Bax: Symphony No. 7; Tintagel [CD]

Coupled with the Seventh Symphony, though, is Bax's most famous orchestral piece, 'Tintagel.' It is a symphonic poem that was inspired by a six-week sojourn in the area of Tintagel, on the northern Cornish coast. Tintagel sits on a high cliff overlooking the distant Atlantic, and the tone poem is really more about the sea than about the castle or the landscape. Indeed, it is Bax's 'La Mer.' David Lloyd Jones leads the Royal Scottish National Orchestra in a rich full-throated performance of this alternately romantically lyrical and tempestuous piece. It certainly stands among the best versions I've ever heard.

Bax's final essay in symphonic form, the Seventh Symphony, in three movements like all Bax's symphonies, was premièred in 1939 by the New York Philharmonic-Symphony Orchestra (as it was then called) under the direction of the Bax enthusiast Sir Adrian Boult. The opening Allegro is a buoyant, even playful, piece interrupted by a lyrically melancholy section; one wonders if this latter is in any way inspired by the war clouds then massing in Europe. The slow movement begins with a slow, lazy, richly harmonized opening featuring languorous oboe/English horn solos and eventually supplanted by a somewhat more vigorous middle section subtitled 'In a Legendary Mood.' There is a vigorous climax before the music settles back into the opening dreamlike mood. The final movement is a theme-and-variations based on a solemn theme stated, after a stirring fanfare introduction, in the low strings and then taken through changing moods and tempi, becoming more and more agitated (but with some lyrical episodes and even some comic relief along the way) before a subdued, one might even say resigned, conclusion.

After the Seventh Symphony (and the start in earnest of World War II) Bax lapsed into a several years' silence before being named Master of the King's Music. He never composed anything very significant afterwards.

These performances are fully the equal of the earlier releases in this Naxos series. You really cannot do better than that.

Scott Morrison

Compared with other recordings, Lloyd-Jones acquits himself well enough. His effort is certainly less turgid than Bryden Thompson's. However, I find Raymond Leppard with the LPO (Lyrita SRCD232, still available) brings out a greater richness in the overall texture but with more translucent moments of calm, particularly movements 1 & 2. It can hardly be missed. He also seems to bring out the joie de vivre in the lively parts of the first movement. I find it hard to decide which I like best. I'd suggest the Lloyd-Jones for the newcomer but if wanting to progress to a more atmospheric performance then the Leppard.

I have yet to hear Vernon Handley's version (I hold Vernon Handley in the highest regard after his recordings of Stanford's symphonies) and if one can afford the boxed set, that would be an ideal way to acquire Bax' symphonic cycle. It has certainly received good reviews and one can't go wrong with Handley/Bax.

For those who consider Bax' symphonic cycle as an entity in itself, however, the Sonatas should be brought into it - that's where Bax' "symphonic style" started. Critics would do well to note that when they complain about Bax not conforming to Sonata form!

Tintagel: Recordings abound and Lloyd-Jones makes as good a go of this tone poem as any.

Good value, then. Not the best introduction to the Bax symphonies but then...what is? The Vernon Handley box (Chandos), possibly.