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--- PLEASE WRITE SOME THOUGHTS ABOUT THE PICTURE - comments with group stamps will be deleted, thanks for understanding ---
model: Nyussz
makeup: Márti Folmeg
hair: Attila Kárpáti
assistant: _Nec
clothes: CSF
gear: Canon EOS 40D, Canon EF 70-200mm f2.8 L IS II USM lens
lights-setup: _Nec
stylist, photo, post-processing: me
strobist: from left-top - canon 580exII as key light, from left-bottom - LP120 as fill, and from the right - 2 yongnuo flashes with a 50" westcott large fill
--- do not use my work without written permission, thank you ---
Edmund Rubbra (/ˈrʌbrə/; 23 May 1901 – 14 February 1986) was a British composer. He composed both instrumental and vocal works for soloists, chamber groups and full choruses and orchestras. He was greatly esteemed by fellow musicians and was at the peak of his fame in the mid-20th century. The most famous of his pieces are his eleven symphonies. Although he was active at a time when many people wrote twelve-tone music, he decided not to write in this idiom himself. Instead he devised his own distinctive style. His later works were not as popular with the concert-going public as his previous ones had been, although he never lost the respect of his colleagues. Therefore, his output as a whole is less celebrated today than would have been expected from its sheer merit and from his early popularity. He was the brother of the engineer Arthur Rubbra.
Rubbra started composing while he was still at school. One of his masters, Mr. Grant, asked him to compose a school hymn. He would have been very familiar with hymn tunes, as he attended a Congregational church and played the piano for the Sunday School. He also worked as an errand boy whilst he was still at school, giving some of his earnings to his parents to help with their finances.
At the age of 14, he left school and started work in the office of Crockett and Jones, one of Northampton's many boot and shoe manufacturers. Edmund was delighted to be able to accrue a number of stamps from parcels and letters sent to this factory, as stamp-collecting was one of his hobbies. Later, he was invited by an uncle, who owned another boot and shoe factory, to come and work for him. The idea was that he would work his way up from the bottom of the company, with a view to ownership when his uncle, who had no sons of his own, died. Edmund, influenced by his mother's lack of enthusiasm for the idea, decided to decline. Instead, he took a job as a correspondence clerk in a railway station. In his last year at school he had learned shorthand, which was an ideal qualification for this post. He also continued to study harmony, counterpoint, piano and organ, working at these things daily, before and after his clerk's job.
Rubbra's early forays into chamber music composition included a violin and piano sonata for himself and his friend, Bertram Ablethorpe, and a piece for an excellent local string quartet. He used to meet with the keen, young composer, William Alwyn, who was also from Northampton, to compare notes.
Rubbra was deeply affected by a sermon he heard given by a Chinese Christian missionary, Kuanglin Pao. He was inspired to write Chinese Impressions – a set of piano pieces, which he dedicated to the preacher. This was the beginning of a lifelong interest in things eastern.
At the age of 17, Rubbra decided to organise a concert devoted entirely to Cyril Scott's music, with a singer, violinist, cellist and himself on the piano, at the Carnegie Hall, in Northampton Library. This proved to be a very important decision, which would change his life. The minister from Rubbra's church attended the concert, and secretly sent a copy of the programme to Cyril Scott. The result of this was that Scott took Rubbra on as a pupil. Rubbra was able to obtain cheap rail travel because of his job with the railway, so he was able to get to Scott's house by train, paying only a quarter of the usual fare. After a year or so, Rubbra gained a scholarship to University College, Reading. Gustav Holst became one of his teachers there. Both Scott and Holst had an interest in eastern philosophy and religion, inspiring Rubbra to have further interest in the subject.
Holst also taught at the Royal College of Music and advised Rubbra to apply for an open scholarship there. His advice was followed and the place was secured. Before Rubbra's last term at the Royal College, he was unexpectedly invited to play the piano for the Arts League of Service Travelling Theatre on a six-week tour of Yorkshire, since their usual pianist had been taken ill. He accepted this offer despite its meaning he missed his last term. This provided him with invaluable experience in playing and composing theatre music, that he never regretted and which stood him in good stead for his later dramatic work. In the mid-1920s Rubbra used to earn money playing for dancers from the Diaghilev Ballet. At around this time he became firm friends with Gerald Finzi.
In 1941, Rubbra was called up for army service. After 18 months he was given an office post, again because of his knowledge of shorthand and typing. While he was there, he ran a small orchestra assisted by a double-bass player from the BBC orchestra. The War Office asked him to form a piano trio to play classical chamber music to the troops. Rubbra was happy to oblige, and the trio, with William Pleeth the cellist, Joshua Glazier violinist and himself on the piano took six months acquiring a repertoire of chamber music. "The Army Classical Music Group", was formed and later expanded to seven people. On one occasion an overzealous entertainment officer thought there would be a better audience by advertising with big posters for "Ed Rub & his seven piece Band". They travelled all over England and Scotland and then to Germany, with their own grand piano which, with its legs removed for transport, became a seat for them in the back of the transport lorry.
After the war, on 4 August 1947 (the Feast of St Dominic), Rubbra became a Roman Catholic, writing a special mass in celebration. Also at this time, the University of Oxford was forming a faculty of music. They invited Rubbra to be a lecturer there. After much thought, he accepted the post. From 1947 to 1968 Rubbra was a lecturer at the Music Faculty and a Fellow of Worcester College, Oxford. The army trio kept meeting, playing at clubs and broadcasting, for a number of years, but eventually Rubbra was too busy to continue with it.
It is a measure of the high esteem in which Rubbra was held in the 1940s, that his Sinfonia Concertante and his song Morning Watch were played alongside such works as Elgar's The Dream of Gerontius, Kodály's Missa Brevis and Vaughan Williams's Job, at the 1948 Three Choirs Festival.
When Vaughan Williams heard that the University of Durham was going to confer an Honorary D.Mus on Rubbra in 1949, he wrote him a very short letter: "I am delighted to hear of the honour which Durham University is conferring on itself."
Rubbra received a request from the BBC to write a piece for the coronation of Queen Elizabeth II. The result was Ode to the Queen, for voice and orchestra, to Elizabethan words. In connection with the same celebration, he was invited by Benjamin Britten to contribute to a collaborative work, a set of Variations on an Elizabethan Theme. He initially accepted, but later withdrew; Britten then asked Arthur Oldham and Humphrey Searle to take his place.
On Rubbra's retirement from Oxford, in 1968, he did not stop working; he merely took up more teaching at the Guildhall School of Music and Drama where his students included Michael Garrett and Christopher Gunning. Neither did he stop composing. Indeed, he kept up this activity right until the end of his life. He had, in fact, started a 12th Symphony in March 1985, less than a year before his death. He died in Gerrards Cross on 14 February 1986.
Ronald Stevenson summed up the style of Rubbra's work rather succinctly when he wrote, "In an age of fragmentation, Rubbra stands (with a few others) as a composer of a music of oneness".
Sir Adrian Boult commended Rubbra's work by saying that he "has never made any effort to popularize anything he has done, but he goes on creating masterpieces".
"he de buscar la forma
de escribir
sin rompera nada
sin herir a nadie"
"I have to find a way
write
not gonna break anything
without hurting anyone "
(Fotografía y prosa: Emili Bermúdez)
I will write an apology for being so behind on my 365's in a while....after i've uploaded the rest.. sorry!
ah, i'm done... here it is;
I AM SO SO SO SORRY FOR BEING SO BEHIND ON MY 365'S!!!
I still have no internet at my new house, and wont have for at least another two weeks, and whilst at my dads i've been bombarded with school work and music theory as my exam is soon.
I seriously don't see how people live without internet.. i've been going to bed at like 10:30pm everyday at my new house... it's crazy!!
Anyway, this is on the balcony outside my mums room, when the sun is setting everything looks like its coated in gold, its seriously beautiful..
Enjoy!
Make a list of things you need
Leave it empty
Except for number one, write, "love"
Gamble everything
-- Ben Lee
Then she decided she needed some sort of theme within the theme. That theme would be Tuesday Quote Day. For those still confused, every Tuesday, I will base my photo around a quote...or a quote around my photo...whichever comes first.... :)
Everyone's PSYCHED, right?
I spent wayyy to long doing this tonight. Papers #1, 2, and 3 still need completed...some need started...well, one needs started...and they are due Thursday. Hoo hah.
It snowed like crazy today. But I was walking out of a building, and in the little foyer, I smelled summer for a second. I mean, you know how you never really "smell" summer until it's not there anymore? I'm not talking about mowed grass or anything. Summer just has a certain smell about that we don't realize (or at least I don't realize) until it's gone. It's absolutely lovely.
And slightly depressing.
Ohhhh, for the semester to fiiinally end!
...and I reaaally feel like watching a good Christmas movie....
and by good, I mean some cheesy, sappy. Lifetime-"true"-love Christmas movie.
Wow. This addiction is getting dangerous....