Uploaded November 2025 | Updated September 2026, 2 weeks ago
BBC National Orchestra of Wales conducted by Richard Hickox.
I - Lento e molto espressivo - Allegro moderato: 0:00
II - Vivace e leggiero: 12:16
III - Passacaglia & Fugue. Lento: 21:41
Rubbra's Symphony No.7 was composed between 1956-7, being commissioned by the Feeney Trust for a work for the City of Birmingham Symphony Orchestra to perform in the 1956-7 season. It was premiered in Birmingham on 1 October 1957, performed by the City of Birmingham Symphony Orchestra conducted by Polish exiled composer and conductor Andrzej Panufnik. Other composers that were commissioned for this same season were Arthur Bliss, who delivered the "Meditations on a Theme of John Blow", and Michael Tippett, who wrote the Piano Concerto.
Rubbra's symphonies differ from the prevailing model of the symphony in that they are built on a principle of continuous, organic development from a single basic idea. By contrast, the traditional symphony is built on dramatic lines, with contrasting movements, each of which usually has contrasting themes as its main character. The symphony arose during a time which rebelled against counterpoint, while Rubbra's intention was to use the example of the great contrapuntal music of the English madrigalists for his model, capturing something of the modal feeling of English folk and church music by the false relationships between parts. Thus, Rubbra's symphonies form themselves according to the logic of their main idea, rather than fitting into the standard symphonic shape.
The first movement begins with a lento introduction, in which first and third horns over harp and tremolo basses. This is answered by another motive introduced by violas and cellos. This is the basic material from which the movement (and Symphony) is built upon. A solemn and expansive theme gradually emerges and becomes the subject of a near continuous development in the ensuing allegro moderato. As said before, the music is not built on a pair of contrasting themes developed dramatically, but on the organic and continuous growth of the initial ideas. The music becomes increasingly agitated in the central part, leading to an intense and expressive climax that is suddenly cut off. A crescendo also leads to another powerful climax as brief as the first, before the opening motives reappear as a slow and contemplative coda ends the movement.
The second movement is a scherzo in rondo form (A-B-A'-C-A''-D-A''-Coda). It opens with a rugged and vigorous main theme on strings, derived from the opening motives of the symphony and mostly in a compound 6/8 metre. More melodic phrases are mixed with the main material as it becomes more rhythmic and dissonant. The first contrasting passage features more lyrical and cantabile material on bassoon and clarinet, before the main theme is recapitulated in a varied way. The second contrasting passage is more solemn and noble in tone, with exchanges between wood instruments, leading to a grand climax. After the varied recapitulation of the main theme, the third contrasting section is highly expressive and dramatic in nature, rising to a passionate climax. After a final return to the main material, The scherzo ends with a vigorous coda full of brilliance and vitality.
The third movement is structured as a passacaglia and a fugue, clearly inspired by the finale of Brahm's Symphony No.4. It begins with a sombre opening from which a tragic and sorrowful theme is exposed by strings, again derived from the opening material and becoming the subject of a series of flowing and continuous variations. The music grows towards a dramatic and highly impassioned climax, before gradually subsiding in an almost consolatory manner. It is possible that this noble and deeply moving music was in part a tribute to Rubbra’s great friend Gerald Finzi, who died whilst the Symphony was being written. Though not musically close in style, Rubbra and Finzi had been close friends since Royal College days, and his friend’s early death was a great personal loss. The fugue opens with a rhythmic motive on woodwinds, which gradually pass onto other instruments until on full orchestra and unfolds towards a climax. The symphony then ends with a reflective C minor coda.
Picture: Photograph of "Our Lady of the Isles" (1957) by Scottish sculptor Hew Lorimer. Located in South Uist in the Outer Hebrides of Scotland.
Musical analysis mostly written by myself. Sources: tinyurl.com/25j8gslm and tinyurl.com/2457h7pm
Unfortunately, the score isn't freely available.
BBC National Orchestra of Wales conducted by Richard Hickox.
I - Lento e molto espressivo - Allegro moderato: 0:00
II - Vivace e leggiero: 12:16
III - Passacaglia & Fugue. Lento: 21:41
Rubbra's Symphony No.7 was composed between 1956-7, being commissioned by the Feeney Trust for a work for the City of Birmingham Symphony Orchestra to perform in the 1956-7 season. It was premiered in Birmingham on 1 October 1957, performed by the City of Birmingham Symphony Orchestra conducted by Polish exiled composer and conductor Andrzej Panufnik. Other composers that were commissioned for this same season were Arthur Bliss, who delivered the "Meditations on a Theme of John Blow", and Michael Tippett, who wrote the Piano Concerto.
Rubbra's symphonies differ from the prevailing model of the symphony in that they are built on a principle of continuous, organic development from a single basic idea. By contrast, the traditional symphony is built on dramatic lines, with contrasting movements, each of which usually has contrasting themes as its main character. The symphony arose during a time which rebelled against counterpoint, while Rubbra's intention was to use the example of the great contrapuntal music of the English madrigalists for his model, capturing something of the modal feeling of English folk and church music by the false relationships between parts. Thus, Rubbra's symphonies form themselves according to the logic of their main idea, rather than fitting into the standard symphonic shape.
The first movement begins with a lento introduction, in which first and third horns over harp and tremolo basses. This is answered by another motive introduced by violas and cellos. This is the basic material from which the movement (and Symphony) is built upon. A solemn and expansive theme gradually emerges and becomes the subject of a near continuous development in the ensuing allegro moderato. As said before, the music is not built on a pair of contrasting themes developed dramatically, but on the organic and continuous growth of the initial ideas. The music becomes increasingly agitated in the central part, leading to an intense and expressive climax that is suddenly cut off. A crescendo also leads to another powerful climax as brief as the first, before the opening motives reappear as a slow and contemplative coda ends the movement.
The second movement is a scherzo in rondo form (A-B-A'-C-A''-D-A''-Coda). It opens with a rugged and vigorous main theme on strings, derived from the opening motives of the symphony and mostly in a compound 6/8 metre. More melodic phrases are mixed with the main material as it becomes more rhythmic and dissonant. The first contrasting passage features more lyrical and cantabile material on bassoon and clarinet, before the main theme is recapitulated in a varied way. The second contrasting passage is more solemn and noble in tone, with exchanges between wood instruments, leading to a grand climax. After the varied recapitulation of the main theme, the third contrasting section is highly expressive and dramatic in nature, rising to a passionate climax. After a final return to the main material, The scherzo ends with a vigorous coda full of brilliance and vitality.
The third movement is structured as a passacaglia and a fugue, clearly inspired by the finale of Brahm's Symphony No.4. It begins with a sombre opening from which a tragic and sorrowful theme is exposed by strings, again derived from the opening material and becoming the subject of a series of flowing and continuous variations. The music grows towards a dramatic and highly impassioned climax, before gradually subsiding in an almost consolatory manner. It is possible that this noble and deeply moving music was in part a tribute to Rubbra’s great friend Gerald Finzi, who died whilst the Symphony was being written. Though not musically close in style, Rubbra and Finzi had been close friends since Royal College days, and his friend’s early death was a great personal loss. The fugue opens with a rhythmic motive on woodwinds, which gradually pass onto other instruments until on full orchestra and unfolds towards a climax. The symphony then ends with a reflective C minor coda.
Picture: Photograph of "Our Lady of the Isles" (1957) by Scottish sculptor Hew Lorimer. Located in South Uist in the Outer Hebrides of Scotland.
Musical analysis mostly written by myself. Sources: tinyurl.com/25j8gslm and tinyurl.com/2457h7pm
Unfortunately, the score isn't freely available.
