Vernon Handley’s credentials in 20th century British music are second to none, and it goes without saying that this complete Bax cycle offers idiomatic and compelling performances. Certainly Handley improves dramatically over Bryden Thomson’s often limp and soggy readings for Chandos, which also were spoiled by blowsy sonics (at least those performances with the LPO). Here everything is shipshape: Handley’s knowledge of and affection for this music is palpable in every work, and he has the BBC Philharmonic responding to his surprisingly interventionist and rhapsodic approach (given his rather more “straight” work with, say, Vaughan Williams) in a manner that leaves no doubt that the orchestra shares his commitment to the cause. Chandos even includes a bonus CD containing an hour-long interview with the conductor concerning his feeling for Bax, which I did not listen to as I think the music should speak, not the artists.
The main competition at this point comes from Naxos’ excellent complete cycle with David Lloyd-Jones and the Royal Scottish National Orchestra, and the good news for collectors is that the two conductors differ sufficiently in their approach to warrant hearing both sets. For example, at the opening of the Second Symphony, Handley indulges in more extreme variations of tempo and sets a very fast pace for the initial allegro, while Lloyd-Jones is steadier throughout and relates the quick music more organically to what has come before. On the other hand, in the slow movement of the Sixth Symphony, Handley offers marvelously seamless phrasing while Lloyd-Jones sounds a bit more “event oriented”, though the more fuzzy perspectives render Handley’s tenor drum in the Andante con moto episode even less audible than on Lloyd-Jones’ recording. In the opening movement of the same symphony, you may enjoy the livelier initial tempo on Naxos more than Handley’s more stately approach, and in the Seventh Symphony Lloyd-Jones simply outclasses all comers. Handley, however, galvanizes his players to produce a true “feroce” in the First Symphony’s opening movement, and after hearing him it’s difficult not to feel that everyone else is just a bit tame.
The differences between the two orchestras also slightly favor Naxos, with the Royal Scottish trumpets and trombones playing with a brilliance and panache that their BBC colleagues don’t quite match. Compare, for example, the opening of the Fifth Symphony’s central movement, where the bright tone of the Scottish players (and the conductor’s less fussy molding of dynamics) projects that “legendary” fanfare with great immediacy and impact. Sonically the recordings complement the performances as well. Lloyd-Jones enjoys a brighter, more up-front sonority, while Handley is warmer and a touch richer, but with an unfortunate tendency to spotlight certain “color” instruments such as harp, piano, and contrabassoon in a way that some listeners (like me) may find disturbing. The sonics help the strings, of course, but at some loss of clarity in the winds, brass, and percussion.
It should be clear by now that on the whole I prefer Lloyd-Jones both for his comparative directness (which gives greater unity to Bax’s often wayward inspiration) and for his orchestra, which strikes me simply as the finer of the two. I also realize that Handley already has been greeted with typical Hosannas in the English press, and heaven knows he’s very good also. Collectors naturally will want both and will enjoy (as I have) making comparisons between them. Incidentally, Chandos also offers an excellent version of Tintagel (slightly preferable in atmosphere and sweep to Lloyd-Jones) and the premiere recording of the vivacious Rogue’s Comedy Overture which, well, sounds just like Bax without being especially impressive. In most of the symphonies save perhaps the First, though, Naxos remains my overall preference.
