Rubbra: Symphony No. 9, Op. 140 'Sinfonia Sacra', etc.

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The Ninth (1973) is Rubbra's most visionary utterance, and its stature has so far gone unrecognised.
(This is its only recording.) Its subtitle, Sinfoniasacra, gives a good idea of its character.... — Gramophone Classical Music Guide, 2010 More…

Catalogue No: CHAN9441
Label: Chandos
Length: 56 minutes

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Rubbra: The Morning Watch, Op. 55

Work length12:56

$2.15

$2.60

Richard Hickox, BBC National Orchestra of Wales, BBC National Chorus of Wales

Rubbra: Symphony No. 9, Op. 140 'Sinfonia Sacra'

Work length43:55

$11.60

$14.30

Richard Hickox, BBC National Orchestra of Wales, Stephen Roberts, Della Jones, BBC National Chorus of Wales, Lynne Dawson

I. Prelude

Track length3:17

$1.05

$1.30

II. Crux fidelis (Chorus)

Track length3:53

$1.05

$1.30

III. Chorale. Almighty Lord we pray thee (Chorus)

Track length2:24

$1.05

$1.30

IV. Now in the place were he was crucified (Narrator)

Track length8:25

$1.60

$1.95

V. Peter went forth (Narrator)

Track length8:59

$1.60

$1.95

VI. Regina coeli (Chorus)

Track length3:11

$1.05

$1.30

VII. And behold, two of them went (Narrator)

Track length0:25

$1.05

$1.30

VIII. Conversation piece

Track length3:49

$1.05

$1.30

IX. And Jesus led them (Narrator)

Track length4:42

$1.05

$1.30

X. Viri Galilaei (Narrator)

Track length4:50

$1.05

$1.30

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Reviews

2010

The Ninth (1973) is Rubbra's most visionary utterance, and its stature has so far gone unrecognised.
(This is its only recording.) Its subtitle, Sinfoniasacra, gives a good idea of its character. It tells the story of the Resurrection very much as do the Bach Passions. There are three soloists: the contralto narrates from the New Testament, while the soprano takes the part of Mary Magdalen and the baritone that of Jesus. Other parts, those of disciples and angels, are taken by the chorus, which also functions outside the action, in four settings of meditative Latin texts from the Roman liturgy or in Lutheran chorales to which Rubbra put verses by Bernard de Nevers. The symphonic dimension is reinforced by the opening motive, which pretty well dominates the work. Its argument unfolds with a seeming inevitability and naturalness that's the hallmark of a great symphony.
Its depth and beauty call to mind only the most exalted of comparisons and it should be heard as often as Gerontius or the War Requiem. This is music of an inspired breadth and serenity and everyone connected with this magnificent performance conveys a sense of profound conviction.
The Morning Watch is one of Rubbra's most eloquent choral pieces. It dates from 1946, and so comes roughly half-way between the Fourth and Fifth Symphonies. A setting of the 17thcentury metaphysical poet, Henry Vaughan, it too is music of substance and its long and moving orchestral introduction is of the highest order of inspiration.

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