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Brian Wilson
MusicWeb International, June 2016

…the performances are first-rate, with all concerned coping very well with the complexities of the music: the Silesian Quartet are well known for their vigorous renditions of this sort of music. It’s all very well recorded, with the rather close ambiance well suited to the immediacy of much of the music, though also allowing for the more reflective moments to make their effect. © 2016 MusicWeb International Read complete review



David W Moore
American Record Guide, January 2016

Meyer is a fine pianist, and his performance is highly recommendable. On the other hand, Sałajczyk is also fine, somewhat less subtle but sensitive; and both the Wilanow and the Silesian quartets are excellent. Furthermore, the 25-minute Piano Quartet is a first recording of a fascinating one-movement work written in 2009 that I wouldn’t want to be without. © 2016 American Record Guide Read complete review on American Record Guide



Roger Knox
The WholeNote, November 2015

Throughout, the quartet and Salajcyzk never falter in ensemble, tone quality or dynamic control. © 2015 The WholeNote Read complete review



Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, September 2015

The Silesian String Quartet and pianist Piotr Salajczyk team up for these two works and do so impressively. The music is by no means an easy thing to play but the performances are flawless and shaped nicely as spirited totalities. © 2015 Gapplegate Classical-Modern Music Review Read complete review



David Denton
David's Review Corner, August 2015

‘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 once said of Meyer. Having been born in 1943 in Kraków, Poland, with Penderecki and Nadia Boulanger listed among his mentors, Krzysztof Meyer has become a composer of a large portfolio of works, symphonies and string quartets among his most acclaimed scores. Eighteen years separate the two works on the present disc, the length of the earlier Piano Quintet from 1991 extending as far as most present day symphonies, and follow a Classical trajectory, the explosive short third movement as a type of scherzo. It is an unusual score, firstly in the predominantly quite and slow moving nature of lengthy passages—particularly so in the second movement—secondly in its use of the strings that often fragment to join in an ‘accompaniment’ to the piano, while the keyboard has a number of solo or quasi-solo passages. It is couched in atonality, which I find refreshing in its unusual sonorities, with the finale moving between mercurial activity and clamorous outbursts. The Piano Quintet is different by virtue of its one-movement format, though, that apart, it is stylistically a companion piece with the Piano Quartet. Again there is much that is quiet, and also much that sounds disjointed, the often volatile music seemingly ending in a mood of sadness, before the Harlequin of the piece returns to bring joy. Both works are obviously fiendishly difficult and I have much admiration for the critically acclaimed Silesian String Quartet when, faced with pages that must be black with notes, they create a remarkable clarity from Piotr Salajczyk’s piano playing. I beg you to hear the disc. © 2015 David’s Review Corner





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