Symphony No.5 in B-flat - Edmund Rubbra

Описание: BBC National Orchestra of Wales conducted by Richard Hickox.

I - Adagio - Allegro energico: 0:00
II - Allegro moderato: 9:23
III - Grave - (attacca): 15:12
IV - Allegro vivo - Adagio: 22:15

Rubbra's Symphony No.5 was composed between 1947-8, begun after a five-year gap in which the composer conceived a choral symphony that in the end materialized into "The Morning Watch". It was premiered on January 26 of 1949, performed by the BBC Symphony Orchestra conducted by Sir Adrian Boult. The piece was a great success and soon became Rubbra's most famous one. In the early 1950s, the symphony was a repertory piece and broadcast with frequent regularity, but by ten years later, it had all but disappeared from programmes.

Rubbra's symphonies differ from the prevailing model of the symphony in that they are built on a principle of continuous, organic development from a single basic idea. By contrast, the traditional symphony is built on dramatic lines, with contrasting movements, each of which usually has contrasting themes as its main character. The symphony arose during a time which rebelled against counterpoint, while Rubbra's intention was to use the example of the great contrapuntal music of the English madrigalists for his model. Thus, Rubbra's symphonies form themselves according to the logic of their main idea, rather than fitting into the standard symphonic shape.

Symphony No.5 was a new symphonic beginning for Rubbra. After the darker Fourth, this work has a new sense of key and a lightness of touch: the orchestration is sparer, and the work contains many important woodwind and horn solo passages. It is not too fanciful to detect a post-war optimism in this piece, a new freshness of spirit, and perhaps also the influence of the gentle chalk landscape of the Chiltern Hills where Rubbra lived and composed. Rubbra had also been received into the Roman Catholic Church in 1948 and this undoubtedly gave his music a spiritual focus. Indeed, his beautiful St. Dominic Mass was begun whilst the Symphony was still in progress. Wilfrid Mellers praised the fifth as "having a positive power and serenity which implies religious assent, however painfully it may have been won."

The first movement begins with a substantial adagio introduction that actually comprises most of the movement, being heavily reminiscent of Sibelius in style. The brass introduces a pervasive four-note motive and the oboe presents a melancholic and expressive main theme. It unfolds with long, broad melodic lines and passes onto full orchestra as it grows and reaches two dramatic climaxes. This material serves as the basis of the ensuing allegro energico (and for indeed much of the work), in which a rhythmic and wilful second theme is introduced and then subjected to a series of variations, with the oboe theme appearing within the counterpoint. After a vigorous climax, the movement ends with an evocative slow coda.

The second movement is a rustic scherzo. It begins with an ostinato figure introduced by the brass, which serves as the basis of a rhythmic and lively main theme exposed by woodwinds. We don't find a contrasting trio section, but instead a continuous contrapuntal development of the material in a mostly peaceful and pastoral style. The allegro moderato culminates in two vigorous climaxes. The material is then recapitulated in its original form, leading to another contrapuntal development that ends the allegro with a gentle coda.

The third movement can be loosely described as theme and variations. It opens with a deeply lyrical and melancholic main theme, which gradually emerges from the basses of the orchestra, then richly unfolded between strings and woodwinds. As before, the material unfolds in a series of variations, with no new material being introduced. It builds towards an imposing and expressive climax, followed by a lyrical English horn solo in a contrasting passage. A fierce and thunderous climax is reached right at the middle, quickly dissolving in another dream-like, lyrical passage. A nostalgic transition leads us directly into the finale.

The fourth movement begins with a rhythmic and lively main theme, clearly derived from the symphony's opening four-note motive, growing more resolute and heroic with fanfare-like phrases (associated with the word "alleluia" in the composer’s mind). Follows a heavily contrapuntal development that maintains the momentum and resolute tone until near the end. After a diminuendo, the oboe theme of the first movement returns on strings, bringing a solemn and cyclical closure to the symphony.

Picture: "Landscape with Overthrown Statue" (1942) by Dutch painter Carel Willink.

Musical analysis written by myself. Source: https://tinyurl.com/22l3mrhr

Unfortunately, the score isn't freely available.