Baxians everywhere will rejoice at the appearance of this beautiful and enterprising collection, which fills so many gaps in the composer’s current discography.
The earliest work here – In Memoriam for cor anglais, harp and string quartet – probably dates from 1917. Bax originally subtitled this gorgeous nine-minute essay “An Irish Elegy”, and like the Elegiac Trio from the same period, its poignant mood reflects his despair at the tragic events of the Easter Rising. The single-movement String Quintet was completed in January 1933 and first given two years later by the Stratton Quartet (for whom it had been written) with Raymond Jeremy on second viola. Bax draws some luscious, almost orchestral sonorities from his chosen forces, and this well-made piece is full of characteristic things: the cocky Irish tune at 1'13'' reappears in triumph towards the close, and, unless I’m mistaken, the ghostly melody at 4'03'' is a direct relation of an idea Bax had previously used in his 1931 tone-poem, The tale the pine trees knew.
The Octet, Threnody and Scherzo and Concerto were all premiered at London’s Aeolian Hall on December 11th, 1936 – the same evening as the announcement of King Edward VIII’s abdication. Scored for horn, piano and string sextet, the 1934 Octet (labelled “Serenade” on the short score) bears an inscription to that wealthy American patron of music, Elizabeth Sprague Coolidge, and was inspired by the artistry of Aubrey Brain and Harriet Cohen. It is a two-movement work of strong appeal and engaging charm: the magically evocative opening brings with it echoes of those unforgettable horn solos in the Third Symphony’s central Lento, while the icy glitter of the piano part from 1'53'' in the second-movement scherzo momentarily conjures up the far-Northern landscape of Winter Legends.
Dedicated to fellow composer Patrick Hadley, the Threnody and Scherzo for bassoon, harp and string sextet of 1936 is perhaps less immediately striking. The writing is as fluent and accomplished as ever but the melodic material isn’t quite as fresh as one might have wished. (According to annotator Lewis Foreman, Bax himself subsequently admitted he could hardly recall a note of this particular piece.) By contrast, the Concerto for flute, oboe, harp and string quartet (written directly after the Threnody and Scherzo) now stands revealed as one of Bax’s most likeable chamber offerings. This is a captivating transcription for septet of a Sonata for flute and harp from 1928 and proves to be an exquisite gem, its deft and joyous outer movements framing a central “Cavatina” of high loveliness.
No praise can be too great for the palpable dedication and sensitivity of these performances, which have been accorded Chandos sound of wonderful transparency and warmth. In every way, a delightful release.'