Rebecca Clarke was a member of a musically-inclined family. Her mother played viola and her father cello. Clarke was given a pair of violins by her mother and brother to form a family quartet. She studied violin at The Royal Academy of Music. She turned down a professor’s proposal and continued her education at London’s Royal College of Music, where she became the first woman composition student. Initially, she studied violin. However, her composition teacher, Sir Charles Villiers Stanford, encouraged her switch to Viola.
Clarke studied under Stanford for a decade before beginning her formal education. Frank Bridge and Gustav Holst are on the list. Ralph Vaughan Williams is also included. Her work is heavily influenced and compared to Debussy by British composers at the time. Clarke, unable to complete her education in the United States, began her career as a musician in London. She was one of the very first female professional orchestra players. By then, all-female ensembles were becoming popular. Clarke, who was a Violaist for many decades, wrote most of her music on the Viola.
In 1919 she composed the Viola Sonata for a competition, where she finished second behind Ernest Bloch. It was thought that no woman could compose such an amazing piece of work. Bryony B. Jones, in her article “‘ But Do Not Quite Forget ‘: The Trio For Cello, Piano, and Violin (1921) and Viola Sonata, (1919) Compared”, identifies a cyclic motifs approach, string techniques and military motifs as well as a harmonic language combining multiple tonalities. It shows how Debussy, Ravel and military themes were influenced by Clarke and his composition.
Clarke’s work is often compared to Debussy, whose works are characterized by their impressionistic qualities. Impressionism is evident in Clarke’s Viola Sonata. It was also published in the very same year as Hindemith Viola Sonatas by Bloch. It opens with an intense pentatonic theme.
Impetuoso begins with a viola fanfare, then becomes a melodic harmony. The piece is not in the usual key structure of a sonata. This is expected for a sonata from the 20th century. This piece, which references Debussy, is quite chromatic. The viola improvises a line similar to an improvisation over the chord held by the piano in the modal introduction. The introduction remains in E dorian right up to the start of m.13, when the main theme begins. British music is known for its use of folk songs and modes throughout the entire movement. The introduction is primarily used to introduce both motives.
The first motif has a military tone with its dotted beat and open fifth. The second motif is an example of whole tone intervals. The piano starts with an F chord, which confirms the E pitch as the main center. The chord is maintained throughout the introduction without re-articualtion. The violist has the opportunity to create a sound on their own before playing with pianist. Clarke’s harmonic form is similar to Debussy. The modal opening leads to a sequence of minor thirds moving seventh and nineth chords.
The second theme, which is first heard in m.2, represents a general whole-tone section in the movement. The transition from the introduction to the main motif is emphasised by a half-step drop of the solo in m.13. The piano then confirms the change over a fm7. This half-step movement blurs the distance, and highlights the change in the key instead of the contrast.
The enharmonics are used to record the dynamic drops and swells as well as the constant direction changes. The G-flat is written as F in the first measure, then ascends to G sharp in the second. The phrase is slowed down by this, which prompts it to repeat the measure before proceeding. This produces two five bar phrases (mm.13-17 and 18-22).
The second part (mm.23-30), extends the range to create a sense that the theme is no longer as unstable. The harmony is settled, and the piano texture becomes more relaxed with just a few 8 notes in the triplets. The regular phrase structure is back with two four bar phrases.
The ciola’s first theme is brought back into transition at m.31. The phrase builds into a fpp at m.37. This is where the second motif’s character is established. The piano moves through parallel triads before falling one whole step down to the G-major triad, which starts the second theme. The right-hand melody of m.39 is played in half steps, which continues this feeling of descending movement.
The second theme is more accurate to refer to the’subordinate” theme (mm.39-55) which refuses control by the main motif. It is in a new tone area.
The second theme has a mood that is very different from the first. The theme is played by the piano alone, with a small range. The ending (mm.67-74) accentuates the falling halfstep figure. This theme first breaks the second into two two-bar sections, then descends in half steps by descending from G to C.
The section is less saturated in color than the previous sections. The A-flat and the G clash at m.75. This suggests the G phrygian Mode. The piano will present the theme x in a unique way, emphasizing a half step dissonance. It is marked with pp (misterioso) and the presentation will repeat at m.106. The introduction is expanded in the development, initially in a military-like character at mm. The crescendo m.90 is repeated at the 88-89 mm. The piano moves octotonicially in minor-thirds (mm.90-102) from G to A-flat to B-flat to D-flat.
The development concludes in a surprising way. It begins with a piano half step descent in m.101. The register opens up at m.106 and expands with an ambiguous – 6 chord. This is followed by a recollection of the original melody, played on the piano.
The material of this second theme changes throughout the closing section. In the coda (mm.167-185), the second theme is re-arranged with the same rhythm. The first theme is expanded with a major-arpeggio. It emphasizes that the form changes from the second to the third bar. The key is important in indicating the return of this second theme.
By retaining its original form, the sonata maintains its integrity. Clarke takes the sonata into new territory, using two similar themes.
