Unfortunately we do not have a summary for this item at the moment

I believe it is as a composer that she will be most treasured - all the pieces that I have heard are gems - imaginative, well constructed, and a pleasure to play. Two Pieces is no exception. The first piece, 'Lullaby', is a gently-rocking dialogue between the two instruments. No great technical demands are made on the players except perhaps in the last four bars where the tuning of both players' double stops could be problematical. The second piece, 'Grotesque', is, as its title suggests, a complete contrast. This is wonderfully effective writing, full of tricks - pizzicato both right and left hand, double harmonics, sul ponticello etc. These two pieces would be equally happy in the hands of professionals, amateurs and musical children (i.e. around Grade 7 standard). They are a real opportunity to let the musical imagination blossom. * Roger Smith, Music Teacher, May 2004 *
'Lullaby' and 'Grotesque', the two pieces, are charming and listeners and performers alike will find them enjoyable . . . ['Lullaby'] is a beautiful little piece full of colour, subtlety and gentle twists and turns. 'Grotesque' provides a strong contrast in character. Vigorous and robust in nature, it makes much use of imitation, cross-rhythms and harmonics. Both of these pieces are excellent material for ensemble training but also rewarding in themselves. The viola and cello parts are sensibly printed as a score and there is an additional violin part. Editing is kept to a minimum but is very clear. I would highly recommend this work. * Kay Tucker, ESTA News and Views March 04 *
The presentation of this new edition is good. The notes are clear and the only page turn, in 'Grotesque', is carefully planned to coincide with the only bar of rest in the music. There is a full page of notes on the history of the work with credit to Paul Coletti for his contributions to the preparation of the edition. * Lisa Moody, Canadian Viola Society Newsletter, Spring 07 *

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 1976.

Lullaby ; Grotesque