Edmund Rubbra

Edmund Rubbra (23 May 1901 – 14 February 1986) was a British composer.

He composed both instrumental and vocal works for soloists, chamber groups and full choruses and orchestras.

He was greatly esteemed by fellow musicians and was at the peak of his fame in the mid-20th century.

The best known of his pieces are his eleven symphonies.

Although he was active at a time when many people wrote twelve-tone music, he decided not to write in this idiom; instead, he devised his own distinctive style.

His later works were not as popular with the concert-going public as his previous ones had been, although he never lost the respect of his colleagues.

Therefore, his output as a whole is less celebrated today than would have been expected from its early popularity.

He was the brother of the engineer Arthur Rubbra.

He was born Charles Edmund Rubbra at 21 Arnold Road, Semilong, Northampton.

His parents encouraged him in his music, but they were not professional musicians, though his mother had a good voice and sang in the church choir, and his father played the piano a little, by ear.

Rubbra's artistic and sensitive nature was apparent from early on.

He remembered waking one winter's morning when he was about three or four years old, and noticing something different about the light in his bedroom; there was light where there was usually shadow, and vice versa.

When his father came into the room, Edmund asked him why this was.

His father explained that there had been a fall of snow during the night, and so the sunlight was reflecting off the snow and entering Edmund's bedroom from below, instead of above, thus reversing the patterns of light and shade.

When Rubbra was much older he came to realise that this 'topsy-turveydom', as he called it, had caused him to often use short pieces of melody which would sound good, both in their original form and when inverted (so that when the original melody goes up a certain amount, the inverted one goes down the same amount).

He then set these two melodies together, but slightly offset from one another, so that the listener hears the melody going up, say, then an echo where it goes down instead.

Another childhood memory which Rubbra identified as later affecting his music, took place when he was nine or ten.

He was out walking with his father on a hot summer Sunday.

As they rested by a gate, looking down at Northampton, he heard distant bells, 'whose music seemed suspended in the still air', as he put it.

He was lost in the magic of the moment, losing all sense of the scenery round about him, just being aware of "downward drifting sounds that seemed isolated from everything else around".

He traces the 'downward scales that constantly act as focal points in [his] textures' to this experience.

Rubbra took piano lessons from a local woman with a good reputation and a piano with discoloured ivory keys.

This instrument contrasted starkly with the piano on which Rubbra practised, which was a new demonstration upright piano, lent to his family by his uncle by marriage.

This uncle owned a piano and music shop, and prospective buyers would come to Rubbra's house, where he would demonstrate the quality of the piano by playing Mozart's Sonata in C to them.

If the sale went through, the Rubbra family was given commission, and a new demonstration piano took the place of the one sold.

In 1912, Rubbra and his family moved a little more than quarter of a mile away to 1 Balfour Road, Kingsthorpe, Northampton, moving again four years later so that his father could start his own business selling and repairing clocks and watches.

At this house, above the shop, Edmund had the back bedroom for his work, but the stairs were not wide enough to allow the piano to be brought up, so the window frame of his room had to be removed to get the piano in from outside.

Rubbra started composing while he was still at school.

One of his masters, Mr. Grant, asked him to compose a school hymn.

He would have been very familiar with hymn tunes, as he attended a Congregational church and played the piano for the Sunday School.

He also worked as an errand boy whilst he was still at school, giving some of his earnings to his parents.

At the age of 14, he left school and started work in the office of Crockett and Jones, one of Northampton's many boot and shoe manufacturers.

Edmund was delighted to be able to accrue a number of stamps from parcels and letters sent to this factory, as stamp-collecting was one of his hobbies.

Later, he was invited by an uncle, who owned another boot and shoe factory, to come and work for him.

The idea was that he would work his way up from the bottom of the company, with a view to ownership when his uncle, who had no sons of his own, died.

Edmund, influenced by his mother's lack of enthusiasm for the idea, declined.

Instead, he took a job as a correspondence clerk in a railway station.

In his last year at school he had learned shorthand, which was an ideal qualification for this post.

He also continued to study harmony, counterpoint, piano and organ, working at these things daily, before and after his clerk's job.

Rubbra's early forays into chamber music composition included a violin and piano sonata for himself and his friend, Bertram Ablethorpe, and a piece for a local string quartet.