Stirling Newberry writes:

>Rubbra is not a Hindemith clone by any means, but his method of
>thematic exposition, his concern for creating consonant and dissonant
>centers against a contrapunctal system which is clearly neo-classical
>in its tropic language, but derrived from Bach in its methods of
>handling entrances and cadnetial structure, as well as similiarities
>in the kinds of figuaration - derrived from thematic material -
>mark these composers as being very similar.

Although Bach is an undeniable source, much of Rubbra's contrapuntal
inspiration is, both audibly and in writing, from Tudor polyphony.  His
textures are frequently reminiscent of Taverner, especially in the "tropic"
language.  This is not something I hear in Hindemith.  Certain other
similarities are, undoubtedly, manifest.

Todd McComb
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