This is not the first time we have had a collection aspiring to the complete
Rubbra for solo piano. Mind you we have to wind back to circa 1979-80 for
Edward Moore's Phoenix LP to find it. Dutton however carry the day and not
only because theirs is the first with first CD-based collection.
The Prelude and Fugue, for me, prompted thoughts of the
collana musicale of the Viola Concerto and the 'dream-dancing' of
the Fifth Symphony all crossed with Bach-like fugal treatment. The
Sonatina of thirty years previously probes the British
pastoral-ecstatic school as reflected in the music of Rubbra's friend Gerald
Finzi (the piano parts of whose Hardy songs I often thought of while listening
to this piece) and the high aspirational romance of Herbert Howells. A cold
douche from Bach and some really hushed music distinguish the Introduction
section of the finale. Fukagawa explores an oriental theme
also examined by his Buddha Suite (available on another Dutton CD).
This work can best be likened to Hovhaness's In a Moss Garden. The
work is very brief and ends abruptly in a rather unrounded way..
In the Introduction, Aria and Fugue the wholeness and wholesomeness
of the preceding works is not altogether abandoned but other and more disturbing
worlds are envisioned - cold as stone. The same goes for the Fantasy
Fugue. The Preludes are a varied set. They range from
the clammy peace and 'jeux d'eau' of the moderato to the oh so brief
allegretto semplice - simplicity with a shiver. Then comes the dark
bell-decaying realm of the Grave. The final lento e con forza
is iron shod and crashes unforgivingly through the greenery ending before
it has gained any real sense of direction. The Nine Teaching Pieces
are all you would expect with the prizes being the gentle rondel
of Slow Dance, the delectable Cradle Song and the crick-necked
Catch me if you can in which you can clearly make out the donkey's
braying.
There are five fugues on this disc of which the Nemo was written
for the composer Freda Swain (1902-85). Swain was the organiser of the NEMO
concerts. The Fantasy Fugue begins haltingly but is soon fanned
into warmth. The Four Studies illustrate Rubbra's allegiance
to legato, cantabile and tone control. The Haydn Invention
with its Bachian patterning is hoarse and scolding.
These are all very brief works although often sententious and by no means
lacking emotional-symphonic substance. Their coherence and their strengths
are portrayed with extreme empathy by Michael Dussek making this a most desirable
collection.
Rob Barnett
See also
Review of this CD by Gary
Higginson
HOW I CAME TO KNOW THE MUSIC OF EDMUND
RUBBRA by Gary
Higginson
Edmund Rubbra page on MusicWeb
Michael Dussek (piano)
