

In the end we have a pretty clear idea of outward events, but little sense of the inner workings of the man himself. There's hardly a word about them - they get six and seven entries in the whole of the book, respectively. On a different note, I was quite amazed how the reader is made to forget that Bax actually had children. Instead of filling in the details, we are treated to an umpteenth love-letter to Harriet or Mary. Too often, Foreman is content with dropping names. Similarly, it is frustrating to read that Bax went to hear this or that work of a fellow composer, but never to be told what he thought of it. It is inconceivable to me that in a biography of an English composer who lived through the year 1945 no mention at all is made of probably the most sensational musical event in Britain for centuries, the premiere of "Peter Grimes". What the book lacks is an integrated sense of the musical and social environment Bax lived and worked in, and his views of it. Compared to that monumental achievement, Foreman only gives us fragments, with the focus on brief analyses of key works, Bax's love interests, and his lifelong infatuation with Ireland and things Irish. Maybe I set too high a standard for a composer biography, La Grange's "Mahler" being my idea of perfection. Foreman spent on studying his subject, but there it is. I hesitate to say this, seeing how many decades Mr. To my surprise, however, I found this book rather monotonous and, in a way, superficial. I had expected, too, to see the colourful richness of the music reflected in an equally colourful description of Bax the man. Foreman's biography of the composer some explanation or theory regarding this perplexing state of affairs.

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