GRAZYNA BACEWICZ: Piano Quintet No. 1; Sonata No. 2; Piano Quintet No. 2 – soloists – DGG

by | May 27, 2011 | Classical CD Reviews | 0 comments

GRAZYNA BACEWICZ: Piano Quintet No. 1; Piano Sonata No. 2; Piano Quintet No. 2 – Krystian Zimerman, piano/ Kaja Danczowska, 1st violin/ Agata Szymczewska, 2nd violin/ Ryszard Groblewski, viola/ Rafal Kwiatkowski, cello – DGG 477 8332, 65:12 *****:
Due to several recordings that marked the centenary of her birth in 2006, the underrated Polish musician Grazyna Bacewicz (1906–1969) is emerging as a major composer of the twentieth century. She is a notable successor to the line of composer-violinists that include Henryk Wieniawski and George Enescu. After graduating from the Warsaw Conservatory in 1932 she went to Paris to study with Nadia Boulanger. She became principal violinist of the Polish Radio orchestra, where her works were performed. After teaching at the State Conservatory of Music in Lodz, she became a full time composer in 1954. Her early music was influenced by Syzmanowski and French neoclassicism. She developed her own mature style of neoclassicism (1944-58) and later experimented with modernism.
The Piano Quintet No. 1 (1952) is a neoclassical composition that is lyrical and dissonant, dramatically powerful, technically demanding and emotionally passionate. The scherzo uses a delightful Polish folk dance, the oberek, which becomes a bittersweet romp when Bacewicz’s contrapuntal brilliance expands its impact. The emotional center of this masterpiece is an achingly beautiful grave which elevates beauty and sadness to a spiritual apotheosis that’s breathtaking. The Piano Quintet No. 2 (1965), written in her avant-garde period, uses cell motifs and brief phrases rather than long melodic lines. It’s contemplative and aggressive, dissonant, and very difficult to play. The finale is notable for its spikiness and humor.
What stands out immediately on hearing Bacewicz’s Piano Sonata No. 2 (1953) is the brilliant intensity of Krystian Zimerman’s performance. Although this work was written during her neoclassical period, it has all the earmarks of a modern work. The outer movements are filled with virtuosic bursts of energy, but, like the First Piano Quintet, the emotive nucleus of the work is the middle movement, largo. Here Zimerman displays his greatness in exquisitely expressing its tender, meditative and somber beauty. It’s a major undiscovered piano sonata of the past century.
This CD is a valuable addition to the growing Bacewicz discography, and the recording and performances match its significance. Anyone interested in unfamiliar and important music of the past century will love this release.
— Robert Moon

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