The Kodály Quartet was formed by students from the Ferenc Liszt Academy of Music in Budapest in 1966. After some changes among the members, the Quartet made out its independent performing style based on the renowned Hungarian string quartet tradition.
The Quartet has toured in almost all European countries, the USA, Middle – and South – America, Far East, Australia and New Zealand.
In addition to the standard classical repertoire the Kodály Quartet regularly performs works written by Hungarian composers – Kodály, Bartók, Dohnányi and others – in its programme.
The Quartet has recorded the complete Haydn and Beethoven string quartets, the Debussy and Ravel string quartets, and recently they are working on the Schubert cycle for the Naxos label.
In recognition of its achievements the Kodály Quartet has received the
„Ferenc Liszt” Award (1970), „Merited Artist of the Hungarian Republic” (1990) and the „Bartók-Pásztory” Award (1996). The Quartet was given the Classic CD Magazine’s Award for the best release of 1993 in the chamber music category ( Haydn String Quartets op.64.).
Attila Falvay was admitted to the Ferenc Liszt Academy at the age of sixteen and pursued his studies under the direction of Prof.Snitkowsky. In 1979 he was awarded the Second Prize at the Szigeti International Violin Competition. The following year he won the First Prize of the Hubay Competition. He completed a post graduate course conducted by Prof.Josef Sívó at the Academy
of Music, Vienna.
Falvay joined the Kodály Quartet in 1980.
Tamás Szabó began to study music at the age of seven. He graduated from the Ferenc Liszt Academy of Music in 1969. At that time he had already played in the Hungarian State Orchestra where he spent many years. Later he changed for the Budapest Festival Orchestra, where he is the leader of the 2nd violins.
During his university years he studied and played chamber music and finally he became a member of the Quartet in 1969.
Between 1981and 1985 he played at the Budapest Opera as the leader of the viola section. He is a founder member of the Budapest Strings Chamber Orchestra playing the first viola there for many years.
Also works as a viola and chamber music professor at the Béla Bartók Conservatory in Budapest.
György Éder studied in Prof. Ede Banda’s class at the Ferenc Liszt Academy of Music. After completing his degree further studies led him to the USA and Canada / Yale University, 1978, the Banff Center School of Fine Arts, 1983,
University of Wisconsin, 1984-85 /. For several years he played first cello in the Budapest Symphony Orchestra, later becoming principal cellist of the Budapest Festival Orchestra.
Founder member of the Éder String Quartet.
Haydn: String quartets Op. 1 Nos 1-4
in: CD Review,
“…the performances blend impeccable style, a melting quietude and ample brio.”
Haydn: String quartets Op.74 Nos 1-3.
in: Penguin Guide
“The performances are superbly shaped, naturally paced and alive, the playing is cultivated, yet it has depth of feeling too, and the group readily communicate their pleasure in this wonderful music.”
Haydn: String quartet Op.76
“Haydn’s six Erdody Quartets Op 76. contain some of his very greatest music, and these performances by the Kodály Quartet are fully worthy of the composer’s inexhaustible invention. Their playing brings a joyful pleasure in Haydn’s inspiration, every bar of the music springs to life spontaneously, and these musicians insights bring an ideal combination of authority and warmth, omotional balance and structural awareness.”
Debussy : String quartet G minore
“…the Kodály Quartet are an excellent ensemble and they give a thoroughly enjoyable account that can be recommended ”
Ravel : String quartet in F
“…play with a sensitivity and accomplishment that give great pleasure. Artistically and technically this is a satisfying performance which ha sthe feel of real music-making.”
Haydn : The Seven Last Words of our Saviour on the Cross
in: The Penguin Guide
“…The Kodály Quartet give a memorable performance, strongly characterized and beautifully played, with subtle contrasts of expressive tension between the seven inner slow movements.”
Haydn : String quartet Op. 54/1
in: Penguin Guide
“…The Kodály players enter into the spirit of the music and give a fine, direct account of Op. 54/1.”
Haydn : String quartet Op.76 Nos 1-6
in: The Music Magazine
“…Neat but never fussy articulation, subtle shading and balancing of chords, and unanimity of ensemble characterize the Kodály’s performance, and there is a strong sense of purpose as well as repose in their playing.”
Haydn : String quartet Op.76 Nos 1-3
in: Penguin Guide
“…This is how Haydn could and maybe should be played. In a robust, healthy way, with a spring in his step and using every opportunity for humoristic effects!”
Haydn : String quartets Op.76
in: Penguin Guide
“…Their playing brings a joyful pleasure in Haydn’s inspiration and a polished refinement every bar of the music springs to life spontaneously, and these musicians’ insight bring an ideal combination of authority and warm, emotional balance and and structural awareness.”
Schubert : String quartet No 14. Death and the maiden” in: Classics, “…The team makes every point suggested by markings of dynamics and accentuation, yet sees beyond the details to the emotions and structure of the music.”
in: Dresdner neueste Nachrichten
“…Die auf Wettbeweren mehrmals pramierte Truppe nimmt sich nun nach dem Klassiker Haydn des Quartettschaffens von Franz Schubert an und legt unter anderem dessen Quartett Nr.14 ‘Der Tod und das Madchen’ in einer sehr ausdrucksintensiven und klangschönen interpretation vor.”
Schubert : Piano quintet in A major Trout” op.posth. 114
“…The Kodály Quartet members muster bite and concentration, but always with tonal warmth and a sense of easy motion.”
Schubert : Quartettsatz D. 703 et String quartet No.14 D 810
“Leur approche de ‘La Jeune Fille et la mort’ impressionne par sa tension dramatique qui ne se relache jamais tout au long de l’oeuvre. ”Le ‘Quartettsatz’ bagine lui aussi dans ce climat puissant du romantisme allemand le plus tourmenté, un rien moins tendu cependant que le ‘Quatour’.”