It would be difficult to overestimate the importance and seminal nature of Winter Legends, subtitled Sinfonia Concertante, in understanding Bax's output. A complex and mature work with eccentric melodic inventions, it is perhaps one of the most strongly organized of Bax's non-symphonic works. Indeed, the composer himself more than once referred to the piece as being in reality a disguised symphony—his fourth. It certainly offers a more logical bridge between the ending of the Third Symphony and the opening of the Fifth than does the Fourth itself and its Epilogue refers directly to that of the Third.

Winter Legends was originally dedicated to Sibelius (who said on hearing Harriet Cohen play through the score for him "Bax is my son in music") but Bax changed this to Harriet immediately before she gave the first performance. It is certainly evocative of the bleak northern landscapes and associated mythology which figure in this period of his creativity. The delicately crafted and bewitching Lento brings the slow movements of Bartók's concertos to mind and the gargantuan nature of the Epilogue alone make this work stand out among its peers. The piano part is technically difficult and requires a player of tremendous stamina and interpretative skills to bring the finished sculpture forth from the granite in which it is set. Harriet Cohen had enormous success with this piece (and its genetic forebear, the Symphonic Variations) and no other pianist attempted either work until after her death.

Along with the Sixth Symphony and the underrated (and somewhat flawed) Symphonic Variations, Winter Legends shows Bax the master at the absolute pinnacle of his creative and artistic powers.

© All Music Guide

Portions of Content Provided by All Music Guide.
© 2008 All Media Guide, LLC. All Music Guide is a registered trademark of All Media Guide, LLC.