Bax: Symphony No. 1; In the Faery Hills; The Garden of Fand
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Composer: Arnold BaxConductor: David Lloyd-Jones
Orchestra: Royal Scottish National Orchestra
Edition: Music CD
CD Release Date: 1998-06-09
Music Label: Naxos
Soundtracks:
- In The Faery Hills
- The Garden Of Fand
- Symphony No. 1 In E Flat: Allegro moderato e feroce
- Symphony No. 1 In E Flat: Lento solenne
- Symphony No. 1 In E Flat: Allegro maestoso - Allegro vivace ma non troppo presto; Tempo di marcia trionfale
Music reviews of Bax: Symphony No. 1; In the Faery Hills; The Garden of Fand
Music Review: Sir Arnold Bax in Modo Feroce
Rating: 4 Stars
To understand the savagery reflected in the first two symphonies (of seven altogether) by Sir Arnold Bax (1883-1953), one must grasp Bax's intense involvement in Ireland, where he first traveled in his early twenties and which he regarded as his second home - spiritually, indeed, as his first home. So profoundly did Bax's Irish sympathies run that he became involved (socially and philosophically, if not politically) with the insurrectionists; in the fighting of Easter 1916 and in the executions that followed, then, Bax lost acquaintances and friends. The First Symphony (1922) in E-Flat began life as a piano sonata, until Bax's lover Harriet Cohen told him that the music was too big for the limited keyboard medium and demanded orchestral fulfillment. Bax then cast his rage and sadness over the Dublin tragedy into the larger form. The score that resulted represents Bax at the peak of his modernistic tendency, incorporating dense, often bi-tonal harmonies, and driving martial rhythms reminiscent of those employed by Stravinsky in "Le sacre du printemps." This symphony has been recorded twice before: Under Myer Fredman on Lyrita in the early 1970s and under Bryden Thomson on Chandos in the early 1980s. The new recording comes as part of a Bax series on Naxos under David Lloyd-Jones with the Royal Scottish National Orchestra. How does Lloyd-Jones stack up against his precursors? Fredman's reading with the London Philharmonic remains impressive, effectively alternating the First Movement's "feroce" passages with its quieter, grief-stricken ones. The Philharmonic brass really growl and snarl. Lloyd-Jones and his Scots orchestra certainly match Fredman for intensity in the fierce moments and tenderness in the quiet ones and have the advantage of clearer sound; and their final cry of grief has somewhat more bite than Fredman's. Bax describes the mood of the Second Movement as "Lento," which, given the ubiquitous tension in the music, is perhaps a form of irony. Thomson's fanfares (about three minutes in) are the richest; his slowest of all tempi among the three give the movement grandeur at the expense of some nervous tightness. Lloyd-Jones, like Fredman, hurries the music, perhaps a shade too much. But this is a matter of taste, after all. In the Finale, Lloyd-Jones comes in timing-wise right between Fredman and Thomson. It is Thomson, finally, who has the most expansive sense of Bax's First; Lloyd-Jones the most driven. So few conductors have taken up the cause of this great (I would say very great) composer, that there is plenty of room for differences of approach. At its low cost, the Lloyd-Jones vesion of Bax's E-Flat symphony is an excellent introduction to the music. We get two tone-poems, "In the Faery Hills" and "The Garden of Fand," as companions to the symphony.
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