Which Bax symphony, if any?

[ferneyhoughgeliebte]

a 2nd inversion F major 7th, the 2nd inversion F chord remains in the lower strings whilst the bassoons hold C & E.

This is how I hear/imagine it - the absence of the fifth (G) from the C major triad would stop me suggesting both "F & C major together". But, with that low C, and the E above it, I can well imagine that in some Hall acoustics, the G might be heard as an acoustical "ghost".

Edgey's "ambiguous" is right, too - the D# (with the B) appoggiaturas in the woodwinds giving a fleeting sense of a minor seventh with the F.

[Suffolkcoastal]

This is how I hear/imagine it - the absence of the fifth (G) from the C major triad would stop me suggesting both "F & C major together". But, with that low C, and the E above it, I can well imagine that in some Hall acoustics, the G might be heard as an acoustical "ghost".

Edgey's "ambiguous" is right, too - the D# (with the B) appoggiaturas in the woodwinds giving a fleeting sense of a minor seventh with the F.

Yes the Bassoons have that B & D# appoggiatura resolving upwards to C & E, though on the 1st of the final 3 occurrences of this the bass clarinet has a G with B & D#. I still hear C as the overriding tonality at the end, probably because the pedal C is featured a lot in the final pages & those appoggiaturas resolving upwards to C & E. The prominence of A & E in the upper strings initially in the final bars, also I think aids the ambiguity. It is a wonderfully conclusion by simple means and skillful harmonic spacing.

[EdgeleyRob]

The final bars of Bax 2, are basically chords of F & C major together. The F major chord is in 2nd inversion C F A and is sustained by the lower strings, Bax's gradual peeling away of the upper voices, momentarily creates a 2nd inversion F major 7th, the 2nd inversion F chord remains in the lower strings whilst the bassoons hold C & E. The symphony is described (unusually) as being both E flat & C, but the last chord being the mixture of F & C, with the C pedal in the basses, creates a sense of uneasy rest, rather than finality, saying more is to follow.

This is how I hear/imagine it - the absence of the fifth (G) from the C major triad would stop me suggesting both "F & C major together". But, with that low C, and the E above it, I can well imagine that in some Hall acoustics, the G might be heard as an acoustical "ghost".

Edgey's "ambiguous" is right, too - the D# (with the B) appoggiaturas in the woodwinds giving a fleeting sense of a minor seventh with the F.

Thanks for this guys.
My knowledge of harmony isn't yet up to the above
Sc's more is to follow makes sense because that's exactly what happens,in the 3rd Symphony.

[Suffolkcoastal]

Thanks for this guys.
My knowledge of harmony isn't yet up to the above
Sc's more is to follow makes sense because that's exactly what happens,in the 3rd Symphony.

At the end of the 3rd Symphony the same B D# (though this time notated as B & E flat) occurs quietly in the brass this time resolving into a pure C major chord, the rest sought for in the 2nd Symphony finally being achieved.

[EdgeleyRob]

At the end of the 3rd Symphony the same B D# (though this time notated as B & E flat) occurs quietly in the brass this time resolving into a pure C major chord, the rest sought for in the 2nd Symphony finally being achieved.

Spot on Suffy,that's what I hear too