Edmund Rubbra (; 23 May 190114 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 early popularity. He was the brother of the engineer Arthur Rubbra. Early life He was born Charles Edmund Rubbra at 21 Arnold Road, Semilong, Northampton. His parents encouraged him in his music, but they were not professional musicians, though his mother had a good voice and sang in the church choir, and his father played the piano a little, by ear. Rubbra's artistic and sensitive nature was apparent from early on. He remembered waking one winter's morning when he was about three or four years old, and noticing something different about the light in his bedroom; there was light where there was usually shadow, and vice versa. When his father came into the room, Edmund asked him why this was. His father explained that there had been a fall of snow during the night, and so the sunlight was reflecting off the snow and entering Edmund's bedroom from below, instead of above, thus reversing the patterns of light and shade. When Rubbra was much older he came to realise that this 'topsy-turveydom', as he called it, had caused him to often use short pieces of melody which would sound good, both in their original form and when inverted (so that when the original melody goes up a certain amount, the inverted one goes down the same amount). He then set these two melodies together, but slightly offset from one another, so that the listener hears the melody going up, say, then an echo where it goes down instead. Another childhood memory which Rubbra identified as later affecting his music, took place when he was nine or ten. He was out walking