Chamber Bax Françaix Cras

Arnold Bax (1833-1953) grew up in South London in a wealthy family which encouraged him to pursue music. Since he was able to support himself, he did not have to concern himself with conforming to current musical tastes, and could follow his own artistic impulses. He was extremely interested in Ireland and Celtic culture, and also drew inspiration from Icelandic saga literature, and from Bjørnstjerne Bjørnson.

Bax’s popularity was at its peak in the 1920s, and the first of his seven symphonies created a furore when it appeared in 1921. His Fantasy Sonata was produced in 1927, and this time his inspiration came from the brilliant Russian harpist Maria Korchinska (1895-1979), who conquered London’s concert halls at the time, and encouraged Bax to exploit the virtuosic possibilities of the harp. Bax did, to the utmost, and he dedicated the work to Korchinska.

Jean Francaix (1912-1997) began composing the age of six and had published his first work when he was ten. His father was a composer, pianist and director of the Conservatoire in Le Mans, and her mother was a singing teacher. He was from the beginning strongly influenced by his compatriot Maurice Ravel, who spoke warmly about the boy's abilities, and later became a student of the legendary teacher Nadia Boulanger. He wrote music for many different ensembles, and remained productive until his death.

Francaix got his big break in the early 1930s: In 1930 he received the Paris Conservatoire's first prize as a pianist; in 1932, he won recognition as a composer with his first symphony, and the next few years he toured as a pianist and composer in Europe and USA. His String Trio, written in 1933, is characterized by the composer's exuberant style. The first movement is lively and energetic, the second full of humorous whim, and the third gives a melancholy respite before the sprightly final movement.

Jean Cras (1879-1932) had a broad musical palate, which was a combination of his heritage from his native region Brittany, impressions from trips to Africa, and not least from his experiences at sea: Cras was a naval officer by profession (see picture above), and had for much of his career limited time to devote to composing. Nevertheless, he gained great popularity and recognition as a composer, especially with his opera Polyphème, which was first performed in 1922, but he himself considered his chamber music to be his principal work.

Cras’ Quintet for Flute, Violin, Viola, Cello and Harp was written in the same year as the opera premiere, in 1922. The unusual instrument group has its background in one of the time’s pioneer ensembles in Paris which several well-known composers were writing music for, and which was named “Quintet Instrumental de Paris”. Already the first tones of Cras’ quintet lend associations to the sea, where the composer spent so many of his working days. The opening is light, while the rest of the work explores a rich spectrum of moods.