Référence unique par son ISBN 9780711939448 cette partition musique de Clarke Rebecca n'est autre que Clarke Rebecca Sonata For Viola/Piano qui a été composée pour Alto. Les droits d'auteur de cette partition de musique de style Classique se trouvent chez les éditions ID Music. La référence catalogue de cette oeuvre est CT00805. / Alto / Partition

Paperback-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 cello. They are always carefully crafted and are therefore often significantly different from the orginals.

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.

These charming tender and ironic songs make an excellent concert suite and wonderful encores. They are scored for Voice and Violin.

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 instrumental colours. The piano is a full partner to the viola contributing an equal share of melodic interest and colouristic effects.

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.