Tchaikovsky Symphony No 4, City Side Sinfonia, St John’s Smith Square.

“The performance appeared excellent, a comment that could certainly be applied to the well-known strains of Tchaikovsky’s Fourth Symphony. Steven Joyce produced a reading in the first movement of no little stature; his technique was remarkably effective, without in the least appearing to be unwarrantedly overbearing. That first movement is in many ways the most difficult, structurally, to bring off satisfactorily, but in this instance it was both coherent and expressive, with the capacity to unleash power when properly called upon. The finale was really excellent; it was rare to hear this familiar masterpiece played with such self-evident commitment and sense of discovery. This was an important concert for conductor and orchestra (made up of gifted young professionals). Steven Joyce is a conductor of notable merit, and one hopes that he will be given a chance to prove his worth with more established orchestras” - Robert Matthew Walker, ClassicalSource

Mahler, Symphony No 6. Orchestra of Royal Academy of Music/Royal College of Music/Guildhall School. Duke’s Hall, Royal Academy of Music.

Sibelius, Tapiola/Symphony No 7. City Side Sinfonia, St John’s Smith Square.

“This ambitious programme was framed by two of Sibelius’ masterworks. Tapiola sounded unusually (and ear-catchingly) plaintive, with potent silences. Ominous clouds did gather and the performance entered the ‘twilight-zone’. Steven Joyce - all of his gestures serving the music and the needs of his players - underlining the ‘fantasia’ aspects of Tapiola rather than the symphonic ones. It was an absorbing realisation, as was the Seventh Symphony, and account that confirmed the excellence of the wind and brass, and a general sense of culmination that was satisfyingly delivered.

Schoenberg Violin Concerto, Ilya Gringolts, City Side Sinfonia, Cadogan Hall.

Schoenberg’s Violin Concerto was the concert highlight. Quite a coup to have engaged Ilya Gringolts to play it, and very few top-drawer virtuosos do essay this ‘Cinderella’ work. What emerged was a lucid and tightly organised account of invention that required hard work from performers and listeners. These musicians, as a collective, had the measure of all three movements, bringing out the emotions and conversations of the score and also its whimsies. A performance to savour for both it’s quality and it’s revelations” Colin Anderson, ClassicalSource