Radio Broadcast with host Virginia Eskin
and guest Liane Curtis 
with sound clips
This program was first broadcast on January 9, 2000. “A Note To You” is a joint production of Northeastern University and WGBH, Boston. The Rebecca Clarke Society, Inc. thanks Northeastern University for permitting this program to be made available on our website. A special thanks to pianist Virginia Eskin for pursuing the idea for this broadcast, and for her decades of devoted work on behalf of women composers.The broadcast is presented here without the original musical examples, and without the audio clips of the 1976 interview with Clarke (we are working to obtain the rights to include those audio materials). Links to music already available on the internet have been substituted.

1 – Introduction – Virginia Eskin – how composers’ lives affect their career
“A Note to you Theme Music” Eskin plays Menotti’s concerto “The Glorious Rebecca Clarke”

2 – Intro to Clarke’s music, with Eskin’s comments on the Viola Sonata and Piano Trio, their openings.
Clarke and new musical styles of early twentieth century – using colorist effects., clashes, search for new language.
Listen to the Viola Sonata

3 – Introducing Liane Curtis, Musicologist researching Rebecca Clarke
How Liane got interested in Clarke. How Clarke got her start. Her difficult father. Study at the Royal Academy and Royal College.

3a – More on her education and her formative years.

4 – Women and education, Clarke’s music education – Leading into Morpheus, 1918.
Listen to Morpheus.

5 – After Morpheus
On the use of the pseudonym Anthony Trent (Rebecca Clarke ???)

7 – Liane Curtis offers insights on the interview passage

8 – On her songs – what is special about them,
Virginia’s examples

9 – On poet John Masefield, Clarke’s meeting him
Leads to “June Twilight”

10 – Discussion – of her atmospheric quality,
Impressionist style

11 – “Hellas” – Shelley poem, leading to Choral performance

12 – About Sept. 1999 conference on Clarke at Brandeis University

13 – Station break and acknowledgements. Contact info is no longer current

14 – Virginia plays an interlude from the first movement of Clarke’s viola sonata

15 – Discussion: how fast change has taken place
Role of violists in showcasing her
About her compositional process – walks in the country side

16 – about the Prelude, Allegro and Pastorale, leads to example of the Allegro

18 – Clarke in the 1930s, settles in US during WWII, on the Passacaglia

19 – Clarke meets Friskin – Cinderella ending
Feeling of insecurity – leads another excerpt from 1976 interview

20 – Clarke in interview “One little whiff of success”
Content cannot be included at present because of copyright difficulties

21 – On the interview – doubt of her identity – Lead into the third movement of the Piano Trio

22 – Lead in to “The Donkey”

23 – Acknowledgements
And fade out with end of Piano Trio