There is quite a bit
of good music coming from Poland these
days, much of it coming from Warsaw-based
Acte Préalable, possessing a
wide-ranging catalogue of performances
from both seasoned and young performers.
Other labels are catching on, with CPO
in particular offering some rather stunningly-recorded
performances of works by unsung composers
such as Juliusz Zarebski and Karol Lipinski,
both recently released and sure to be
reviewed here soon.
One of Acte Préalable’s
earlier releases, a collection of two
quartets by Franciszek Lessel, (review
) was sent my way in the same shipment
as this disc and I found it interesting
to compare the two. Both of them show
a similarity in temperament in that
they both fit between the musical styles
of Haydn and Beethoven. Lessel’s fit
more snugly on the side of Haydn, with
an eye to tradition and classical lines.
Dobrzynski, with more stress on rhythm
and, to some extent, sheer force, finds
himself closer to Beethoven. There are
moments, for example, that one is caught
up in the first movement of the first
quartet in F, thinking that a particular
snippet surely is a doff of the hat
to a specific Beethoven quartet. I’ve
not been able to detect any direct quotes,
but part of the fun I got from listening
to this disc is to try to identify the
Beethoven quartets certain moments sound
like. This, at first blush, seems like
a less than glowing recommendation regarding
Dobrzynski. These aren’t pale imitations;
they are quite enjoyable and also enjoyable
in that they wholeheartedly show their
influences.
Ignacy Dobrzynski’s
musical inclination was discovered by
his father, who was himself trained
as a conductor and composer. After initial
lessons from father, his musical learning
was taken up by respected Polish pedagogue
Jozef Elzner. From what I’ve been able
to find — including items from the helpful
liner notes, to which I am indebted
for this review — Dobrzynski centered
around Lvov and Warsaw. Among his other
works - which will perhaps soon be found
on disc? - we have symphonies, a piano
concerto and a good deal of chamber
music.
The footprint of Beethoven
remains present during the charming
Menuetto movement that follows. The
grace-noted figure that appeared at
the outset of the first movement is
an insistent presence here, tossed from
instrument to instrument like a lively
ball. The slow movement, with four pizzicato
chords, hushes the buoyant mood, moving
to minor mode. The grace-noted motif
makes a subdued appearance again here
in the cellos as the main theme for
this movement gets under way. The sonority
and wonderful control the Wilanow quartet
display - with Tomasz Strahl on second
cello - is lovely, and their poised
approach make this piece a joy to listen
to. This movement also shows a patriotic
sensibility in that its thematic material
just happens to be the national anthem
of Poland. From this, could there possibly
be a personal statement by the composer
in the indication of Doloroso ma
non troppo lento for this movement?
The finale is a rollicking Vivace,
with the violin taking the lead in presenting
the main musical statement, as bits
of the first theme of the opening Allegro
peep in between from the ensemble.
The later Quintet Op.
40 in A minor shows itself to be more
sober, but much the same, with greatly
enjoyable lyrical lines. Though in minor
mode, this isn’t a stormy opening movement,
but the mark of Beethoven’s influence
remains, with forceful moments in the
development section. The two cellos
are used well here, with one providing
support as the other plays a singing
line once it is finished by the first
violin. This piece has similarities
in form to the earlier Quintet in F,
with involved opening and closing movements,
a Menuet and a slow movement. Here in
the Op. 40, the order of the two middle
movements is transposed, and we don’t
have the obsessive use of motifs through
the entire piece as we experience in
the Op. 20. Putting the slow movement
after the contemplative first movement
adds to the more subdued atmosphere
of the piece. A particularly beautiful
moment is in the Andante where
the cello begins with the melody which
the first violin continues before handing
it back. Even the Menuetto shows itself
to be a more serious affair. Still though,
it has wry moments; dance-like, it appears
to poke fun at itself, with a tiptoeing
pizzicato accompaniment in the ensemble
as the cello states the theme.
The recording quality
is very good. There is a bit of ambient
noise occasionally — a chair creaking
and the like but certainly not enough
to detract from the enjoyment of these
very accessible pieces. The liner-notes
raise a doubt as to whether the rest
of Dobrzynski’s works will eventually
be presented to the public. This uncertainty,
from what I can see, was voiced in the
earlier days of Acte Préalable
and before the latest very exciting
wealth of new and previously unheard
repertoire that is now becoming available.
This disc is an enjoyable programme
worth hearing.
David Blomenberg
Acte
Préalable Catalogue
for
details
Wilanow String Quartet (Tadeusz Gadzina (Violin
1); Pawel Losakiewicz (Violin 2); Ryszard Duz
(Viola); Marian Wasiolka (Cello 1)) Tomasz Strahl
(Cello 2) 
