Arnold Bax: A Pen Portrait by John F Porte, Part II

The author, John F. Porte continues his assessment of Arnold Bax with a note about the Piano Music and the Songs. He concludes with a paragraph on the lack of superficiality in Bax’s music.

The Piano Music

The pianoforte music of Bax, consisting of over a score of characteristic titles, must, in this article, be considered mainly in bulk. They are, of course, conceived in the distinctive spirit of modernist music, where a good tune is out of place, but most of them manage, with the help of our faithful imaginations, to comply with the indications of their titles, Winter Waters has certainly a rather chilling atmosphere, and a contrast may be found in the clear, keen Mountain Mood.

Two Russian pieces, Gopak, and In a Vodka Shop, are a harsh and violent diversion from the usual elusive poetry of a Bax composition. May-Night in the Ukraine is a lovely miniature which can open the way to a liking for the composer. A Sonata in G major for pianoforte, first heard in 1919, shows the composer in work that is more extensive in form, if not in appeal. A good example of the elusive, delicate poetry that is characteristic of much of Bax’s music may be found in Magh [Moy] Mell, for two pianofortes. The sprightly piece, Whirligig, that Bax wrote for the well-known English pianist, Irene Scharrer is rather interesting in its buoyant gaiety, for if there is any feeling rarely met with in his music, it is this. The majority of Bax’s pianoforte pieces are difficult for all but concert pianists or advanced amateurs, an obstacle to intimacy for which we must primarily blame the composer.

The chamber music of Bax is not at present extensive. The example that has gained most distinction is his second sonata in D, for violin and pianoforte; a work that is worth acquaintance, if not intimate friendship. A quintet for strings and harp may help the success of a harpist who gives a chamber concert. The most advanced chamber work so far, a quintet for pianoforte and strings, leads one to hope that the composer’s progress in this direction will go no further, for it is so complex and elaborate that its musicianly qualities were only available to a first class combination of players after intensive study. The work presents technical and rhythmical difficulties only to be surmounted by artists of considerable accomplishment - and there is so much else wanted to be heard from players of this calibre.

The Songs

The Songs are comparatively numerous for a modern composer of serious music. Not all of them are yet published. A goodly proportion of the earlier examples are set to words by Fiona MacLeod. Later on we see lyrics by Chaucer, Shakespeare and Tennyson.

A notable album is Christmas Carol, which, by its creating of fifteenth century atmosphere by modern means, indicates the composer’s link of sympathy with the past which we have already referred to when discussing his choral: music.

Few songs are more delightfully old-world than Me suis mise en danse, found in Traditional Songs of France, arranged by Bax from the old French. Up to the present time the songs of Bax have not found very extensive support, but I would make a special plea for Green Grow the Rashes O! (Burns), a song of genuine inspiration beautifully expressed.

The best of Bax’s three ballets is the latest one, The Truth About the Russian Ballet [Dancers], a charmingly observant musical comment on an entertainment that fascinated artistic, if not intellectual London.

The music of Arnold Bax is not of the kind that makes a direct appeal at first hearing. Even his enthusiastic admirers will tell you this, with the precautionary intimation that when understanding comes, enduring affection is the certain result. Certain it is that the reputation of Bax is growing, and musical critics who believe in “safety first” are becoming increasingly cordial to his music. The warm approval of enthusiastic supporters of modern music has, naturally, for some years regarded him as a worthy leader of their cause.

For the opinion that Bax’s music will become more appreciated on closer acquaintance, there is much to be said. It has a certain poetical beauty and refinement that is deep rooted, but rather shy and elusive. In its earlier days it had a distinct tendency to over-elaboration, which served merely to obscure sincerity. Later, the composer cast aside much of the superfluous matter, and we are now able to see the root matter more clearly.

Not Superficial

One aspect of the music of Bax is particularly appealing, and that is its freedom from outward display. It is certainly complex in structure and rhythm, but it is at least free from the glittering superficialities that allow some music to be mistaken for a time as important.

Arnold Bax will never give us the story of a man who tried to be a great composer and couldn’t. Neither does he write with his tongue in his cheek, so that he will not be numbered among those modern composers we are finding out. He has not escaped the modern preference for presenting difficult complications in his music that discourage the interest of the amateur musician, but I believe these are subservient to his ideas. It may be a matter of opinion whether musical ideas are better served according to the amount of intricate technical and rhythmical dress with which they may be clothed.

He seems to favor moods that have a shy wistfulness, although he has given others equal consideration. I greatly admire his unaccompanied choral music, in which he is a worthy descendant of the great English madrigalists, though these men are beyond competition.

I have a certain opinion as to the identity of the half-dozen or so living composers whose music will be heard in fifty years’ time; but there are some others who will sink into an honorable oblivion after having unselfishly served their part in a phase of their art.

John F. Porte, Musical Courier, 10 January 1924