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Viola V22 N2 BOOK REVIEW A REBECCA CLARKE READER Reviewed by Dwight Pounds What Clarke Before examining the Rebecca referred to as Clarke Reader itself, it might prove her “mini- useful to place the Anglo-American revival” began composer, Rebecca Clarke (1886- musically with a 1979), in historical perspective. 1976 birthday She is a relatively new phenome- tribute broad- non in the viola world as it exists cast on WQXR in 2006 and as such it sometimes Radio that is difficult for us to imagine that included her she was a contemporary of our Viola Sonata. grandparents and great-grandpar- The perform- ents. She was six years of age when ance by Toby Johannes Brahms died (1892) and Appel (viola) was already a mature woman of and Emanuel Ax 32-33 in 1919 when she entered (piano) possibly her viola sonata in the Coolidge was its first pub- Competition. Lionel Tertis, who lic presentation was at the height of his powers in decades. The (and with whom she studied program also viola), and is referenced in the included her book but William Primrose is not. Piano Trio and The vast majority of Rebecca three songs. Clarke's career, both as a composer Toby Appel also and chamber music violist, was presented the pre-Primrose. Hers was the world first performance Clarke, ca. 1910, at the Royal College of Music. of Ralph Vaughan Williams, of the Viola Used with permission. Arnold Bax, York Bowen, Myra Sonata at a viola congress in 1987 Ithaca (Congress XIX in 1991) and Hess, Gustav Holst, Ernest Bloch, at Congress XV in Ann Arbor. The Evanston congresses respectively. Maurice Ravel, William Walton, composition quickly proved popu- Paul Hindemith and Lionel Tertis. lar and was performed by Csaba Prelude to Publication: The She lived to see the onset of inter- Erdélyi at Congress XVII in 1989 Rebecca Clark Society released this national viola congresses but in Redlands, CA, and by Paul bulletin on August15, 2005: attended none, nor do they appear Coletti at Evanston in 1993 at The Rebecca Clarke Society has pro- to be mentioned in any documents Congress XXI. Likewise it quickly duced a new printing of A Rebecca released to date by her estate. She spread to student ranks-Kirsten Clarke Reader, a volume of writings died in 1979, the year that Docter and Kathryn Lockwood by and about British-born composer Congress VII convened in Provo, played it as part of their Primrose and violist Rebecca Clarke (1886- Utah, in her 93rd year. Competition programs at the 1979). Previously published by VOLUME 22 NUMBER 2 25 Indiana University Press, the book and his stewardship of her works. A Rebecca Clarke Reader, Liane was recalled from circulation last year Johnson countered, totally reject- Curtis, editor. in response to threats of legal action ing her accusations: far from deny- 241 pages soft back, 7 contributors from Clarke's estate. This past June, ing access, he asserted that he wel- Published by the Rebecca Clarke Indiana released its distribution rights comes scholarly interest in Clarke Society, 2006 to feminist activist and music histori- and entertains any application to Website: www.rebeccaclarke.org an Liane Curtis, the book's editor, see the unpublished materials. He who subsequently agreed to make a clearly thought that Curtis went The book essentially encompasses paperback version available in time too far in the Reader with unau- three sections or main topics: for the 119th anniversary of Clarke’s thorized excerpts from unpub- recent essays about Rebecca August 27 birthday.1 lished works. Curtis countered that Clarke, her published writings, and the brevity of the material and its her mini-revival as revealed in Briefly, the problem in part con- scholarly use in the Reader place it interviews and program notes on cerned an “uncomfortable and under the umbrella of copyright law’s the Viola Sonata three decades unfriendly dispute between Ms. ‘fair use’ provisions. The Indiana before her death. Curtis [Dr. Liane Curtis, Reader University Press, citing “errors in editor and President, Rebecca the publication of the book,” with- Recent Essays About Rebecca Clarke Clarke Society] and Mr. Johnson drew the just-published Reader The treatment of Rebecca Clarke as [Christopher Johnson, who owns from circulation, though Curtis a composer and one of the most the copyright to Clarke’s unpub- refused to return 200 copies in her important violists of her time by the lished music and writings].” Dr. possession. Legal action is yet opening essay’s author, Nancy Reich, Curtis criticized both his editing pending.2 is enlightening. It is here that we Geoffrey Ovington JOURNAL OF THE AMERICAN VIOLA SOCIETY 26 learn that Clarke was the only woman accepted by Sir Charles Stanford, her composition teacher at the Royal College of Music. Of this, she wrote in her self-deprecating style, “…that I was the only woman he had accepted was a source of great pride to me, though I knew full well that I never really deserved it (italics mine).” It was also Sir Charles who urged her to switch from violin to viola, that play- ing the viola would place her “right in the middle of the sound, and [she] can tell how it is all done.” (11) Also documented are accounts of Clarke’s independence, that she sup- ported herself for over two decades playing in orchestras and chamber groups; that she became of the first women to be employed by an major orchestra in London; that her Viola The English Ensemble (Piano Quartet), ca. 1928-1929.(L to R) May Mukle, cello; Sonata and Piano Trio each won sec- Rebecca Clarke, viola; Marjorie Hayward, violin; Kathleen Long, piano. Used with ond place in the 1919 and 1921 permission. Coolidge Competitions respectively the cello recital next year, you had ever Women Musicians. As for Clarke’s and that she was the only woman thought of the possibility of having a role in the British Musical composer represented in the Coolidge woman! I can’t help feeling, and I believe Renaissance, Curtis writes: between 1918 and 1939; that she you do too, that a great cause is served in completed a world-wide tour with putting the work of women executants on Clarke…both contributed to and bene- May Mukle (cellist and good friend) an equal footing with that of men-that is, fited from a rejuvenation of an English in 1922-23; that she presented a con- only when it really is equal… (15) musical tradition and a sense of British cert of her own works at Wigmore national identity. Consideration of Hall in 1925 “in which she was joined Editor Liane Curtis cuts to the chase Clarke’s experiences at the RCM, and her by Myra Hess and other leading early in her essay, “Rebecca Clarke friendships with Stanford’s other compo- English musicians; that she played and the British Musical Renaissance,” sition students (Gustav Holst, Vaughan with an all-woman string quartet, on the issue of the “woman compos- Williams, Frank Bridge, George organized and managed the English er.” The term was considered pejora- Butterworth, others), and emphasizes the Ensemble chamber group (piano, vio- tive in Clarke’s time and she was parallels and possible influences between lin, viola and cello). Though Reich careful to distance herself from it, Clarke and her colleagues. (25) admits that the composer was “not possibly because Ethel Smyth, who known as a fighter for women’s suf- was both strident and eccentric and Commenting on Clarke’s style, frage or women’s rights,” (15) she cites quite the opposite of Clarke in per- Curtis continues: a letter written to Elizabeth Sprague sonality and manner, in Curtis’ words Coolidge in which Clarke writes: “might be seen as the negative icon of But it is in the genre of song that the full this ‘woman composer.’” Still, she breadth of her musical style and develop- I have been wondering, if, when you said was part of the group of women who ment is revealed; her output of fifty-five you were undecided about the cellist for in 1911 founded the Society of songs spans her full creative life. (25) VOLUME 22 NUMBER 2 27 them. The difference is as great as between a thing read about and a thing experienced…. The Beethoven quartets more than any others are pre-eminently for the player rather than for the listener. Brought into the world as they were by slow and laborious growth it is only by slow and laborious concen- tration that they will reveal them- selves fully. (120) To earn this revelation, Clarke gladly allowed the quartets to slowly and painstakingly etch themselves onto her soul over a three-decade period. It is from this perspective that she lovingly shares insights into her dear- est and most intimate friendships, the movements, themes and motives-even individual notes of the Clarke in August, 1972. Used with permission. quartets. These have become so inte- grated into her thought that they The essay concludes with a com- In Her Own Words take on personalities: she knows parison of settings by Clarke and their joys and sorrows, their peculiar- Ivor Gurney to two poems by Clarke’s Published Writings ities, their preference for brandy and Yates, Down by the Salley Gardens “The Beethoven Quartets as a cigars, lace and leather, whether they and The Cloths of Heaven, and her Player Sees Them” is written strict- prefer brie, Swiss, or cheddar, Passacaglia on an Old English Tune ly as a quartet member with very Rembrandt or Holbein, Schiller or (for viola and piano), the only little reference to anything pertain- Goethe.
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