Classical Music: The Jade Mountain – Songs By Edmund Rubbra

The Jade Mountain – Songs by Edmund Rubbra

Rosa mundi, Op. 2 No. 2;Cradle Song, Op. 8 No. 1; Nod; Orpheus with his lute, Op. 8 No. 2; Who is Silvia?, Op. 8 No. 3; Out in the dark, Op. 13 No. 1; It was a lover, Op. 13 No. 3; The Night, Op. 14 No. 1; Rune of Hospitality, Op. 15; A Duan of Barra, Op. 20; A widow bird sate mourning, Op. 28 A Prayer, Op. 17 No. 1; Two Songs, Op. 22; In Dark Weather, Op. 33; Invocation to Spring, Op. 17 No. 2; Two Sonnets by William Alabaster, Op. 87 Two Songs, Op. 4; A Hymn to the Virgin, Op. 13 No. 2; The Jade Mountain, Op. 116; Nocturne, Op. 54; Salve, Regina, Op. 119; No Swan So Fine, Op. 91; Fly Envious Time, Op. 148; Three Psalms, Op. 61; Dear Liza, Op. 7

Lucy Crowe-soprano. Claire Barnett-Jones, mezzo soprano. Marcus Farnsworth, baritone. Timothy Ridout, viola. Catrin Finch, harp. Iain Burnside, piano

CHANDOS 20282
https://www.chandos.net/

I have only encountered Rubbra through his choral work Magnificat and Nunc Dimittis in A flat which in parts, is a keyboard exercise for organists, and a couple of his symphonies.

But there is much more to Rubbra as this new Chandos release confirms. He studied with Cyril Scott where he learnt about harmonies and counterpoint, Gustav Holst and was a great friend of his contemporary Gerald Finzi.

Spanning the period from 1921 to 1974, the songs of Rubbra give us a remarkable overview of his compositional style and the way he uses different accompaniments superbly (less than half are set for piano, the rest for harp, string quartet, string orchestra, or full orchestra).

Of particular note are his choice of many poetic texts: Shakespeare, Scottish poet Rachel Annand Taylor, Edward Thomas, Hilaire Belloc to name a few and, as Jonathan Clinch rightly points out, Georgian poet Ralph Hodgson (1871 – 1962), provides the perfect contrast to the harp-accompanied Irish lullaby Jesukin, which sets words by the early Irish Saint Ita. Harpist Catrin Finch adding magical finesse.

In his song cycle The Jade Mountain, Op. 116, from which the title of the disc is taken, Rubbra sets five short poems of the T’ang Dynasty (618 – 906 AD), translated from the Chinese by the American poet Witter Bynner. Again, Clinch in his interesting notes, writes that the presence of the harp in the text was clearly a strong stimulus for Rubbra and despite a return to the subject of the night, this cycle for high voice represents a further innovation in his compositional style. He uses the same triadic chromaticism and metrical fluidness as before, but now with harp writing of considerable virtuosity. The concluding song reflects Rubbra’s deep interest in Buddhist thought.

This attractive disc has grace, using the different performers to bring out individual qualities of warmth and sensitivity; the accompanists are accurate, expressive and dramatic, all beautifully balanced. Iain Burnside encapsulates the sentiments of each song distinctly.

Mezzo, Claire Barnett-Jones in particular, is controlled with a strong tone especially in Two Songs where she wonderfully captures the sentiment. Lucy Crowe's articulation and tonality is lovely and along with Marcus Farnsworth, adds profundity. All providing solid performances.

Ridout’s voila adds emotional depth beautifully conveyed in the Two Sonnets by William Alabaster, Op. 87.

Marcus Farnsworth and Barnett-Jones end the recital humorously with an encore Dear Liza based by Rubbra as a comic duet, with the words we are all familiar with: 'There’s a hole in my bucket Dear Liza'
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Certainly, a must-have for lovers of English song.