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After a year’s silence, I write to memorialize the following:

  • Every note that Rebecca Clarke wrote for performance and left in a performable state has now been published—admittedly, by six different publishers, but a Gesamtausgabe is a Gesamtausgabe, no matter how you slice it, and hello, Bach and Beethoven.
  • Every note that Clarke wrote for voices and left in a performable state has now been published and recorded.
  • Every note that Clarke wrote for instruments and left in a performable state has now been published, and virtually every bit of that has been recorded.
  • The remainder, consisting of a single counterpoint exercise and two fragments, is in the works.

Details may be seen here, here, and here. I rest my case.

Favorable cards from Clarke's tarot deck
Favorable cards from Clarke’s tarot deck (Ferd. Piatnik e Figli [Ferd. Piatnik & Söhne], Vienna, n.d.),
which she was given as a gift on 19 September 1928 and used to read Ravel’s fortune a month later—one of several experiences that ultimately led her to put away the cards for good, “as there were things I was simply not meant to know.”

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When British mezzo-soprano Kitty Whately steps in at the last minute for a travel-restricted colleague, she brings backup in the form of her Mum and her Dad—and when Mum is the bewitching Dolly from the BBC’s Geordie epic When the Boat Comes In, and Dad is Inspector Lewis, that’s some serious backup. Add the brilliant pianist Simon Lepper, and you’ve got one hell of a show.

The item in question, ‘Careful the tale you tell…’, streams live in HD on Wednesday, December 2, 2020, at 7:30 p.m. Greenwich Mean Time (check here for your local equivalent), and remains available for replay through New Year’s Day, 2021, as part of Wigmore Hall’s terrific Autumn 2020 Series.

The bill of fare—a rich stew of readings, narratives, stories-in-song, and songs about storytelling—ranges all the way from Tennyson to Atwood, and from Stanford to Sondheim. Along the way, it picks up John Masefield’s The Seal Man, as set by Rebecca Clarke, and since Simon Lepper was half of one of the best performances of that piece we’ve ever heard, and since he and Kitty Whately reportedly operate on a comparably exalted plane, we signed up at once, even without the added glam-factor of Mum and Dad—whose names, in case you haven’t already worked this out, are Madelaine Newton and Kevin Whately.

Login required—it takes all of two minutes to set up, here. Contribution requested, and worth every penny.

In the meantime, here’s Simon, explaining it all for you, in what will surely prove to have been The Golden Age of Collaborative Pianists, ushered in by Gerald Moore, of sainted memory.