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3 of 3 people found the following review helpful:
4.0 out of 5 stars
Three fine works by Rubbra, 11 Feb 2006
Born in Northampton, Edmund Rubbra came to prominence in the 1930s. The dominance of modernism from the late 1950s onwards rather eclipsed his music but there has been a renaissance over the last decade with the release of dozens of recordings. His style is tonal, melodic and with a strong personality. He always said that he had to fix a starting point - a tune, a melodic cell, a chord or even just a plain interval. Once he had established that, the music grew organically, with the emphasis on line. As the music unfolds, it feels inevitable.This is the second recording of the Improvisation for Violin and Orchestra, the first being by the Louisville Orchestra, which commissioned it, in the late 1950s. It is a short piece which the writer has long loved. It starts with a very long tympani roll, with the violin weaving its melody above. The violin line constantly changes while remaining recognisably based on the same material. Later, the orchestra comes in and the piece proceeds like a mini-violin concerto, with frequent changes in pace and emotional tone. The Improvisations on Virginal Pieces by Giles Farnaby is one of Rubbra's most popular works, certainly the most recorded. It consists of a suite of five movements based on Farnaby's keyboard pieces. Sometimes Farnaby predominates, sometimes Rubbra but the result is an often beautiful and always entertaining work. The Violin Concerto dates from 1960 and is the third in a trio of concertos, the others being for piano and viola - all fine works. The opening allegro has, at nearly fifteen minutes, been described as Rubbra's longest sonata structure. He would not set out to compose in this form and would say if a first and second subject emerged, so be it, but it would be the result of the through-composing described above. He simply did not pour his music into pre-formed musical mould. A decending 3-note motif haunts the orchestra throughout. It is always rewarding with Rubbra to listen to the inner parts because there is always something interesting going on. The Poema (slow movement) is inward and has some of the same qualities as the Canto from the Sixth Symphony, one of the composer's most beautiful movements. The emotional temperature changes constantly, from sad to confident though never sentimental, and it ends with an almost pleading passage on the violin. The allegro giocoso is a short, dance-like movement of a kind so beloved of this composer. One to set the feet tapping. It finishes with a slightly weird but effective change of pace. The performance by Krysia Osostowicz is fine, apart from a couple of errors, and the Ulster Orchestra under Takuo Yuasa gives good support. The recording is more than adequate and the notes by Malcolm MacDonald are informative.
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~ August Söderman
~ Arthur Grumiaux
