Acte Préalable continues its
excellently-produced series of the works
of Bacewicz in this volume of her works
for oboe. These pieces are not as immediately
accessible as her other works, but,
with repeated listening, show themselves
to be greatly intricate and well-constructed
works.
The first work is a
rather unusual piece scored for oboe,
harp, and percussion. Composed at about
the same time as Incrustations
for horn and chamber ensemble (found
on Acte Préalable 0044), the
arresting slow middle movement quotes
the Bacewicz Partita of 1955,
also quoted in the Piano Quintet No.
2 of 1965, found on Acte Préalable
0022. With the instruments used, the
harp takes on an almost pianistic element,
contrasting with the single-line element
of the oboe.
The Sonatina
shows a far different approach. Though
evidently irritated at being referred
to as neo-classicist — an appellation
that surely would have amused Prokofiev
— Bacewicz shows neo-classicist turns
with this work. Perhaps it is this baleful
glance at classicism that recalls Prokofiev
so strongly. Still, this remains a piece
that retains a voice that is unmistakably
personal to Bacewicz. Though the pieces
here have a sarcastic con brio
nature, they couldn’t possibly be mistaken
for Prokofiev. The second movement of
the Sonatina has a distant, frosty
nature, detached from the chummy-snide
nature of the first movement. The piece
ends with a vivacious fast movement
that retains some emotional tension
while showing an outgoing demeanour.
The balance of the movement is weighted
more to the piano but provides a thoroughly
enjoyable conclusion.
The Sonata,
obviously a more serious-minded stab
at the oboe/piano repertoire, starts
out more conventionally. This makes
sense, considering it is the earliest
work here by almost thirty years. Evidently
not held in such low regard by the composer
as the first quartet, composed only
a year later in 1938 and not recorded
until recently (on Acte Préalable
AP0021), it wasn’t officially belittled
by the composer. This piece contains
moments, joyous, grotesque, and pensive.
The final piece is
another early effort; the Trio
of 1935 for oboe, violin, and piano.
This piece was premiered later in 1935
— with Prokofiev in attendance — in
Warsaw. This fits in rather well with
that later musical language of the Sonatina
of 1955. It opens with a rather folk-like
element, complete with cello drone,
almost taking on a Saint-Saëns
character in the opening movement, yet
still retaining that voice so easily
recognizable as Bacewicz.
Acte Préalable
are to be commended for their great
work in presenting the under-valued
works of Polish composers and artists
to a wider audience. It is my hope that
more underrated works will come to light
thanks to their diligence.
David Blomenberg
Full
Acte Préalable Catalogue
Mariusz Pędzialek (oboe) 
for
details
