I was aware of Paul Kletzki only as a conductor. Of Polish descent, Kletzki settled in Berlin for musical studies in 1921, and remained there until 1933. In 1949, he became a Swiss citizen and became notable as a conductor. Significant conducting positions included posts in Liverpool beginning in 1954, in Dallas from 1958-1961, and eventually replacing Ansermet at the Suisse Romande in 1967-1970. I was intrigued to explore him as a composer.1
I was pleased to see these quartets presented in chronological/numbered order on the discs, just as they should. And expecting the 1st to be perhaps the slightest of the 4, I was surprised to see just how substantial (and lengthy) it is, lasting nearly 40 minutes. The opening movement alone is an imposing 12-minute Allegro sostenuto ed energico. The Bacewiczs establish a vigorous tempo, somewhat emphasizing the “energico” over the “sostenuto” – very wisely as it turns out, for they propel the music aloft, preventing it from feeling heavy or weighted down with itself.
I was immediately aware of the recorded sound, which is near ideal – immediate but not too forward, and in an intimate setting, as opposed to a large concert hall. Thus the acoustic seems perfect for this music. I had just been listening to the Pacifica Quartet’s new recording of the Korngold Quartets on Cedille Records, which is simply lovely – as silky smooth and richly blended as you’d ever want to hear – and the difference here is notable. The close perspective reveals a slightly coarse-textured sound to the Bacewicz Quartet in comparison, along with a transparent individuality to their overall blend. The ear quickly adjusts to the difference, and the music feels fleet, buoyant and energetic. All thoughts of recorded sound were soon forgotten as I became immersed in the musicmaking.
The Largo which follows is even more substantial, at well over 15 minutes. However, its variety of mood and temperament captivates the listener for its entirety, and this turned out to be the highlight of the work (indeed, of the entire program). The opening theme doesn’t sound at all largo, which to me is a good thing. The Bacewiczs keep it moving at an ideal tempo – forward-flowing but heartfelt; not at all heavy. Singing lines over a rich harmonic tapestry draw the listener in, and the music never feels particularly slow (and certainly never drags). It is helped in this regard by incorporating an agitated Allegro in its central section, lightening the mood with rays of optimism. Not quite a scherzo, it is nonetheless jaunty and buoyant, while enriched with enraptured singing lines. This passion increases as it develops before the return to the Largo, which now is impassioned further with an unmistakable hint of Tchaikovsky’s Pathetique. Even at 15+ minutes, I never felt this movement was overlong, with its variety of mood and tempos – especially as played with such expression and attractive variety of texture and color by the wonderful Bacewicz Quartet. This is quite simply excellent, well-crafted writing, beautifully played here.
The final Vivo begins almost at a whisper, before evolving into a playfulness which inhabits the Allegro comodo (“comfortable”) which follows. Soon the wispy Vivo takes over again, but with more vigor this time – all the while infused with ardor. The movement alternates between Allegro, Vivo and Presto sections, and this group seamlessly relates them together into a cohesive whole, demonstrating a meaningful understanding of the full measure and scope of the piece.
I enjoyed this so much I didn’t hesitate to jump right into the 2nd Quartet, written just 2 years later. And it is at once more harmonically expansive, even exploratory, while at the same time less passionate than the 1st, with somewhat more transparent scoring. However, these initial impressions proved short-lived.
The 1st Quartet’s Allegro sostenuto is here replaced with an Allegro moderato. It begins simply, played here with minimal vibrato, allowing individual voices to predominate soloistically, delineated from the texture. It is less energetic than before, and less densely scored too, with nicely flowing momentum. But suddenly this all changes with a very dynamic, dramatic outburst at ff, and we know we’re in completely different territory with this later Quartet. The music’s harmonic soundscape becomes more “challenging” in its intensity, in stark contrast to the rather more traditional lyricism of the 1st. The second subject, though, relaxes and clarifies the dense textures, with a lonely melody over pizzicato cello, creating an almost stark desolation somewhat reminiscent of Shostakovich. This was a welcome relief from the drama and intensity thus far. This movement is in all practicality surely too long, lasting nearly 15 minutes, but there is enough variety in mood and playing styles to keep the listener reasonably engaged.
It would be difficult to say the same of the ensuing Adagio, however. It begins with more starkness reminiscent of Shostakovich, but soon intensifies at about the 4-minute mark, with an extended violin solo passage which becomes almost overwhelmingly intense. Fortunately, there is some relief about half-way through (about 7 minutes in), where a flurry of activity at a swifter tempo unexpectedly perks up the proceedings. But not for long, as the stark landscape returns again for yet another 5 minutes. (This movement too is very long, lasting over 13 minutes.) The Finale is athletic and somewhat lively – pleasantly so after the seriousness of the Adagio. There is a serene central section providing a wonderful contrast before the Allegro picks up again taking us to the end.
I was surprised at the difference between these first two Quartets, separated by only 2 years, finding the 2nd much more “difficult” musically, which overall felt like a long haul. I decided to take a break before moving on to the 3rd. It was written 6 years later (in 1931) and failed to achieve the popularity of the first two. This one is laid out in 4 movements, rather than 3, and I looked forward to a true Allegro opening movement – though tempered by a non tanto indicator (“not too much”). And there is an intriguing Allegro misterioso coming after it, followed by an Andante, and closing with an Allegro agitato. This sounds very promising (and likely much different from the other two), and I forged ahead – on another day.
And indeed, this 3rd Quartet is rather refreshing after the somewhat oppressive 2nd, and I find it curious it didn’t find favor at the time, when the 2nd apparently did. But that’s just me. The opening is instantly more “modern” – almost impressionistic in its harmonic freedom, while lyrical and agitated at the same time. The music seems to struggle to establish tonality before finally settling on a resolute D-minor and a more determined rhythmic pulse. The mood is restless and not nearly as intense as in the 2nd, with more light and shade variety to its airy transparency. There are more clearly discernible motifs at work, with contrapuntal writing which at times almost develops into fugal composition. And overall, there seems to be less struggle among the individual voices, adopting a more harmonious unity. I really enjoyed the rhythmic propulsion and the variety of mood, especially the bits of playful pizzicato later in the movement.
The 2nd movement is a wispy, whirlwind of activity, played con sordino, over an insistent pizzicato cello foundation. Before long, Kletzki gives the cello the spotlight with a wonderfully mysterious melody accompanied by pizzicato from the others. And soon, the music evolves into an ingenious, slow waltz of sorts, which is seductively charming. I smiled hearing this most unexpected development from a composer so determined to be serious most of the time.
And serious is exactly where Kletzki goes once again for the Andante, which here feels a little on the slow side for andante (more of an Adagio). Beginning with a mournful tune (which is quite expressive), it soon builds in intensity, becoming very melodramatic, and I’m afraid this is all going to go on too long. (And indeed it does; the movement lasts a full 12 minutes.) But a more lyrical central section brings it back from the brink, engaging the listener once again, before the final Allegro takes flight with a restless agitation not unlike that heard in the 1st movement. There is some lovely lyricism too from the violins, and moments of reflection midway, before the restless motifs take off again in dramatic fashion to the end.
Now to the unpublished final Quartet. Its 3 movements have no tempo or style indications, leaving much to interpretation from the performers. And right from the get-go, this is very difficult music. Kletzki has abandoned all attempts at Romanticism and tonality, perhaps influenced by the Second Viennese School of eschewing musical creativity in favor of formulaic methodology. I don’t really hear that in this music, but I do hear a lot of what I didn’t like about Weinberg’s 6th String Quartet on the Telegraph Quartet’s recent record for Azica: music which is unmelodious, unharmonious, and certainly uninviting.
In the 2nd movement however, we enter the soundworld of Bartok (whose final quartet was composed just 3 years earlier.) And the Bacewiczs imbue it with much more emotional expressiveness than in the opening movement, with rich vibrato and legato lines – though even here, much of it remains steadfastly atonal. It nonetheless becomes rather more pleasant – almost pleasing; tuneful even. While the finale is more lively (at least at first), with more variety in scoring, at last incorporating some pizzicato and spiccato to lighten the textures. Yet its lyrical elements remain obstinately unmusical. And Kletzki soon returns to the toneless indifference heard earlier, meandering aimlessly toward the end.
This work, even more so than the others in the cycle, is most certainly too long for its material – though it is significantly less lengthy than the other three, clocking in at just over 15 minutes in total. One wonders if Kletzki had enough reservations with it that he intentionally left it in sketch form, all but forgotten. Still, it’s interesting to hear it realized after all these years, and the Bacewicz Quartet is to be commended for bringing all this music back to life with playing which is thoroughly committed and convincing, given the material. This must have been a challenging and extremely demanding program to play and record just from the sheer stamina involved.2
Michal Bryla of Prelude Classics is also to be commended for the daring innovation and original programming. Moreover, the entire production is excellent. This 2-disc set comes in an attractive, very high-quality, three-part foldout enclosure, with actual CD trays glued inside which secure the discs for easy access, rather than the usual cardboard sleeves. It includes an impressive, informative booklet complete with detailed program notes (in Polish and an English translation), a note from the man who edited the manuscript, and amusing, candid pictures of the performers during the recording sessions.
If not all this music was to my liking, much of it was – especially the 1st and 3rd in the set. Overall this is an interesting and important release, certainly worth hearing.3
1 There is a 2010 recording of his Piano Concerto on Naxos, but for some reason I do not find it on my shelves.
2 The first disc containing the first 2 Quartets lasts an astonishing 75 minutes; while the 2nd CD of the 3rd and 4th plays for 65.
3 I was sent an advanced screening copy of this Prelude Classics title directly from the producer in Poland, as I had expressed an interest in it. Its official release date was scheduled for February 27, 2026.
