Quartets by Willem Pijper (1894-1947) have been available before, but usually only as special imports (Nos. 2–5 appeared on a Dutch Attacca Babel LP in reverential performances by the Gaudeamus Quartet, those of the Fourth and Fifth being reissued on another Dutch label Donemus). The Olympia disc is, I believe, the first complete recording, indeed, it may well be the first at all of No. 1. Roughly twice the length of any of its successors, the latter was written during Pijper's studies with Wagenaar. Prophetic as its muted scherzo is, the contrast between the late romanticism of this apprentice piece and its polytonal successors could scarcely be wider
Pijper's mature voice was never very distinctive, but there is no denying the quality of his impeccably crafted, compact designs. Although he was alive to most of the progressive trends current in 1920s Europe, impressionism proved the most durable for him. Debussian harmonies form the backdrop to the Third Quartet (1923), an engaging suite of dance fantasies, while Ravel was the inspiration for the Fourth (1928). The latter is Pijper's finest quartet though the two completed movements of the unfinished Fifth, begun but set aside in 1946, show that he was still developing stylistically.
The Schoenberg Quartet prove near ideal advocates for Pijper's cause in this, his centenary year, and are marginally preferable to the Gaudeamus. Although Quartets Nos. 4 and 5 are duplicated on Donemus, this ought not deter potential purchasers from acquiring this worthwhile and highly recommendable newcomer.'