Customer Reviews

Bax: Symphony No. 6; Into the Twilight; Summer Music

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4 star:		(1)
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This is an absolutely magnificent CD. It earns highest marks in all areas: music, performance, sound, and value. What more could you ask?

Music: Many good judges consider this the best of Bax's seven symphonies. It's not hard to see why. The music is immediately attractive and accessible, colorful and atmospheric, richly and imaginatively orchestrated, full of interest. The two tone poems, while perhaps not on the same level of inspiration as the symphony, are similarly atmospheric, attractive, and accessible.

Performance: This is the sixth and next-to-last release in the Naxos cycle of Bax symphonies and tone poems: only No. 7 and "Tintagel" await release. It is a most distinguished series, throughout which the Royal Scottish National Orchestra and David Lloyd-Jones have provided sensitive, idiomatic, beautifully played, altogether persuasive performances that have made many converts to Bax. It is apparent that each recording has been painstakingly, lovingly prepared by an ardent and expert Baxian. The series has received much critical acclaim, and the acclaim has been fully deserved.

Sound: The entire series has featured excellent sound, but this latest release (recorded in Glasgow Royal Concert Hall in August 2002) is to my ears the best-sounding one yet--so good, in fact, that the sound is in the top demonstration class, leaving nothing to be desired. It has marvelous transparency and openness, full frequency range (deep bass) and wide dynamic range, and every detail of the colorful orchestration is clearly heard, with never a hint of hardness, harshness, or congestion. Truly an audiophile's delight. Producer and engineer Tim Handley can be proud of his achievement here: this is modern digital orchestral recording at its finest.

Value: This would be a splendid CD at full price. At the Naxos budget price, it's a steal. If you're interested in sampling the Naxos Bax cycle, or simply in trying one of the best recent Naxos releases, this is the perfect place to begin. I urge you not to miss this one.

May I begin with a confession? I have been a "Baxophile" since my late teens, when I first heard the composer's magnificent tone poem "Tintagel" (1917) on an Angel LP featuring Sir John Barbirolli and the Hallé Orchestra in a program mainly of Delius but with one item each by John Ireland and Sir Arnold Bax (1883 - 1953). This would have been around 1972. The evocation of seashore and sky, the magical atmosphere of the Cornish sagas, the big tune - all of this enthralled me immediately and I began swiftly to seek out other music by this then under-represented figure. It so happened that in those days the redoubtable Lyrita label, dedicated to British music, had inaugurated serial release of LPs of the Bax symphonies (seven in all), and an early item in their (ultimately incomplete) cycle was the Sixth Symphony (1934), performed by the London Symphony Orchestra led by Norman del Mar. The availability of the Sixth was fortuitous, for this score is definitely the pinnacle of Bax's symphonic sequence, each number of which amounts to a formidable achievement. Indeed, more than one Bax scholar agrees that the Sixth is a gem among gems, the score where Bax most perfectly matches his emotional intensity, thematic profusion, and sense of form. Like "Tintagel" and so much of his work, the Sixth Symphony reflects Bax's relation to remote and primitive parts of the British Isles, especially to the West Coast of Scotland where, at Morar, most of the symphony was written. Bax's Sixth appeared on the scene with two other important British symphonies: Ralph Vaughan Williams' Fourth and William Walton's First; Bax's Sixth shares with these two a mood of anger and apprehension, but of the three it is arguably the starkest and most pessimistic in its rugged beauty. In his lifetime, Bax heard the Sixth fewer times than he heard any of his other symphonies and regretted the paucity of performances. To appear on a commercial recording (that old Lyrita LP), the Sixth waited until thirty-five years after its premiere. Again in the early 1980s Bryden Thomson recorded it as part of his Bax survey for Chandos, and more recently Douglas Bostock released a traversal on Classico. Thomson and Bostock give good performances although in comparing them in memory with del Mar, it is del Mar who strikes me as having grasped the symphony best. The new recording by David Lloyd-Jones and the Royal Scottish National Orchestra on Naxos, on the other hand, finally offers real competition to the long unavailable del Mar. The First Movement (Moderato - Allegro Con Fuoco) of Bax's Sixth opens over throbbing triplets - an ostinato - in the bass; two groups of anguished themes unfold over this pattern. Halfway through the movement, Bax diminishes the note-values of the ostinato, giving the impression that the music has speeded up. The final bar of the First Movement needs to sound like a catastrophe. Annotator Graham Parlett (a redoubtable Bax-scholar who has orchestrated some of Bax's abandoned sketches) speaks metaphorically of the slamming of a door. Del Mar succeeded in conveying the cataclysm; so does Lloyd-Jones. The Middle Movement (Lento Molto Espressivo) is another of Bax's orchestral nocturnes, reminiscent of, although not so relaxed as, the central panel of the Third Symphony. The woodwind solos are especially ravishing. The Naxos engineers bring out an exceptional wealth of instrumental detail. The Third Movement (Lento - Allegro Vivace - Andante Semplice - Lento) incorporates a Scherzo and Trio and concludes in a patented Baxian Epilogue. There is a "Liturgical Theme," first given out quietly by the solo clarinet, which dominates the sequence thematically. The articulations are complicated, with many changes of tempo, but Lloyd-Jones manages them seamlessly. Once again, the Naxos engineers find an extraordinary wealth of colorful detail. Peter Pirie once wrote of this work that, in it, "the great conflict that had raged in Bax's symphonies from the first was finally resolved." Pirie described the Epilogue in particular as "a world of peace and beauty, but hardly this world." The program includes an early tone poem, "Into the Twilight" (1909), and a mid-career orchestral idyll, "Summer Music" (1921/32), the latter a kind of Baxian homage to Frederick Delius. The Lloyd-Jones cycle of Bax symphonies has leaped from strength to strength. Only the Seventh remains to be released. (It has already been recorded.) I strongly recommend this disc to Baxians and to those not familiar with the composer but made curious by the revival of his reputation.

After not having listened to classical music for a couple of decades, I rekindled an interest when I began listening to our local classical FM stations while working out at the gym.

One station played a piece a couple of months ago from Handley's Bax symphony cycle, and I thought "this sounds like a nice piece of modern-era classical music" and I bit the bullet and bought the whole Handley set, and was immensely pleased with all of Bax's symphonies.

Since then I heard on the radio Bax's "Winter Legends", and thought "this sure sounds like Bax". I figured this was like my obsessive binge of listening to Mahler, in which every romantic-era piece I heard on the radio I figured was Mahler. But, the "Winter Tales" turned out indeed to be Bax. So, one can say, he certainly has a distinctive and identifiable style.

I also obtained the Lloyd Jones renditions of Bax's symphonies. Upon listening to his rendition of the 6th, my feeling is, this is one of the best classical recordings I have ever heard. It is hard to compare versions of a piece of music objectively; differences in one's own mood for example may skew one's perceptions. But what I do feel I can say with confidence is that this is at least equal to if not superior to every other recorded work of a Bax composition I have heard.

Regarding Bax per se. What intrigues me particularly about his music is that it seems to me he manages to deeply integrate modern tonal concepts into his music, while simultaneously maintaining a strong bond with classical music as it had evolved up to his day. When you combine that with the fact that he wrote a large body of symphonic work, I would be tempted to audaciously propose that he seems to me to be the composer most at the center of extending the classical line of orchestral music through the decades during which he composed. My exposure to classical music is admittedly limited, but at this point I would have to say that I consider Bax to be the preeminent composer of the modern era.

This review may be a bit premature since I haven't heard the other 5 Lloyd Jones recordings yet. I particularly look forward to the 7th. In my view the "theme and variations" movement of Bax's 7th is one of the most beautiful pieces of music I have ever heard.

This recording, released in 2003, has been praised to the skies by critics both on this Web site and elsewhere. The 2008 updated Penguin Guide gave it a rosette and called it "magnficent," praising the recording for its "range, detail and presence." I have no argument with the latter assumption, nor do I take issue with the playing of the Royal Scottish National Orchestra, one of Naxos's house orchestras. Their playing is outstanding, as is the sound. The packaging and price are up to the typical Naxos standard for discount recordings, as well.

What diminishes this recording for me is David Lloyd-Jones overly aggressive approach to the score. There is an oft-cited anger that can permeate Bax's music and Lloyd-Jones seems intent on exploiting this temperament in his recording. Indeed, the opening of the first movement, under Lloyd-Jones' baton, puts Bax in league with Prokofiev's Symphonies Nos. 2 and 3. The remainder of the movement is more 20th century wartime Russia than 20th century Britain. This dark aura carries over into the second movement, where Bax's affliction for English romanticism is swept into near Elgarian mania in the pitch of romantic arcs. It's as if the music is on precipice of a cliff, seemingly willing to go over the edge at any moment. The finale is likewise given to overly aggressive music-making that spoils it for me.

I find this approach to Bax -- whose 20th century style merges English romanticism with Ibertian impressionism -- similar to the way certain conductors interpret the music of Franz Josef Haydn. Instead of recognizing Josef as the predecessor to the first giant of the Romantic 19th century, they play Haydn as if he were Beethoven. There is a constant reserve in Haydn that makes such comparisons inappropriate. I find a similar impertienence here.

I know this is a matter of personal preference and not a final statement of fact. Still, I find several performances of the Symphony No. 6 more suitable to the music than this one. For me, the classic Lyrita account of the Symphony No. 6 6 by the New Philharmonia Orchestra and Norman Del Mar is more well-suited to Bax's moods and outcomes, sounds better, with more atmosphere and depth, and touches on all Bax's kaleidoscopic moods, not concentrating on his unhappy fury like this one. And, while berated for sloppy rhythm and less than scintillating detail and recording, I even prefer Thomson's recording of the Symphony 6 from his early set of Bax symphonies to Lloyd-Jones' account.

I doubt my complaints will lead many away from this issue, as this has been praised everywhere and Naxos recordings sell both well and in duration worldwide. Nonetheless, I feel I have to make these statements. Even if you find this recording your cup of tea, I hope you will listen to other recordings of this music before coming to a final decision on this interpretation.

Don't hesitate, just buy it and enjoy.
In fact, at the Naxos price, with the performances and performers involved, you are denying yourself hours of musical pleasure if you don't just buy the entire symphonic cycle (and I'm including the newest release the Symphony 7 in this recommendation).

From the very beginning of this CD, I became absorbed in the music.
I wanted the music to go on and on, and, when it was over, I wanted to return to it (play it again.) The music seems contemporary--just right for the beginning ot this century, but also tied to the great traditions of the nineteenth century. This may well be one of the greatest "new" symphonies.

Naxos's series of the symphonies of Arnold Bax with the Royal Scottish National Orchestra under David Lloyd-Jones is one of the greatest achievements of their impressive catalogue, with performances that can easily match and often surpass the eminently impressive Bryden Thomson ones (I have to admit that I haven't yet heard the celebrated Handley cycle). The sixth is often counted as the pinnacle of Bax's cycle, and it receives a generally splendid performance here - the Royal Scottish National Orchestra is indeed a superb ensemble and in particular the brass playing is impressive throughout.

There is little to choose between Lloyd-Jones and Thomson in the first movement and its stirringly atmospheric, nostalgic acrimony; both display a sure grip of the musical argument and receive opulent and colorful orchestral responses. In the slow and final movements, however, Lloyd-Jones is quite faster, and comes across as far tauter, rhythmically alive and more powerful, dramatic and bold than Thomson.

Summer Music might not be Bax's at his very best, but this pensive, wistful work acquires an almost magical sheen in this performance. Into the Twilight is luxuriant and verdant, with rich textures and a magical atmosphere, and I can hardly imagine a more convincing rendition than this one. The sound quality is well-focused and clear, and this is overall a wonderful addition to the catalogue, very strongly recommended.

I'm fascinated by Bax's work, and the symphonies tend to be quietly insiduous. He's clearly got lots of ideas, and sometimes the development is seemless, sometimes a bit too transitional. Where I tend to have a problem is that there so often seems to be no really satisfying resolution, or the parts don't add to a cohesive whole.

The Sixth is one of his best works, I think. There's some very stirring stuff in the first movement (a bit menacing, even); the second and third movements have very moving moments. But, again, the movements seem to resolve more academically than emotionally. I know that this can be used for effect and certainly has been, but with Bax, it seems to be a modus operandi, and I think the overall result suffers more than a little.

Maybe I just don't connect as completely with his work as I do with the works of some composers who loom larger, but I keep coming back in hopes that one day I will "get it." Something elusive is going on here, and, frankly, I can't tell if the weakness is his or mine.

Beautifully performed, very good sound.

This composer, unknown to me previously, provides just the perfect relief when the climaxes of the more famous symphonies begin to pall. Fresh, expansive music that gloriously evokes mystical moods of nature. A kind of English empressionism that begs to be explored. A fine performance, wonderfully well recorded and at a bargain price. What are you waiting for? Freeman Gunter

The CD is an excellent recording. I personally do not like Bax to just listen to, it needs a visual stimulus. The CD is very good quality.