Although born and raised in England, Arnold Bax developed a love for all
things Irish; he even used the pseudonym *Dermot O'Byrne* when writing
plays, stories, and poems.  He also became quite friendly with Irish
artists and others promoting the independence of Ireland.  Bax had a close
affinity for the harp, and perhaps this instrument was connected in his
mind with his Irish leanings.

Naxos recently released a disc of Bax chamber works for harp performed by
a group named Mobius which consists of seven artists who joined forces in
1995.  The compositions on the disc are the Quintet for harp and strings,
Elegiac Trio for harp, viola, and flute, Fantasy Sonata for harp and viola,
and the Sonata for flute and harp.  Playing time is a healthy 65 minutes,
and the catalog number is 8.554507.

To the degree that Bax has an international reputation, it is largely
based on his symphonies and tone poems.  However, I have a preference
for his chamber works, and the ones for harp are particuarly rewarding to
me.  I'm not using any comparisons for the Naxos disc, although I do have
somewhere an Hyperion disc which has two of the four works on the Naxos
disc.  Of course, Naxos has the price advantage, and it is clear from
listening to the recording that Mobius has the full measure of these Bax
chamber works.

The disc opens with the Quintet for harp and strings, a one movement work
in three sections.  The first section, Tempo moderato, begins in dramatic
fashion with only support from the harp; the second theme (Tranquillo),
one of great beauty, brings the harp to primary importance.  The second
section seems to me more of a slow "intermezzo" which leads to the third
section which immediately repeats the initial theme from the first section,
although it then varies somewhat from the first section.  This is a lovely
and poignant composition which takes me to the Irish countryside and rocky
coast.  It lasts for 14 minutes and does not outstay its welcome.

The Elegiac Trio for harp, viola, and flute, in one movement, was composed
by Bax soon after the Easter Rising of 1916.  This violent event had much
impact on Bax, particularly with the execution of one his close friends,
Padraig Pearse, who was a leading advocate for the Irish language.
Although the Elegiac Trio displays Bax's deep reaction to the uprising, he
does not indulge in any extreme level of histrionics, always maintaining
fine musical proportions.  The work begins with the harp ushering in a
lament, is joined by the flute, and eventually the viola unites with them.
It's a beautiful beginning and the lovely and melancholy nature of the
piece continues throughout.  Mainly, its moods are similar to those of the
Quintet for harp and strings, but there is a section where I believe the
viola conveys some appropriate tears.

The next work on the disc is Bax's Fantasy for harp and viola.  I find
it amazing how different the soundworld is when three instruments are
pared down to two.  In both the Elegiac Trio and the Quintet for harp and
strings, there is largely a blending of the instrumental voices, and I was
frankly concerned that the overall tenor of the disc would involve quite a
bit of "sameness".  But in the Fantasy for harp and viola, each instrument
is very much of soloist proportion and each has abundant opportunity to
take center stage and display some virtuosity.  There is some history
concerning the virtuosity.  Bax wrote the Fantasy in 1927; two years
earlier, he became friendly with harpist Maria Korchinska who encouraged
him to write with greater virtuosity for the harp.  Bax certainly responds
positively in the Fantasy.  This is a four movement work with minimal or no
breaks between movements.  The first movement is an energetic Allegro molto
with an opening viola theme which provides the development from movement
to movement and reappears at the end.  I like the two middle movements the
most.  In the second movement, the harp has a gait that reminds me of a
clock ticking toward a deadline.  The third movement, Lento espressivo, is
a lovely and spacious piece.  Overall, I am not as enamored of the Fantasy
as the first two works on the disc, but I do appreciate the variety it
provides.  There's some impressionist elements to the Fantasy which are
well suited for the harp.

The last work on the disc, the Sonata for flute and harp, was written
soon after the Fantasy.  Bax was commissioned to write a sonata for
Maria Korchinska and her flute-playing husband, Count Benckendorff.
When completed, the Benckendorffs took control of the work, and it was
not published.  Bax eventually rescored the work for his Concerto for
Seven Instruments, and nobody was aware of the arrangement since the
Sonata was kept under close wraps by the Benckendorffs.

The Sonata for flute and harp has three movements, and each of them is
entirely unmemorable.  The music, to my ears, is whimsical, without any
foundation, and has melodies of second-rate proportion.  Unlike in the
Fantasy, the harp plays a subsidiary role.  The result is a steady stream
of insipid flute music.  The Gramophone reviewer considers this work
"engagingly relaxed"; I find it relaxed but not even remotely engaging.

So we end up with two outstanding works, one excellent work, and one
throw-away composition.  Given the Naxos price, 3 out of 4 is a very good
winning percentage, and I'm sure that many listeners would also appreciate
the Sonata for flute and harp; I just find it too flimsy.

Don's Conclusion:  Although not an essential purchase, the disc should
appeal greatly to those who love early 20th century British chamber music.
At premium price, I would have a concern about the Sonata for flute and
harp; at Naxos prices, it doesn't matter much since a Naxos disc only
costs the price of a lunch for one.

Don Satz
[log in to unmask]