Writings

Bibliography

Writings by Clarke

Unpublished writings are held by the Clarke estate (unless otherwise noted) which may also contain further materials. The Estate is managed by Christopher Johnson, of Brooklyn, New York. Clarke spoke about chamber music at the Chautauqua Institution most summers from 1946 to 1956. She also occasionally lectured elsewhere during these years, including on WQXR radio (New York City). Diaries. 1919-1933 (unpublished)”The History of the Viola in Quartet Writing.” Music and Letters IV (1923): 6-17. Reprinted in A Rebecca Clarke Reader, 105-119.”The Beethoven Quartets as a Player Sees Them.” Music and Letters VIII (1927): 178-190. Reprinted in A Rebecca Clarke Reader, 120-134.

“Bloch, Ernest.” Cobbett’s Cyclopedic Survey of Chamber Music, I, edited by W. W. Cobbett, 129-34. London, Oxford University Press, 1929, 2/1963. Reprinted in A Rebecca Clarke Reader, 140-151.

“Viola.” Cobbett’s Cyclopedic Survey, II, 536-8. Reprinted in A Rebecca Clarke Reader, 135-139.

“La Semaine Anglaise at the Paris Colonial Exhibition.” The B.M.S. [British Music Society] Bulletin, New Series 1 (Autumn, 1931), 7-11. Reprinted in A Rebecca Clarke Reader, 152-156.

Letters between Clarke and James Friskin, 1944.

Letters to Elizabeth Sprague Coolidge. Washington D.C. Library of Congress, Performing Arts Division, The Elizabeth Sprague Coolidge Foundation Collection. 12.18.17-2.5.51.

The Woman Composer . Then and Now,. ca. 1948. Typescript of essay included in Morpheus for viola and piano / Rebecca Clarke. New York: Oxford University Press, 2002.

“Haydn String Quartet in D minor, Op. 76, No. 2.” Unpublished, for Chautauqua Institute?

“Schubert and His Quartets.” Unpublished, for Chautauqua Institute?

“Mozart and His Quartets.” Unpublished, for Chautauqua Institute?

“Fiddling with the Stars.” Unpublished, presented at Chautauqua Institute, July 13, 1956.

“RVW: A Remembrance.” 1958, for radio broadcast (unpublished, copy in the British Library, London, as well as in the Clarke estate).

“I had a Father Too (Or the Mustard Spoon).” 1969-73, memoir primarily concerning Clarke’s youth up to 1910 (unpublished).

Program Note on the Viola Sonata, 1977. Reprinted in A Rebecca Clarke Reader, 225-226.

Recordings by Clarke as a Violist

Other recordings doubtless are in existence, since in her diary Clarke notes making recordings with other musicians and ensembles.
Trio by Mozart, K. 494 (Kegelstatt) with Kathleen Long, piano, and Frederick Thurston, clarinet. London, c. 1930. Menuetto movement re-released on The Recorded Viola CD set, Pearl GEMM CDS 9148, 1995.

Sextet by Frank Bridge, at the memorial concert for Bridge at the Coolidge Auditorium, Washington D.C., March 11, 1941. Tape at Library of Congress.

Bibliography
Banfield, Stephen. “Clarke [Friskin], Rebecca (Thacher).” The Norton/Grove Dictionary of Women Composers. Published in the U.K. as The New Grove Dictionary of Women Composers. London: Macmillan, 1994; New York: Norton, 1995.
__________. “‘Too much of Albion’? Mrs. Coolidge and her British connections.” American Music IV (1986): 59-88.

Barr, Cyrilla. Elizabeth Sprague Coolidge: American Patron of Music. New York: Schirmer, 1998.
__________. “Rebecca Clarke’s One Brief Whiff of Fame.” In Rebecca Clarke: Essays on a Life in Music. Ed. Liane Curtis. Waltham, MA: The Rebecca Clarke Society, Inc., 2005.
__________. “A Style of Her Own: The Patronage of Elizabeth Sprague Coolidge.” In Cultivating Music in America: Women Patrons and Activists since 1860. Edited by Ralph P. Locke and Cyrilla Barr, 185-203. Berkeley and Los Angeles: University of California Press, 1997.

Baylock, Maria. “Rebecca Clarke and the English Ensemble.” In Rebecca Clarke: Essays on a Life in Music.
__________. “Women Musicians in Early Twentieth-Century London: The String Players in the English Ensemble.” M.A. Thesis, Southern Methodist University, 1998.

Bernstein, Jane, A. “Rebecca Clarke (1886-1979).” Historical Anthology of Music by Women. Ed. James R. Briscoe. Bloomington, Indiana: Indiana University Press, 1987.

Brian, Havergal. “Woman as a Composer.” Musical Opinion, April 1936: 587-88; reprinted as “British Women Composers” in Havergal Brian on Music, edited by Malcom MacDonald, 355-57. London: Toccata Press, 1986.

Callus, Helen. “Forgotten Masterpiece: Rebecca Clarke’s viola music speaks for all times.” Strings April 2003 (Issue 109). [includes edition of Clarke’s “I’ll Bid my Heart Be Still” for viola and piano].

Curtis, Liane. ed. A Rebecca Clarke Reader. Bloomington, In: Indiana University Press, 2004.
__________, “A Case of Identity: Rescuing Rebecca Clarke.” The Musical Times (London) 137 (May, 1996): 15-21. Available as pdf http://www.rebeccaclarke.org/identity.pdf.
__________. “Clarinet and Viola Featured in Rebecca Clarke’s 1941 Duet.” The Clarinet 29/2 (March 2002), 88-91.
__________. “Clarke, Rebecca.” The New Grove Dictionary of Music and Musicians (revised edition, 2001), Vol. III, 919-921.
__________. “A Newly Discovered Song by Rebecca Clarke.” In Rebecca Clarke: Essays on a Life in Music.
__________. Notes for Compact Disk “The Cloths of Heaven: Songs and Music for Violin by Rebecca Clarke.” Guild Music Ltd., GMCD 7208, reissued 2000 (originally on the Gamut label, 1992). Patricia Wright, soprano; Jonathan Rees, violin; Kathron Sturrock, piano.
__________. “Rebecca Clarke (1886-1979).” Anndherung XII: An Sieben Komponistinnen (Kassel: Furore Verlag, 2001), 78-106. [German revised version of Musical Times 1996 article]
__________. Rebecca Clarke and the British Musical Renaissance. In A Rebecca Clarke Reader, 19-42.
__________. Rebecca Clarke and Virginia Woolf: Moments of Being.” In Rebecca Clarke: Essays on a Life in Music.
__________, ed. Rebecca Clarke: Essays on a Life in Music. Waltham, MA: The Rebecca Clarke Society, 2005.
__________. “Rebecca Clarke and Sonata Form: Questions of Gender and Genre.” The Musical Quarterly 81/3 (1997): 393-428. (Available on JSTOR http://www.jstor.org/. through academic libraries).
__________. Review of: Rebecca Clarke, Ave Maria for Upper Voices (SSA) Unaccompanied (Oxford Church Music for Upper Voices); Chorus from Shelley’s “Hellas” for Five-Part Women’s Chorus (SSSAA) Unaccompanied (Oxford Choral Music); Morpheus for Viola and Piano, [ed. Christopher Johnson] (Oxford Music for Viola); Prelude, Allegro, and Pastorale for B[flat] Clarinet and Viola, [ed. Christopher Johnson] (Oxford Chamber Music); Songs with Violin, [ed. Christopher Johnson] (Oxford Vocal Music); Songs with Piano, [ed. Christopher Johnson] (Oxford Vocal Music). Notes: Quarterly Journal of the Music Library Association 60/1 (September, 2003), 278-285. (Available on JSTOR http://www.jstor.org/. and http://muse.jhu.edu/journals/. through academic libraries).
__________. “Viola meets Clarinet: Rebecca Clarke’s Prelude, Allegro, and Pastorale is finally Published.” The Strad 110 (Oct. 1999): 1078-83. (Also published in Korean language version).

Evans, Edwin. “Clarke, Rebecca.” Cobbett’s Cyclopedic Survey of Chamber Music, I, ed. Cobbett, 282-3. London, OUP, 1929, 2/1963.

Evans, Peter and Stephen Banfield. Music in Britain: The Twentieth Century, edited by Banfield, The Blackwell History of Music in Britain, Vol. 6, 247-8, 469-70. Oxford: Blackwell, 1995.

Fuller, Sophie. The Pandora Guide to Women Composers: Britain and the United States, 1629-Present, 89-92. London: Pandora, 1994.

Holbrooke, Joseph. “Women composers.” In Contemporary British Composers, 304. London: C. Palmer, 1925.

Jacobs, Veronica. “Rebecca Clarke,” Viola Research Society Newsletter 12 (April 1977): 4-5.

Johnson, Christopher. “Rebecca Clarke: A Thematic Catalogue of Her Works.” Unpublished student paper, 1977.
__________. “Introduction.” Rebecca Clarke: Trio for Violin, Violoncello and Piano. New York: Da Capo, 1981, v-xi [included with reprint of 1928 publication of the Trio]. Reprinted in part as “Remembering the Glorious Rebecca Clarke.” American Women Composers News 3 (1981): 3-6.
__________. Sleeve note for recording Rebecca Clarke: Music for Viola. Northeastern Records, Boston, MA; LP 1985, CD 1989.
__________. Biographical information and editorial notes to Morpheus for viola and piano / Rebecca Clarke. New York: Oxford University Press, 2002. Includes facsimile reproduction of Clarke’s typescript of her essay “The Woman Composer . Then and Now,” ca. 1948.
__________. Biographical information and editorial notes to Songs with Piano / Rebecca Clarke. New York: Oxford University Press, 2002.
__________. Biographical information and editorial notes to Shorter pieces for viola and piano / Rebecca Clarke. New York: Oxford University Press, 2002.
__________. Biographical information and editorial notes to Shorter pieces for cello and piano / Rebecca Clarke. New York: Oxford University Press, 2003.

Jones, Bryony. But Do Note Quite Forget: The Trio for Violin, Cello, and Piano (1921) and The Viola Sonata (1919) Compared. A Rebecca Clarke Reader, 79-100.
__________. “The Music of Rebecca Clarke (1886-1979).” Ph.D. Thesis, University of Liverpool, 2004.

Kielian-Gilbert, Marianne. “On Rebecca Clarke’s Sonata for Viola and Piano: Feminine Spaces and Metaphors of Reading.” In Audible Traces: Gender, Identity, and Music, edited by Elaine Barkin and Lydia Hamessley, 71-114. Zurich: Carciofoli Press, 1998.

Kohnen, Daniela. Rebecca Clarke, Komponistin und Bratschistin. Egelsbach: Verlag Hdnsel – Hohenhausen, 1999.

Lerner, Ellen. “A Modern European Quintet c. 1900- c. 1960.” Unpublished, typescript in the New York Public Library, Fine Arts Division; 1981/ rev. 1985.
__________. “Clarke, [Friskin], Rebecca (Thacher).” The New Grove Dictionary of American Music I, 452.

Lerner, Ellen, D. Musicologist Ellen D. Lerner Interviews Rebecca Clarke, 1978 and 1979. A Rebecca Clarke Reader, 203-224.

MacDonald, Calum. “Rebecca Clarke’s Chamber Music (I).” Tempo: A Quarterly Review of Modern Music, 160 (1987): 15-26.
__________. “Introduction” to reprinted edition of Rebecca Clarke: Trio for Violin, Violoncello and Piano. London: Boosey and Hawkes, 1994.

MacDonald, Malcom. Review of R. Clarke, Viola Works (Patricia McCarty, et al.). Gramophone (Feb. 1987): 1144, 1149.

Ponder, Michael. “Double Talent.” The Strad 97 (August 1987): 250-253.
__________. “Rebecca Clarke.” British Music Society Journal v (1983): 82-8 (includes list of works based on Johnson, 1977).

Reich, Nancy. “Rebecca Clarke: An Uncommon Woman.” A Rebecca Clarke Reader, 10-18.

Richards, Deborah. “And you should have seen their faces when they saw it was by a woman”: Gedanken zu Rebecca Clarkes Klaviertrio.” Neuland: Ansdtze zur Musik der Gegenwart [Cologne] IV (1983-84): 201-08.

Squire, W. H. “Rebecca Clarke see Rhythm as Next Field of Development.” Christian Science Monitor, 12 December 1922: 18.

Sherman, Robert. Rebecca Clarke Remembers Myra Hess. [Transcription of 1976 interview] A Rebecca Clarke Reader, 162-169.
__________. Robert Sherman Interviews Rebecca Clarke about Herself. Transcription of 1976 interview] A Rebecca Clarke Reader, 170-181.

Stanfield, M[illicent] B.: “Rebecca Clarke: violist and composer.” The Strad 77 (1966): 297, 299.

Stein, Deborah. Dare Seize the Fire: An Introduction to the Songs of Rebecca Clarke. A Rebecca Clarke Reader, 43-78.

Uscher, Nancy. Violist to Violist: Nancy Uscher.s Interview with Rebecca Clarke Friskin, April 11, 1978. A Rebecca Clarke Reader, 182-202.

Woodward, Ann M. “Introduction.” Rebecca Clarke: Sonata for viola (or cello) and piano. New York: Da Capo Press, 1986, v-vi [Reprint of 1921 publication of Sonata].