Uploaded November 2025 | Updated September 2026, 2 weeks ago
BBC National Orchestra of Wales conducted by Richard Hickox.
I - Moderato: 0:00
II - Allegro: 9:10
III - Molto adagio ma liberamente: 14:55
IV - Tema con 7 variazioni e una fuga: 24:01
Rubbra's Symphony No.3 was composed between 1938-9, its premiere being scheduled to take place at the Proms in London on 23 September 1940, but it was cancelled due to an air raid. It was first performed in Manchester on December 15 of 1940, played by the Hallé Orchestra conducted by Sir Malcolm Sargent, and it was eventually heard at the Proms on August 24 of 1945, conducted by Sir Adrian Boult. The score is dedicated to the critic and scholar Arthur Hutchings, who judged it "the finest English work in that form since Elgar's Second". Rubbra’s friend Bernard Herrmann was a later champion of the work.
The Symphony is the third of a tetralogy 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 Walton's Symphony No.1 in B-flat minor, Vaughan Williams' Symphony No.4 in F minor or Alan Bush Symphony No.1 in C. After the austerity of the first two symphonies, the third is more relaxed and melodic. According to Louis Blois "the composer's intellect [is] less in competition with his lyrical gift".Andrew Achenbach has commented that the work shows Rubbra "at his most lyrically genial, yet the purposeful thrust and riveting concentration of the writing are never in doubt."
The first movement is rather free, only resembling sonata form. It opens with lyrical and cantabile main theme, very Sibelian in shape and presented through antiphonal exchanges between woodwinds and strings. A transition dominated by the brass leads to a solemn and expansive second theme, which is derived from the main one. The ensuing development of the material relies on abundant counterpoint and effective contrasting moods of expression, culminating in an expressive climax. The themes are then recapitulated in a varied manner, reaching the movement's biggest climax with the second theme. A slow and contemplative coda ends the moderato with the opening notes of the main theme.
The second movement can be seen as an intermezzo. It begins with an ostinato figure on multiple instruments, which serves as the root of a rhythmic and folkish main theme, also a reference to Beethoven's "fate" motto from the 5th Symphony. A more melodic second theme is also soon introduced and often put in counterpoint with the main one, the interplay between the two is the core dynamic of the entire allegro. An intricate contrapuntal climax is reached, followed by a more expressive central part in which the second theme is put at the forefront. As we return to the opening rhythmic vigour, the music gradually grows in a crescendo towards a contrapuntal and polytonal climax that ends the allegro.
The third movement is also very free, resembling theme and variations. It opens with an expressive and lyrical main theme, presented by strings over horn pedal notes and taking the form of a poignant march. The material is soon contrapuntally developed as a series of fluid and unbroken variations of different moods, dynamics, instrumental colours and rhythm. In this aspect, the movement seems to anticipate the finale. The molto adagio culminates in an expressive polytonal climax of sorrowful tone. A prolonged diminuendo ends the movement with a serene coda.
The fourth movement is structured as a theme and highly contrasting seven variations. It opens with a rather simple and Baroquish main theme on strings, which seems influenced by Rubbra's 1938 orchestration of Brahms's "Variations and Fugue on a Theme by Handel". The first variation is already much more chromatic and agitated in character, while the second adopts a bleak marching rhythm from which the melody then emerges. In great contrast, the third variation is lively and joyous in tone, supported by bouncing rhythms. In turn, the fourth is lyrical and cantabile, gradually becoming more solemn as if the material is returning to its Baroquis origin. The fifth, also rhythmic, seems to look back to the folkish music heard in the second movement, which leads to a sixth variation almost solely composed of exchanges between brass intruments. The final one is solemn and noble in tone, unfolding with an austere and retrained expression. The movement is capped by a substantial fugue with the theme as the main subject. After a quieter section dominated by woodwinds, the fugue resumes and leads to a solemn coda with which the work ends.
Picture: "Palace in Spain" (1939) by Dutch painter Carel Willink.
Musical analysis written by myself. Sources: tinyurl.com/25j8gslm and tinyurl.com/266kg97n
Unfortunately, the score isn't freely available.
BBC National Orchestra of Wales conducted by Richard Hickox.
I - Moderato: 0:00
II - Allegro: 9:10
III - Molto adagio ma liberamente: 14:55
IV - Tema con 7 variazioni e una fuga: 24:01
Rubbra's Symphony No.3 was composed between 1938-9, its premiere being scheduled to take place at the Proms in London on 23 September 1940, but it was cancelled due to an air raid. It was first performed in Manchester on December 15 of 1940, played by the Hallé Orchestra conducted by Sir Malcolm Sargent, and it was eventually heard at the Proms on August 24 of 1945, conducted by Sir Adrian Boult. The score is dedicated to the critic and scholar Arthur Hutchings, who judged it "the finest English work in that form since Elgar's Second". Rubbra’s friend Bernard Herrmann was a later champion of the work.
The Symphony is the third of a tetralogy 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 Walton's Symphony No.1 in B-flat minor, Vaughan Williams' Symphony No.4 in F minor or Alan Bush Symphony No.1 in C. After the austerity of the first two symphonies, the third is more relaxed and melodic. According to Louis Blois "the composer's intellect [is] less in competition with his lyrical gift".Andrew Achenbach has commented that the work shows Rubbra "at his most lyrically genial, yet the purposeful thrust and riveting concentration of the writing are never in doubt."
The first movement is rather free, only resembling sonata form. It opens with lyrical and cantabile main theme, very Sibelian in shape and presented through antiphonal exchanges between woodwinds and strings. A transition dominated by the brass leads to a solemn and expansive second theme, which is derived from the main one. The ensuing development of the material relies on abundant counterpoint and effective contrasting moods of expression, culminating in an expressive climax. The themes are then recapitulated in a varied manner, reaching the movement's biggest climax with the second theme. A slow and contemplative coda ends the moderato with the opening notes of the main theme.
The second movement can be seen as an intermezzo. It begins with an ostinato figure on multiple instruments, which serves as the root of a rhythmic and folkish main theme, also a reference to Beethoven's "fate" motto from the 5th Symphony. A more melodic second theme is also soon introduced and often put in counterpoint with the main one, the interplay between the two is the core dynamic of the entire allegro. An intricate contrapuntal climax is reached, followed by a more expressive central part in which the second theme is put at the forefront. As we return to the opening rhythmic vigour, the music gradually grows in a crescendo towards a contrapuntal and polytonal climax that ends the allegro.
The third movement is also very free, resembling theme and variations. It opens with an expressive and lyrical main theme, presented by strings over horn pedal notes and taking the form of a poignant march. The material is soon contrapuntally developed as a series of fluid and unbroken variations of different moods, dynamics, instrumental colours and rhythm. In this aspect, the movement seems to anticipate the finale. The molto adagio culminates in an expressive polytonal climax of sorrowful tone. A prolonged diminuendo ends the movement with a serene coda.
The fourth movement is structured as a theme and highly contrasting seven variations. It opens with a rather simple and Baroquish main theme on strings, which seems influenced by Rubbra's 1938 orchestration of Brahms's "Variations and Fugue on a Theme by Handel". The first variation is already much more chromatic and agitated in character, while the second adopts a bleak marching rhythm from which the melody then emerges. In great contrast, the third variation is lively and joyous in tone, supported by bouncing rhythms. In turn, the fourth is lyrical and cantabile, gradually becoming more solemn as if the material is returning to its Baroquis origin. The fifth, also rhythmic, seems to look back to the folkish music heard in the second movement, which leads to a sixth variation almost solely composed of exchanges between brass intruments. The final one is solemn and noble in tone, unfolding with an austere and retrained expression. The movement is capped by a substantial fugue with the theme as the main subject. After a quieter section dominated by woodwinds, the fugue resumes and leads to a solemn coda with which the work ends.
Picture: "Palace in Spain" (1939) by Dutch painter Carel Willink.
Musical analysis written by myself. Sources: tinyurl.com/25j8gslm and tinyurl.com/266kg97n
Unfortunately, the score isn't freely available.
