Edmund Rubbra's Brahms Variations And Fugue On A Theme By Handel Op. 24 was performed in the 1940s and 50s by Arturo Toscanini and Eugene Ormandy, and his Rubbra's Fifth Symphony was recorded by Sir John Barbirolli and programmed by Leopold Stokowski. Yet today Rubbra's music is rarely if ever heard in the concert hall. So we are fortunate that it has been better served in the recording studio. Notable recordings include Richard Hickox's indispensable survey of all the symphonies for Chandos , supplemented by compelling interpretations by Norman del Mar, Tod Handley, Sir Adrian Boult, and the composer. (But strangely, Rubbra's Brahms Variations is missing from the current CD catalogue.) But why has Rubbra failed to gain traction in the concert hall? Why, for example, in an age when accessible trumps challenging , is Rubbra's Fourth Symphony virtually unknown? Why is his music so neglected when the Lark Ascending consistently tops popularity polls, and Robert L...
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Does the answer lie here?
One of the pieces that I'm doing is the Schoenberg/Marx brother's tennis match. Who was the person who always wanted to be Schoenberg's student? I can never remember.
Adolf Weiss?
No. No. No. The populist. Gershwin! Gershwin, Harpo, Oscar Levant, and Schoenberg used to play tennis every Wednesday. If not Harpo, then Groucho and sometimes Chaplin...blah blah blah. That was the standard foursome. I always understood that John Cage was the ball boy. Is it possible that it's him. Yes, but then I suspect Schoenberg's finger is in the pie there somewhere.
Schoenberg used to apparently carry around, I didn't know this either, he used to travel round with a violin case. People would actually query him, "Arnie, I didn't know you were a fiddler." He was not a fiddler. He had table tennis paddles and a net in the violin case. He was a maniac table tennis player.
Whatever, I bet it wasn't Toscanini.