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MusicWeb International, March 2013

These are important and substantial works that belong in every serious contemporary quartet’s repertory. The Wieniawski Quartet show them further how it should be done.

Richard Whitehouse…supplies the notes, which are well written and intelligent…They take the reader on a literally descriptive journey through the works…Sound quality is very good… © 2013 MusicWeb International Read complete review

Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, December 2012

Polish composer Krzysztof Meyer…writes string quartets of architectural complexity and high modernist purity. The Wieniawski String Quartet and Naxos issue Volume Three of the complete output this month, String Quartets Nos. 7, 10 and 13…and it has very much to commend it.

No. 13 is his latest to date and along with Nos. 7 and 10, there is very much excellent music to experience…Meyer views the configuration as appropriate for very serious and advanced sonorities and the Wieniawski Quartet bring the salient import of these works to the recorded medium with the precision and passion they demand.

These are great abstract constructions, at once intimate and multivalent.

This volume gives you an essential listen to Meyer at his most advanced. He is a composer of today that should be heard, and this is a great program for you to begin doing that. © 2012 Gapplegate Classical-Modern Music Review Read complete review

David Denton
David's Review Corner, December 2012

When I last reviewed a disc in this complete cycle of string quartets by Krzysztof Meyer, he had reached twelve works, this disc bringing us his most recent addition. Born in 1943 in Krakow, Poland, he enjoyed Penderecki and Nadia Boulanger among his mentors, and has since the 1960’s been a prolific composer, his catalogue already including seven symphonies. As I wrote previously, ‘you will have to be attuned to the sharp edge of contemporary music to find his works readily attractive, yet I urge you to become acquainted’. I would repeat these words here, and suggest you first sample the proactive Vivace of the Tenth, that is not a million miles from Bartok, and then work outwards from there. The Seventh, in one extended movement, made up from contrasting sections, is the tough nut to crack for traditionalists, but recently there has been a change in his style, the Thirteenth, from 2010, moving ever closer to tonality. Two very short movements, here divide the other three, which are of substantial length, his language much easier to grasp, the final Prestissimo a brilliant piece of writing. The challenges that these works throw in front of the performers, not only in the dexterity of the left hand, but in the task of interplay between instruments and the problem of keeping clarity of texture on which the music thrives, is immense in all three scores. Poland’s Wieniawski String Quartet play with that feeling of familiarity and deep commitment towards their national composer. I commented on the ‘close and quite dry’ quality of the previous recording, but here there is ample space around the sound. This is the third volume, the first four quartets are still required. © 2012 David’s Review Corner

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