This recording’s selections exemplify many of the features found throughout the extensive but largely little known body of Polish violin-keyboard writing. The wide stylistic variety parallels the diversity within Poland’s cultural traditions shaped, in turn, by a long history of frequently changed borders and territorial makeup. Starting long before Poland’s culturally progressive “Golden Age” (mid 15th-16th centuries), these connections occurred through trade, religious, intellectual, artistic, marriage and other contacts. As a result, this music, like the rest of Poland’s culture, is generally western-oriented but sometimes includes distinctive eastern elements. Folk elements are often equally important. Most obvious is the use of Polish dances, e. g. the mazurka, but dance-related rhythmic figures, or their characteristic accents on normally less-strong beats or rhythmic subdivisions are often transplanted to non-dance settings. The historical association of ! Polish folk traditions with fiddles and then the violin itself (long Poland’s most popular folk instrument), is so close that Poland’s classical violin performance tradition reaching back to c. 1500 can also be considered to be an extension of her much longer folk practice. While the earliest of Poland’s many widely-famous violinists date from the 19th century, numbers of Polish violinists were already known for their high level of performing throughout Europe in the 16th century. Likewise, effective keyboard writing on this CD reflects a rich Polish keyboard tradition, sometimes with the composer being either a performing pianist ( like Chopin and Paderewski) or able to play the instrument with a high degree of accomplishment (Bacewicz).
