Nunc Dimittis in A flat is still performed in Anglican cathedrals and larger parish churches. Rubbra's songs are not well known, but, again they spanned his whole composing lifetime: Rosa Mundi, Op. 2, was the first published, in 1921; Fly Envious Time, Op. 148, was the last, in 1974, being inscribed "in Memoriam Gerald Finzi". Less than half of them have the piano specified for their accompaniments, though only one is unaccompanied. The others have string quartet, string orchestra or harp as their chosen accompaniments, except for the three songs published as Ode to the Queen, which have full orchestral accompaniment. Chamber music Although Rubbra was a fine pianist, his works for solo piano occupy only a minor part of his output. He did, however, write a great diversity of chamber music, throughout his career. He considered that his Violin Sonata, Op. 31, which he wrote in 1932, was the first of his compositions to be taken seriously in the musical world. His First String Quartet was composed only a year later. For a long time Rubbra was not satisfied with this piece, although Ralph Vaughan Williams was very interested in it. Finally he thoroughly revised it, and published it in 1946, with an inscription to Vaughan Williams, and destroyed the original finale. Three other string quartets followed at long intervals. The last was written in 1977 in memory of Bennett Tarshish, a young American admirer of Rubbra's work, who died in his thirties. This piece shows the same method of reliance on a certain interval or intervals (here the seventh) instead of a particular key, which is also evident in Rubbra's later symphonies. The Cello Sonata of 1946 was dedicated to William Pleeth (the cellist in The Army Classical Music Group) and his wife. It was sometimes performed by Jacqueline du Pré, who was a pupil of William Pleeth. Rubbra's Second Piano Trio, Op. 138, was first performed by the members of The Army Classical Music Group, who got together again especially for this performance in 1970, though Glazier had now been replaced by Gruenberg. The repertoire for recorder was both augmented and enhanced by several works by Rubbra. Foreman considers that these pieces are "significant for their demonstration of an idiomatic recorder style which successfully places the instrument as an equal with other instruments". This recorder music was written for Carl Dolmetsch, son of Arnold Dolmetsch, and almost