Fresh tonalities and evocative melodies pervade the program, presenting a substantial array of moods and atmospheres. Wright’s soprano brings an element of clearness to the texture, while Greager’s tenor remarks a resonating character. Tilting towards lower realms, Keyte’s baritone offers a warm contrast. Meanwhile, Barnes’ piano accompaniment runs as an unwavering backbone, seamlessly tying the sonic threads together.

Bax’s approach to songwriting, embellished here by the talents of Wright, Greager, Keyte, and Barnes, is tightly focused on emotional expression without the compromise of musical integrity. The songs themselves are carefully constructed, with a skillful blend of narrative sentiment, harmonic environs, and arresting emotionality.

One may note a diverse range of influences in Bax’s melodious calculations – from native Celtic origins to the German romantics, Russian impressionists, and French symbolists. Yet, he adroitly absorbs and transposes these various stimuli into his distinct musical idioms. This attribute of eclecticism, cleverly unified under Bax’s compositional umbrella, gives each song its individual character, a testament to Bax’s perceptive crafting and the impressively idiosyncratic interpretations of our performers here.

Recorded at St Silas Church, Kentish Town, London, the album possesses a rich, tonally pure aura. This is a product of Continuum’s standard of recording quality, further enhancing the concentration and the listener’s immersion in Bax’s world of ever-fluctuating hues.

While some may argue that Bax’s art songs deserve wider recognition, this recording, lasting a little over an hour, paints a persuasive portrait of an oft-overlooked genius. The performances are poignant, and the recording, tastefully understated allowing Bax’s melodies to claim their righteous place in the songs. On the whole, Continuum CCD1046 commits itself to showcasing Bax’s mastery, his influences, and his character through these ‘Twenty-one songs.’