their respective natural harmonics throughout all three movements. I. Allegro ma non troppo The structure of this movement is symmetrical, with the A and B sections following the opening returning as B'-A' as the piece comes to a close. Beginning with dense double stopped pulsing sixteenth notes which repeatedly build up in contrary motion, the opening introduces the rhythmic and contrapuntal ideas seen throughout the movement, despite its melodic theme not returning. This brisk 2/4 movement features frequent use of syncopated groupings and off-beat entrances of eighth and sixteenth note figures which vary between being tutti and accompanimental to the melody. Though the harmonies and contours of the melodies used in different sections of this piece are quite varied, the rhythmic structure of both thematic material and accompaniment is consistent; moving eights are slurred across beats, and the pulsing sixteenth notes most often begin just after the beat. II. Andante Following typical conventions of quartet form, this movement is the slowest in the work in a slow 3/4. As a through composed piece, this movement contains little returning material aside from a series of staggered entrances on held notes, and an earlier section of eight notes slurred in syncopations which is arguably characteristic of the first movement. This movement is also features the most extensive use of harmonics and downward glissandos throughout the work. III. Vivo Written in altered rondo form, the combination of form and tempo marking seen in this movement is a common style of third movements in Bacewicz' pieces, such as in her Concerto for string orchestra. In a quick 2/4 with near ever-present lines of continuous sixteenth notes in most of the sections, the returning themes of this movement are subjected to extensive motivic transformation, but are nonetheless recognizable to the listener and consistent in style. The harmony of this movement is the most tonal of the three, beginning and ending in the same key of F major, remaining in established harmonic centers for longer sections, and utilizing more traditional cadences, tonicizations and modulations. Reception Alongside receiving the Polish Ministry of Culture Award nearly a decade later, her friend and colleague Witold Lutosławski remarked in particular "and her String Quartet No. 3, which is marked by an exceptional polyphonic skill in addition to its masterly idiomatic writing for string quartet." Despite its relative overall success and Bacewicz' fame as both a performer and composer at the