289:; the lack of encouragement—sometimes outright discouragement—she received for her work also made her reluctant to compose. Clarke did not consider herself able to balance her personal life and the demands of composition: "I can't do it unless it's the first thing I think of every morning when I wake and the last thing I think of every night before I go to sleep." After her marriage, she stopped composing, despite the encouragement of her husband, although she continued working on arrangements until shortly before her death. She also stopped performing.
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208:. Coolidge later declared Bloch the winner. Reporters speculated that "Rebecca Clarke" was only a pseudonym for Bloch himself, or at least that it could not have been Clarke who wrote these pieces, as the idea that a woman could write such a beautiful work was socially inconceivable. The sonata was well received and had its first performance at the Berkshire music festival in 1919. In 1921 Clarke again made an impressive showing in Coolidge's composition competition with her
300:; it was completed in 1973 but never published. In it she describes her early life, marked by frequent beatings from her father and strained family relations which affected her perceptions of her proper place in life. In the 1970s, as interest in her music, and in tonal compositions and in women composers, surged, she gave a few more major performances in New York. Clarke died on 13 October 1979 at her home in
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that
Coolidge sponsored is Clarke's most ambitious work: it is roughly 23 minutes long, with complex musical ideas and ambiguous tonalities contributing to the varying moods of the piece. In contrast, "Midsummer Moon", written the following year, is a light miniature, with a flutter-like solo violin
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A large portion of Clarke's music features the viola, as she was a professional performer for many years. Much of her output was written for herself and the all-female chamber ensembles she played in, including the Norah Clench
Quartet, the English Ensemble, and the d'Aranyi Sisters. She also toured
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In 1936 Clarke sold the
Stradivarius she had been bequeathed to a dealer in New York. At the outbreak of World War II, Clarke was in the US visiting her two brothers, and was unable to obtain a visa to return to Britain. She lived for a while with her brothers' families and then in 1942 took a
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Clarke composed no large scale works such as symphonies. Her total output of compositions comprises 52 songs, 11 choral works, 21 chamber pieces, the Piano Trio, and the Viola Sonata. Her work was all but forgotten for a long period of time, but interest in it was revived in 1976 following a radio
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faculty, and later to become her husband, when they were both students at the Royal
College of Music. They renewed their friendship after a chance meeting on a Manhattan street in 1944 and married in September of that year when both were in their late 50s. According to musicologist Liane Curtis,
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broadcast in celebration of her ninetieth birthday. Some of Clarke's compositions remain unpublished and in the personal possession of her heirs, along with most of her writings. However, in the early 2000s more of her works were printed and recorded. Examples of recent publications include two
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Modern reception of Clarke's work has been generally positive. A 1981 review of her Viola Sonata called it a "thoughtful, well constructed piece" from a relatively obscure composer; a 1985 review noted its "emotional intensity and use of dark tone colours". Andrew
Achenbach, in his review of a
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Although Clarke's output was not large, her work was recognised for its compositional skill and artistic power. Some of her works have yet to be published; those that were published in her lifetime were largely forgotten after she stopped composing. Scholarship and interest in her compositions
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music broadcasts. Her compositional output greatly decreased during this period. However, she continued to perform, participating in the Paris
Colonial Exhibition in 1931 as part of the English Ensemble. Between 1927 and 1933 she was romantically involved with the British
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Clarke is now established as one of the most important 'women composers' of her generation. However, as she told a journalist, "I would sooner be regarded as a 16th-rate composer than be judged as if there were one kind of musical art for men and another for women."
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as "striking" and "languorous". Laurence Vittes noted that Clarke's "Lullaby" was "exceedingly sweet and tender". A 1987 review concluded that "it seems astonishing that such splendidly written and deeply moving music should have lain in obscurity all these years".
571:, originally published by Indiana University Press in 2004. The book was withdrawn from circulation by the publisher following complaints from the current manager of Clarke's estate about the quotation of unpublished examples from Clarke's writings. However, the
87:, England, to Joseph Thacher Clarke, an American, and his German wife, Agnes Paulina Marie Amalie Helferich. Her father was interested in music, and Clarke started on violin after sitting in on lessons that were being given to her brother,
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Following her criticism of his extra-marital affairs, Clarke's father turned her out of the house and cut off her funds. She had to leave the Royal
College in 1910 and supported herself through her viola playing. Clarke (along with
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Clarke, in 1924, embarked upon a career as a solo and ensemble performer in London, after first completing a world tour in 1922–23. In 1927 she helped form the
English Ensemble, a piano quartet that included herself,
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folklore, was discovered in 1997, and not premiered until 2001. Over 25 previously unknown works have been published since the establishment of the
Society. Several of Clarke's chamber works, including the expansive
402:. She worked on it for five years to the exclusion of other works during her tumultuous relationship with John Goss and revised it in 1972. Most of her songs, however, are lighter in nature. Her earliest works were
122:, who was considered by some the greatest violist of the day. In 1910 she composed "Tears", a setting of Chinese poetry, in collaboration with a group of fellow students at RCM. She also sang under the direction of
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and premiered by him, were first recorded in 2000 on the Dutton label, using material from the Clarke estate. In 2002, the
Society organised and sponsored the world premieres of the 1907 and 1909 violin sonatas.
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In 1963 Clarke helped establish the May Mukle prize at the Royal Academy. The prize is still awarded annually to an outstanding cellist. After her husband's death in 1967, Clarke began writing a
543:, the Society has promoted recording and scholarship of Clarke's work, including several world premiere performances, recordings of unpublished material, and numerous journal publications.
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as the most distinguished British female composer of the inter-war generation. However, her later output was sporadic. It has been suggested by musicologist Liane Curtis that Clarke had
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Rebecca Clarke had German and American parents, and spent substantial periods of her life in the United States, where she permanently settled after World War II. She was born in
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In addition to her chamber music for strings, Clarke wrote many songs. Nearly all of Clarke's early pieces are for solo voice and piano. Her 1933 "Tiger, Tiger", a setting of
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followed, sponsored by Coolidge, making Clarke the only female recipient of Coolidge's patronage. These three works represent the height of Clarke's compositional career.
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At Stanford's urging she shifted her focus from the violin to the viola, just as the latter was coming to be seen as a legitimate solo instrument. She studied with
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in New York City. Reviewers praised the "Trent", largely ignoring the works credited to Clarke premiered in the same recital. She continued to perform with
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The Rebecca Clarke Society was established in September 2000 to promote performance, scholarship, and awareness of the works of Rebecca Clarke. Founded by
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In 1916 Clarke moved to the United States to continue her performing career. In 1918, she premiered her short, lyrical piece for viola and piano titled
480:, also composed in 1941, is another neoclassically influenced piece, written for clarinet and viola (originally for her brother and sister-in-law).
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violin to Clarke in his will. She made the first of many visits to the United States shortly after leaving the Royal Academy. She then attended the
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in a student ensemble organised by Clarke and another student called Beryl Reeve (later Clarke's sister-in-law) to study and perform
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The Society made available previously unpublished compositions from Clarke's estate. "Binnorie", a twelve-minute song based on
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Curtis, Liane (2005). "Violist to Violist: Nancy Uscher's Interview with Rebecca Clarke Friskin". In Curtis, Liane (ed.).
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Stein, Deborah (2005). "'Dare seize the fire': An introduction to the songs of Rebecca Clarke". In Curtis, Liane (ed.).
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During 1939 to 1942, the last prolific period near the end of her compositional career, her style became more clear and
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revived in 1976. The Rebecca Clarke Society was established in 2000 to promote the study and performance of her music.
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position as a governess for a family in Connecticut. She composed 10 works between 1939 and 1942, including her
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on an Old English Tune", also from 1941 and premiered by Clarke herself, is based on a theme attributed to
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Curtis, Liane (1999). Program notes to "Passacaglia on an Old English Tune". Hildegard Publishing Company.
382:, composed a year earlier, was her first expansive work, after over a decade of songs and miniatures. The
512:'s Building a Library survey on 17 October 2015. The top recommendation, chosen by Helen Wallace, was by
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worldwide, particularly with cellist May Mukle. Her works were strongly influenced by several trends in
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to play in the Queen's Hall Orchestra in 1912. She was highly sought after as a violist, playing with
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is often mentioned in connection with Clarke's work, particularly its lush textures and modernistic
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of the arts. In a field of 72 entrants, Clarke's sonata tied for first place with a composition by
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Clarke, Rebecca (Autumn 1931). "La Semaine Anglaise at the Paris Colonial Exhibition".
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Reich, Nancy B (2005). "Rebecca Clarke: An Uncommon Woman". In Curtis, Liane (ed.).
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Virginia Eskin hosts 'A Note to You' episode on Rebecca Clarke's life & music
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complex texture. The Sonata remains a part of standard repertoire for the viola.
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which appears throughout the work. The piece is modal in flavor, mainly in the
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Friskin was "a man who gave a sense of deep satisfaction and equilibrium."
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1305:"The Famous Viola Sonata, Rebecca Clarke (1886–1979), Composer of the Week"
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in Hawaii in 1918 and 1919, and on a tour of the British colonies in 1923.
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in 1903, but was withdrawn by her father in 1905 after her harmony teacher
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32:(27 August 1886 – 13 October 1979) was a British classical composer and
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The head of the Rebecca Clarke Society, Liane Curtis, is the editor of
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opening theme, thick harmonies, emotionally intense nature, and dense,
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Achenbach, Andrew (February 2003). "Review: A Portrait of the Viola".
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Her compositional career peaked in a brief period, beginning with the
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Curtis, Liane (Fall 2003). "When Virginia Woolf met Rebecca Clarke".
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896:"Antonio Stradivari, Cremona, 1720, the 'General Kyd' (Provenance)"
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520:(piano). In 2017 BBC Radio 3 devoted five hours to her music as
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in 1944. Clarke died at her home in New York at the age of 93.
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has since been reissued by the Rebecca Clarke Society itself.
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in London. Stranded in the United States at the outbreak of
1229:"Review: Britten. Lacrymae, Op. 48, Clarke. Viola Sonata".
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Schleifer, Martha Furman (2000). Program notes to Clarke's
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269:, a composer, concert pianist, and founding member of the
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A 1918 program showcasing Clarke's work. Here, her duet
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Banfield, Stephen (1995). "Clarke, Rebecca (Thacher)".
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for voice and piano (1954); words by Katherine Kendall
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and based in the Women's Studies Research Center at
111:'s few female composition students. Her substantial
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750:Quartet: How Four Women Changed the Musical World
364:(published in the same year as the Bloch and the
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1274:Vittes, Laurence (November 2005). "Viola View".
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429:elements and tonal structures, the hallmarks of
212:, though again failed to take the prize. A 1923
1457:Songs by Rebecca Clarke on The Art Song Project
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500:recording of several Clarke works, referred to
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1142:The Norton/Grove Dictionary of Women Composers
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368:Viola Sonata) is an example of this, with its
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328:is credited to the pseudonym "Anthony Trent".
1116:Unsung: A History of Women in American Music
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1620:Musicians from the London Borough of Harrow
1218:. The Rebecca Clarke Society. pp. 3–5.
635:for viola (or cello) and piano (?1940–1941)
1092:. Rebecca Clarke Society. pp. 43–78.
1052:. Rebecca Clarke Society. pp. 10–18.
706:for voice and piano (1929–1933); words by
1451:International Music Score Library Project
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298:I Had a Father Too (or the Mustard Spoon)
1351:. Rebecca Clarke Society. Archived from
1325:. Rebecca Clarke Society. Archived from
1160:Newsletter of the Rebecca Clarke Society
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16:English composer and violist (1886–1979)
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817:. Rebecca Clarke Society. p. 185.
788:Oxford Dictionary of National Biography
784:"Clarke, Rebecca Helferich (1886–1979)"
654:for voice and piano (1904); words from
1600:English emigrants to the United States
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1119:(2nd ed.). Amadeus. p. 167.
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682:) for soloists and mixed chorus (1921)
585:List of compositions by Rebecca Clarke
99:proposed to her. Miles later left his
79:where Clarke studied from 1907 to 1910
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697:for voice and piano (1929); words by
688:for voice and piano (1922); words by
669:for voice and piano (1912); words by
1565:Alumni of the Royal College of Music
1560:Alumni of the Royal Academy of Music
1555:20th-century British women composers
1545:20th-century English women musicians
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676:He That Dwelleth in the Secret Place
559:for solo piano (1930), dedicated to
508:The Viola Sonata was the subject of
464:but venturing into the seldom-heard
1635:Pupils of Charles Villiers Stanford
1442:The Rebecca Clarke Society Homepage
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958:(Media notes). Dutton Laboratories.
583:For a more comprehensive list, see
55:, she married composer and pianist
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1605:English people of American descent
1323:"About the Rebecca Clarke Society"
1144:. W.W. Norton and Co. p. 120.
728:for mixed chorus (1907); words by
633:Passacaglia on an Old English Tune
263:Passacaglia on an Old English Tune
115:for piano dates from this period.
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1575:British women classical composers
1570:American people of German descent
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1380:The Chronicle of Higher Education
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599:for viola (or violin) and cello (
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1615:English people with disabilities
1610:English people of German descent
1535:20th-century classical composers
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1437:Rebecca Clarke Composer homepage
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1244:"Review: Clarke. Viola Sonata".
398:", is dark and brooding, almost
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1374:Byrne, Richard (16 July 2004).
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1176:. Hildegard Publishing Company.
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614:for viola and piano (1917–1918)
597:2 Pieces: Lullaby and Grotesque
478:Prelude, Allegro, and Pastorale
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1540:20th-century English composers
1289:"Review: Clarke. Piano Trio".
956:Rebecca Clarke: Midsummer Moon
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639:Prelude, Allegro and Pastorale
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1447:Free scores by Rebecca Clarke
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641:for viola and clarinet (1941)
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277:Clarke has been described by
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335:20th-century classical music
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1590:English classical composers
1214:Curtis, Liane, ed. (2005).
726:Music, When Soft Voices Die
200:, Clarke's neighbour and a
25:Clarke with a viola in 1919
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1630:People with mood disorders
1625:People from Harrow, London
1595:English classical violists
1174:Sonata for Viola and Piano
853:Curtis, Liane (May 1996).
790:. Oxford University Press.
629:for cello and piano (1923)
620:for viola and piano (1919)
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304:at the age of 93, and was
198:Elizabeth Sprague Coolidge
1401:"A Rebecca Clarke Reader"
1113:Ammer, Christine (2001).
555:for cello and piano, and
109:Charles Villiers Stanford
1430:Rebecca Helferich Clarke
1403:. Rebecca Clarke Society
1186:Broad, Leah (May 2023).
1029:. Rebecca Clarke Society
954:Ponder, Michael (2000).
782:Ponder, Michael (2004).
652:Shiv and the Grasshopper
30:Rebecca Helferich Clarke
1216:A Rebecca Clarke reader
1090:A Rebecca Clarke Reader
1050:A Rebecca Clarke reader
994:(subscription required)
815:A Rebecca Clarke Reader
793:(subscription required)
569:A Rebecca Clarke Reader
1580:British women violists
921:"Complete Piano Music"
527:Rebecca Clarke Society
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124:Ralph Vaughan Williams
107:, becoming one of Sir
105:Royal College of Music
93:Royal Academy of Music
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77:Royal College of Music
49:Royal College of Music
45:Royal Academy of Music
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1550:20th-century violists
1432:at Wikimedia Commons
1077:. New Series I: 7–11.
522:Composer of the Week.
492:, published in 2002.
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1329:on 23 September 2010
855:"A Case of Identity"
748:Broad, Leah (2023).
730:Percy Bysshe Shelley
671:William Butler Yeats
285:, a chronic form of
265:. She had first met
113:Theme and Variations
1585:Composers for viola
541:Brandeis University
425:, with emphasis on
89:Hans Thacher Clarke
83:Clarke was born in
43:and studied at the
1376:"Silent Treatment"
1355:on 9 November 2010
752:. Faber and Faber.
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160:Guilhermina Suggia
97:Percy Hilder Miles
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27:
1428:Media related to
1349:"News and Events"
1293:: 75. March 1987.
1188:"Clarke, Rebecca"
1099:978-0-9770079-0-5
1059:978-0-9770079-0-5
824:978-0-9770079-0-5
623:Piano Trio (1921)
535:Liane Curtis and
164:Arthur Rubinstein
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1405:. Retrieved
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1327:the original
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194:viola sonata
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148:Pablo Casals
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101:Stradivarius
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53:World War II
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1530:1979 deaths
1525:1886 births
1309:BBC Radio 3
1033:11 December
987:Grove Music
905:4 September
604: 1916
510:BBC Radio 3
462:Dorian mode
454:Passacaglia
1519:Categories
1385:1 December
1359:1 December
1333:1 December
1291:Gramophone
1276:Gramophone
1261:Gramophone
1246:Gramophone
1231:Gramophone
1027:"Her Life"
736:References
444:styles of
370:pentatonic
287:depression
228:Later life
210:piano trio
140:Henry Wood
130:'s music.
128:Palestrina
67:Early life
1495:Biography
704:The Tiger
412:Masefield
396:The Tyger
394:'s poem "
366:Hindemith
358:harmonies
296:, titled
283:dysthymia
255:John Goss
243:May Mukle
187:May Mukle
183:May Mukle
75:London's
925:MusicWeb
680:Psalm 91
627:Rhapsody
611:Morpheus
553:Rhapsody
502:Morpheus
490:Morpheus
384:Rhapsody
379:Morpheus
326:Morpheus
306:cremated
252:baritone
214:rhapsody
179:Morpheus
1469:Portals
1453:(IMSLP)
1449:at the
1407:19 June
882:1003935
667:Shy One
557:Cortège
452:. The "
450:MartinĹŻ
427:motivic
354:Debussy
34:violist
1123:
1096:
1056:
1009:"Life"
989:Online
880:
821:
720:Choral
618:Sonata
573:Reader
548:Celtic
476:. The
446:BartĂłk
414:, and
387:line.
360:. The
294:memoir
202:patron
170:, and
85:Harrow
41:Harrow
1507:Music
1278:: 49.
1263:: 65.
878:JSTOR
858:(PDF)
646:Vocal
435:Dumka
408:Yeats
392:Blake
343:Ravel
339:Bloch
222:piano
218:cello
1409:2012
1387:2010
1361:2010
1335:2010
1121:ISBN
1094:ISBN
1054:ISBN
1035:2023
932:2022
907:2023
819:ISBN
488:and
448:and
442:folk
348:The
341:and
241:and
220:and
216:for
47:and
870:doi
866:137
660:by
352:of
247:BBC
1521::
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