Grażyna Bacewicz (1909–1969) played a leading role in making Polish
music an integrated part of the contemporary European music scene - like
Lutosławski, Gorecki and Penderecki (in whose shadow she stood for too
long, before now finally being recognized). Following in the footsteps
of Szymanowski, her works convey a striking emotional directness by
combining elements of native Polish folksong with a modernist style.
After
graduating from Warsaw conservatory in 1932, Bacewicz went to Paris
where she studied with the redoubtable Nadia Boulanger in a cosmopolitan
atmosphere - she would return two more times to France. In Poland, she
concentrated on playing and composing and became concert master in the
newly formed Polish National Radio Symphony Orchestra. She continued
composing during the difficult war years (Second String Quartet, First
Symphony and the popular Overture for orchestra). For the first decade
after the war, the political and cultural situation in her homeland
imposed limits on her activities - her works written from 1945 to 1955
were in a “neo-classical” style, but from 1956 on, when there was more
freedom, her style could evolve in a more contemporary direction.
Bacewicz continually looked for ways to develop her style, while
maintaining her dedication to form, logic and expression..
The string quartet No 4 dates from 1951 and is one of the composer's most performed works. It realizes a perfect balance between formal complexity, harmonic sophistication and approachable melodies. The quartet has the following movements: (1) Andante - Allegro moderato, (2) Andante and (3) Allegro giocoso. Played by the Szymanowski Quartet.
P.S. Also read my note about Bacewicz Third Quartet, in the series "Best String Quartets, Part Five (Postwar period)."