Engegard String Quartet

The Engegard String Quartet came together in the beautiful Lofoten Islands off Norway's north west coast, but are now based in Oslo and are highly influential in current developments in Norway's chamber music scene. With their adventurous approach, often coloured by their sense of their Scandinavian heritage, they are increasingly in demand internationally. Their powerful performance on Wednesday evening certainly showed why The Mozart “Hoffmeister” Quartet characterised their performance throughout the evening. The four were at ease with one another and totally absorbed in their exploration of the contrasting colours in the piece. Arvid Engegard led strongly, but still gave his partners the space to express themselves individually. They clearly enjoyed bringing out the elements of wit and surprise in the piece, but where the pace changed and the mood darkened they brought a dramatic intensity to the transitions. All of this came into play in the final allegro and the audience loved it. In Claude Debussy's Quartet in G minor the interplay of the strong opening with a lighter melody created overall a feeling of powerful forces barely restrained, which continued even through the warmer, more playful second movement and beyond the more reflective viola opening of the third, when Engegard's sweetness of tone enriched the movement's conclusion. The cello came into its own in introducing the final movement which then gathered momentum to a breathtaking climax The recital culminated in Grieg's Quartet in G minor. An opening of enormous energy set up a series of exchanges with more melodic passages. Continuing through the second and third movements, lyrical moments were quickly overtaken, so that even when the melody returned we were always conscious of the underlying tensions. By the final movement the quartet were playing with enormous verve, giving themselves totally to the emotions of the music but with superb control. The character of the piece and the brilliance of the performers made a perfect match. After a performance of such power it seemed almost impertinent to ask for an encore, but the quartet obliged with a lilting evening song from north Norway
Author-David Reid

For more information please look at the Programme page here

Kristi Kapten (Piano)

The second concert of the season featured the pianist Kristi Kapten. The young Estonian who studied in Scotland gave a powerful, chest thumping, bravura performance of works by Beethoven, Rachmaninov, Liszt, Poulenc and Scriabin. Difficult pieces, but her technical mastery of the instrument was incredible. The pure energy with which she attacked the works she played was exhausting for the audience to witness. If you closed your eyes – not that anyone did during this tour de force – you would have thought that there must be at least 2 musicians playing! Kristi herself remained calm, poised and well in control of the music. Her program was “muscular” The Beethoven Sonata in E flat (Les Adieux) was followed by Rachmaninov Preludes 2, 3 and 6 and his Variations on a theme of Corelli. Scriabin’s Sonata number 9 – “the Black Mass Sonata” took us up to the interval. The rapid chords, chromatic scales, octaves, massive leaps of the hands, runs of triplets with little respite - left us all in need of the refreshments provided. Kristi talked us through her program and gave us insight into the pieces. The darkness of the first half of the concert gave way to a lighter feel in the second with a set of variations ( Les Soirees de Nazelle) by Poulenc and finishing with Liszt’s Spanish Rhapsody based on variations on a Spanish folk song and the “Corelli” theme ( a misnomer – actually a Portuguese folk song!) Kristi has played for us before as part of a trio. She would be welcome back anytime. An amazing talent. She received warm and heartfelt applause from an impressed and appreciative audience. She then sent us home with a witty light Poulenc Valse ringing in our ears.
Rennie Urquhart


For more information please look at the Programme page here

Pure Brass

The Pure Brass Quintet are welcomed into prestigious concert halls throughout Britain and abroad, as outstanding performers with a concert repertoire ranging from the renaissance masters, through every period of classical music up to contemporary avant garde. Their performance in the Old Kirk showcased all of these elements, presented with acute sensitivity and brilliant technique. Into this mix they threw a selection of jazz and popular classics to add a dash of different colour and their witty commentaries added to the entertainment value throughout. In the first half the classics predominated and the quintet's good humoured, even irreverent, introductions to a richly varied selection could not mask their virtuosity. The changes of pace and dramatic shifts in Dukas' “Sorcerer's Apprentice” showcased their dexterous fingering, followed by a richly textured exploration of Malcolm Arnold's “Brass Quintet”. The sensitivity of the group's playing of Gabrielli's “Canzonas 2 and 4” was a particular highlight for many before Mahler's “Ulricht,” a high exposure piece with passages of perfectly controlled unison, offered a contrast with the quicksilver fingering of the earlier pieces. The half ended with Bach's “Little Fugue,” hilariously introduced, then beautifully delivered. After the interval a lighter, contemporary mood prevailed, with more than a touch of the festive, as well as some surprises. We heard the Beatles as never before, in “When I'm 64” delivered with jaunty music hall razzmatazz, and provided the car key jingles in Iveson's “Christmas Crackers.” Kamen's “Brass Quintet” contains a reflective mood which we might not have expected from the composer of the “Die Hard” film themes. Following the “12th Street Rag”, played with verve at breakneck pace, Dougie Maclean's “Caledonia” closed the official programme, though the Quintet needed little persuasion to throw in “Chestnuts Roasting on an Open Fire” as an encore. Pure Brass demonstrated through the evening that they are pure classical performers of the highest calibre, but also that when they choose to “let their hair down” they can bring out unexpected and fine effects from music of any character. They also showed how versatile brass instruments can be in the hands of gifted performers; it was refreshing, for example, to hear how the tuba can come to the fore in playing extended melodies when the setting allows.
David Reid


For more information please look at the Programme page here

Navarra String Quartet

Kirkcaldy Music Society hosted the London based Navarra Quartet as part of the quartet's Scottish Tour. This String Quartet has an international reputation and has won many awards. Two of the original players (both violinists) had to be replaced at short notice due to illness. In no way did this detract from our enjoyment of the music. The two young violinists gelled with the violist and the cellist of the original Quartet line up as if they had played together for years. Their understanding of each others playing shone through. Their communication of the musicality and anticipation of the phrasing was positively psychic. They played as one. They started with Mozart's Quartet in D minor, K 431. This lulled us into a false sense of serenity with its easy listening, tuneful melodies. We all relaxed to the gentle strains of this late Mozart masterpiece. Our reverie was the interrupted by the dissonant discords and spiky rhythms of Karol Szymanowski's, rarely performed, first Quartet in C, Op 37 which followed the Mozart. This early 20th century work broke the mould and scandalised the establishment when premiered in Poland. It was much appreciated by the KMS audience. Everyone agreed that “It ought to get out more!”
Rennie Urquhart The second half of the concert was taken up with Johannes Brahms' Quartet No 3 in B flat, Op 67. Again beautifully played by four musicians at the top of their game. They obviously love the music they play and their enjoyment and enthusiasm was infectious. A wonderful evening of music of the highest quality to suit every taste! Rennie Uequhart


For more information please look at the Programme page here

Opera Bohemia

A late but essential cancellation due to illness by the Orfeo Trio led to a very welcome substitution by an ensemble from Opera Bohemia. A pianist and a violinist accompanied 4 singers. The ensemble gave us operatic highlights by, amongst others, Verdi, Lehar, Mozart and Puccini. The singing was first rate and their theatrical background was evident in the excellent acting out of the operatic scenes. The performances of whole group packed an emotional punch, which had several members of the audience raising a hanky to a watery eye (myself included). After the interval the program changed tack slightly and we were entertained to “show stopping” hits from American musicals including Carousel, Show Boat and Seven Brides for Seven Brothers. There were two instrumental pieces in the program giving the singers time to catch their breath. The Meditation from Thais by Massenet punctuated the first half of the evening and in the second half we heard Summertime/It Aint Necessarily So from Porgy and Bess by Gershwin. The Ensemble gave us an encore of Some Enchanted Evening from South Pacific – and it certainly was! The large audience was very appreciative. The applause was thundering and there was even foot stamping. Not something you often hear at the end of a classical music concert. We are extremely grateful to Opera Bohemia for stepping up to fill a gap in the season and for such a splendid evening.
Rennie Urquhart


For more information please look at the Programme page here

Martin-Higham-Milford Trio

With Covid and other delays causing previous cancellations, we welcomed the long awaited appearance of the Martin- Higham- Milford Trio. Their reputation had preceded them and an audience of over 70 welcomed them enthusiastically to the final concert of the 22-23 Season. The three musicians – Max Martin, Clarinet; Philip Higham, Cello and Julian Milford, Piano are at the top of their game and proved to be on excellent form. Max Martin is Principle Clarinet of the Scottish Chamber Orchestra. He is in constant demand as a soloist, chamber musician and teacher. Philip Higham is a local lad (Edinburgh) and is Principle Cello with the SCO. He has an equally busy international career. Julian Milford (piano) was a successful barrister before concentrating on his musical career, specialising in chamber music. In the first half of the concert they played the Beethoven Clarinet Trio in B flat, Op11, written when Beethoven was in his 20’s. A very tuneful and accessible piece with a beautiful middle adagio. We then heard the Brahms Clarinet Trio in A minor, Op 114. Brahms came out of retirement to write this for the clarinettist Richard Muhlfeld whose playing had so impressed him. After the interval, the musicians ended the concert with Beethoven’s Clarinet Trio in E flat, Op 38. This piece started life as a Septet and was extremely popular. Beethoven subsequently arranged it for Clarinet or Violin, Cello and Piano. The continuing popularity of the work irritated Beethoven who didn’t rate it compared with his more mature advanced compositions. We loved it. The trio played it at a fair lick and amazed us with their dexterity, musicality and mastery of their instruments. A truly great concert to end the season.
Rennie Urquhart


For more information please look at the Programme page here

AGM & Recital by Bruadar Duo

Following the AGM the traditional recital to round off another successful year was delivered by the Bruadar Duo of Lynn Strang (flute) and Kieran McCrossan (guitar.) Both are originally from Fife, but are establishing a much wider reputation. Opening with Villa-Lobos's classic “Distribuicao de Flores,” it was immediately clear that here was a duo who have a virtuoso command of their instruments as well as an intimate understanding of one another. Beneath the delicate vibratto of the flute the guitar provided a throbbing undercurrent of controlled energy, creating in combination a haunting effect. In the scintillating hour which followed the pair performed a diverse selection by contemporary composers, revealing in their solo pieces the rich variety of effects which can be created by each instrument and in unison bringing out even more. The cleverly balanced programme never lost touch with the classical tradition, as in Brendan Walker's “homage” to Villa-Lobos, but the contemporary composers took the duo's listeners onto new ground. From piece to piece shifting moods of drama, romance, poignancy and sheer joie de vivre kept the audience absorbed. In their consumate management of changes of pace from moment to moment the duo's acute sense of one another gave even momentary silences a magical quality. The finale was a brilliant transcription of “Rhapsody for Trombone” by Lynn's father, the late Bruce Fraser. This exhilarating piece was an ideal conclusion to a celebratory evening, as well as a fitting tribute to a man who as teacher, conductor and composer gave so much to Fife's musical life.
David Reid


For more information please look at the Programme page here

AGM