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 | 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 | Piano 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 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 | |
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, Oh 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 | 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 |
Rebecca Helferich Clarke was a British-American classical composer and violist. Internationally renowned as a viola virtuoso, she also became one of the first female professional orchestral players. Born in England, Rebecca Clarke claimed both British and American nationalities and spent substantial periods of her long life in the United States, where she permanently settled after World War II. She was born in Harrow and studied at the Royal Academy of Music and Royal College of Music in London. Stranded in the United States at the outbreak of World War II, she married composer and pianist James Friskin in 1944. Clarke died at her home in New York at the age of 93.
Black Sun may refer to:
The viola sonata is a sonata for viola, sometimes with other instruments, usually piano. The earliest viola sonatas are difficult to date for a number of reasons:
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 which quickly made her an established female writer. 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.
Salomon Jadassohn was a German pianist, composer and a renowned teacher of piano and composition at the Leipzig Conservatory.
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, and several additional authors.
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. The first concert was held on 25 January 1912 in the small room of Queen's Hall. Regular concerts followed at the same venue and at the Aeolian and Wigmore Halls. They featured premieres from women composers such as Ethel Barns, Rebecca Clarke, Katharine Eggar, Dorothy Howell, Liza Lehmann, Fiona McCleary (1900–1986), Marion Scott and Ethel Smyth. In later years there were also premieres from Ruth Gipps, Elisabeth Lutyens, Elizabeth Maconchy and Elizabeth Poston.
The abundance of elements in Earth's crust is shown in tabulated form with the estimated crustal abundance for each chemical element shown as mg/kg, or parts per million (ppm) by mass.
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, attributed to the year 1919, when the composer was 33 years old. Clarke had moved to the United States in 1916, after being disowned by her father. She had been supporting herself with some success as a soloist.
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.
James Friskin was a Scottish-born pianist, composer and music teacher who relocated to the United States in 1914.