Score and parts-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 'pure' music (music that 'means only itself' as she put it) for string quartet.

A collection of wonderful pieces for the viola the instrument which made Rebecca Clarke a well-known name. Comes with piano accompaniment.

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.A Piano Accompaniment part is scored for rehearsal purposes.

Weep You No More Sad Fountains is Clarke's adaptation of a song she composed around 1912 based on words from John Dowland's Third Book Of Songs. It is arranged for SATB unaccompanied.

A duo concertante for violin viola and pianoThis 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 works which are explicit homages to ancient styles forms and composers. A strain from the gypsy-rondo of Brahms's Piano Quartet Op. 25 echoes throughout the opening pages and is heard again in the piece's remarkable conclusion.

Rebecca Clarke's Come oh come my life's delight for SATB.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 effects.Rebecca Clarke was born in Harrow in 1886 and died in New York City in 1979. She was one of the finest Viola players of her day and a skilful composer who studied with Stanford at the Royal College of Music in London. Her output as a composer was small comprising about 90 works but all these pieces are brilliant and powerful. Her Piano Trio and Viola Sonata are often playedand recorded and are now widely regarded as masterpieces. However her songs are perhaps her finest body of works and embrace a variety of styles from Blakean simplicity to brutal tragedy and outright farce. Rebecca Clarke's choral music was virtually unknown until Oxford University Press began to publish these works for the first time. She wrote for chorus and other vocal ensembles throughout virtually her whole career from her earliest attempts at composition around 1906 to her final flowering in the 1940s revising and recomposing until as late as 1976.

In 1977 The Association of English Singers and Speakers published a four-volume work A Heritage of Twentieth Century British Song which was a collection of songs published by Boosey & Hawkes and which were in the opinion of the editors worthy of the attention that such a publication would bring. Sixteen years later with the benefit of further perspective the Association has published this supplemental volume differing from its distinguished predecessor in that it includes works both unpublished and published by a variety of companies. The composers range from the very most familiar and celebrated Ralph Vaughan Williams Arnold Bax Elizabeth Poston to thelesser-known like Rebecca Clarke and Alastair MacGeorge. The book includes biographical information on the composers and notes about each song for performance purposes. The technical requirements range from quite straightforward to most demanding.

Eight settings of English poems for high or medium voice and piano including poems by W. B. Yeats and William Blake.

This lovely piece from the 1940's is back by popular demand. Ideal for study or recital. Also available for Cello and Piano.

for unaccompanied SATB to words by Shelley. 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 beautiful setting of this familiar text.

Paperback-This is a lilting take on the Elizabethan lute-song full of smooth Stanford-like nineteenth-century harmonies exquisitely tempered with modal effects.