Gina McCormack & Nigel Clayton (Violin & Piano)

The first concert of the 24/25 season got off to a cracking start, attracting an audience of over 60, who braved the torrential rain to attend the Auld Kirk. Gina McCormack (Violin) and Nigel Clayton (Piano) were welcomed and introduced to the Society by the President Mairi Rolland. The musicians were beautifully turned out. Nigel in evening dress and Gina - in what can only be described as a “gown”. A shimmering, full length, midnight blue creation worthy of Shirley Bassey. They started their programme with the Mozart Violin Sonata in B flat, K454, a work which, according to legend, was completed minutes before the premier. The violinist had to sight read her part and Mozart, at the piano improvised. He put a blank sheet of paper on the stand so as to give the impression of preparedness and professionalism. Sublime music with no sense of its hurried creation. Beautifully executed by the musicians with passion and empathy in equal measure. The Mozart was followed by a Romance for Violin and Piano by the American composer, Amy Beach. Amy Beach is being rediscovered. She was a gifted pianist, teacher and composer born in America in the 1860’s. Her career was put on hold on her marriage to a prominent doctor, who felt it improper for a man with his position in society to have a “working wife”. She was restricted by him to giving 2 concerts a year and absolutely no teaching. On his death Amy picked her musical career back up. She left an important legacy of music which is gaining popularity and its rightful place in the repertoire. Ernest Chausson’s Poème took us up to the interval. The influence of Wagner was clear from the start – but with a French twist. The piece was originally for Violin and Orchestra, but worked well in this transcription for piano and violin. After the interval we were treated to a bit of a Fauré – Fest. His Romance started the second half of the evening. This piece was not initially well received in 1894 – but gained popularity on repeated hearing. The Romance was followed by his youthful First Violin Sonata. A great programme of accessible music, beautifully performed by two artists at the top of their game. The concert was greatly enjoyed by those present and set a very high bar for the rest of the season. After several curtain calls, Gina and Nigel returned with an encore. They sent us out into the night (thankfully it had stopped raining) with a Nocturne by the French composer Lily Boulanger who died tragically young at 24.

Rennie Urquhart

Noûs Quartet

The second concert of the season featured a welcome return of The Quartetto Noûs who maintained the highest of artistic standards set by Gina McCormack and Nigel Clayton who had opened the season for us. The quartet are currently criss- crossing Scotland on a 7 date tour. They arrived from Peebles where they had given a concert the night before. Four adults, luggage, instruments including the cello (equivalent to a 5th adult) were packed into a hire car. After they had unfolded themselves and stretched cramped limbs they wowed an audience of nearly 70 to a world class concert. They played with an understanding and anticipation of each other that suggested almost telepathic communication. This gave a wonderful sense of balance and one-ness. allowing them to bring out all the joy, passion, darkness and lyricism in their varied program . No doubt that these young people are absolutely at the top of their game. We are extremely fortunate in Kirkcaldy that we have the opportunity to experience such great music performed by such talented musicians. They started with Haydn – the “Father“ of the string quartet – and his Quartet in B minor Op 64 No 2. If Haydn was the father, then Shostakovitch would be his rebellious grandson. He was always in trouble with the authorities in Stalin’s Soviet Union for his decadent, bourgeois music. His Quartet No 4 in D major, which followed the Haydn, and took us up to the interval, had to wait till the dictator was dead before it could be premiered. After the interval we were back in more familiar territory with Schubert’s String Quartet D810 in D minor. Again sublime music performed with passion as well as intelligence and sensitivity. All present were in unanimous agreement that we were very privileged to have attended this concert. We showed our appreciation with prolonged applause calling the musicians back to the stage 3 times – until they were obliged - by our clamouring for more - to quieten us down with an encore. The evening finished with the 1st movement of a Boccherini String Quartet (No 64). A delightful piece. Number 64? Just how many are there? Definitely worth exploring more of this prolific composers output. A huge thank you to the Quartetto Noûs for a splendid evening of great music performed to the highest level.

Rennie Urquhart

London Chamber Ensemble Quartet

For the last concert of 2024, KMS was delighted to welcome the London Chamber Ensemble Quartet to the town. On arrival at the station, and after a quick stop off at the Auld Kirk to familiarise themselves with the venue for the evening’s concert, the quartet were whisked up to Kirkcaldy High School. There they held a workshop for aspiring young Kirkcaldy musicians. The workshop was organised by Michaela Ducket, Acting Principal Teacher of Music at KHS and funded by KMS. Michaela had arranged for pupils and staff from Balwearie and St Andrew's High Schools to also attend, with their instrumental instructors. There were about 80 pupils present, all of them string players at various stages of their musical education. The Quartet played and talked about excerpts from Borodin's and Ravel's quartets and three pupils played: two played the first movement from Bach's concerto for two violins and one played a movement from Stravinsky's Pulchinella Suite. Madeleine Mitchell, then discussed the music with them and played along with them in a masterclass. Finally, pupils asked questions of the quartet, mainly about their own experiences and how to practise. It was a most successful occasion, and it was particularly gratifying to see several pupils and members of staff subsequently attended the evening concert, which was attended by an audience of over 70. The Quartet, Madeleine Mitchell (violin), Gordon MacKay (violin), Bridget Carey (viola) and Joseph Spooner (‘cello) played a varied program of string quartets. They started with Alexander Borodin’s Quartet No. 2 in D major. In his day Borodin was better known as a research chemist and educationalist, rather than a composer and musician. Obviously a bright lad. This is a familiar piece packed full of good tunes – plundered by Broadway and Hollywood for the 1950’s musical and film – “Kismet”. People of a certain age would find it hard not to think of the words of the songs, but what Borodin does with the tunes, passing them back and forth between the instruments, transcends mere words. Maurice Ravel’s quartet in F major followed. Written whilst still a student, it is a languid, melodic work. The second movement was very familiar to those in the audience old enough to remember the TV series “The Camomile Lawn”. After the interval, the gloves came off and the big guns came out, and we were exposed to the full force and fury of one of the late Beethoven quartets (Op 131 in C minor). This quartet was written when Beethoven was completely deaf, with personal and family problems and in poor general health. Despite these trials – the composer entered a remarkable period of creativity and pushed the form of the string quartet to new heights. The piece in 7 movements (rather than the usual 4) packs a huge emotional punch - and left us reeling and exhausted. There was no encore. Any further music would have broken the spell.

Rennie Urquhart

Isimsiz Trio

It was with some trepidation that we awaited the arrival of the Trio Isimsiz. The trio were down to a duo for their Aberdeen concert the night before they were booked to play for the Music Society here in Kirkcaldy. The cellist had taken ill and was unable to play. Thankfully he was restored to health and vitality and was on fine form for KMS. The trio, comprising, Erdem Misirlioglu: Piano, Pablo Hernan Benedi: Violin and Edvard Pogossian: Cello, had played for the KMS before. An audience of over 70 were delighted to welcome them back to the Auld Kirk for the first concert of the New Year. The trio are all successful well respected musicians in their own rights but something magical happens when these three wonderful talented musicians get together. Those present were treated to the highest quality, world class musicianship. We are truly spoilt here in Kirkcaldy to be able to attend these monthly concerts over the winter in an intimate venue for a fraction of the price you would pay in the larger Concert Halls in the major cities. The program started with Johannes Brahms: Piano Trio No. 3 in C minor, Op.101. The rhythm of the opening few bars runs throughout this work. The Brahms was followed by two pieces by Lili Boulanger, taking us up to the interval. Lili Boulanger died tragically young, just short of her 25th birthday. The two pieces played were Dn Soir Triste and Dun Matin de Printemps. They were written shortly before her untimely death. The first had the air of a Funeral March, and seemed to reflect her awareness that she did not have long to live. The second work was more peaceful and pastoral in tone. After the interval the Trio gave us Franz Schubert: Piano Trio No.1 in B flat, D 898, Op.99. All those present were moved by their interpretation of this marvellous music. The start of the lovely slow movement showed the cellist was back to full fitness, and the start-stop finale was exciting. There was no encore. That would have been gilding the lily. A wonderful concert much appreciated and enjoyed by the audience. We hope that it won't be too long before the Trio Isimsiz come back to wow us again. Meantime we have two concerts to enjoy in February.

Rennie Urquart

Nikita Lukinov (Piano)

Russian born Nikita Lukinov is currently based in Scotland, but has performed in major concert halls across Europe and is widely recognised as a rising star. Powerful , moving , exciting and passionate are the words which appear most frequently in his rave reviews and his startling performance delivered all of these qualities. Nikita's programme was built around two pieces by Mussorgsky. Opening with Night on Bare Mountain , he conjured up with breathtaking power and driving pace a nightmarish scene of demonic abandon. The effect was wild, but nothing was uncontrolled. His playing released the dark forces evoked in the piece as his hands ranged with speed and total precision across the keyboard. The intensity was only released in the final moments with the hint of light replacing darkness. The three Debussy Images which followed offered a vivid contrast to the Mussorgsky. Reflets Dans L'eau pictured a tranquil scene of colours reflected on the surface of water in a rippling flow of music; Homage a Rameau had more of a dancing rhythm but played again with an exquisite touch; then the pulsating rhythm of Mouvement offered yet another contrast. Six Pictures for Piano by the mid-twentieth century Armenian composer Arno Babadjanyan completed the first half. Reflective moments were framed with passages of dashing energy in which the pianist's hands were a moving blur but the notes were clean and pure. After the interval Mussorgsky's Pictures at an Exhibition, walked us from painting to painting through a gallery with the music recreating each of them in the listener's mind's eye. Their diverse subjects give rich scope for a player of Nikita Lukinov's dynamism and he played the shifts of mood, rhythm and tempo to brilliant effect. His imaginative personal interpretation enhanced the distinctive colours inherent in the music and the passion of his playing made The Great Gate of Kiev a powerful climax to the recital. The audience called for an encore and Nikita responded with a personal improvisation based on the Promenade theme from Pictures at an Exhibition. As he revealed in his engagingly witty introductions, Nikita loves talking about music and the composers whose works he performs and this enhanced a truly memorable recital.

David Reid

Kyan String Quartet

The Society's 2024/25 season has delivered an exceptional series of concerts by internationally recognised performers. The four young musicians from the UK, the US, China and France making up the Kyan Quartet, who were sponsored by the Tunnell Trust, showed why they too are building an impressive reputation. In their programme they rose effortlessly to the diverse challenges of pieces ranging from classics of the early 19th century, through the mid 20th and on to the present day. Schumann's Quartet in A major opens with a lilting, melody, but in what follows, emotions are stirred as the mood shifts repeatedly. As passages of passion alternated with moments of thoughtful reflection the four players interwove the contrasting themes with intimate mutual understanding and with evident enjoyment of the exchanges. The pacy, dancing final movement was an exuberant celebration. There was then a playful interlude in “Valencia” by the contemporary American composer Caroline Shaw, with the players enjoying the complexities of a piece celebrating the simple Valencia orange! The players gave time for the atmosphere to settle before embarking on the dark intensities of Shostakovich's Quartet No 11 in F minor. The seven movements, played through without a break, called for the utmost concentration. A sustained pulsating rhythm early on established the dominant, intensely dark mood; thereafter, the Kyan were always in control as they dealt with the constantly unpredictable dynamic shifts, whether passages of haunting melody giving way at times to delicate—or thundering—pizzicatos, or intimate exchanges between instruments. It was a compelling performance, Inspired by Russian folk song, Beethoven's Quartet in E minor is a piece of a very different character. The Quartet's interpretation again allowed the distinctive characters of its members to colour their ensemble playing. Their evident enjoyment of the piece was infectious as they conducted their listeners through the phases which led from the graceful elegance of the adagio through the dancing playfulness of the allegretto and into another joyful finale. The four members of the Quartet gave engaging introductions to all the pieces, as well as revealing their interesting combination of instruments. Naomi Warburton and Sydney Grace Marino play classic Italian 18th century violins, Simon Guémy has a modern Italian cello, while Wanshu Qiu plays a viola which she made herself! Like their owners, very distinctive in character, but what a superb combination! David Reid

Odysseus Trio

KMS were very pleased to welcome the Odysseus Trio to the Old Kirk. The trio comprised 3 gifted musicians who all have successful individual musical careers as well as a growing reputation as one of the most dynamic and distinctive ensembles to emerge in recent years. Domonkos Csabay is a Hungarian concert pianist who is also sought after as an accompanist, chamber musician and repetiteur for several well known Opera Companies. Sara Trickey (violin) has performed both as a soloist and a chamber musician to rave reviews. She has recently recorded the Schubert Sonatinas to critical acclaim. Rosie Biss is the principal cellist with Welsh National Opera. She also finds time to pursue her career as an chamber musician, soloist and teacher . The trio started their program with Beethoven’s Piano Trio in D, Op .70 No. 1 (Ghost). The trio earned its nickname “Ghost” after Beethoven’s friend the composer, Carl Czerny, remarked, that for him, the middle movement evoked the arrival of the phantom Banquo to the feast in Shakespeare Macbeth. It is not known if Beethoven agreed with this interpretation – but it certainly evokes an eerie unsettling atmosphere. After a lively first movement, an air of menace pervades the second. The piano part in particular provides an undercurrent of dread. No one would have been surprised had the temperature in the hall had plummeted, the lights flickered and a window flew open! After the other wordly second movement the work concluded with an exhilarating presto which lifted the mood and brought us back to the Old Kirk on a mild March evening. The second offering of the evening was a new work by Helen Grime, a friend of the Trio’s, who studied with the two female members. The piece was entitled “Three Whistler Miniatures” referring to 3 chalk and pastel drawings by the American artist displayed in a Boston Gallery. The music was difficult for some of the audience to appreciate on a first hearing. Full of spiky rhythms, discords and jagged melodies – it was not easy listening. Having said that - it was executed with virtuosic brilliance by all three players. A piece that might be more accessible on repeat. At the interval, we were joined by the trio, who were happy to chat with us and discuss the music over refreshments. It is always nice to meet the players personally in the relaxed and intimate venue of the Old Kirk, rather than in the larger concert halls where the artists can seem distant, remote with no opportunity to meet them. We are very lucky in Kirkcaldy to have such an event space – not forgetting its excellent acoustics. The concert concluded on more familiar ground with Dvorak’s Piano Trio No. 4 in E minor, Op.90 . Known as the “Dumky” – it is one of Dvorak’s best known and most popular works. A Dumka is a Ukrainian dance. Rather than having the formal trio structure with separate contrasting movements, Dvorak himself described it as a suite of pieces with contrasting moods. The trio played with great gusto. Packed full of catchy melodies and good toe tapping dance tunes the work comprised alternating slow and fast sections which ran into each other initially without the traditional break between movements. The sheer joy of the piece and the trio’s obvious enthusiasm for it was infectious. We all enjoyed it immensely. The trio received hearty applause. Another fabulous concert to end the 2024-25 season.

Rennie Urquhart

AGM & Recital by Rosie Lavery (Soprano) & Anna Michels (Piano)