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- Original Release Date: 30 Nov 2006
- Format - Music: MP3
- Compatible with MP3 Players (including with iPod®), iTunes, Windows Media Player
- Also available in CD Format
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| Song Title | Artist | Time | Price | |||
|---|---|---|---|---|---|---|
| Play | 1. Symphony No. 6, Op. 80: I. Lento - allegretto | Philharmonia Orchestra | 9:13 | £0.89 | ||
| Play | 2. Symphony No. 6, Op. 80: II. Canto - (Largo e sereno) | Philharmonia Orchestra | 8:11 | £0.89 | ||
| Play | 3. Symphony No. 6, Op. 80: III. Vivace impetuoso | Philharmonia Orchestra | 5:41 | £0.89 | ||
| Play | 4. Symphony No. 6, Op. 80: IV. Poco andante - Allegro moderato | Philharmonia Orchestra | 9:34 | £0.89 | ||
| Play | 5. Symphony No. 8, Op. 132 (Hommage à Teilhard de Chardin): I. Moderato | Philharmonia Orchestra | 9:25 | £0.89 | ||
| Play | 6. Symphony No. 8, Op. 132 (Hommage à Teilhard de Chardin): II. Allegretto con brio | Philharmonia Orchestra | 6:12 | £0.89 | ||
| Play | 7. Symphony No. 8, Op. 132 (Hommage à Teilhard de Chardin): III. Poco lento | Philharmonia Orchestra | 9:17 | £0.89 | ||
| Play | 8. Soliloquy for Cello & Orchestra, Op. 57 | London Symphony Orchestra | 15:01 | Album Only |
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Customer Reviews
Most Helpful Customer Reviews
2 of 2 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
When the Sixth Symphony was not more than a couple of years old, Barbirolli brought the Halle to Oxford, and included it in a concert at the Sheldonian Theatre. Rubbra was there, sitting in one of the boxes over the side doors, and I found myself above and opposite him. His body language was unihibited and unambiguous. He lived every second of his music, and clearly approved of everything Barbirolli did. Which was interesting, because Barbirolli took a much broader view of the work than del Mar's or Hickox's recordings. An old Intaglio disc of a public performance under Boult ( dismissed by Gramophone in its review of the first LP issue of this disc) preserves the accepted tempi of the late 1950s and is not all that different from what I recall of Barbirolli's performance. Del Mar does manage, however, to remain faithful to the spirit of the work. Hickox gets it wrong, overdoing briskness and missing the underlying range of tensions in Rubbra's music. As things currently stand, we aren't likely to get much more choice, and these are the best available performances of both symphonies. But if you do come across the Intaglio, which contains, beside Boult in the Sixth Symphony, Sir Charles Groves's premiere of the Eighth, then snap it up. For all its faults of recording balance it is a reminder of how we first heard two genuine and individual masterpieces which don't deserve their current relative neglect , still less the oblivion from which this disc helped to rescue them.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
1 review
1 of 2 people found the following review helpful
Beautifully constructed but lacks caffeine
22 Sep 2011
Format:Audio CD|Amazon Verified Purchase
After purchasing and listening to the powerful and affecting Rubbra Viola Concerto, I decided to explore Rubbra further and bought this recording based on an enthusiastic American Record Guide recommendation of his symphonies 6 and 8. These are imposing and beautifully constructed, traditional symphonies, but frankly I have not been able to enter their world as easily as that of the viola concerto. Perhaps I miss the role of the viola protagonist in the concerto to help engage me in the musical argument. There also seems to be a sameness and a contained quality to the textures, materials and development, like listening to 17th century viol music, which can be arresting for about ten minutes and then kinda wears out its welcome. One wants some of those buds to blossom.
In the end, while I recognized the excellence of the composer's craft, I started nodding off. Normally I really go for Vaughan Williams, Finzi, Moeran and all the English pastoral school, even Bax, which draw inspiration from Debussy and Ravel, English folk song, and Purcell, so perhaps I need to give this disc another go.
In the end, while I recognized the excellence of the composer's craft, I started nodding off. Normally I really go for Vaughan Williams, Finzi, Moeran and all the English pastoral school, even Bax, which draw inspiration from Debussy and Ravel, English folk song, and Purcell, so perhaps I need to give this disc another go.
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