Sir Arnold Bax

[Roasted Swan]

Blimey, you were dead serious about that war.... 

I actually have not got a clue what you mean!

[Florestan]

I actually have not got a clue what you mean!

Drat! I confused you with Spotted Horses. See the Bug Report 2024 thread. I apologize. 

[Pohjolas Daughter]

Enjoyed listening to his Sonata for Cello and Piano today (posted a youtube video of it on the WAYLTN thread).

Whilst poking around in my CD collection I found that I have a bit more Bax than I had remembered including a Lyrita one of "Boult Conducts Bax" and two Chandos' ones (some duplications) which include Northern Ballad No. 3, Cortège, Mediterranean, and Overture to a Picaresque Commedy, and his Cello Concerto (with Wallfisch).  The other Chandos one has the Violin Concerto, the Cello (again with Wallfisch, etc.) and Morning Song.

More exploring for me ahead.  By the way, what do others here think of his cello concerto?

PD

[kyjo]

For some reason I've never been able to get into the Fifth Symphony as much as the others. Can't quite figure out why. Trying it again now. In fact, the odd-numbered symphonies have taken me a lot longer to get into than the even-numbered symphonies.

I like all the Bax symphonies but the Fifth is also not one of my overall favorites. I prefer nos. 1-3, 6, and even the sometimes maligned 7th.

[kyjo]

Enjoyed listening to his Sonata for Cello and Piano today (posted a youtube video of it on the WAYLTN thread).

Whilst poking around in my CD collection I found that I have a bit more Bax than I had remembered including a Lyrita one of "Boult Conducts Bax" and two Chandos' ones (some duplications) which include Northern Ballad No. 3, Cortège, Mediterranean, and Overture to a Picaresque Commedy, and his Cello Concerto (with Wallfisch).  The other Chandos one has the Violin Concerto, the Cello (again with Wallfisch, etc.) and Morning Song.

More exploring for me ahead.  By the way, what do others here think of his cello concerto?

PD

Both of Bax's cello sonatas (the one in E-flat as well as the Legend-Sonata) are fine works, full of Baxian hallmarks and strong ideas. They've both received excellent recordings by cellists Paul Watkins (on Chandos) and Johannes Moser (on Hänssler) respectively. On the other hand, I don't rate his Cello Concerto (or his Violin Concerto) very highly, though to be fair it's been a while since I've listened to it. I recall a frustrating lack of memorability, a trait that often characterizes Bax's weaker works.

[kyjo]

Today I happened to listen to Bax's "In Memoriam" which appears as the last track on this disc;



a really impressive disc - mainly devoted to Elgar - but with this substantial/rare Bax work as the "filler"  Regarding the Elgar works; I do enjoy "The Spirit of England" - with wonderful choral writing and utter sincerity in its ardent-eyed patriotism.  The Voice in the Wilderness is still a rarity - a work for narrator, soprano solo and orchestra but it receives a very convincing performance here and a rather touching one too.  One thing struck me listening to the Funeral March from Grania & Diarmid (which is glorious) - I think Anthony Payne must have borrowed an idea or two (and the orchestration) from the last great climax for his Symphony 3 realisation.

Which brings me to the Bax.  Written around the time of "Garden of Fand" this is Bax at his creative early peak.  A tremendously powerful work - but of course one that would sit uneasily with the powers that be given its support of Paedrig Pearce and the Irish Rebellion.  This is a substantial work 17:03 with Elder and 14:52 with Handley in its only other recording.  Both are very fine but I rather like the extra little bit of grandeur and grief Elder finds.  But a tremendous work and one that deserves to be much better known.  Bax's original orchestration was lost for decades so it was never played in his lifetime.  But Bax did mine the score later in life to use a theme in his film music for Oliver Twist which is why it might sound familair.

One VERY curious error in the Halle release booklet.  The great Micheal Kennedy states that the work is an orchestration of the cor anglais, harp, string quartet work from 1916 also "In Memoriam Paedrig Pearce".  Its not - its a completely unrelated work albeit on the same subject [there's a recording of the chamber work on Chandos].  VERY surprised Kennedy could make this mistake and that it was not caught pre-publication.  The existence of the 2 different works is clearly documented by Graham Parlett for one.

Absolutely! As I've said before, In Memoriam is one of Bax's finest and most deeply affecting works. There are only a few moments in his symphonies (e.g. the codas of nos. 3 and 7) that can match the level of immediate emotional poignancy found in this work IMO.

The other day I revisited a seldom-discussed but favorite Bax work of mine, the String Quartet no. 1 in G major (in the Maggini Quartet recording on Naxos). This is undoubtedly one of Bax's sunniest, most tuneful works - a lot like "Dvorak goes to Ireland" in places! The slow movement is quite touching and nostalgic, while the finale is a tremendously fun folksy romp. Sheer delight! To be honest, I haven't even listened to Bax's 2nd and 3rd SQs yet - any views on these?

[Pohjolas Daughter]

Both of Bax's cello sonatas (the one in E-flat as well as the Legend-Sonata) are fine works, full of Baxian hallmarks and strong ideas. They've both received excellent recordings by cellists Paul Watkins (on Chandos) and Johannes Moser (on Hänssler) respectively. On the other hand, I don't rate his Cello Concerto (or his Violin Concerto) very highly, though to be fair it's been a while since I've listened to it. I recall a frustrating lack of memorability, a trait that often characterizes Bax's weaker works.

Thanks Kyjo, for your comments.  I'll do some more poking around.

Hope that your studies(?) or hiring is/are going well?

All the best,

PD

[Roasted Swan]

Absolutely! As I've said before, In Memoriam is one of Bax's finest and most deeply affecting works. There are only a few moments in his symphonies (e.g. the codas of nos. 3 and 7) that can match the level of immediate emotional poignancy found in this work IMO.

The other day I revisited a seldom-discussed but favorite Bax work of mine, the String Quartet no. 1 in G major (in the Maggini Quartet recording on Naxos). This is undoubtedly one of Bax's sunniest, most tuneful works - a lot like "Dvorak goes to Ireland" in places! The slow movement is quite touching and nostalgic, while the finale is a tremendously fun folksy romp. Sheer delight! To be honest, I haven't even listened to Bax's 2nd and 3rd SQs yet - any views on these?

Very good description of Quartet No.1.  I think Nos.2&3 are fine/powerful works; 2 sits between Symphonies 1 & 2 and No.3 is later - 1936 between 6 & 7.  Interestingly Bax suggested that the 1st movement of 3 was a depiction of Spring in Ireland (Kenmare to be precise).  Neither are as instantly attractive as No.1 but as with so much of Bax's music if you stick with them they prove to be individual and with considerable depth.  The Magginis are reliably fine as always - and in any case theirs is the only 'cycle' of all the quartets.

Re the Cello Concerto - I'd agree its by no means Bax's finest work but I do think Wallfisch makes a good case - better than Handy on the only other commercial version.  The shame is that the Chandos recording made at All Saints Tooting at this time were not nearly as good as those they made elsewhere.

[kyjo]

Very good description of Quartet No.1.  I think Nos.2&3 are fine/powerful works; 2 sits between Symphonies 1 & 2 and No.3 is later - 1936 between 6 & 7.  Interestingly Bax suggested that the 1st movement of 3 was a depiction of Spring in Ireland (Kenmare to be precise).  Neither are as instanting attractive as No.1 but as with so much of Bax's music if you stick with them they prove to be individual and with considerable depth.  The Magginis are reliably fine as always - and in any case theirs is the only 'cycle' of all the quartets.

Re the Cello Concerto - I'd agree its by no means Bax's finest work but I do think Wallfisch makes a good case - better than Handy on the only other commercial version.  The shame is that the Chandos recording made at All Saints Tooting at this time were not nearly as good as those they made elsewhere.

Thanks, RS. I'll be sure to check out the SQs nos. 2 and 3 soon!

[Symphonic Addict]

Both of Bax's cello sonatas (the one in E-flat as well as the Legend-Sonata) are fine works, full of Baxian hallmarks and strong ideas.

I'll have to give the Cello Sonata in E-flat another listen because I didn't elicit any good impression on me (I don't know the Legend-Sonata yet and the Cello Sonatina I did enjoy).

[Pohjolas Daughter]

I'll have to give the Cello Sonata in E-flat another listen because I didn't elicit any good impression on me (I don't know the Legend-Sonata yet and the Cello Sonatina I did enjoy).

I should give the L-S and the Sonatina a visit.  Off to youtube!

If you don't own/have a copy of the Cello Sonata, I've found a quite pleasant recording of it here:

PD

[Karl Henning]

[Luke]

There's a few errors of chronology and fact in there. Bax had a very complicated life! The major error in the video - an oft-repeated one - is that Bax and Cohen went on a six week holiday to Tintagel together.

[vandermolen]

Enjoyed listening to his Sonata for Cello and Piano today (posted a youtube video of it on the WAYLTN thread).

Whilst poking around in my CD collection I found that I have a bit more Bax than I had remembered including a Lyrita one of "Boult Conducts Bax" and two Chandos' ones (some duplications) which include Northern Ballad No. 3, Cortège, Mediterranean, and Overture to a Picaresque Commedy, and his Cello Concerto (with Wallfisch).  The other Chandos one has the Violin Concerto, the Cello (again with Wallfisch, etc.) and Morning Song.

More exploring for me ahead.  By the way, what do others here think of his cello concerto?

PD

I don't really like any of the concertos but I love the symphonies (all of them) and some of the chamber music (Piano Quintet, Harp Quintet). The 5th Symphony was my favourite when I first discovered Bax. As with the 7th Symphony Leppard's Lyrita recording is better than any of the others IMO.

[kyjo]

I'll have to give the Cello Sonata in E-flat another listen because I didn't elicit any good impression on me (I don't know the Legend-Sonata yet and the Cello Sonatina I did enjoy).

Certainly, this recording does the Cello Sonata in E-flat full justice:



As does this recording for the Legend-Sonata:

[Karl Henning]

There's a few errors of chronology and fact in there. Bax had a very complicated life! The major error in the video - an oft-repeated one - is that Bax and Cohen went on a six week holiday to Tintagel together.

Thanks for the corrigendum!

[Luke]

Thanks for the corrigendum!

Sorry, didn't want to seem picky. Those details of timeline in his romantic life are particularly important with Bax, and this one above all as it's the myth at the heart of what is perhaps his most famous piece. In reality Cohen went to Tintagel alone; Bax went Trevose, a number of miles away, a while later, and with his family. He and Cohen only had a few brief meetings; it was a time of stress and longing rather than romantic liberation. Other inaccuracies include

- that Bax's marriage to Elsita was short-lived. On the contrary, she refused to divorce him so they married for many years. The source of great aggravation to Cohen
- that Cohen remained his lifelong muse. She was always devoted to him but she was replaced by Mary Greaves in importance as a muse in later years.
-that the change from Celtic to Nordic inspiration was at the end of the war. It's later than that, c. 1930

[Karl Henning]

Sorry, didn't want to seem picky. Those details of timeline in his romantic life are particularly important with Bax, and this one above all as it's the myth at the heart of what is perhaps his most famous piece. In reality Cohen went to Tintagel alone; Bax went Trevose, a number of miles away, a while later, and with his family. He and Cohen only had a few brief meetings; it was a time of stress and longing rather than romantic liberation. Other inaccuracies include

- that Bax's marriage to Elsita was short-lived. On the contrary, she refused to divorce him so they married for many years. The source of great aggravation to Cohen
- that Cohen remained his lifelong muse. She was always devoted to him but she was replaced by Mary Greaves in importance as a muse in later years.
-that the change from Celtic to Nordic inspiration was at the end of the war. It's later than that, c. 1930

I didn't find your note picky, and I appreciate your emendations!

[Roasted Swan]

Sorry, didn't want to seem picky. Those details of timeline in his romantic life are particularly important with Bax, and this one above all as it's the myth at the heart of what is perhaps his most famous piece. In reality Cohen went to Tintagel alone; Bax went Trevose, a number of miles away, a while later, and with his family. He and Cohen only had a few brief meetings; it was a time of stress and longing rather than romantic liberation. Other inaccuracies include

- that Bax's marriage to Elsita was short-lived. On the contrary, she refused to divorce him so they married for many years. The source of great aggravation to Cohen
- that Cohen remained his lifelong muse. She was always devoted to him but she was replaced by Mary Greaves in importance as a muse in later years.
-that the change from Celtic to Nordic inspiration was at the end of the war. It's later than that, c. 1930

being factually accurate is not being picky!

[Luke]

Error in what I wrote now - but due to autocorrect rather than ignorance (in this case): Mary Gleaves, not Greaves.