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]