Central Square Records

The exploration of the music of the Swiss composer Richard Flury (1896-1967) on Toccata Classics now turns to his chamber output, with this first recording of his String Quartets Nos. 1 and 4. Flury was himself a gifted violinist, and these works - written for personal pleasure and for musician friends - were composed with an intimate familiarity with the medium. In the fourteen years between these two quartets, Flury's musical language consolidated, from the early foray into mild modernism heard in No. 1 into the rich, late-Romantic aesthetic of No. 4.
The exploration of the music of the Swiss composer Richard Flury (1896-1967) on Toccata Classics now turns to his chamber output, with this first recording of his String Quartets Nos. 1 and 4. Flury was himself a gifted violinist, and these works - written for personal pleasure and for musician friends - were composed with an intimate familiarity with the medium. In the fourteen years between these two quartets, Flury's musical language consolidated, from the early foray into mild modernism heard in No. 1 into the rich, late-Romantic aesthetic of No. 4.
5060113447128

Details

Format: CD
Label: TOCCATA
Rel. Date: 01/05/2024
UPC: 5060113447128

Chamber Music Vol. 1 - String Quartets Nos. 1 & 4
Artist: Flury / Colla Parte Quartet
Format: CD
New: Available to Order - Not In Our Store $20.99
Wish

Formats and Editions

DISC: 1

1. Allegro [06:28]
2. II. Andante [05:44]
3. III. Scherzo [03:45]
4. IV. Allegro vivo [05:43]
5. I. Allegro [13:28]
6. II. Andante [07:25]
7. III. Vivace [06:39]
8. IV. Allegro molto [06:46]

More Info:

The exploration of the music of the Swiss composer Richard Flury (1896-1967) on Toccata Classics now turns to his chamber output, with this first recording of his String Quartets Nos. 1 and 4. Flury was himself a gifted violinist, and these works - written for personal pleasure and for musician friends - were composed with an intimate familiarity with the medium. In the fourteen years between these two quartets, Flury's musical language consolidated, from the early foray into mild modernism heard in No. 1 into the rich, late-Romantic aesthetic of No. 4.
        
back to top