timpani they caught the jaunty, swaggering, swaying Spanish rhythms of the work right through to the triumphal end; a thoroughly enjoyable performance.

Stephen Huyshe-Shires.

Winner of the prestigious The Arts Club Karl Jenkins Classical Music Award 2014 in association with Classic FM and The President's Award presented by HRH The Prince of Wales, Korean-born British violinist Joo Yeon Sir has performed as a soloist, recitalist and chamber musician at major venues across the UK including Wigmore Hall, Manchester Bridgewater Hall, St. Martin-in-the-Fields, St James's Piccadilly, Fairfield Halls, Victoria and Albert Museum, National Gallery and St James's Palace in the presence of HRH The Prince of Wales. In 2006, aged sixteen, Joo Yeon was overall Grand Prix Laureate at the Nedyalka Simeonova International Violin Competition in Bulgaria, where her gala performance was broadcast on Bulgarian National Radio. Since then, she has won numerous competitions and awards across Europe including the Making Music Philip & Dorothy Green Award for Young Concert Artists, Tillett Trust Young Concert Artist Platform, Royal Philharmonic Society Emily Anderson Award and Isolde Menges Prize. Joo Yeon has twice won the prestigious Concerto Competition at the Royal College of Music, where she currently studies with Dr. Felix Andrievsky on the Artist Diploma programme as Constant & Kit Lambert Junior Fellow 2014-2015 awarded by The Worshipful Company of Musicians.

Review. Archant Press 2016.

As seems to be the norm in the staging of its full-scale Sidmouth orchestral concerts, the Isca Ensemble under its regular conductor, Roger Hendy presented an extremely ambitious and exciting programme on Saturday 5th. March in the Parish Church for Hospiscare. This is the fourth time I have heard this local orchestra whilst visiting Devon and on Saturday the Ensemble was on top form. Its players and MD must have put in hours of practice to prepare for such a rich and extremely challenging programme only to succeed in accomplishing it with considerable aplomb. Glinka's magical Overture 'Ruslan and Ludmilla' opened the programme amply displaying the versatility and skill of all sections of the orchestra. Taken at a brisk pace, it was performed with enormous confidence and accuracy with the strings managing those exposed and difficult passages with comparative ease, thus contributing to a delightful starter.

Roger Hendy then introduced the next piece to the audience, the Symphonic Metamorphosis on themes by Carl von Weber, allowing them to listen to a preview of some of the thematic material of this rarely heard but stunning piece. Although by its thematic material it belongs squarely in the European tradition, it was composed with the virtuosity of American symphony orchestras in mind. Fortunately, I was one of very few in the audience sufficiently familiar with this work and therefore knew in advance what the Isca players had taken on. It is quite remarkable that a local amateur orchestra can even attempt to play such a complex work which I know some leading London orchestras would have problems with! Isca pulled off a most magnificent performance which had the audience buzzing during the ensuing interval. From the opening bars, the Ensemble was out to show what it could really achieve captivating our attention with the music's pulsating and intoxicating rhythms. The resonance and vibrancy the orchestra achieved in this beautiful church was something really special. The complex Turandot which followed utilising an admirable full percussion section, fully explored the rich harmonies and hypnotic qualities of Hindemith’s unique orchestration. Roger Hendy admirably steered his players through the concluding finely-shaped graded crescendo with all sections building to create a rich and very satisfyingly intense sound. The beautifully crafted slow movement with exquisite flute obligato followed which allowed only temporary respite before the final boisterous March which was rounded off with great panache and memorable strong string and brass contributions. The final extremely fast-moving triplet passage accompaniment by the woodwind for the swooping horns was also most enjoyable.

As if to underline the versatility of the orchestra, the final chosen work in the concert was the famous and programmatic 'London Symphony' by Ralph Vaughan Williams written in 1913 just before the outbreak of World War I. Right from the very opening pianissimo bars in the strings with the eerie harmonic Westminster Chimes of the harp, the performance was a highly charged and very emotional experience. The long and very intense, often sinister opening movement was well developed - the woodwind and brass uplifting the sections depicting the growing boisterousness of the great metropolis. The idyllic slow movement which, as the programme notes suggested, is arguably some of VW's finest writing, was again very well blended by the Ensemble with some nice contributions by the strings, solo horn and other woodwind instruments.  After a bustling and exciting scherzo, the performance of the final movement reached another terrific high with great attention to dynamics and tempi. The final Epilogue gradually wound down to a most exquisite and soft conclusion as the sun set over London. The performance received a well deserved long reception by a most appreciative audience.

I hope to travel from London again, return to Sidmouth and catch another performance by this admirable band of players. I see from the programme that the orchestra next performs in Sidmouth on 30 April when the strings team up with the violinist, Emmanuel Bach from London. I must make the effort to attend.