Arnold Bax - Knowledge

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as the composer's most individual work to that date. For Evans, the culminating point of Bax's early chamber music was the Piano Quintet, a work "of such richness of invention that it would be an ornament to the musical literature of any country or period". Foreman makes particular mention of the First String Quartet (1918 – "a classical clarity of texture and form to its Celtic inspiration", and the "grittier" Second Quartet (1925), the Viola Sonata (1922), the Phantasy Sonata for viola and harp (1927) and the Sonata for Flute and Harp (1928).

22: 181: 943: 549: 1325:, covering a wide range of the composer's music. In 1985 the Sir Arnold Bax Trust was established to promote the composer's work including the sponsoring of live performances and recording and publication of his music and writings. Since then a large number of Bax's works, major and minor, have been recorded (see below). The proliferation of Bax recordings has not been matched by a revival in his fortunes in the concert hall; the critic Stephen Moss observed in 4478: 4183: 663: 1136:). Among the post-war songs, Hold considers Bax's "In the Morning" (1926) to be one of the best of all settings of Housman's works, "and it makes you wish that Bax had made further explorations into the Shropshire landscape." Hold classes that song, together with "Across the Door" (1921), "Rann of Exile" (1922) and "Watching the Needleboats" (1932), as "truly modern, 20th-century masterpieces of song". 4503: 1434:(recorded 1997–2001). The major tone poems and other orchestral works have been recorded, many of them in several different versions. Bax's chamber music is well represented on disc, with recordings of most of the works, and multiple versions of many, including the Elegiac Trio, the Clarinet Sonata and the Fantasy Sonata. Much of the piano music has been recorded by pianists including 4527: 4515: 509:

the post-war years Bax was recognised for the first time as an important, though isolated, figure in British music. The many substantial works he wrote during the war years were heard in public, and he started writing symphonies. Few English composers had so far written symphonies that occupied a secure place in the repertoire, the best known being Elgar (

1316:. Kennedy estimates that it took "twenty painful years" before the music of the British romantics including Bax made headway against the dominance of modernism. Foreman dates the revival of Bax's music to Handley's performances of the Fourth Symphony and other works with the Guildford Philharmonic Orchestra in the 1960s, and the pioneering recordings by 787:. Evans has suggested that Bax's music paradoxically combines robustness and wistfulness, a view that later commentators including Herbage have endorsed. The early music is often instrumentally difficult or orchestrally and harmonically complex; from about 1913 onwards he moved towards a simpler, sparer style. The composer and musicologist 101:, but composed little in that capacity. In his last years he found his music regarded as old-fashioned, and after his death it was generally neglected. From the 1960s onwards, mainly through a growing number of commercial recordings, his music was gradually rediscovered, although little of it is regularly heard in the concert hall. 919:

high among the composer's mature works. The Violin Concerto (1937–38) is, like the last symphony, in a more relaxed vein than most of Bax's earlier music. Cardus singled it out as "unusually fine", although Heifetz may have felt it not virtuosic enough. The composer described it as in the romantic tradition of

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points out that Bax was unusual among British composers in composing a substantial oeuvre for solo piano. Bax published four piano sonatas (1910–32), which are, in Palmer's view, as central to the composer's piano music as the symphonies are to the orchestral output. The first two sonatas are each in

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In his overview of Bax's earlier chamber works, Evans identifies as among the most successful the Phantasy for viola, the Trio for piano, violin, and viola and "a String Quintet of such difficulty that an adequate performance has seldom if ever been possible". He rates the Second Violin Sonata (1915)

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York Bowen thought it regrettable that Bax's orchestral works frequently call for exceptionally large forces: "When the score demands such luxuries as triple or quadruple woodwind, six horns, three or four trumpets, extra percussion and perhaps organ, it is undoubtedly throwing extra difficulties in

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in 1937; he had neither expected nor sought the honour, and was more surprised than delighted to receive it. As the decade progressed, he became less prolific; he commented that he wanted to "retire, like a grocer". Among his compositions from the period was the Violin Concerto (1938). Although not

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In the mid-1920s, while his affair with Cohen continued, Bax met the twenty-three-year-old Mary Gleaves, and for more than two decades he maintained relationships with both women. His affair with Cohen ripened into warm friendship and continuing musical partnership. Gleaves became his companion from

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wrote, "I think he felt keenly that his richly wrought and masterly scores were no longer 'fashionable' to-day, but nothing could deter him from the path of complete honesty and sincerity in his musical thought." The neglect became more complete after the composer's death. He had always sustained a

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The critic Peter Latham remarked that he was surprised that Bax had never set any of Yeats's poems to music. Bax replied, "What, I? I should never dare!". Latham added that Bax's sensitiveness to poetic values made him "painfully aware of the violence that even the best musical setting must do to a

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I believe that there is little probability that the twelve-note scale will ever produce anything more than morbid or entirely cerebral growths. It might deal successfully with neuroses of various kinds, but I cannot imagine it associated with any healthy and happy concept such as young love or the

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In a study of Bax in 1919 his friend and confidante, the critic Edwin Evans, commented on the waning of the Celtic influence in the composer's music and the emergence of "a more austere, abstract art". From the 1920s onwards Bax seldom turned to poetic legend for inspiration. In Foreman's view, in

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The Cello Concerto (1932) was Bax's first attempt at a full-scale conventional concerto. It calls for a smaller orchestra than he customarily employed, with no trombones or tuba, and no percussion apart from timpani. Foreman points to many subtleties of scoring, but notes that it has never ranked

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as "an extrovert interlude between these largely introspective works". Handley agreed that the first three could be grouped together; Foreman sees a Celtic influence in all three, with Bax's emotions about the Easter rising and its aftermath discernible. The Fourth is generally regarded as a more

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to a prosperous family. He was encouraged by his parents to pursue a career in music, and his private income enabled him to follow his own path as a composer without regard for fashion or orthodoxy. Consequently, he came to be regarded in musical circles as an important but isolated figure. While

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and his associates, and published stories, verses and a play. Reviewing a selection of the prose and poetry reissued in 1980, Stephen Banfield found most of Bax's earlier poems "like his early music, over-written, cluttered with the secondhand lumber of early Yeats, though the weakness is one of

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he discovered and immediately loved ballet; he absorbed Russian musical influences that inspired material for the First Piano Sonata, the piano pieces, "May Night in the Ukraine" and "Gopak", and the First Violin Sonata, dedicated to Skarginska. Foreman describes him in this period as "a musical

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writes that the mid-1950s were a time of "immense change and transition in influential musical circles." The music favoured by the cultural establishment until then was regarded as having made Britain musically parochial and indifferent to the developments of the past half-century. In Kennedy's

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The affair was not publicly known, though it was common knowledge in musical circles; Vaughan Williams was greatly amused to find in a musical dictionary an entry for Harriet Cohen which read, "– see under Bax". Elsita Bax refused her husband a divorce, and remained his wife until her death in

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While in Dresden in 1907 Bax began work on what he later called "a colossal symphony which would have occupied quite an hour in performance, were such a cloud-cuckoo dream to become an actuality". He added "Happily, it never has!", but he left a complete piano sketch, which was orchestrated in

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The paradox is that Bax's methods, his idiom and tonal atmosphere are impersonal: that is to say, there is no direct unfolding of an individual state of mind or soul as we find in Elgar or Gustav Mahler. Yet there is no mistaking the Bax physiognomy or psychology: always through the gloom and

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Bax wrote his seven completed symphonies between 1921 and 1939. In a study of the seven, David Cox wrote in 1967 that they were "often dismissed as amorphous by those who imagine that Bax consists only of Celtic mistiness and 'atmosphere'. In fact they have considerable strength and frequent

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Bax's music is never simply rhapsodic or formless ... but the tendency to be diffuse, to a point where the listener's attention insists on wandering, the love of picaresque construction and the absence of clear outlines—these faults account for the general apathy towards music that is

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contrasts the virtuoso accompaniment of "The Fairies" (1905) with the simpler "The White Peace" (1907), one of his most popular songs. The musical analyst Trevor Hold writes that the piano "goes berserk" in "Glamour" (1920). Among the poets whose verses Bax set were his brother Clifford,

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magpie, celebrating his latest discoveries in new compositions"; Foreman adds that Bax's own musical personality was strong enough for him to assimilate his influences and make them into his own. Russian music continued to influence him until the First World War. An unfinished ballet

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I worked very hard at the Irish language and steeped myself in its history and saga, folk-tale and fairy-lore. ... Under this domination, my musical style became strengthened ... I began to write Irishly, using figures and melodies of a definitely Celtic curve.

727:, he said, "I ought perhaps to be thinking of an eighth", but by this time he had begun to drink quite heavily, which aged him rapidly and impaired his ability to concentrate on a large-scale composition. He wrote in 1952, "I doubt whether I shall write anything else 1048:

as "gay and impudent, and with that tendency to vulgarity which so easily besets the instinctively refined composer determined to let himself go", Cardus thought the work so appealing that to live up to the overture the putative comedy would have to be "written by

138:. Bax later wrote that although it would have been good to be raised in the country, the large gardens of the family house were the next best thing. He was a musical child: "I cannot remember the long-lost day when I was unable to play the piano – inaccurately". 340:

in 1910. He was in pursuit of Natalia Skarginska, a young Ukrainian whom he had met in London – one of several women with whom he fell in love over the years. The visit eventually proved a failure from the romantic point of view but musically enriched him. In

230:. His keyboard technique was formidable, but he had no desire for a career as a soloist. Unlike most of his contemporaries, he had private means that made him free to pursue his musical career as he chose, without the necessity of earning an income. 606:(1930), several works for chamber groups, including a nonet (1930), a string quintet (1933), an octet for horn, piano, and strings (1934) and his third and last string quartet (1936). The Cello Concerto (1932) was commissioned by and dedicated to 914:

considered it "like one of those deeds of recklessness which in the Army may be followed either by a Court-martial or a V.C. We incline to favour the Court-martial, and to award the V.C. to Miss Harriet Cohen for her part in the enterprise."

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At the start of his composing career, songs, together with piano music, formed the core of Bax's work. Some of the songs, mainly the early ones, are conspicuous for the virtuosity of their piano parts, which tend to overwhelm the voice.

257:, Bax visited the west coast of Ireland in 1902, and found that "in a moment the Celt within me stood revealed". His first composition to be performed – at an academy concert in 1902 – was an Irish dialect song called "The Grand Match". 450:

During his time in Dublin, Bax had made many republican friends. The Easter rising in April 1916 and the subsequent execution of the ringleaders shocked him deeply. He expressed his feelings in some of his music such as the orchestral

1230:(1921); the manuscript score of the latter came to light in the early 1980s and was performed for the first time in 1983. Bax's own virtuosity as a pianist is reflected in the demands of many of his piano pieces. Palmer cites 650:, in 1941, Bax was appointed to succeed him. The choice surprised many. Bax, despite his knighthood, was not an Establishment figure; he himself had expressed a disinclination to "shuffle around in knee-breeches". In the opinion of 1070: 403:

were serving overseas, Bax was able to produce a large body of music, finding, in Foreman's phrase, "his technical and artistic maturity" in his early thirties. Among his better-known works from the period are the orchestral

930:(1949) for harp and strings, in a style more neoclassical than most of Bax's music. Bax's last concertante piece was a short work for piano and orchestra (1947) written in his capacity as Master of the King's Music, marking 1418:, later expanded and updated in a website. At 2015 the latter lists more than 250 works by Bax that have been recorded and published. The discography includes three complete cycles of Bax's symphonies released on CD, two by 818:

as well as Richard Strauss and Wagner: "He was aware of jazz and many more composers on the European scene than we are now. That finds its way into a person's psyche and personality and into his technique as a musician."

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Having given up his pursuit of Skarginska, Bax returned to England; in January 1911 he married the pianist Elsita Luisa Sobrino (b. 1885 or 1886), daughter of the teacher and pianist, Carlos Sobrino, and his wife, Luise,

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culture, which became a strong influence on his early development. In the years before the First World War he lived in Ireland and became a member of Dublin literary circles, writing fiction and verse under the pseudonym

803:, the Second Piano Sonata, Viola Sonata, and first two symphonies. By the 1930s Bax's music ceased to be regarded as new and difficult, and towards the end of that decade it was attracting less attention than before. 654:

the appointment was not a good one: "Bax was not cut out for official duties and found their performance irksome". Nonetheless, Bax wrote a handful of occasional pieces for royal events, including a march for the

366:, a well-to-do suburb of Dublin. They had two children, Dermot (1912–1976) and Maeve Astrid (1913–1987). Bax became known in Dublin literary circles under the pseudonym "Dermot O'Byrne"; he mixed with the writer 97:– at first an affair, then a friendship, and always a close professional relationship. In the 1920s he began the series of seven symphonies which form the heart of his orchestral output. In 1942 Bax was appointed 153:, whose passion for English folk-song and folk-dance excited no response in his pupil. An enthusiasm for folk music was widespread among British composers of the late 19th and early 20th centuries, including 1320:

of five of the symphonies. Scholarly consideration of Bax's life and music came with studies by Colin Scott-Sutherland (1973) and Foreman (1983). Bax's centenary in 1983 was marked by twenty programmes on

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astringence; and formally the thematic material is presented with consistency and purpose." In Herbage's view, the cycle can be seen to fall into two groups – the first three and the last three – with the

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loosely chosen language rather than complexity." Banfield had better things to say of the later poems, where Bax "focuses matters, whether laconically and colloquially upon the grim futility of the 1916

480:, for whom he left his wife and children. Musically, she was his muse for the rest of his life; he wrote numerous pieces for her, and she was the dedicatee of eighteen of his works. He took a flat in 207:, whose music was Bax's principal inspiration in his early years. He later observed, "For a dozen years of my youth I wallowed in Wagner's music to the almost total exclusion – until I became aware of 1515:

to commemorate Bax, who frequently stayed there from 1928 to 1940 and composed several significant works during this period. The initiative was led by the British Music Society, with support from

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considered that Bax's independence and disinclination to heed his teachers ultimately damaged his art, because he did not develop the discipline to express his imagination to the greatest effect.

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Scholarship for composition and other important prizes, and was known for his exceptional ability to read complex modern scores on sight, he attracted less recognition than his contemporaries

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were recorded under the auspices of the English Music Society in 1937 and 1938. The Phantasy Sonata for Viola and Harp, the Sonata for Two Pianos and a handful of the songs were recorded on

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commented that Bax's music appealed greatly to orchestral players: "whichever instrument he wrote for, it was as if he played that instrument himself, so well did he seem to write for it".

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would bring him hurrying up to town from his pub at Storrington with much greater excitement than a performance of one of his works". In 1950, after hearing his Third Symphony played at

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as major influences on Bax's piano style as well as Balakirev and the other Russians whose influence is seen throughout the composer's work. For piano duo Bax composed two tone poems,

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a single movement, of about twenty minutes; the third and fourth are in conventional three-movement form. The First Symphony was originally planned as a large-scale piano sonata in E

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At the beginning of the war Bax returned to England. A heart complaint, from which he suffered intermittently throughout his life, made him unfit for military service; he acted as a

118:, Surrey, to a prosperous Victorian family. He was the eldest son of Alfred Ridley Bax (1844–1918) and his wife, Charlotte Ellen (1860–1940), daughter of Rev. William Knibb Lea, of 278:

Musically, Bax veered away from the influence of Wagner and Strauss, and deliberately adopted what he conceived of as a Celtic idiom. In 1908 he began a cycle of tone poems called

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Palmer comments that of the major British composers, Elgar, Delius, Vaughan Williams, Holst, Walton and Britten showed little interest in the solo piano and seldom wrote for it.

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label. Of the symphonies, only the Third was recorded in the composer's lifetime; it was played by the Hallé under Barbirolli and released in 1944. The Viola Sonata, Nonet and

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for several years after the premiere. In Foreman's view, Bax was at his musical peak for a fairly short time, and his reputation was overtaken by those of Vaughan Williams and

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found it at times waspish, at times reticent, surprising in parts, and regrettably short. Later in the war Bax was persuaded to contribute incidental music for a short film,

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praised "a mystic glamour that could not fail to be felt by the listener" although the coherence of the piece "was not instantly discernible". A third work in the cycle,

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stood aloof, as did Bax, who later put into general circulation the saying, "You should make a point of trying every experience once, excepting incest and folk-dancing."

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championed the concerto in the 1930s and 40s, Bax said, "The fact that nobody has ever taken up this work has been one of the major disappointments of my musical life".

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label; it lasts for 77 minutes. The four-movement work, more conventional in structure than his completed symphonies, shows a strong Russian influence in its material.

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commented, "It is full of arrogant, almost blatant, virility. Its prevailing tone colour is dark, very dark – thick clouds with only here and there a ray of sunlight."

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characterises all three as musical evocations of nature, with little expression of subjective personal response. The orchestral piece that was neglected longest was

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commented on the "rather second-hand language" at some points, derivative of Wagner and Debussy, although "there is still a great deal which is wholly individual".

967:(1913) is instanced by Foreman as a difficult work; it was not performed in Bax's lifetime. During the First World War Bax wrote three tone poems, two of which – 4622: 4607: 375: ... or pungently upon his recurrent disillusionment about love." Some of Bax's writings as O'Byrne were regarded as subversively sympathetic to the 4637: 1482:(1947). A Bax Memorial Room at University College, Cork, was opened by Vaughan Williams in 1955. After Bax's knighthood in 1937 he was advanced to 3331: 779:

wrote that Bax was "a fount of music", whose "spontaneous and inexhaustible outpourings", unique among his contemporaries, were comparable to those of

3783: 3374: 1147:… Here is a secular composer writing voluptuous music." The choral works with religious texts include his largest-scale unaccompanied vocal piece, 149:, Bax attended the Hampstead Conservatoire during the 1890s. The establishment was run – "with considerable personal pomp", according to Bax – by 3246: 866:

optimistic work than its predecessors and successors. Handley calls it "festive", but comments that its ideas developed into darker mood in the

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was written in 1921–22, and when first given it was a great success, despite its ferocity of tone. The critics found the work dark and severe.

247:, which he found "eccentric, long-winded, muddle-headed, and yet always interesting". Among the influences on the young Bax was the Irish poet 4572: 1015: 997:, who was shot for his part in the Easter rising; the work was not played until 1998. Bax reused the main melody for his incidental music to 43: 2327: 4567: 3936: 1143:, but in the view of the critic Paul Spicer, "None of Bax's choral music can be described as devotional or even suitable for church use 3335:; and nine others including Arthur Benjamin, York Bowen, Eric Coates, Patrick Hadley, Peter Latham and William Walton (January 1954). 4597: 4557: 4154: 1167:

considered it "an unsurpassed example of modern unaccompanied vocal writing". Bax's other choral works include settings of words by

4612: 484:, London, where he lived until the start of the Second World War. He sketched many of his mature works there, often taking them in 4562: 4160: 888: 253: 1843: 1672:

and elsewhere into the 1970s, but was officially changed to "Master of the Music during the tenure of Elgar (1924–34). Bax was

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Cohen chose to ignore the nature of Bax's relationship with Gleaves, and referred to her in later years as "Sir Arnold's nurse".

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In his last years, Bax maintained a contented retirement for much of the time. Walton commented, "an important cricket match at

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as the turning-point from the Celtic to the Nordic in Bax's oeuvre; Herbage views it as a further indication of the shift that

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noted the severity of the work, but declared it "a truly great English symphony". The work was a box-office attraction at the

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Bax's tone poems are in a variety of styles and have varied sharply in their popularity. His impressionistic tone poem

4280: 1044:(1930), was for a time one of his most popular works. It was described by the composer as "Straussian pastiche" and by 752: 2981: 735:

and others to celebrate Bax's seventieth birthday in November 1953. The celebrations became memorials: while visiting

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Armorial Families: A Directory of Gentlemen of Coat-Armour, A. C. Fox-Davies, T. C. & E. C. Jack, 1910, p. 106

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Bax wrote a substantial number of choral works, mostly secular but some religious. He was a nominal member of the

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In the 1930s, Bax composed the last four of his seven symphonies. Other works from the decade include the popular

47:(8 November 1883 – 3 October 1953) was an English composer, poet, and author. His prolific output includes songs, 4406: 1467: 1450:, though by 2015 no integral survey had yet been recorded. Of the vocal works, by far the most often recorded is 1040: 602: 892:, has an elegiac tone, its simplicity far removed from the discursive and complex music of Bax's earlier years. 4632: 4222: 3185: 1479: 1297: 593:

was completed in 1929 and, championed by Wood, remained for some time among the composer's most popular works.

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In addition to his Irish influences, Bax also drew on a Nordic tradition, being inspired by the Norwegian poet

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Handley, Vernon (August 1992). "Back to Bax. Vernon Handley on His Enthusiasm for a Neglected Composer."

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called it "a benchmark for any future researchers seeking to compile a catalogue of a composer's works".

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theme in the best Elgarian tradition". Bax's third and last cinema score was for a ten-minute short film

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symphonies). During the 1920s and into the 1930s Bax was seen by many as the leading British symphonist.

422: 1938: 985:(1917–19) – which in the decade after his death was the only work by which Bax was known to the public. 731:… I have said all I have to say and it is of no use to repeat myself." Celebrations were planned by the 215:, whose music, like that of Strauss, was frowned on by the largely conservative faculty of the academy. 4493: 4133: 4129: 4079: 3863:

The Resonance of a Small Voice: William Walton and the Violin Concerto in England between 1900 and 1940

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Foreman comments that in the years after Bax's death his reputation was kept alive by a single work –

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After the Second World War began, Bax moved to Sussex, taking up residence at the White Horse Hotel,

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for piano and orchestra, and the Left-Hand Concertante (1949), both written for Cohen. Bax and the

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culture, which for a time superseded his Celtic influences in the years after the First World War.

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Neither Bax's views nor his works were fashionable in the two decades after his death. The critic

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in collaboration. Not often is English music so free and audacious as this, so gay and winning."

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After leaving the Academy Bax visited Dresden, where he saw the original production of Strauss's

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thickets of the symphonies the warm rays of an approachable, lovable man and nature may be felt.

251:; Bax's brother Clifford introduced him to Yeats's poetry and to Ireland. Influenced by Yeats's 4507: 2701: 1569:

He had even less desire to conduct, vowed never to do so, and broke the vow only once, in 1906.

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and Icelandic sagas. Bax's Symphonic Variations for Piano and Orchestra (1917) is seen by the

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and the New Symphony Orchestra in April 1909, and the following year, at Elgar's instigation,

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Foreman lists among those who influenced Bax: Wagner, Strauss, Debussy, the Russian "Five" (

947: 300: 93:, his best-known work. During this period he formed a lifelong association with the pianist 4552: 4547: 4388: 4382: 4376: 4370: 4364: 4358: 4352: 4173: 2747: 1640:

Luise taught at the Hampstead Conservatoire, and Bax had known Elsita since his time there.

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considered that Bax's best works date from the period between 1910 and 1925: he instances

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Cardus, Neville. "Arnold Bax's Character in his Music: A Happy Man – But Tragic Themes",

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article "A Celtic Song-Cycle" (1904) to words by "Fiona Macleod" (a pen name of the poet

1054: 811: 784: 571: 565: 376: 1846:, Dictionary of National Biography, Oxford University Press, 1971, retrieved 9 July 2021 1493:, unveiled in 1993, commemorates Bax at his birthplace, 13 Pendennis Road in Streatham. 1426:(recorded 1983–88) and the second by Handley (2003); between them was a cycle issued by 1335:

published a complete catalogue of Bax's works compiled and annotated by Graham Parlett;

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was the second of Bax's film scores. The first was for a short wartime propaganda film,

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s reviewer wrote, "Mr Bax has happily suggested the appropriate atmosphere of mystery";

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Between 1910 and 1920 Bax wrote a large amount of music, including the symphonic poem

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and the "Elegiac Trio" for flute, viola, and harp (1916), as well as in his poetry.

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found the piece "very undeterminate and unsatisfying, but not difficult to follow".

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as the beginning of the composer's truly mature style. The first of these pieces,

4167: 4095: 4074: 4055: 4048: 3150: 1712: 1628: 1419: 1267: 854: 776: 618: 208: 170: 26: 3068: 4326: 4318: 4215: 3647: 2084:"The tale the pine-trees knew; Into the twilight; In the faery hills; Roscatha" 1716: 1673: 1596: 1583: 1553: 1505: 1447: 1435: 1423: 1192: 1184: 1164: 994: 981: 975: 879: 878:"; the Sixth stands out for its "magnificent final movement", which the critic 823: 807: 780: 739:

in October 1953 Bax died suddenly of heart failure aged 69. He was interred in

709: 647: 623: 586: 529: 466: 415: 409: 405: 337: 291: 239: 212: 204: 200: 89: 72: 56: 4123: 3270: 1758: 1066:

poem". Eventually this feeling caused him to give up song-writing completely.

979:(1917) – have remained on the fringes of the modern repertoire, and a third – 4541: 4069: 3952: 3679: 3659: 3394: 1624: 1620: 1427: 1350: 1302: 1176: 1111: 815: 788: 552: 489: 481: 477: 372: 283: 244: 223: 131: 94: 52: 2968: 1668:

The antiquated spelling "Master of the Musick" persisted in the columns of

473:, composed thirteen years later, has a Nordic rather than a Celtic setting. 4531: 4464: 4232: 3332: 3258: 2332: 1941:, Grove Music Online, Oxford University Press, retrieved 16 September 2015 1708: 1327: 1152: 1107: 1099: 1078: 931: 920: 850: 760:

intrinsically noble, humane, and capable of a certain melancholy grandeur.

463: 392: 313: 174: 166: 154: 123: 48: 3894: 3881: 3521: 3352: 3143: 1600: 732: 391:

for a period. At a time when fellow composers including Vaughan Williams,

4094:

Pirie, Peter J. (February 1957). "The Nordic Element: Bax and Sibelius."

4022:

The English Musical Renaissance, 1840–1940: Constructing a National Music

3998: 3043: 2905:

Foreman, Lewis (1994). Notes to Continuum CD CCD 1045 DDD, OCLC 223356733

2398:

The official website of the British Monarchy, retrieved 16 September 2015

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The Lied and Art Song Texts Page created and maintained from Emily Ezust

1331:

in 2007, "Bax is considered the promotional kiss of death." In 1999 the

1246:(1931). His shorter piano pieces include picturesque miniatures such as 426:

The Easter rising in Dublin and its aftermath shocked and distressed Bax

211:– of any other". Bax also discovered and privately studied the works of 4047:

Beechey, Gwilym (August 1983). "The Legacy of Arnold Bax (1883-1953)."

3758:

March, Ivan; Edward Greenfield; Robert Layton; Paul Czajkowski (2008).

3496: 3463: 687: 627: 295: 227: 180: 4087: 3903: 3882:"Review: A Catalogue of the Works of Sir Arnold Bax by Graham Parlett" 3812: 3617: 3529: 3472: 3439: 3427: 3360: 3302: 3232: 3211: 963:

as "a succinct and attractive piece". It was modestly successful, but

575:

suggested that if there was any humour in the piece, it was sardonic.

3792: 3601: 3578: 3505: 3403: 3336: 3282: 3216: 3212: 3091: 2548: 2064: 1284: 900:

Bax's first work for solo instrument and orchestra was the 50-minute

582: 548: 319: 135: 127: 115: 63: 3488: 3455: 3018: 2896:

Palmer, Christopher (1987). Notes to Chandos CD 8496, OCLC 602371238

2882:

Palmer, Christopher (1988). Notes to Chandos CD 8497, OCLC 602145160

358:

Schmitz, a singer. Bax and his wife lived first in Chester Terrace,

3804: 3419: 3294: 622:

written to commission, he had composed it with the violin virtuoso

4144: 4054:

Foreman, Lewis (February 1970). "Bax, the Symphony and Sibelius."

3935: 626:

in mind. Heifetz never played it, and it was premiered in 1942 by

3164:"Arnold Bax to be recognised in Scotland - British Music Society" 363: 4101:

Pirie, Peter J. (September 1961). "The Odd Case of Arnold Bax."

2728:

Foreman, Lewis (2003). Notes to Chandos CD 10126, OCLC 872996638

1159:; it is a setting of a medieval carol from a manuscript held by 1069: 2350:

Foreman, Lewis (1987). Notes to Chandos CD 8494, OCLC 705060287

1370: 1317: 493: 379:

cause, and the government censor prohibited their publication.

146: 119: 2719:

Foreman, Lewis (1999). Notes to Chandos CD 9715, OCLC 41148812

1389:

was released by HMV. By 1955 Bax on record was so scarce that

662: 4240: 2816:, Oxford University Press, 2014, retrieved 16 September 2015 1512: 1073:

Among Bax's settings were poems by (clockwise from top left)

610:, who quickly dropped the work from his repertoire. Although 497: 2844:

Spicer, Paul (1993). Notes to Chandos CD 9139, OCLC 29688294

1539:

Their siblings were Alfred (1884–95) and Evelyn (1887–1984).

1511:

In 2022 a bronze plaque was installed at the Morar Hotel in

4108:

Thomson, Aidan J. (2012–2013). "Bax and the Celtic North."

4051:, vol. 106, nos. 1270–1271, pp. 348–351, 357–363, 383. 3385:

Cox, David (1967). "Arnold Bax". In Simpson, Robert (ed.).

1349:

Two recordings of Bax as a pianist were made in 1929. With

3919:

Life with Glorious John: A Portrait of Sir John Barbirolli

2621:"Bax’s early Symphony in F – Premiere recording on Dutton" 700:(1952). His other works from the period include the short 195:, where he remained until 1905, studying composition with 3021:, The Sir Arnold Bax Website, retrieved 19 September 2015 1689:(1937) is dedicated "To my friends of the BBC Orchestra". 1685:

Orchestral players' regard for Bax was reciprocated: his

114:

Bax was born on 8 November 1883 in the London suburb of

4019: 3186:"Bax plaque installed in Morar - British Music Society" 362:, London, and then moved to Ireland, taking a house in 4147:

from the Sibley Music Library Digital Score Collection

3686:. Cambridge and New York: Cambridge University Press. 3473:"Modern British Composers. II. Arnold Bax (Continued)" 2623:, The Sir Arnold Bax Website, retrieved 4 October 2015 1500:

made a television film dramatising Bax's later years,

1414:

Parlett included an extensive discography in his 1999

1126:. The composer himself singled out for mention in his 4491: 4003:

Cutting Edge, Or, "Back in the Knife Box, Miss Sharp"

3215:; and 24 others including Arnold Bax (October 1951). 3153:, British Film Institute, retrieved 18 September 2015 2750:, British Film Institute, retrieved 17 September 2015 126:, became a playwright and essayist. Alfred Bax was a 3793:"Review: The English Musical Renaissance, 1860–1940" 3558: 500:

in Scotland, to work on the full score at leisure.

476:

During the war Bax began an affair with the pianist

3760:The Penguin Guide to Recorded Classical Music 2009 3583:Music and Men, the Life and Loves of Harriet Cohen 1266:In his later years Bax's music fell into neglect. 4072:(September 1984). "Bax: A Centenary Assessment". 336:Bax's private means enabled him to travel to the 4628:People associated with University College Dublin 4539: 4110:Journal of the Society for Musicology in Ireland 3978: 2982:"Building a classical music library: Arnold Bax" 1864:Hughes, p. 143; and Stradling and Hughes, p. 140 1522: 882:said "tears the earth up by its roots"; and the 333:, was not performed in the composer's lifetime. 3134:, English Heritage, retrieved 17 September 2015 2269:"Yesterday's Music: The Bax Symphony Reheard", 1202: 4623:People associated with University College Cork 4608:Knights Commander of the Royal Victorian Order 1894:Lloyd (2014), p. 37; and Schaarwächter, p. 578 4256: 3959: 3823:O'Byrne, Dermot (1979). Lewis Foreman (ed.). 3630:Parry to Finzi: Twenty English Song-composers 2971:, Open Charities, retrieved 17 September 2015 1016:The Penguin Guide to Recorded Classical Music 3782:: CS1 maint: multiple names: authors list ( 3373:: CS1 maint: multiple names: authors list ( 1211:Scherzo of Bax's Second Violin Sonata (1915) 716:in 1947, but the project was not completed. 4024:. Manchester: Manchester University Press. 3865:. Newcastle-upon-Tyne: Cambridge Scholars. 3822: 3440:"Modern British Composers, II – Arnold Bax" 3245:: CS1 maint: numeric names: authors list ( 2466:Parlett, p. 328; and Foreman (1983), p. 356 1034:(1927) – a lightweight piece, according to 874:. The Fifth is, for Herbage, "the greatest 4638:Royal Philharmonic Society Gold Medallists 4263: 4249: 4194:"Archival material relating to Arnold Bax" 4020:Stradling, Robert; Meirion Hughes (2001). 3860: 3844:A Catalogue of the Works of Sir Arnold Bax 2840: 2838: 2784: 2782: 2525:Sackville-West and Shawe-Taylor, pp. 75–76 2346: 2344: 2342: 1416:A Catalogue of the Works of Sir Arnold Bax 4155:International Music Score Library Project 3893: 3790: 3069:"The Gramophone Collection: Arnold Bax's 3013: 3011: 3009: 3007: 3005: 3003: 2959:, BBC Genome, retrieved 17 September 2015 2487: 2485: 2483: 2481: 2228: 2226: 2224: 1933: 1931: 1929: 1838: 1836: 1834: 1832: 1830: 1828: 1826: 1824: 1822: 1719:(1966) and the Seventh by Leppard (1974). 937: 666:Storrington, Bax's home in his last years 3913: 3280: 3256: 2928: 2926: 2924: 1972: 1970: 1968: 1927: 1925: 1923: 1921: 1919: 1917: 1915: 1913: 1911: 1909: 1381:, in 1928; twenty years later a set of 1206: 1068: 941: 661: 547: 445:From Bax's poem "A Dublin Ballad", 1916. 421: 298:, commissioned the second in the cycle, 179: 20: 4105:, vol. 102, no. 1423, pp. 559–560. 4065:, vol. 133, no. 1794, pp. 377–378. 3997: 3841: 3741:Constant Lambert: Beyond the Rio Grande 3700: 3678: 3599: 3539: 3506:"The Musical Development of Arnold Bax" 3503: 3122:, WorldCat, retrieved 19 September 2015 3058:, WorldCat, retrieved 18 September 2015 3046:, WorldCat, retrieved 18 September 2015 2892: 2890: 2888: 2878: 2876: 2874: 2872: 2835: 2805: 2803: 2779: 2339: 2242: 2240: 2238: 2086:, WorldCat, retrieved 16 September 2015 1707:The First and Second were conducted by 889:Grove Dictionary of Music and Musicians 203:. Corder was a devotee of the works of 80:. Later, he developed an affinity with 71:Bax became fascinated with Ireland and 4540: 4098:, vol. 80, no. 953, pp. 277, 279. 4058:, vol. 93, no. 1109, pp. 245–246. 3646: 3559:Foreman, Lewis; Susan Foreman (2005). 3387:The Symphony: Elgar to the Present Day 3000: 2772:Cardus, Neville. "The Halle Concert", 2680: 2678: 2616: 2614: 2478: 2221: 2187: 2185: 2094: 2092: 1872: 1870: 1819: 1261: 1019:calls "a notable March with a genuine 836:the way of performance." The composer 496:, Ireland, and then from 1928 onwards 4244: 3738: 3719: 3672:A Handbook of Arnold Bax's Symphonies 3544:. London and Berkeley: Scolar Press. 3470: 3437: 2921: 2521: 2519: 2265: 2263: 2261: 1965: 1906: 1753: 1751: 1749: 1747: 1745: 1743: 1741: 1739: 1737: 1735: 1578:The work was recorded in 1985 by the 1457: 1405:What is it Like to be Young and Fair? 1353:he recorded his own Viola Sonata for 926:Among the minor concertante works is 62:Bax was born in the London suburb of 4573:Alumni of the Royal Academy of Music 3879: 3791:Onderdonk, Julian (September 1995). 3674:. London: Murdoch, Murdoch & Co. 3666: 3627: 3563:. New Haven: Yale University Press. 3401: 2885: 2869: 2800: 2235: 1785: 1783: 1504:. Russell himself portrayed Bax and 1462:Bax received the gold medals of the 1361:'s Violin Sonata No 1 for the rival 1357:, and with May Harrison he recorded 928:Variations on the Name Gabriel Fauré 895: 304:. The work received mixed notices. 187:(in 1913), Bax's composition teacher 122:, China. The couple's youngest son, 4568:20th-century English male musicians 3962:Two Centuries of British Symphonism 3705:. Oxford: Oxford University Press. 3577: 3384: 3312: 3281:Banfield, Stephen (December 1980). 2675: 2611: 2182: 2089: 2010: 1867: 1309:found themselves out in the cold". 910:(1919), written for Harriet Cohen. 440:By corners where the martyrs fell. 436:With desert hearts and drunken eyes 13: 4040: 3404:"Masters of the Sovereign's Music" 2935: 2766: 2516: 2328:"Obituary: Colin Scott-Sutherland" 2258: 1732: 753:List of compositions by Arnold Bax 686:; he subsequently wrote music for 527:symphonies) and Vaughan Williams ( 503: 382: 104: 14: 4649: 4117: 3964:. Hildesheim: Georg Olms Verlag. 3600:Herbage, Julian (December 1953). 2555:, August 1973, 114 (1566), p. 798 1780: 1377:conducted the first recording of 1275:outlook, distancing himself from 1219:The composer and musical scholar 597:the later 1920s until his death. 432:And when the devil's made us wise 4598:English male classical composers 4558:20th-century classical composers 4525: 4513: 4501: 4477: 4476: 3979:Scott-Sutherland, Colin (1973). 3652:The Music of Sir Arthur Sullivan 3389:. Harmondsworth: Pelican Books. 3178: 3156: 3137: 3125: 3113: 3104: 3085: 3061: 3049: 3037: 3024: 2991: 2974: 2962: 2950: 2908: 2899: 2860: 2847: 2826: 1701: 1692: 1403:, the unaccompanied choral work 696:(1948) and a second short film, 637: 488:to his favoured rural retreats, 4407:Overture to a Picaresque Comedy 3504:Foreman, Lewis (January 1971). 3144:"The Secret Life of Arnold Bax" 2810:"Bax, Sir Arnold Edward Trevor" 2791: 2753: 2740: 2731: 2722: 2713: 2691: 2666: 2653: 2644: 2635: 2626: 2602: 2593: 2580: 2567: 2558: 2541: 2528: 2507: 2498: 2469: 2460: 2447: 2434: 2425: 2416: 2401: 2389: 2380: 2371: 2362: 2353: 2320: 2311: 2302: 2289: 2276: 2249: 2212: 2203: 2194: 2173: 2164: 2155: 2146: 2137: 2128: 2119: 2110: 2101: 2077: 2058: 2045: 2032: 2019: 2001: 1992: 1983: 1956: 1947: 1897: 1888: 1879: 1858: 1844:"Bax, Sir Arnold Edward Trevor" 1759:"Bax, Sir Arnold Edward Trevor" 1679: 1662: 1653: 1643: 1634: 1589: 1572: 1563: 1542: 1468:Worshipful Company of Musicians 1041:Overture to a Picaresque Comedy 1030:Other orchestral works include 603:Overture to a Picaresque Comedy 260: 243:, and first heard the music of 4563:20th-century English composers 4270: 3960:Schaarwächter, Jürgen (2015). 3880:Pike, Lionel (February 2000). 3259:"Vernon Handley discusses Bax" 3257:Anderson, Colin (March 2004). 2759:"Royal Philharmonic Society", 2710:, retrieved 16 September 2015 2440:"A Composer's Reminiscences", 1849: 1810: 1801: 1792: 1771: 1533: 1480:National University of Ireland 1287:, of which Bax wrote in 1951: 1060: 282:, described by his biographer 109: 1: 4583:Composers awarded knighthoods 3827:. London: Thames Publishing. 3743:. Woodbridge: Boydell Press. 3724:. Woodbridge: Boydell Press. 3632:. Woodbridge: Boydell Press. 3585:. Stroud: The History Press. 3542:Bax: A Composer and his Times 3132:"Bax, Sir Arnold (1883–1953)" 3030:"Recent Gramophone Records", 2396:"Master of the Queen's Music" 1962:Foreman (1971), pp. 60 and 65 1725: 1523:Notes, references and sources 1517:Historic Environment Scotland 1502:The Secret Life of Arnold Bax 1344: 843: 434:Each in his own peculiar hell 30: 4618:Musicians from Dublin (city) 4613:Masters of the Queen's Music 4184:Works by or about Arnold Bax 4178:Choral Public Domain Library 4170:(18 portraits, 8 on display) 4145:Quintet for harp and strings 3722:William Walton: Muse of Fire 3217:"Arnold Schōnberg 1874–1951" 2820:UK public library membership 2071:, October 1910, pp. 657–658 1976:"Obituary: Sir Arnold Bax", 1765:UK public library membership 1387:Royal Philharmonic Orchestra 1203:Chamber and solo piano music 438:We're free to sentimentalise 191:In 1900 Bax moved on to the 40:Sir Arnold Edward Trevor Bax 16:English composer (1883–1953) 7: 4593:English classical composers 3846:. Oxford: Clarendon Press. 3561:London: A Musical Gazetteer 3471:Evans, Edwin (April 1919). 3438:Evans, Edwin (March 1919). 3402:Duck, Leonard (June 1954). 3317:. Aldershot: Scolar Press. 2702:"English music for strings" 2209:Foreman and Foreman, p. 204 10: 4654: 4223:Master of the King's Music 4141:Texts of the songs of Bax. 4080:Cambridge University Press 3861:Petrocelli, Paolo (2010). 3204: 2969:“The Sir Arnold Bax Trust” 2944:Decca Classical, 1929–2009 2866:Evans (April 1919), p. 154 2368:Foreman (1983) pp. 309–310 2299:, 26 September 1930, p. 10 2232:Evans (March 1919), p. 204 1464:Royal Philharmonic Society 1373:discs. Of the tone poems, 934:'s twenty-first birthday. 750: 644:Master of the King's Music 99:Master of the King's Music 4473: 4457: 4438: 4421: 4398: 4345: 4294: 4287: 4278: 4229: 4220: 4212: 4207: 4174:Free scores by Arnold Bax 4161:National Portrait Gallery 4151:Free scores by Arnold Bax 4112:, Vol. 8, pp. 51–87. 3701:Kennedy, Michael (1989). 3684:Ireland and the Great War 3602:"The Music of Arnold Bax" 2776:, 20 November 1931, p, 11 2408:Supplement, 5 August 1952 2038:"Music: The Promenades", 1676:as "Master of the Music". 1552:, often misattributed to 1422:, the first conducted by 1407:and the solo piano piece 1032:Overture, Elegy and Rondo 3842:Parlett, Graham (1999). 2513:Scott-Sutherland, p. 188 2286:, 14 January 1924, p. 10 2273:, 13 January 1924, p. 15 2255:Scott-Sutherland, p. 117 2218:Scott-Sutherland, p. 142 2065:"The Promenade Concerts" 2042:, 4 September 1910, p. 4 1527: 746: 714:The Play of Saint George 273:Bax in his memoirs, 1943 4166:21 October 2008 at the 3909:(subscription required) 3818:(subscription required) 3739:Lloyd, Stephen (2014). 3720:Lloyd, Stephen (2001). 3623:(subscription required) 3540:Foreman, Lewis (1983). 3535:(subscription required) 3433:(subscription required) 3380:(subscription required) 3337:"Arnold Bax: 1883–1953" 3308:(subscription required) 3276:(subscription required) 3252:(subscription required) 3120:"Arnold Bax Symphonies" 3100:(subscription required) 3081:(subscription required) 3032:The Manchester Guardian 2774:The Manchester Guardian 2549:"Review: Bax at Length" 2493:The Manchester Guardian 2377:Scott-Sutherland, p. 75 2284:The Manchester Guardian 2107:Scott-Sutherland, p. 30 2073:(subscription required) 2027:The Manchester Guardian 1980:, 5 October 1953, p. 11 1943:(subscription required) 1333:Oxford University Press 1318:Lyrita Recorded Edition 1161:Balliol College, Oxford 853:, and recorded for the 712:, worked on a pageant, 642:After the death of the 578:The Manchester Guardian 307:The Manchester Guardian 254:The Wanderings of Oisin 67:still a student at the 4429:Piano Sonata in E-flat 4125:Bax Piano Sonata no. 1 3937:Sackville-West, Edward 3098:, August 1948, p. 231 2748:"Journey into History" 2495:, 5 October 1953, p. 3 2475:Foreman (1983), p. 355 2359:Foreman (1983), p. 290 2317:Foreman (1983), p. 241 2055:, 31 August 1910, p. 9 2051:"Promenade Concerts", 2029:, 31 August 1910, p. 6 1294: 1212: 1089: 952: 938:Other orchestral works 833: 826:wrote of Bax's music: 775:Bax's fellow composer 762: 741:St. Finbarr's Cemetery 667: 632:BBC Symphony Orchestra 556: 442: 427: 368:George William Russell 270: 193:Royal Academy of Music 188: 69:Royal Academy of Music 36: 4633:People from Streatham 3654:. London: Macmillan. 3628:Hold, Trevor (2005). 3313:Bax, Arnold (1992) . 3283:"Review: Bax as Poet" 3079:, August 2015, p. 93 3044:"Music of Arnold Bax" 3034:, 14 April 1944, p. 3 2763:, 2 April 1937, p. 10 2663:, 19 April 1924, p. 8 2659:"Progress in Music", 2295:"Promenade Concert", 2143:Foreman (1983), p. 89 2134:Foreman (1983), p. 95 2125:Foreman (1983), p. 96 2116:Foreman (1983), p. 83 2098:Foreman (1983), p. 67 2016:Foreman (1971), p. 66 1998:Foreman (1971), p. 63 1953:Foreman (1971), p. 64 1903:Foreman (1971), p. 62 1798:Foreman (1971), p. 60 1715:(1971), the Sixth by 1711:(1970), the Fifth by 1385:with Beecham and the 1289: 1210: 1072: 993:(1917), a lament for 951:, 1910 symphonic poem 945: 886:, in the view of the 828: 757: 665: 555:, Bax's muse, in 1920 551: 460:Bjørnstjerne Bjørnson 430: 425: 265: 183: 24: 4281:List of compositions 4198:UK National Archives 4005:. London: J M Dent. 3983:. London: J M Dent. 3941:Desmond Shawe-Taylor 3092:"His Master's Voice" 2672:Lloyd (2001), p. 165 2444:, 9 April 1943, p. 6 1151:(1921), inspired by 1025:Journey into History 902:Symphonic Variations 698:Journey into History 4588:Composers for piano 3947:. London: Collins. 3895:10.1093/ml/81.1.144 3886:Music & Letters 3825:Poems by Arnold Bax 3762:. London: Penguin. 3522:10.1093/ml/LII.1.59 3510:Music & Letters 3353:10.1093/ml/XXXV.1.1 3341:Music & Letters 3221:Music & Letters 3149:16 May 2015 at the 3110:Parlett, Appendix 3 2025:"Music in London", 1338:Music & Letters 1268:Sir John Barbirolli 1262:Neglect and revival 572:The Daily Telegraph 290:, was premiered by 218:Although Bax won a 4311:The Garden of Fand 4303:In the Faëry Hills 4216:Sir Walford Davies 3921:. London: Robson. 3703:Portrait of Walton 3315:Farewell, My Youth 2698:Greenfield, Edward 2412:The London Gazette 2336:, 16 February 2013 2282:"Bax's Symphony", 1554:Sir Thomas Beecham 1458:Honours and legacy 1383:The Garden of Fand 1221:Christopher Palmer 1213: 1090: 970:The Garden of Fand 957:In the Faëry Hills 953: 948:In the Faëry Hills 932:Princess Elizabeth 793:The Garden of Fand 676:Farewell, My Youth 668: 648:Sir Walford Davies 557: 428: 397:George Butterworth 301:In the Faëry Hills 189: 143:preparatory school 37: 4489: 4488: 4417: 4416: 4239: 4238: 4230:Succeeded by 4103:The Musical Times 4063:The Musical Times 4031:978-0-7190-5829-5 4012:978-0-460-04594-0 3990:978-0-460-03861-4 3971:978-3-487-15226-4 3928:978-1-86105-474-6 3872:978-1-4438-1721-9 3853:978-0-19-816586-6 3834:978-0-905210-11-7 3769:978-0-141-03335-8 3750:978-1-84383-898-2 3731:978-0-85115-803-7 3712:978-0-19-816705-1 3693:978-0-521-77323-2 3639:978-1-84383-174-7 3612:(1330): 555–557. 3606:The Musical Times 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4204: 4201: 4188:Internet Archive 4126: 4091: 4035: 4016: 3994: 3975: 3956: 3945:The Record Guide 3932: 3915:Rothwell, Evelyn 3910: 3907: 3897: 3876: 3857: 3838: 3819: 3816: 3787: 3781: 3773: 3754: 3735: 3716: 3697: 3675: 3663: 3643: 3624: 3621: 3596: 3574: 3555: 3536: 3533: 3500: 3483:(914): 154–156. 3467: 3450:(913): 103–105. 3434: 3431: 3398: 3381: 3378: 3372: 3364: 3328: 3309: 3306: 3277: 3274: 3253: 3250: 3244: 3236: 3198: 3197: 3195: 3193: 3182: 3176: 3175: 3173: 3171: 3160: 3154: 3141: 3135: 3129: 3123: 3117: 3111: 3108: 3102: 3101: 3089: 3083: 3082: 3067:Dibble, Jeremy. 3065: 3059: 3053: 3047: 3041: 3035: 3028: 3022: 3015: 2998: 2995: 2989: 2978: 2972: 2966: 2960: 2954: 2948: 2941:Stuart, Philip. 2939: 2933: 2930: 2919: 2912: 2906: 2903: 2897: 2894: 2883: 2880: 2867: 2864: 2858: 2851: 2845: 2842: 2833: 2830: 2824: 2823: 2807: 2798: 2795: 2789: 2786: 2777: 2770: 2764: 2757: 2751: 2744: 2738: 2735: 2729: 2726: 2720: 2717: 2711: 2695: 2689: 2682: 2673: 2670: 2664: 2657: 2651: 2648: 2642: 2639: 2633: 2632:Cox, pp. 155–156 2630: 2624: 2618: 2609: 2606: 2600: 2597: 2591: 2584: 2578: 2571: 2565: 2562: 2556: 2545: 2539: 2532: 2526: 2523: 2514: 2511: 2505: 2502: 2496: 2489: 2476: 2473: 2467: 2464: 2458: 2451: 2445: 2438: 2432: 2429: 2423: 2420: 2414: 2405: 2399: 2393: 2387: 2384: 2378: 2375: 2369: 2366: 2360: 2357: 2351: 2348: 2337: 2326:Foreman, Lewis. 2324: 2318: 2315: 2309: 2306: 2300: 2293: 2287: 2280: 2274: 2267: 2256: 2253: 2247: 2244: 2233: 2230: 2219: 2216: 2210: 2207: 2201: 2198: 2192: 2189: 2180: 2179:Rothwell, p. 154 2177: 2171: 2168: 2162: 2159: 2153: 2152:Banfield, p. 781 2150: 2144: 2141: 2135: 2132: 2126: 2123: 2117: 2114: 2108: 2105: 2099: 2096: 2087: 2081: 2075: 2074: 2062: 2056: 2049: 2043: 2036: 2030: 2023: 2017: 2014: 2008: 2005: 1999: 1996: 1990: 1987: 1981: 1974: 1963: 1960: 1954: 1951: 1945: 1944: 1937:Foreman, Lewis. 1935: 1904: 1901: 1895: 1892: 1886: 1883: 1877: 1874: 1865: 1862: 1856: 1855:Onderdonk, p. 84 1853: 1847: 1840: 1817: 1814: 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The composer 1144: 1063: 940: 906: 905: 898: 863:Fourth Symphony 855:Dutton Vocalion 846: 777:Arthur Benjamin 773: 764: 755: 749: 733:Hallé Orchestra 728: 640: 522: 521: 513: 512: 506: 504:Inter-war years 448: 444: 439: 437: 435: 433: 385: 383:First World War 373:Easter Uprising 276: 272: 263: 209:Richard Strauss 199:and piano with 112: 107: 105:Life and career 57:symphonic poems 42: 33: 27:Herbert Lambert 17: 12: 11: 5: 4651: 4641: 4640: 4635: 4630: 4625: 4620: 4615: 4610: 4605: 4600: 4595: 4590: 4585: 4580: 4575: 4570: 4565: 4560: 4555: 4550: 4535: 4534: 4522: 4510: 4487: 4486: 4474: 4471: 4470: 4468: 4467: 4461: 4459: 4455: 4454: 4452: 4451: 4442: 4440: 4436: 4435: 4433: 4432: 4425: 4423: 4419: 4418: 4415: 4414: 4412: 4411: 4402: 4400: 4396: 4395: 4393: 4392: 4389:Symphony No. 7 4386: 4383:Symphony No. 6 4380: 4377:Symphony No. 5 4374: 4371:Symphony No. 4 4368: 4365:Symphony No. 3 4362: 4359:Symphony No. 2 4356: 4353:Symphony No. 1 4349: 4347: 4343: 4342: 4340: 4339: 4331: 4323: 4319:November Woods 4315: 4307: 4298: 4296: 4289: 4285: 4284: 4279: 4276: 4275: 4268: 4267: 4260: 4253: 4245: 4237: 4236: 4231: 4228: 4219: 4214: 4210: 4209: 4208:Court offices 4203: 4202: 4190: 4181: 4171: 4158: 4148: 4142: 4136: 4119: 4118:External links 4116: 4114: 4113: 4106: 4099: 4092: 4070:Payne, Anthony 4066: 4059: 4052: 4044: 4042: 4039: 4037: 4036: 4030: 4017: 4011: 3995: 3989: 3976: 3970: 3957: 3933: 3927: 3911: 3877: 3871: 3858: 3852: 3839: 3833: 3820: 3805:10.2307/898796 3788: 3768: 3755: 3749: 3736: 3730: 3717: 3711: 3698: 3692: 3680:Jeffery, Keith 3676: 3664: 3644: 3638: 3625: 3597: 3591: 3575: 3569: 3556: 3550: 3537: 3501: 3468: 3435: 3420:10.2307/934669 3399: 3382: 3329: 3323: 3310: 3295:10.2307/962521 3278: 3254: 3227:(4): 305–323. 3208: 3206: 3203: 3200: 3199: 3177: 3166:. 1 April 2020 3155: 3136: 3124: 3112: 3103: 3084: 3060: 3048: 3036: 3023: 2999: 2990: 2973: 2961: 2949: 2934: 2920: 2907: 2898: 2884: 2868: 2859: 2846: 2834: 2825: 2799: 2790: 2778: 2765: 2752: 2739: 2730: 2721: 2712: 2690: 2674: 2665: 2652: 2643: 2634: 2625: 2610: 2601: 2592: 2579: 2566: 2557: 2547:Payne Anthony 2540: 2527: 2515: 2506: 2497: 2477: 2468: 2459: 2446: 2433: 2424: 2415: 2400: 2388: 2379: 2370: 2361: 2352: 2338: 2319: 2310: 2301: 2288: 2275: 2257: 2248: 2234: 2220: 2211: 2202: 2193: 2191:Parlett, p. 10 2181: 2172: 2170:O'Byrne, p. 63 2163: 2161:Jeffery, p. 94 2154: 2145: 2136: 2127: 2118: 2109: 2100: 2088: 2076: 2057: 2044: 2031: 2018: 2009: 2000: 1991: 1982: 1964: 1955: 1946: 1905: 1896: 1887: 1878: 1866: 1857: 1848: 1818: 1809: 1800: 1791: 1779: 1770: 1730: 1729: 1727: 1724: 1722: 1721: 1717:Norman Del Mar 1700: 1691: 1687:London Pageant 1678: 1661: 1652: 1642: 1633: 1588: 1584:Bryden Thomson 1571: 1562: 1541: 1531: 1529: 1526: 1524: 1521: 1506:Glenda Jackson 1459: 1456: 1448:Michael Endres 1436:Iris Loveridge 1424:Bryden Thomson 1346: 1343: 1263: 1260: 1204: 1201: 1165:Patrick Hadley 1157:Five Part Mass 1062: 1059: 995:Patrick Pearse 976:November Woods 973:(1913–16) and 939: 936: 897: 894: 880:Peter J. 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Retrieved 3158: 3139: 3127: 3115: 3106: 3095: 3087: 3076: 3070: 3063: 3056:"Arnold Bax" 3051: 3039: 3031: 3026: 2997:Pike, p. 145 2993: 2986:The Guardian 2985: 2976: 2964: 2957:“Arnold Bax” 2952: 2943: 2937: 2915: 2910: 2901: 2862: 2854: 2849: 2832:Hold, p. 227 2828: 2813: 2797:Hold, p. 219 2793: 2788:Hold, p. 233 2773: 2768: 2760: 2755: 2742: 2737:March, p. 80 2733: 2724: 2715: 2705: 2693: 2685: 2668: 2660: 2655: 2646: 2637: 2628: 2604: 2595: 2587: 2582: 2574: 2569: 2560: 2552: 2543: 2535: 2530: 2509: 2500: 2492: 2471: 2462: 2454: 2449: 2441: 2436: 2427: 2422:Duck, p. 257 2418: 2411: 2403: 2391: 2382: 2373: 2364: 2355: 2333:The Scotsman 2331: 2322: 2313: 2304: 2296: 2291: 2283: 2278: 2271:The Observer 2270: 2251: 2214: 2205: 2196: 2175: 2166: 2157: 2148: 2139: 2130: 2121: 2112: 2103: 2079: 2068: 2060: 2052: 2047: 2040:The Observer 2039: 2034: 2026: 2021: 2012: 2003: 1994: 1985: 1977: 1958: 1949: 1899: 1890: 1881: 1860: 1851: 1812: 1803: 1794: 1773: 1709:Myer Fredman 1703: 1694: 1686: 1681: 1669: 1664: 1655: 1645: 1636: 1591: 1574: 1565: 1549: 1544: 1535: 1510: 1501: 1495: 1486:in 1953. 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