Rebecca Clarke Essays On A Life In Music

Rebecca Clarke Essays On A Life In Music-15
This act helped to sever their relationship completely and permanently, and in 1910 she left home, channeling her frustration with her family life into her composing.

This act helped to sever their relationship completely and permanently, and in 1910 she left home, channeling her frustration with her family life into her composing.Left on her own from this point, she supported herself with a burgeoning career as a violist.

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Rebecca studied violin from an early age and switched to viola at the urging of her teacher, Sir Charles Stanford of the Royal College of Music.

As a violist in an orchestra, she could be "in the middle of the sound," and learn how the music was constructed.

Clarke was self-conscious about having a long list of pieces followed by her name in the composer's place.

While the media had light praise for compositions bearing Clarke's name, it greatly applauded the work of the nonexistent 'Mr. For Clarke, this only strengthened her belief that it was neither the time nor the place for female composers, though an essay by her from around the same time speaks of the fertility of the United States to produce a major composer, who happened to be a woman.She incorporates simplicity and peacefulness as well as complex rhythms with stormy outbursts.In addition to her compositions for viola and piano, she wrote chamber works including her most famous piece, her Piano Trio, and many songs, preferring to focus her energy on these smaller forms rather than on large orchestral works or operas.While her principal influences would appear to be English folk song and French Impressionism, the musical passion derived from her own life is uniquely her own.Many of Rebecca Clarke's works, including Morpheus and the Sonata for Viola and Piano, were never published.The piece shows off the impressionistic musical language Clarke had developed, modeled on the music of Claude Debussy and Ralph Vaughan Williams, that is also apparent in her Viola Sonata.The harmonies are ethereal and otherworldly; the title is the name of a Greek god, who was especially associated with sleep and dreams.Rebecca Clarke, by her own admission, had a hard time composing while she was in love.This accounts for a dry spell in the early 1920s when she had a romance with a married singer.To learn more or modify/prevent the use of cookies, see our Cookie Policy and Privacy Policy.Upon hearing two as yet unpublished works for viola, played by violist Paul Coletti, we become acquainted with the distinct and beautiful musical voice of Rebecca Clarke, a talented violist herself as well as a prolific composer of chamber and vocal music. Her mother was from Bavaria and her father, Joseph Clarke, an American, was a representative for the Eastman Kodak Company in Europe. Joseph played cello and provided his four children with musical instruction.


Comments Rebecca Clarke Essays On A Life In Music

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