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Edmund Rubbra: Sinfonia Concertante, Prelude & Fugue on a theme of Cyril Scott Op.69 and Violin Concerto Op.103

REAM1134
£10.99

Details

The Sinfonia Concertante for piano and orchestra, Op.38, was written in 1934-1936 and revised and rescored in 1942-1943. The composer himself was the soloist in the premiere which took place in a Promenade concert with the BBC Symphony Orchestra conducted by Sir Adrian Boult on 10 August 1943. Rubbra also performed it with the London Philharmonic Orchestra under Sir Malcolm Sargent on 4 July 1946 at the second Cheltenham Music Festival.

The Prelude and Fugue on a theme of Cyril Scott for piano, Op.69, was composed in honour of Scott’s seventieth birthday in September 1949 and premiered by Margaret Good on 5 June 1950 in a BBC broadcast. It is based on three bars from the slow movement of Scott’s Piano Sonata no.1, Op.66.

As part of the Northampton concert of Cyril Scott’s music which Rubbra organised in 1918, he programmed and performed four of Scott’s short solo piano works. Nearly fifty years later, he chose to perform another brief solo piano work by Scott to round off his BBC recital on 9 August 1967, Consolation. In his brief spoken introduction to the broadcast performance, Rubbra described this as ‘one of Scott’s maturest pieces’ written ‘at the height of his powers’ and characterised it as ‘a deeply felt ‘in memoriam’ written as a tribute to a close friend’.

In 1958 he began work on the Violin Concerto, Op.103, finishing it in the summer of the following year. It was premiered at the Royal Festival Hall on 17 February 1960 when the soloist was Endré Wolf with the BBC Symphony Orchestra conducted by its Principal Conductor at the time, Rudolf Schwarz. This first performance was relayed live and the BBC repeated the work in a Maida Vale performance three days later. A recording of that impressive second performance is presented here. Paul Conway

Edmund Rubbra: Sinfonia Concertante, Prelude & Fugue on a theme of Cyril Scott Op.69 and Violin Concerto Op.103

Reviews

Lyrita have been digging down again in the mine that is the Itter Broadcast Collection and they have returned with more buried treasure in the form of these Rubbra performances. The two major works have been recorded in modern times and with the advantage of up to date sound but there is nonetheless great interest in these archive performances, not least in the presence of Rubbra himself at the keyboard.

As is evident from his performances here, Edmund Rubbra was no mean pianist and we learn from Paul Conway’s invaluable notes that as a teenager he had fallen under the spell of the music of Cyril Scott to such an extent that he organised a concert of music by that composer.

Rubbra himself played the solo part when the Sinfonia Concertante was first performed, at a 1945 Prom, and here he returns as soloist for this broadcast performance. Cast in three movements, it’s a most interesting work but, for all its excellence as music, I can understand why it has not made much headway: its tone is serious throughout and though the solo part is challenging the work is no crowd-pleasing display piece. The Rubbra/Rignold performance is a strong one, bringing out the dark eloquence of the work, and there’s considerable interest to be had from hearing the composer playing in one of his own major works. The finale, a Prelude and Fugue, is inscribed to the memory of Gustav Holst, Rubbra’s influential teacher and close friend. The Prelude is elegiac and deeply felt, leading to a passionate climax. The Fugue is introduced by the woodwind and the orchestra develops the fugue at some length: it’s not until 7:57 that the piano joins them. From this point on the music is intense, albeit Rubbra doesn’t often raise his voice. Apart from a final soft orchestral chord it’s the piano which has the last word and, as Paul Conway observes, this ending is “deeply affecting.” The Sinfonia Concertante may not be a crowd-pleaser but it’s a sincere and impressive composition.

This Lyrita issue of the Violin Concerto is particularly interesting because the performance was given by the same artists who had given the first performance in the Royal Festival Hall on 17 February. It is less about display and more about the development and discussion of ideas. In the first of its three movements the tone is serious and the solo part largely consists of cantabile writing. The first movement is impressive but it’s the slow movement that takes the palm, I think. After a dark-hued orchestral introduction the serene violin entry is well worth the wait. As Paul Conway puts it, the soloist’s entry brings “instant solace”. The movement features lyrical, singing music and always with an air of patrician dignity. This is a poetic and very fine movement of genuine depth. The Allegro giocoso finale is much shorter than either of the previous movements. It’s the most extrovert and cheerful part of the work. Paul Conway quotes some appreciative comments that Cyril Scott made to Rubbra after both of the initial performances of the concerto. These quotes continue one of this disc’s themes, namely the link between the two composers.

The transfers have been successfully done. These performances are of great interest and value to all those who appreciate the art of this very fine English composer. John Quinn, MusicWeb-International