The following is a sortable list of compositions by Rebecca Clarke , drawn largely from the lists found on the website of the Rebecca Clarke Society. [1] The works are categorized and sortable by genre, date of composition, and title.
Genre | Date | Title | Scoring | Notes | Publisher / owner |
---|---|---|---|---|---|
Orchestral | 1941 | Combined Carols | for string orchestra | original for 2 violins, viola and cello | |
Chamber music | 1907–1908 | Danse bizarre | for 2 violins and piano | once believed lost; found in the Rebecca Clarke estate; premiered in 2003 | Rebecca Clarke Estate |
Chamber music | 1907–1908 | Prelude | for 2 violins and piano | once believed lost; found in the Rebecca Clarke estate; premiered in 2003 | Rebecca Clarke Estate |
Chamber music | 1907–1908 | Nocturne | for 2 violins and piano | once believed lost; found in the Rebecca Clarke estate; premiered in 2003 | Rebecca Clarke Estate |
Chamber music | 1907–1908 | Finale | for 2 violins and piano | incomplete | Rebecca Clarke Estate |
Chamber music | 1907–1909 | Sonata | for violin and piano | in one movement | Rebecca Clarke Estate |
Chamber music | 1908–1909 | Sonata | for violin and piano | Rebecca Clarke Estate | |
Chamber music | 1909 | Lullaby | for viola and piano | Oxford University Press | |
Chamber music | 1913 | Lullaby (on an ancient Irish tune) | for viola and piano | Oxford University Press | |
Chamber music | ca. 1916 | 2 Pieces
| for viola (or violin) and cello | Oxford University Press | |
Chamber music | 1917-1918 | Untitled movement | for viola and piano | Oxford University Press | |
Chamber music | 1917–1918 | Morpheus | for viola and piano | composed under the pseudonym "Anthony Trent" Morpheus is the Greek god of dreams. | Oxford University Press |
Chamber music | 1917–1918 | Untitled Work | for viola and piano | Oxford University Press | |
Chamber music | 1918 | Lullaby | for viola and piano | Oxford University Press | |
Chamber music | 1919 | Sonata | for viola (or cello) and piano | Chester Music DaCapo Press Hildegard Publishing | |
Chamber music | 1921 | Chinese Puzzle | for violin (or viola) and piano | Oxford University Press | |
Chamber music | 1921, 1925 | Chinese Puzzle | for flute, violin, viola and cello | original for violin and piano | Oxford University Press |
Chamber music | ?1921 | Epilogue | for cello and piano | Oxford University Press | |
Chamber music | 1921 | Trio | for violin, cello and piano | Winthrop Rogers DaCapo Press Boosey & Hawkes | |
Chamber music | 1923 | Rhapsody | for cello and piano | Library of Congress | |
Chamber music | 1924 | Comodo et amabile | for 2 violins, viola and cello | Oxford University Press | |
Chamber music | 1924 | Midsummer Moon | for violin and piano | Oxford University Press | |
Chamber music | 1926 | Poem | for 2 violins, viola and cello | Oxford University Press | |
Chamber music | ca. 1940 | Untitled Works | for 2 instruments
| 2 compositional studies; unfinished | |
Chamber music | 1941 | Combined Carols | for 2 violins, viola and cello | also arranged for string orchestra | Rebecca Clarke Estate |
Chamber music | ?1940–1941 | Passacaglia (on an Old English Tune, attributed to Tallis) in C minor | for viola (or cello) and piano | tune attributed to Thomas Tallis | G. Schirmer Chappell Music Hildegard Publishing |
Chamber music | 1941 | Prelude, Allegro and Pastorale | for viola and clarinet | Oxford University Press | |
Chamber music | ?1941 | Dumka | for violin, viola and piano | Oxford University Press | |
Chamber music | 1944 | I'll bid my heart be still (Old Scottish border melody) | for viola and piano | Oxford University Press | |
Piano | 1907–1908 | Theme and Variations | for piano | once believed lost; found in the Rebecca Clarke estate; premiered in 2003 | |
Piano | ?1930 | Cortège | for piano | revised 1970s | |
Chamber music | ca. 1940 | Untitled, 2 pieces for two instruments
| for compositional studies | Oxford University Press | |
Choral | ca. 1906 | Now Fie on Love | for male chorus | words by anonymous | Oxford University Press |
Choral | 1907 | Music, When Soft Voices Die | for mixed chorus | words by Percy Bysshe Shelley | Oxford University Press |
Choral | ca. 1908 | A Lover's Dirge | for mixed chorus | words from Twelfth Night by William Shakespeare | Oxford University Press |
Choral | ca. 1909 | The Owl (When Cats Run Home and Light Is Come) | for mixed chorus | words by Alfred, Lord Tennyson | |
Choral | ca. 1911–1912 | Come, O come, my life's delight | for mixed chorus | words by Thomas Campion; also for voice and piano | Oxford University Press |
Choral | ca. 1911–1912 | My Spirit Like a Charmed Bark Doth Float | for mixed chorus | words by Percy Bysshe Shelley | Oxford University Press |
Choral | ca. 1911–1912 | Weep You No More Sad Fountains | for mixed chorus | words by anonymous (John Dowland?); also for voice and piano | |
Choral | ca. 1914 | Philomela | for mixed chorus | words by Sir Philip Sidney | Oxford University Press |
Choral | 1921 | He That Dwelleth in the Secret Place (Psalm 91) | for SATB soloists and mixed chorus | ||
Choral | 1928 | There Is No Rose of Such Virtue | for baritone solo and alto, tenor, baritone, bass chorus | after a 15th-century English carol | Oxford University Press |
Choral | ca. 1937 | Ave Maria | for female chorus | ||
Choral | ca. 1943 | Chorus from Hellas | for female chorus | words from Hellas by Percy Bysshe Shelley | Oxford University Press |
Vocal | ca. 1903 | Wandrers Nachtlied | for voice and piano | words by Johann Wolfgang von Goethe | |
Vocal | 1904 | Ah, for the Red Spring Rose | for voice and piano | ||
Vocal | 1904 | Aufblick | for voice and piano | words by Richard Dehmel | |
Vocal | 1904 | Shiv and the Grasshopper | for voice and piano | words from The Jungle Book by Rudyard Kipling | |
Vocal | ca. 1904 | Chanson | for voice and piano | words by Maurice Maeterlinck | |
Vocal | ca. 1904 | Klage | for voice and piano | words by Richard Dehmel | |
Vocal | ca. 1904 | O Welt | for voice and piano | ||
Vocal | ca. 1904 | Stimme im Dunkeln | for voice and piano | words by Richard Dehmel | |
Vocal | 1905 | Du | for voice and piano | words by Richard von Schaukal | |
Vocal | ca. 1905 | The Moving Finger Writes | for voice and piano | words from The Rubáiyát of Omar Khayyám translated by Edward FitzGerald | |
Vocal | ca. 1905 | Oh, Dreaming World | for voice and piano | ||
Vocal | ca. 1905 | Wiegenlied | for voice, violin and piano | words by Detlev von Liliencron | |
Vocal | 1906 | Durch die Nacht | for voice and piano | words by Richard Dehmel | |
Vocal | ca. 1906 | Nach einem Regen | for voice and piano | words by Richard Dehmel | |
Vocal | ca. 1907 | Das Ideal | for voice and piano | words by Richard Dehmel | |
Vocal | 1907 | Magna est veritas | for voice and piano | words by Coventry Patmore | |
Vocal | 1907 | Manche Nacht | for voice and piano | words by Richard Dehmel | |
Vocal | 1907 | Nacht für Nacht | for 2 voices and piano | words by Richard Dehmel | |
Vocal | 1907 | Vergissmeinnicht | for voice and piano | words by Richard Dehmel | |
Vocal | ca. 1909 | Spirits | for 2 high voices and piano | words by Robert Bridges | |
Vocal | ca. 1910 | The Color of Life | for voice and piano | words from traditional Chinese writings | |
Vocal | ca. 1910 | Return of Spring | for voice and piano | words from traditional Chinese writings | |
Vocal | ca. 1910 | Tears | for voice and piano | words from traditional Chinese writings | |
Vocal | ca. 1911 | The Folly of Being Comforted | for voice and piano | words by William Butler Yeats | |
Vocal | ca. 1911–1912 1926 | Come, Oh Come, My Life's Delight | for voice and piano | words by Thomas Campion; original version for mixed chorus | |
Vocal | ca. 1912 | The Cloths of Heaven | for voice and piano | words by William Butler Yeats | |
Vocal | ca. 1912 | Shy One | for voice and piano | words by William Butler Yeats | |
Vocal | ca. 1912 | Weep You No More Sad Fountains | for voice and piano | words by anonymous (John Dowland?); also for mixed chorus | Oxford University Press |
Vocal | ca. 1912–1913 | Away Delights | for 2 voices and piano | words by John Fletcher | |
Vocal | ca. 1912–1913 | Hymn to Pan | for tenor, baritone and piano | words by John Fletcher | |
Vocal | ca. 1913 | Infant Joy | for voice and piano | words by William Blake | |
Vocal | 1919 | Down by the Salley Gardens | for voice and piano | words by William Butler Yeats; also for voice and violin | |
Vocal | 1920 | Psalm 63 | for voice and piano | ||
Vocal | 1922 | The Seal Man | for voice and piano | words by John Masefield | Winthrop Rogers Boosey & Hawkes |
Vocal | 1924 | Three Old English Songs
| for voice and violin | 1. words by William Shakespeare | Boosey & Hawkes |
Vocal | 1925 | June Twilight | for voice and piano | words by John Masefield | |
Vocal | 1926 | A Dream | for voice and piano | words by William Butler Yeats | |
Vocal | 1926 | Poem (Adagio) | for voice and string quartet | Oxford University Press | |
Vocal | 1926 | Sleep | for tenor, baritone and piano | words by John Fletcher; 2 versions | |
Vocal | 1926 | Sleep [version II] | for tenor, baritone and piano | words by John Fletcher; 2 versions | |
Vocal | 1926 | Three Irish Country Songs
| for voice and violin | ||
Vocal | ca. 1926 | Take, O Take Those Lips Away | for tenor, baritone and piano | words from Measure for Measure by William Shakespeare | |
Vocal | 1927 | The Cherry-blossom Wand | for voice and piano | words by Anna Wickham | Oxford University Press |
Vocal | 1927 | Eight O'clock | for voice and piano | words by A. E. Housman | |
Vocal | ca. 1928 | Greeting | for voice and piano | words by Ella Young | |
Vocal | 1929 | The Aspidistra | for voice and piano | words by Claude Flight | |
Vocal | 1929 | Cradle Song | for voice and piano | words by William Blake | Oxford University Press |
Vocal | 1929–1933 | The Tiger (Tiger, Tiger) | for voice and piano | words by William Blake | |
Vocal | ca. 1940 | Binnorie | for voice and piano | words after a traditional ballad The Twa Sisters | |
Vocal | ca. 1940 | Daybreak | for voice and string quartet | words by John Donne | Prairie Dawg Press |
Vocal | 1941 | Lethe | for voice and piano | words by Edna St. Vincent Millay | |
Vocal | 1942 | The Donkey | for voice and piano | words by G. K. Chesterton | |
Vocal | 1919, 1950s | Down by the Salley Gardens | for voice and violin | words by William Butler Yeats; original for voice and violin | |
Vocal | 1954 | God Made a Tree | for voice and piano | words by Katherine Kendall | |
Vocal | Up-Hill | for voice and piano | words by Christina Rossetti |
Morpheus is a god associated with sleep and dreams.
Rebecca Helferich Clarke was a British classical composer and violist. Internationally renowned as a viola virtuoso, she also became one of the first female professional orchestral players in London.
Black Sun may refer to:
Keiko Abe is a Japanese composer and marimba player. She has been a primary figure in the development of the marimba, in terms of expanding both technique and repertoire, and through her collaboration with the Yamaha Corporation, developed the modern five-octave concert marimba.
Rebecca Blaine Harding Davis was an American author and journalist. She was a pioneer of literary realism in American literature. She graduated valedictorian from Washington Female Seminary in Pennsylvania. Her most important literary work is the short story "Life in the Iron-Mills," published in the April 1861 edition of The Atlantic Monthly. Throughout her lifetime, Davis sought to effect social change for African Americans, women, Native Americans, immigrants, and the working class, by intentionally writing about the plight of these marginalized groups in the 19th century.
Rebecca Clarke or Rebecca Clark may refer to:
Rebecca Sophia Clarke, also known as Sophie May, was an American author of children's fiction. Using her nieces and nephews as inspiration, she wrote realistic stories about children. Between 1860 and 1903, she wrote 45 books, the most popular being the Little Prudy series. She spent most of her life in her native town of Norridgewock, Maine.
Michael Slade is the pen name of Canadian novelist Jay Clarke, a lawyer who has participated in more than 100 criminal cases and who specializes in criminal insanity.
The Society of Women Musicians was a British group founded in 1911 for mutual cooperation between women composers and performers, in response to the limited professional opportunities for women musicians at the time. The founders included Katharine Emily Eggar, a composer, Marion Scott, a musicologist, and Gertrude Eaton, a singer. 37 women came to the first meeting, held on 11 July 1911 at the Women's Institute, 92 Victoria Street, including Rebecca Helferich Clarke, Alma Haas, and Liza Lehmann, who later became the group's first president.
Hans Thacher Clarke was a prominent biochemist during the first half of the twentieth century. He was born in England where he received his university training, but also studied in Germany and Ireland. He spent the remainder of his life in the United States.
Rebecca Clarke composed the Sonata for Viola and Piano in 1919, when the composer was 33 years old. She had been supporting herself with some success as a soloist. The majority was composed between April and July 1919.
Morpheus is a composition for viola and piano by the English composer and violist Rebecca Clarke. It was written in 1917 when Clarke was pursuing a performing career in the United States. The piece shows off the impressionistic musical language Clarke had developed, modeled on the music of Claude Debussy and Ralph Vaughan Williams, that is also apparent in her Viola Sonata. The harmonies are ethereal and otherworldly; the title is the name of a Greek god, who was especially associated with sleep and dreams.
This is a sortable discography of French Canadian pianist and composer Marc-André Hamelin. He records exclusively for the Hyperion label, although he has recorded for other labels in the past. In addition to the works of commonly heard composers, he has recorded a great deal of non-standard repertoire, such as music of Charles-Valentin Alkan, Leopold Godowsky, Georgy Catoire, Sophie Carmen Eckhardt-Gramatté, as well as his own compositions.
The Oamaru Steam and Rail Restoration Society was formed in 1985 to preserve PWD 535. Since establishment the Society has acquired and preserved Hudswell Clarke built 0-4-0ST B10 of 1924 from the Pukeuri Alliance Freezing Works, a Robert Stephenson & Hawthorns shunter No.7908 of 1962 from the Pukeuri Alliance Freezing Works and TR 35 of 1939 from the New Zealand Railways Corporation. The society also currently has DSA 234 on loan to them by one of their members. The railway is located in Oamaru's Historic Precinct, utilising a portion of the former New Zealand Railways Oamaru yard. Train travels every Sunday from Harbourside Station to Quarry Siding located by the Oamaru Blue Penguin Colony, alongside Oamaru's Victorian Harbour.
James Friskin was a Scottish-born pianist, composer and music teacher who relocated to the United States in 1914.