This volume contains all of the shorter pieces for violin and piano, comprising new editions of 'Chinese Puzzle' and 'Midsummer Moon' and the first publication of 'Lullaby', all edited from materials...
A collection of six pieces for the viola - the instrument which made Rebecca Clarke a well-known name. The pieces aren't too difficult (most being suitable for around Grades 6-7) and several would mak...
Rebecca Clarke worked in the string quartet medium over virtually the whole of her long life, either as a performer, a composer, or a teacher. The two movements published here are Clarke's only known...
This is a lilting take on the Elizabethan lute-song full of smooth Stanford-like nineteenth-century harmonies, exquisitely tempered with modal effects.
The edition is part of the ABRSM syllabus (grades 6-8).
This collection includes all the songs with piano published by OUP during the 1920s and 30s, plus eight songs never before published. The songs are extremely varied, and the piano partners the voice t...
This collection contains all the extant shorter pieces by Rebecca Clarke for cello and piano, both original compositions and arrangements. Clarke's transcriptions make up around half of her works for...
For viola and piano. This piece is one of the finest compositions for viola by one of the instrument's greatest players. It is luxuriant in melodic inventions and startlingly beautiful in its instrume...
Composed in 1941, this is the first publication of this work.
Clarke's duo is in two contrasted movements and was originally written as a concert piece for the composer to play with the English cellist May Mukle.
Now fie on love is a rollicking glee with all the usual imitative points and a somewhat unusual allotment of brawny sarcasm. It makes an effective encore.
Although quite short, this is one of Clarke's boldest and, in some respects, most ambitious compositions. It sets Shelley's magnificent ode to the Evening Star.
This exquisite setting for SSA unaccompanied voices of a well-known Marian motet (in Latin) was the first of Rebecca Clarke's choral works ever to be published.
This exquisite setting for SSA unaccompanied voices of a well-known Marian motet (in Latin) is the first of Rebecca Clarke's choral works ever to be published.
For unaccompanied five-part women's chorus (SSSAA). Although quite short, this is one of Clarke's boldest and, in some respects, most ambitious compositions. It sets Shelley's magnificent ode to the E...
He that dwelleth evokes Holst and Vaughan Williams in their more visionary modes. This is especially true of the opening and closing passages with their gently bitonal effect that surrounds the highly...
Taken at a slow processional tempo this work has a predominantly canonic texture. The syncopated passages are at once sombre and sensual, and the balancing homphonic phrases achieve real power. A shor...
This is one of Clarke's many pieces on love, and one of the best. It combines the English modality of earlier times with foretastes of the adventurous chromaticism of her later work. It is a lovely pi...
This is an appropriately aching setting of Sir Philip Sidney's poem of unending desire and longing. There are gorgeous chromatics and enharmonics and a masterful use of a triplet pattern which becomes...
Weep you no more, sad fountains is a modern take on the Elizabethan lute-song, integrating the characteristic alternations of minor and major, fondness for cross-relations, and vivid word-painting. Th...
Music, when soft voices die combines aspects of nineteenth-century English pastoral style with some of the tonal adventurousness of Vaughan Williams's Shakespeare settings. This is an exceptionally be...
For unaccompanied SATB to words by Thomas Campion. This is a lilting take on the Elizabethan lute-song full of smooth Stanford-like nineteenth-century harmonies, exquisitely tempered with modal effect...
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for unaccompanied SATB Weep you no more, sad fountains is a modern take on the Elizabethan lute-song, integrating the characteristic alternations of minor and major, fondness for cross-relations, and...
For unaccompanied SATB to words by Tennyson.
For TTBB unaccompanied
This lovely piece from the 1940's is back by popular demand. Ideal for study or recital. Also available for Cello and Piano.
This lovely piece from the 1940s is back by popular demand. Ideal for study or recital. Also available for viola and piano.
By turns charming, tender, and ironic, these songs make an excellent concert suite and wonderful encores. They are scored for voice and violin.
This attractive and concise setting of the Mass (without Creed) has flexible scoring, being for 2-part choir (upper and lower voices), or SATB, and organ. The communion motet Tantum ergo is also for 2...
There is also a version for organ.
Partially based on a plainsong melody, this peaceful setting of the Latin hymn text features sonorous harmonies, subtle time changes, and fluid choral homophony, with a beautiful soprano solo that flo...
With plenty of excitement and anticipation, this exuberant carol sets a medieval macronic text, featuring changing metres and a driving piano part. Also available in a version for solo low voice.
This is a compelling setting of words by American writer and civil rights activist James Weldon Johnson that tell how the power of song can overcome dark times. The composer brings this powerful text...
Chilcott's rare gift for crafting the most poignant and beguiling melodies is rarely more apparent than in his setting of this enchanting medieval poem. Also available in versions for solo high voice...
Ralph Waldo Emerson's secular text concerning music's omnipresence ('But in the darkest, meanest things there always something sings') is set with affecting and arresting simplicity.
A setting of specially-written texts by children, the subject matter is the sun, the moon, and the stars. The songs are linked by spoken narration, resulting in a rich and vivid tapestry. Orchestral m...
A medieval English carol for solo baritone and unaccompanied ATBarB. The setting is full of gentle hemiola and canonic effects, and makes much use of parallel sixths and thirds.
This work was written around 1940, placing it near the beginning of a series of Clarke's late compositions. It both looks forward to her lean, linear, avowedly modern conceptions and backwards to work...
