Grazyna Bacewicz (1909-1969): Overture (1943)
Grazyna Bacewicz (1909-1969): Symphony No. 2 (1951)
Grazyna Bacewicz (1909-1969): Variations for Orchestra (1957)
Grazyna Bacewicz (1909-1969): Musica sinfonica in tre movimenti (1965)

Given the tumultuous history of Poland in the past many centuries, it is perhaps remarkable that even in her relatively short life (60 years) Grazyna Bacewicz experienced multiple examples of that tumult herself. Invasion (multiple times), national dissolution and rebirth, ending in a foreign totalitarian hegemony provided potentially fertile ground for a serious artist. So it is with Bacewicz.

It is praiseworthy that her music is gaining more recognition outside Poland with some high quality recordings in the past few decades including the issue under review. It is clear from listening to any of her compositions that there is a substantial musical intellect at work, with a highly attuned ear for instrumental color. She was a professional pianist and violinist, and she composed many fine pieces for those solo instruments (I recommend an excellent recording of her piano music by Peter Jablonski on the Ondine label).

This issue presents examples of her changing orchestral style in chronological format from her early neoclassical-influenced style (a label she resisted) moving to ending with an example of her final sonoristic style where sound and timbre is used as an organizing structure for the composition. As such it provides an excellent introduction for a listener new to her music, with examples from each of her main periods.

It kicks off with one of her most well-known works, an orchestral showpiece and masterpiece, the Overture of 1943. Its motoric rhythms and clear orchestral coloring, whether soft or loud, are well captured by the recording and orchestra, and conductor Lukasz Borowicz drives this forward with great skill. It's a fun piece, reminding me a little of John Adams' Short Ride in a Fast Machine.

The Symphony No. 2 is neglected, but a fine work which I enjoyed from start to finish. It follows a more conventional classical symphonic 4 movement form starting with a hustling first movement which is followed by a gently longing and skillfully written Lento Tranquillo second led by luminous string writing. The fiery scherzo is short, energetic and a great palette cleanser before the short final movement.

The 10-minute Variations for Orchestra represents a steppingstone on the composer's path towards her sonorism style of the 1960's. It highlights again her orchestration skills, paired with the rhythmic vitality and sophistication mentioned elsewhere in this review. I find it very listenable.

The Musica sinfonica in tre movimenti is pithy and epigrammatic in style. A short opening movement is followed by the longer 2nd movement traversing varied moods and soundscapes, and it is capped by a percussion led final movement. In keeping with the approach, the sound combinations provide substantial interest throughout.

Overall, I find myself often intrigued by the orchestral coloring and rhythmic sophistication of this composer, rather than melodic invention, factors which have a natural progression to her later style. In some pieces there is a certain emotional distance and sharpness of tone, reminding me often of Bartok, with a similar richness of string writing. She is an intriguing composer and deserves (and rewards) multiple listens. Her later style is the most challenging, so for listeners new to her works, I would recommend the works prior to the 1960's in general. Conductor Borowicz provides excellent notes in the booklet, important in such a neglected composer, and his appreciation and understanding of the composer is evident in his conducting and writing throughout.