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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D.M. was one of the early professors at Mills college.
Have a look at the current M.C. site.
http://www.mills.edu/academics/faculty/mus/rmitchell/rmitchell.php
Who’s in charge of the D.M. chair? Roscoe Mitchell.
The most serious man from the jazz ensemble Art Ensemble of Chicago.
BT
Thanks for the Dave Brubeck post. Thought I'd forward you an excellent link/podcast re: Brubeck's earlier, more experimental trio and octet recordings that I learned of through Marc Meyer's fine "Jazz Wax" blog.
http://indianapublicmedia.org/nightlights/playland-beach-dave-brubecks-early-octet-trio/
http://www.jazzwax.com
TEMcC