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Preface by Simon Callow
Extent: 478 pages
20 colour & 80 b/w illustrations
Hardback
As a committed socialist, the Portuguese composer Fernando Lopes-Graça (1906–94) faced repression from Salazar’s right-wing dictatorship: his works were banned and he was stripped of his official positions. Lopes-Graça responded in music, evolving a feisty, wiry Bartókian style that drew on Portuguese folk-music. This recording features Lopes-Graça’s own Bechstein piano, played by Olga Prats, who worked closely with him.
Olga prats, piano; Quarteto Lopes-Graça
As a committed socialist, the Portuguese composer Fernando Lopes-Graça (1906-94) faced repression from Salazar's right-wing dictatorship: his works were banned and he was stripped of his official positions. Lopes-Graça responded in music, evolving a feisty, wiry Bartókian style that drew on Portuguese folk-music. This recording features Lopes-Graça's own Bechstein piano, played by Olga Prats, who worked closely with him.
Olga Prats, piano
Quarteto Lopes-Graça, string quartet
Having traversed the symphonies of Robert Keeley in Part One of this brief survey (Too Many Symphonies – Part One – posted on 9 March…
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The output of Richard Flury (1896-1967), one of Switzerland’s most prolific composers, ranges from operas and ballets to symphonies, instrumental concertos, sacred and secular vocal works, chamber music and no fewer than 181 songs with piano accompaniment. These four song-cycles, written between 1920 and 1946, contain 45 of them, their concision nonetheless embracing an expansive, Romantic style of which Schumann himself might have approved. The prevailing mood is one of an open-hearted sincerity, occasionally enlivened by a dash of humour.
Stephanie Bühlmann, soprano
Margaret Singer, piano
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