> FLURY Piano Quintet Gallo CD866 [RB]: Classical Music Reviews - August 2002 MusicWeb-International

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Richard FLURY (1896-1967)
Piano Quintet (1948) [30.45]
String Quartet No. 5 (1955) [28.30]
13 Lieder for Soprano and Piano (1917-1965) [17.55]
Rosmarie Hofmann (sop)
Margaret Singer (piano)
Ulrich Lehmann (violin)
Urs Joseph Flury (violin)
Erich Meyer (viola)
Stefan Thut (cello)
rec 15 Mar 1996; 18 Mar 1996; 10 May 1996 DDD
GALLO CD-866 [78.25]

Experience Classicsonline

Flury is another Swiss late-romantic. He is more direct and carefree than Schoeck. Flury stayed within the bounds of tonality, writing often in a style close to Brahms but with lessons in lightness learnt from early Fauré such as the First Piano Quartet. He writes with the utmost naturalness of expression. Just listen to the sentimental fluency of the andante of the Piano Quintet written for the artist Cuno Amiet (1867-1961) who painted four portraits of the composer in 1948. His teachers included Hans Huber (Sterling have just completed his cycle of eight symphonies), Josef Marx and Felix Weingartner. Flury's music is not at all challenging to the listener who loves his Fauré, Brahms, Stanford, Dvořák or Coleridge Taylor. He avoids the rapids of impressionism and must be regarded as an ultra-conservative. There is nothing amiss with that when, as here, the ideas are entrancing.
There are seven string quartets written between 1918 and 1964. The Fifth is dedicated to his patron, Gustav Eisenmann of the Biberist Paper Company (Biberist is the name of Flury's birthplace) who printed many of Flury's works. While the first movement has the same cosmopolitan savoir-faire as the same movement of the Piano Quintet the andante is more expressionistic in the Schoeck vein and up to a point resembling Zemlinsky. That same quasi-Viennese charm inhabits the Bewegtes Walzertempo and finale producing a gemütlich relaxation similar to that in the First Quartet of Karl Weigl.
The songs variously set Arent; Heine; Schell; Moser; Aufricht and Mörike. These are squarely within the central lieder tradition of Marx, Pfitzner and Eisler (yes the romantic Eisler of the Hollywood songs; not the satirical one). The booklet does not print the words of the songs.
A lovely unassuming collection enhanced by one of Amiet's Flury portraits on the booklet cover. Flury was a voice out of time. As much a creator of beauty as Ivor Gurney.
Rob Barnett


































































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