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 Post subject: Edmund Rubbra
PostPosted: Wed Mar 28, 2012 12:19 pm 
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Presenting another neglected English composer, Edmund Rubbra. Hugely respected in his time, and ever since, but never been really popular. Mainly because he chose to work in traditional forma and idioms in a time where music which was not new and groundbreaking was being scorned. I love him all the more for it, especially his fondness for contrapuntal writing and fugues. The Invention on the name of Haydn is a marvel of concise and concentrated writing, much more convincing than any of the pieces of Haydn's name I have heard. Rubbra's symphonies are intensely beautiful and can hold their own with any symphony by the established masters.

Apologies in advance for the sometimes generous pedal usage. But I believe it is controlled here, and suits the music.

Rubbra - Introduction and Fugue Op. 19c (4:56)
Rubbra - Prelude and Fugue on a theme by Cyril Scott, Op.69 (3:57)
Rubbra - Introduction, Aria and Fugue Op.104 (4:35)
Rubbra - Invention on the name of Haydn, Op.160 (1:47)

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 Post subject: Re: Edmund Rubbra
PostPosted: Wed Mar 28, 2012 3:09 pm 
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I couldn't imagine anyone writing a soggetto cavato on the name of Haydn. It's a BAD theme. :wink:

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"A smattering will not do. They must know all the keys, major and minor, and they must literally 'know them backwards.'" - Josef Lhevinne


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 Post subject: Re: Edmund Rubbra
PostPosted: Fri Mar 30, 2012 12:54 am 
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Chris,
I'm wondering if you (and others?) have missed the secret message in my reply to you above? It was in no way meant to be an insult. Perhaps I should have written "B-A-D".

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 Post subject: Re: Edmund Rubbra
PostPosted: Fri Mar 30, 2012 6:26 am 
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Yes I missed that.

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 Post subject: Re: Edmund Rubbra
PostPosted: Fri Mar 30, 2012 2:55 pm 
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techneut wrote:
Yes I missed that.

Regarding the Invention on the name of Haydn and for those who don't understand the principle of soggetto cavato, you attempt to translate a word or name into musical notes to form a melody (keeping in mind the German difference between B natural = H and Bb = B, and the continental names for the notes: do, re, mi, fa, sol, la, si). The most famous one is that on the name of Bach: thus Bb-A-C-B.
Well, for Haydn there is nothing to approach the "y" or "n" so we are left with HA_D_; B(H)-A-D, thus a "BAD" theme. :wink:

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Eddy M. del Rio, MD
"A smattering will not do. They must know all the keys, major and minor, and they must literally 'know them backwards.'" - Josef Lhevinne


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 Post subject: Re: Edmund Rubbra
PostPosted: Fri Mar 30, 2012 3:06 pm 
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Learning all the time..................

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 Post subject: Re: Edmund Rubbra
PostPosted: Tue Apr 03, 2012 5:37 am 
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Never heard the music or the name of the composer before. I had trouble to locate the time of this music and was surprised to read on wiki that he was from the 20th century! Good playing a always.

Chris, I cannot find this on the site. Do you intend to put it up or is this just for the forum?

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 Post subject: Re: Edmund Rubbra
PostPosted: Tue Apr 03, 2012 6:36 am 
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Thanks Robert. Yes I will put these up eventually, after I've recorded one more piece by him.

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 Post subject: Re: Edmund Rubbra
PostPosted: Fri Apr 06, 2012 7:59 pm 
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Seems like nobody here gets enthusiastic about Edmund Rubbra's music. Here is the other piece I planned to record by him :

Rubbra - Prelude and Fugue on a theme by Cyril Scott, Op.69 (3:57)

Anyway I am really glad to have discovered this marvelous composer. The prelude and fugue of his Sinfonia Concertante (http://youtu.be/OqVUlgHupTc) is one of the most beautiful things for piano and orchestra I know.

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