Arnold Bax is better known for his symphonies and symphonic poems than for his surprisingly large solo piano output. The full bodied, grandiose textures he favors in his first two sonatas are thoroughly idiomatic, yet you easily could imagine how effective they’d sound in orchestral garb. Think, for example of the Second sonata’s rumbling, dark scales and frequent melodic doublings, or the evocation of bells at the conclusion of the First sonata. Both works could be described as the lush fabric of early Scriabin in desperate need of a tailor. Certainly the young pianist Ashley Wass has the chops and the rich, upholstered sound to pull off Bax’s considerable demands with consummate ease; however, Eric Parkin’s quicker overall tempos, lighter touch, wider dynamic range, and more incisive sweep make these works sound less turgid.
Similarly, Parkin is better attuned to the tipsy qualities of In a Vodka Shop’s rhythmic asymmetry than are Wass’ teetotaling fingers. Wass takes a languid, pastel-shaded journey through Dream in Exile–convincingly different from Parkin’s more assertive stance. It will be interesting to hear how the remainder of this projected complete Bax piano music cycle eventually plays out, and I’m happy to recommend Volume 1, especially considering that Naxos’ resonantly warm engineering is superior to Chandos’ slightly metallic sonics. As with the Chandos/Parkin Bax cycle, Lewis Foreman provides superb, authoritative annotations.
