Rebecca Clarke

Taken at a slow processional tempo this work has a predominantly canonic texture. The syncopated passages are at once sombre and sensual, and the balancing homphonic phrases achieve real power. A shor...

This is one of Clarke's many pieces on love, and one of the best. It combines the English modality of earlier times with foretastes of the adventurous chromaticism of her later work. It is a lovely pi...

This is a lilting take on the Elizabethan lute-song full of smooth Stanford-like nineteenth-century harmonies, exquisitely tempered with modal effects.

This is an appropriately aching setting of Sir Philip Sidney's poem of unending desire and longing. There are gorgeous chromatics and enharmonics and a masterful use of a triplet pattern which becomes...

Weep you no more, sad fountains is a modern take on the Elizabethan lute-song, integrating the characteristic alternations of minor and major, fondness for cross-relations, and vivid word-painting. Th...

Music, when soft voices die combines aspects of nineteenth-century English pastoral style with some of the tonal adventurousness of Vaughan Williams's Shakespeare settings. This is an exceptionally be...

For unaccompanied SATB to words by Thomas Campion. This is a lilting take on the Elizabethan lute-song full of smooth Stanford-like nineteenth-century harmonies, exquisitely tempered with modal effect...

for unaccompanied SATB Weep you no more, sad fountains is a modern take on the Elizabethan lute-song, integrating the characteristic alternations of minor and major, fondness for cross-relations, and...

For unaccompanied SATB to words by Tennyson.

Now fie on love is a rollicking glee with all the usual imitative points and a somewhat unusual allotment of brawny sarcasm. It makes an effective encore.

He that dwelleth evokes Holst and Vaughan Williams in their more visionary modes. This is especially true of the opening and closing passages with their gently bitonal effect that surrounds the highly...

gemCh (SSAATTBB), Solisten (SAATB) - Chorpart.

Although quite short, this is one of Clarke's boldest and, in some respects, most ambitious compositions. It sets Shelley's magnificent ode to the Evening Star.

This exquisite setting for SSA unaccompanied voices of a well-known Marian motet (in Latin) is the first of Rebecca Clarke's choral works ever to be published.

gemCh (SATB) - Chorpart.

gemCh (SATB) - Chorpart.

Partially based on a plainsong melody, this peaceful setting of the Latin hymn text features sonorous harmonies, subtle time changes, and fluid choral homophony, with a beautiful soprano solo that flo...

This work was written around 1940, placing it near the beginning of a series of Clarke's late compositions. It both looks forward to her lean, linear, avowedly modern conceptions and backwards to work...

Jackson effectively intersperses sonorous polyphonic passages for full choir with spoken text and murmuring ostinato motifs in free time.