One of the most grown-up review sites around

Search MusicWeb Here
Google seem to have closed down local search engines. You can use this FreeFind engine but it is not so comprehensive
You can go to Google itself and enter the search term followed by the search term.


International mailing

  Founder: Len Mullenger             Senior Editor: John Quinn               Contact Seen and Heard here  

Some items
to consider

Piano Concertos 1 and 2
Surprise Best Seller and now

A Garland for John McCabe


DIETHELM Symphonies

The best Rite of Spring in Years

BACH Magnificat

Brian Symphs 8, 21, 26

Just enjoy it!

La Mer Ticciati




simply marvellous

Outstanding music

Elite treatment

some joyous Gershwin

Bartok String Quartets
uniquely sensitive

Cantatas for Soprano


REVIEW Plain text for smartphones & printers

Support us financially by purchasing this from

Grażyna BACEWICZ (1909-1969)
Complete String Quartets - vol. 1
String Quartet No. 6 (1960) [17:37]
String Quartet No. 1 (1939) [16:57]
String Quartet No. 3 (1947) [18:51]
String Quartet No. 7 (1965) [17:37]
Lutosławski Quartet (Jakub Jakowicz (violin 1), Marcin Markowicz (violin 2), Artur Rozmysłowicz (viola), Maciej Młodawski (cello))
rec. 12012, Wrocław Philharmonic Concert Hall, Poland
NAXOS 8.572806 [71:04]

Bacewicz was Polish, though with a Lithuanian father, a generation younger than Szymanowski and a generation older than Penderecki. She was a few years older than Lutosławski and all three of them have so far gained more international recognition. However, despite the problems of her troubled country and those of making a composing career as a woman, she completed four symphonies, no fewer than seven violin concertos, numerous other works and a cycle of seven string quartets. We have here a disc containing four of them, titled "Complete String Quartets 1" so we should expect a successor with the remaining three.

She was a pupil of Nadia Boulanger and started in the neo-classical idiom. Stravinsky himself composed little for string quartet which perhaps gave her an opening. Later she became more welcoming of other modernist styles but I shall come to that later. Across all these works there are some characteristic features: she tends to prefer a three movement form; she likes scurrying allegros, sometimes interrupted by sharp stabbing accents. Her slow movements are often very quiet and mysterious. Her finales are rondos but usually with a difference. The way she finishes a piece is often surprising: sometimes with several false endings as in No. 3 here, or fading out, as in No. 7. She can produce snatches of really beautiful melodies but does not dwell on them. She has almost too many ideas for her own good: many of them are splendid, but instead of developing them she will move on to something else. So I do tend to find that her works here lack unity.

The first quartet is noted as a student piece though it is dated 1939, when she was thirty and surely well past student-hood. It has most of the features I have mentioned and I should particularly note that the slow movement consists of variations on a Lithuanian folk song. It is an accomplished work in its own right and not a piece of juvenilia. Nevertheless the third quartet immediately sounds more assured, with more emotional intensity, some of it almost of expressionist proportions.

The sixth quartet is made of sterner stuff. By this time she had been exposed to aspects of twentieth century modernism and it shows. You immediately notice a wider range of string techniques: glissandi, much more use of pizzicato and also of sul ponticello and col legno. There is a higher level of dissonance and the fast movements have more driving force. One thinks less of Stravinsky and more of Bartók as the presiding spirit and it is a credit to her that she can accept such an influence and yet remain herself. This is an impressive work which may explain why it is placed first on this oddly arranged disc.

No. 7 owes even more to Bartók, and in particular to his No. 5. The second movement is a kind of night music akin to the movements Bartók wrote with this character. The finale, however, is different: it is a strange wispy piece with more the character of a scherzo than a finale and it finally just evaporates into thin air.

The Lutosławski Quartet play with vigour and commitment. I did wonder at some points how much rehearsal time they had had, as I can imagine more subtle playing and perhaps it would have resulted in these pieces seeming more integrated. There are other performances of some of them, but in mixed programmes. The recordings have a good concert hall acoustic and the sleeve-note is helpful. I am very glad to have made the acquaintance of Bacewicz and look forward to the second volume of these interesting pieces.

Stephen Barber



Gerard Hoffnung CDs

Advertising on

Donate and get a free CD


New Releases

Naxos Classical

Nimbus Podcast

Obtain 10% discount

Special offer 50% off

Musicweb sells the following labels
Acte Préalable
(THE Polish label)
Altus 10% off
Atoll 10% off
CRD 10% off
Hallé 10% off
Lyrita 10% off
Nimbus 10% off
Nimbus Alliance
Prima voce 10% off
Red Priest 10% off
Retrospective 10% off
Saydisc 10% off
Sterling 10% off

Follow us on Twitter

Subscribe to our free weekly review listing

Sample: See what you will get

Editorial Board
MusicWeb International
Founding Editor
Rob Barnett
Senior Editor
John Quinn
Seen & Heard
Editor Emeritus
   Bill Kenny
Editor in Chief
MusicWeb Webmaster
   David Barker
MusicWeb Founder
   Len Mullenger