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Sir
Arnold Bax Website
EDITORIAL
March
6, 2006
It has been rather lean times for us Baxians and
that’s been reflected in the inactivity of this website for the
last several months. Honestly, there’s not been too much to write
about. Fortunately, that’s all changing as we see the release of
several important Bax CD releases this month including those
reviewed in the latest update of this site. I’m happy to say that this year also marks the 10th
anniversary of the Bax site so it’s a good thing we’ve finally
got something to discuss! What disappoints me though is that there is little to report
in way of live Bax performances. I’ve been searching the web for announcements and have
found very little and I’ve not been informed of any live
performances either.
I was surprised to find two Bax performances taking place
next February (2007) at
Lincoln
Center
(in
New York
) of all places.
You can find the details about those performances on the Forthcoming
Concerts page.
It’s nice to see that Mark Elder and the Hallè are taking Tintagel to the States.
Elder has shown his credentials as a Baxian with his
magnificent performances of Spring
Fire in various locales.
I hope he will be allowed to record his interpretation on the
Hallè’s Live label sometime soon.
There will be a release of Tintagel
on that label coming out as part of an “English Seasons” disc.
Now, I believe November
Woods would have been a more appropriate choice, but I’m
delighted to have whatever Elder gives us.
And as performances of November
Woods go, it is extremely doubtful that anyone will soon match
what Vernon Handley has given us in his new recording on Chandos
that Graham Parlett reviews
in this issue.
I would go so far as to say it belongs with the most select
group of greatest Bax performances including Barbirolli’s
Tintagel, Del Mar’s Sixth Symphony, Fredman’s Second Symphony
and Handley in Spring Fire
and the First, Third, Fifth and Seventh Symphonies.
Certainly, it’s is a worthy successor to Tod’s
symphony cycle and can be warmly recommended to all who have even
the slightest interest in Bax, British music or concert music of the
early 20th century.
We also review
Ashley Wass’s third volume of his Bax piano cycle for
Naxos
. You’ll
see from the reviews from Graham and Chris Webber that there is less
agreement as to the merits of these new performances.
I’ve been a great admirer of Wass’s earlier volumes but
I’m less convinced by what he’s given us here.
The problem isn’t with the playing, which is superb, but
with the approach.
While these pieces are mostly miniatures, they demand the
same sort of cold, steely, objective thinking that the sonatas
require if they are not to be sunk by their own weight.
Wass is just too warm and introspective for these smaller
pieces that need a sharper outline than what they are given here.
I agree with Chris Webber’s recommendation that the earlier
Lyrita cycle by Iris Loveridge remains the benchmark for this music
and any young pianist who intends to tackle these pieces should
first consult with her before venturing forward.
That said, I want to emphasise the extremely high
regard I have for Ashley Wass as a pianist and as I said before, his
recordings of the sonatas (particularly the Second and Third) are
very impressive.
Graham Parlett attended a recital in
Norwich
given by Wass and violinist Laurence Jackson of the Maggini Quartet
of several works for violin and piano including the elusive Third
Sonata.
Judging from Graham’s review
the forthcoming
Naxos
series of the violin sonatas with these same artists will be
revelatory and volume one should be released later this year. I’m
also looking forward to Martin Outram’s (also of the Maggini)
forthcoming recordings of the works for viola on
Naxos
including the great Viola Sonata.
The event I’m most looking forward to is the eminent
release of Michael Endres’s recordings of the piano sonatas on
Oehms Classics.
They are expected out in a month or two.
I was fortunate to attend the recordings of the first three
sonatas and I can attest to the brilliance of the playing and
Endres’s total command of Bax’s idiom.
His new recordings are direct and objective much in the
manner of Loveridge, and they nicely compliment the more
introspective Wass versions very well.
I think Baxians will want to have both sets.
So, while there are many new recordings to look
forward to, we aren’t seeing the revival of interest in Bax’s
music reflected in concert programs.
If you do know of any forthcoming Bax performances, please
send a note and I’ll post the information on the site immediately.
Send the details rybergadams@hotmail.com.
Two other notes of interest:
The White Horse Inn (where Bax lived the last 14 years of his
life) may finally be getting a much needed face lift.
A request for funds for the renovation of the
Inn
has been submitted to the Horsham
District Council and hopefully it will be approved.
I’m encouraging Baxians to submit letters to the Council to
show support for the renovation as “The White Horse” is an
important landmark in the history of British music. The
address is Horsham
District Council, Planning Department, Park House,
North Street
, Horsham,
West Sussex
, RH12 1RL. Any
letters should also state that plans to renovate the structure
should include some sort of memorial to Bax beyond the plaque that
is already at the entrance.
Finally, the authors of “Summer with Bax” are
organizing the launch of their new book (reviewed
by Chris Webber on the site) in Buxton on July 15th
and it looks to be a wonderful affair for Baxians to mingle
and discuss the fascinating new book as well as the great man
himself.
Details for the event can be found on the Announcements
page.
Richard
R. Adams
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