Rubbra: Symphonies 5 & 8/Ode to the Queen

Rubbra: Symphonies 5 & 8/Ode to the Queen

Rubbra: Symphonies 5 & 8/Ode to the Queen
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CD Details

Composer: Edmund Rubbra
Conductor: Richard Hickox
Performer: Susan Bickley
Orchestra: BBC National Orchestra of Wales
Edition: Music CD
Running Time: 65 unknown-units
CD Release Date: 1999-04-13
Music Label: Chandos
Soundtracks:
  1. Symphony No. 8, Op. 132 (Hommage A Teilhard De Chardin): I. Moderato
  2. Symphony No. 8, Op. 132 (Hommage A Teilhard De Chardin): II. Allegretto Con Brio
  3. Symphony No. 8, Op. 132 (Hommage A Teilhard De Chardin): III. Poco lento
  4. Ode To The Queen Op. 83: I. Sound Forth Celestial Organs
  5. Ode To The Queen Op. 83: II. Fair As Unshaded Light
  6. Ode To The Queen Op. 83: III. Yet Once Again, Let Us Our Measures Move
  7. Symphony No 5, Op 63: I. Adagio
  8. Sym No 5, Op 63: II. Allegro Moderato
  9. Sym No 5, Op 63: III. Grave --
  10. Sym No 5, Op 63: IV. Allegro Vivo

Music reviews of Rubbra: Symphonies 5 & 8/Ode to the Queen

Music Review: The Noosphere or Bust!
Rating: 5 Stars

The Fifth Symphony (1947) is the most recorded symphony out of eleven altogether by Edmund Rubbra (1901-1986), in many ways the successor of Ralph Vaughan Williams in English music. John Barbirolli recorded it for EMI in 1949 (an archival document that goes in and out of circulation); Hans-Hubert Schönzeler recorded it for Chandos in the early 1970s (still available on a Chandos Collect CD at mid-price); and I believe that Stokowski might have recorded it, or at least that a tape of his performance might have been available somewhere for a while. The most recent recording comes courtesy of Richard Hickox, with the BBC National Orchestra of Wales, again on Chandos. The program joins the Fifth with the Eighth (1966-68) and with the orchestral song-cycle "Ode to the Queen" (1953). Commentators have occasionally cited Mahler as an influence on Rubbra at the time of the Fifth, possibly because of the instrumentation in the opening paragraphs of the First Movement (Adagio); to me, it sounds closer to Sibelius, but I would prefer to insist that Rubbra is Rubbra, after all, with his own recognizable rigor and beauty and musical character. The Fifth Symphony differs from earlier installments in the sequence in that it represents a culmination, of sorts, in Rubbra's retreat from the extreme density of counterpoint that marks the First and Second and that lessens somewhat in the Third and the Fourth. Rubbra does not cease to be a "monistic" composer, however, deriving as he does the whole material of his Adagio from the scalar motif given out by the oboe in the first bars over a glowering chord strongly colored by the horns. He develops the motif by the employment of canon, fugue, variation - it's as hermetic as any dodecaphonic composition by Schoenberg, but perfectly in accord with traditional harmony and always sonorous and beautiful. The grim atmosphere of the earlier symphonies gives way to something more hopeful (a luminous Allegro), despite the implied malice of that opening chord. The Scherzo, like the "Périgourdine" of the First Symphony (1935), uses Renaissance dance-rhythms; Rubbra puts his hornpipe-tune through all twelve keys of the harmonic cycle, another demonstration of his heterodoxy-within-orthodoxy. The Third and Fourth Movements are a "Grave" and an "Allegro Vivo," the former serving as an introduction to the latter, as in the Fourth Symphony. The opening motif returns in the end, revealing itself to have been present throughout. The Eighth Symphony reflects Rubbra's interest in the Catholic anthropologist and philosopher Teilhard de Chardin. In three movements, it shows Rubbra perfecting his method of deriving all material in a given work from a few pregnant musical cells, such that the final form lies predicated in the initial gestures. Call it a teleological approach to the symphony, very much in line with Chardin's Bergson-inspired evolutionary mysticism. To the Noosphere, so to speak, or bust! Setting Crashaw, D'Avenant, and Campion, three Elizabethan poets, the song-cycle, reminiscent of RVW's "Five Mystical Songs," matches in music the spirit of the words. But Rubbra dwelt as much in the sixteenth as in the twentieth century, so what else would one expect? Hickox and the Welsh performers deliver their usual smooth-as-cream performance. Chandos' sound is reliably top of the line.
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