Shorter pieces for cello and piano

Shorter pieces for cello and piano

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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 more

Product details

  • Sheet music | 24 pages
  • 228 x 304 x 2mm | 105g
  • Oxford University Press Inc
  • New York, United States
  • English
  • 0193866552
  • 9780193866553
  • 1,059,053

Review quote

This beautifully presented volume contains all extant shorter pieces that Rebecca Clarke composed or arranged for cello and piano. As usual Clarke's sensitive, imaginative, and intensely personal writing is at one with the characteristics of both instruments combined . . . Christopher Johnson . . . has written excellent editorial notes . . . this last piece [ I'll bid my heart be still] is an old Scottish Border melody which Clarke has arranged with her customary magic . . . Passacaglia on an Old English Tune . . . is a bold piece, proud and wonderful to play . . . This collection of pieces should be on every cellist's shelves; they are real music well presented. * Nicola Anderson, ESTA New and Views March 04 *show more

About Rebecca Clarke

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 played and 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 more