A magical evening at Castle Kellie

The Fife Group of the Friends sponsored an evening of eighteenth century Scottish music played by the Eris Ensemble at Kellie Castle on 29th August in aid of Scottish Opera and the National Trust for Scotland.

The Eris Ensemble is a quartet of Scottish musicians in their early twenties: Emma Lloyd and Aaron McGregor (violins), Kay Stephen (viola) and Sarah Spence (cello), all embarking on their separate professional careers but playing together when they can and giving concerts, usually for charities. On this occasion they played three quartets by the 6th Earl of Kelly (1732-1781), one by Johann Schetky (1737 -1824) and a Sonata of Scots Tunes by James Oswald (1711-1769), luminaries of the Scottish Enlightenment and of the musical life of Edinburgh and Fife.

The concert took place felicitously in the main hall at the Castle under the watchful portrait of the 6th Earl, the composer nicknamed Fiddler Tam, and in the presence of the current very much alive Earl. The late summer evening sunshine filtered through the high windows and gave the hall a gentle magical glow. The enjoyment of the large audience was matched, if not exceeded, by the evident pleasure of the players in working together to such a high standard and making this delightful if little-known music come vividly alive. The future is bright for them. And the Fife Group will flourish similarly as its members support the lead given by Philip Halford-MacLeod.

Review in Brio, Friends of the Scottish Opera Newsletter
Philip Halford-MacLeod

Starbucks - 2009 Edinburgh Fringe

I was slightly concerned when some friends of mine, recently graduated from music college and starting careers as professional chamber musicians, invited me to their debut Edinburgh Fringe concert – in Starbucks.

Taking a cue from popularising techniques of Classic FM and pop concerts, the Eris Quartet’s programme cuts and pastes movements from across eras – Dvorak cypresses are rudely interrupted by Stravinsky’s 3 pieces, quickly followed by a rarely performed quartet by the Earl of Kelly. Snippets of Borodin and Haydn are lush – it’s what the audience of coffee consumers is used to but in Technicolor. The more vibrant, warm tones and the face-to-face interaction between players allow us to follow the contours of the notes and feel like we’re in on all the in-jokes with the players and their long-dead authors. While blender zuzzes unhappily punctuate a cerebral commission by Charlie Usher and some of the lighter textures are lost underneath the coffee chatter, Sarah Spence’s resonant cello solo opening the Borodin evolves seamlessly upwards into the first violin, and the quartet display a unique togetherness that captivates an unexpectant audience.

Review from culturewars.org.uk
Cara Bleiman