Uploaded April 2026 | Updated September 2026, 2 weeks ago
Orchestra of the Tatar State Opera and Ballet Theater conducted by Isai Sherman.
I - Morning: 0:00
II - Grandfather's Story: 2:14
III - Merry Game: 6:04
Luppov's Children Suite was composed in 1960, being premiered in Kazan on October 5 of 1960, conducted by Ilyas Aukhadeev. Scored for solo strings and divided in three compact movements, the suite is characterized by its indebtedness to the Russian romantic tradition. Unfortunately that's pretty much all the info that is available online about this piece.
The first movement is monothematic. It begins with a rhythmic accompaniment from low strings, over which upper strings introduce a broad and lyrical main theme. The central part is a vigorous as brief development of the material before the theme is recapitulated in its original form. A firm chord ends the movement.
The second movement is written in form of an arch. It opens with a severe and austere main theme on cellos and basses, to which violas and violin are added in counterpoint. The music then reaches an expressive climax in the central part, before returning to the opening's severity as the movement draws to a close.
The third movement is structured in sonata form. It begins with a rhythmic and vigorous main theme on violins, followed by a more lyrical second theme on cellos. A brief development in form of an animated dance then takes place, before the material is recapitulated. The suite ends with an energetic coda.
Thanks to Corentin Boissier for making this music available, check the original video on his channel @collectionCB3 : tinyurl.com/2yjlwjmy
Picture: "Spring" (1960) by Russian painter Boris Stepanovich Lukoshkov.
Musical analysis written by myself.
Unfortunately, the score is not available.
Orchestra of the Tatar State Opera and Ballet Theater conducted by Isai Sherman.
I - Morning: 0:00
II - Grandfather's Story: 2:14
III - Merry Game: 6:04
Luppov's Children Suite was composed in 1960, being premiered in Kazan on October 5 of 1960, conducted by Ilyas Aukhadeev. Scored for solo strings and divided in three compact movements, the suite is characterized by its indebtedness to the Russian romantic tradition. Unfortunately that's pretty much all the info that is available online about this piece.
The first movement is monothematic. It begins with a rhythmic accompaniment from low strings, over which upper strings introduce a broad and lyrical main theme. The central part is a vigorous as brief development of the material before the theme is recapitulated in its original form. A firm chord ends the movement.
The second movement is written in form of an arch. It opens with a severe and austere main theme on cellos and basses, to which violas and violin are added in counterpoint. The music then reaches an expressive climax in the central part, before returning to the opening's severity as the movement draws to a close.
The third movement is structured in sonata form. It begins with a rhythmic and vigorous main theme on violins, followed by a more lyrical second theme on cellos. A brief development in form of an animated dance then takes place, before the material is recapitulated. The suite ends with an energetic coda.
Thanks to Corentin Boissier for making this music available, check the original video on his channel @collectionCB3 : tinyurl.com/2yjlwjmy
Picture: "Spring" (1960) by Russian painter Boris Stepanovich Lukoshkov.
Musical analysis written by myself.
Unfortunately, the score is not available.


![Symphony No.2 in D - Edmund Rubbra
BBC National Orchestra of Wales conducted by Richard Hickox.
I - Lento rubato - (attacca): 0:00
II - Scherzo. Vivace assai: 9:52
III - Adagio tranquillo: 15:40
IV - Rondo. Allegretto amabile - Coda. Presto: 25:47
Rubbras Symphony No.2 was composed between February and November 1937, immediately after the first one. It was premiered in a radio broadcast on December 16 of 1938, conducted by Sir Adrian Boult (to whom the score is dedicated), who would conduct it multiple times aftwerwards. No.2 is the second of four closely related symphonies Rubbra wrote in quick succession between 1935-41. He described them as being different facets of one thought, since each was a reaction to the last. The Symphony also reflects the agitated and turbulent times of Britain in the 1930s, also portrayed in William Waltons Symphony No.1 in B-flat minor, Vaughan Williams Symphony No.4 in F minor or Alan Bush Symphony No.1 in C.
Rubbra substantially revised the work between 1945-6, reducing the requirement for triple woodwind down to double. He also made cuts to the first movement and revised the ending to finish in D major, somewhat clarifying the symphonys ambiguous tonality: the original version began in D minor and ended in E-flat major. The revised version was first performed at the Cheltenham Festival in 1946, with the composer conducting the London Philharmonic Orchestra. It seems it was revised again in 1950. When Boult was a guest on the BBCs classical music program Desert Island Discs, in his choice of just ten recordings to take if he were to be exiled to a desert island for life, Boult chose this symphony as one of his ten
Rubbra himself described the work with the following words: My 2nd essay in symphonic form was directed… to discover how far the interplay of melodic lines could be made to realize the dramatic tension necessary in such a work: how far melodic lines and units, without the adventitious aid of pattern and colour, could carry the weight of a large symphonic movement. Robert Simpson praised the symphony on 1978: has all the deep thoughtfulness and lack of surface brilliance typical of this composer, the most substantial of whose works will withstand long familiarity and deep examination. No-one who takes music seriously should fail to get to know this work thoroughly.
The first movement begins with an expressive descending scale on strings, followed by an ascending one on woodwinds. These are the basic elements that construct the (mostly) D minor lento, Rubbra expertly creating long-range tension in relation to the home tonality. A dramatic main theme is contrapuntally unfolded, culminating in an agitated and passionate climax. Follows a calmer section introduced by a flute solo, but a long crescendo leads to a powerful second climax, showing a rather unique combination of expression and architecture. A rhythmic motive, previously introduced in the end of the first climax, lead to the movements final peak, the most dissonant and dramatic in tone. The oboe poignantly recapitulates the opening descending scale before leading to the next part.
The second movement is a very free scherzo. It opens with a rhythmic main theme that shows the influence of Holst, the most notable of Rubbras teachers. A lyrical second theme is introduced by strings and put in counterpoint with the main one. As with the first symphony, all of this material is largely derived from the opening, and in some ways the scherzo can be regarded as a development of the previous lento rubato. The music constantly changes of time signatures (9/8 and 15/8) alla Stravinsky, while harmonically the music struggles between C major and C-sharp minor. There is no contrasting trio section, but a brief slower bridge before the scherzo continues its contrapuntal vigour and energy. A muscular polytonal coda ends the vivace assai.
[Musical analysis continued in the comments section].
Picture: Landscape with archaeological remains set design for Giuseppe Mulè Opera Taormina (1937) by Italian Scenographer Carlo Santocito.
Musical analysis partially written by myself. Sources: https://tinyurl.com/27wuox8z, https://tinyurl.com/27z4lllr, https://tinyurl.com/25m9ve9t and https://tinyurl.com/2cw34m77
Unfortunately, the score isnt freely available. Symphony No.2 in D - Edmund Rubbra](https://i.ytimg.com/vi/BLUdN7j476E/mqdefault.jpg)




![The Tigers Opera Music - Havergal Brian
BBC Symphony Orchestra & BBC Singers conducted by Lionel Friend. For a list of singers: https://tinyurl.com/27vx2u94
I - Prologue: Scene I. Hampstead Heath. Dont you think its very hot? (0:00) - Anything serious, Henry? (4:26) - War! War! War! (7:02) - Allegro moderato: Symphonic variations on Has anybody here seen Kelly? (7:50) - Make way! Make way! (10:18) - Silence for the town crier! (12:10) - Very comical! Eh? (13:40) - Scene II. Wild horsemen (19:12) - Time! Time! op it, op it, op it, op it! (28:25) - Do you love me? (29:53)
II - Act I: Scene I. Stop! Stop! Stop! What is the matter? (36:19) - Scene II. Who are they? (40:00) - Halt! Right turn! Left turn! Shun! (42:39)
III - Act II: Scene I. Midnight. Allegro misterioso (49:22) - Sir John! Sir John! Shall I remember thee in the day of battles (54:57) - Sir John! Sir John! Look upon me and know me (55:49) - Sir John! Sir John! Lie easy on thy bed (57:33) - Sir John! Sir John! (1:00:08) - Scene II. Military Parade Ground (1:04:22) - Sorry Im late boys (1:06:45) - Scene III. Andante pastorale (1:10:00) - I think we shall get a much better view (1:12:30) - My dear Lord Bishop, how are you today? (1:18:50) - Charge! Charge! Charge! (1:22:04) - Scene IV. Promenade and Dance: Green Pastures (1:26:22) - What in the name of Adam and Eve? (1:34:08) - La la la la la, etc (1:35:17) - Scene V. My lads, I am sorry to say you have done badly (1:37:31) - Sergeant Major, who are these men under arrest? (1:39:54) - My lads, My lads (1:41:04)
IV - Act III: Entracte. Ballets I & II - Ballet I. Gargoyles (1:43:39) - Ballet II. Lacryma (1:53:21) - Scene I. What did you say? (2:03:37) - You are going to be very busy (2:06:17) - Scene II. Adagio (2:09:19) - La la la la, etc... Throw them out! (2:11:14) - Will you be good enough to direct me to Mont Duresco? (2:13:18) - Yonder shine the lights of Mont Duresco (2:24:44) - Scene III. Halt! Who goes there?: Shadow Dance (2:28:53) - Scene IV. Call out the guard!... Fire! Fire (2:33:34) - I dont understand this (2:37:42) - This is the worst of all the nightmares (2:39:55) - Dear Pamela... Dear Sir John (2:40:46)
Brians The Tigers (originally titled as The Grotesques) was composed between February 1917 and March 1919, but then left aside unorchestrated to work on the tremendous Gothic Symphony. In the meantime, Brian extracted extracted several orchestral fragments between 1921-2. After The Gothic was completed in 1927, Brian returned to the opera and finished it on 1929. A vocal reduction with piano substituting the orchestra was published by Cranz & Co. on 1932. However, the full score was lost and wasnt rediscovered until 1977 (by then five years after the composers death), following publicity and offer of reward by the Havergal Brian Society. It was premiered between January 3-8 of 1983 when it was recorded at BBC Maida Vale Studios, then broadcasted on BBC Radio 3 on May 3 of 1983.
From the very beginning of his career Brian ambitioned writing an opera, but the several libretti he was presented with didnt satisfy him. When the war broke out in 1914, Brian volunteered in August and joined the first battalion of The Honourable Artillery Company. Before it was posted to France, Brian was moved to the second battalion, a unit of the Home Guard. There the composer was dismayed by the lack of grip and patriotism of the unit, claiming that the soldier seemed more prepared for a picnic than a war. While going home in a train on leave for Christmas Eve, the composer was shocked by the sight of four maimed soldiers returning from France, who had lost their limbs due to friendly fire from the British artillery.
In a letter to his friend Granville Bantock, Brian wrote the following: It is all very well to sing anthems and shout patriotic incantations, but who is going to care for all this mass of maimed humanity when the thing is over? On May 4 of 1915, the composer was discharged from service as unfit due to flat feet. Afterwards he worked in the London Pay & Record Office of the Canadian contingent listing the last effects of men fell in combat, a cold insight of the ongoing carnage in the western front. By 1916, he was working in a Vickers munition factory, when conductor Sir Thomas Beecham again brought up the idea of an opera to the composer. Inspired by his experiences in the Home Guard, Brian wrote his own libretto that can be described as a satirico-farcical comedy of manners with dark, dreamlike undertones.
[Text continued in the comments section]
Picture: The Potsdam Variety Troupe (1917) Satirical cartoon by Punchs Almanack ridiculing the main leaders of the Central Powers and Greece.
Source: Recordings booklet (sadly not available online).
To check the score (piano and voices only): https://tinyurl.com/2y9vcnu9 The Tigers Opera Music - Havergal Brian](https://i.ytimg.com/vi/Cq6yOL9mZqg/mqdefault.jpg)


