"Aaron Jay Kernis, Goblin Market" [audio recording]
For the digital booklet, more extracts or to purchase, see: Hyperion.
Kernis, Aaron Jay; music (American, born 1960)
Rossetti, Christina Georgina; lyrics (British writer, 1830-1894)
Miller, Rebecca; conducting The New Professionals
"Goblin Market." Signum Classics, https://signumrecords.com/product/goblin-market/SIGCD186/. Accessed 5 Sept. 2017.
The Christina Rossetti in Music project website is hosted in Canada at the University of Ottawa Library, and we aim to comply with Canadian copyright laws. If you believe we have violated Canadian copyright law, please contact us at christinarossettimusic@uottawa.ca. The Christina Rossetti in Music project is strictly not for profit and intended for research and educational purposes only.
21485036-CRM-goblinnmarket-kernis-cdcover.jpg [CD cover]; AaronJayKernisGoblinMarket-introclip.mp3 [audio excerpt: Introduction - Misterioso]; AaronJayKernisGoblinMarket-scene3-withmovement-exuberant.mp3 [audio excerpt: scene 3 - With Movement - exuberant]; AaronJayKernisGoblinMarket-epilogue.mp3 [audio excerpt: Epilogue]
genre: musical theatre|fantasy musical|chamber opera
instrumentation: piano|violin|cello|percussion
female composer|male arranger|female arranger|male translator
Rossetti poem(s): "Goblin Market"|"Mirage"|"Old and New Year Ditties"|"Song" ("Two doves upon the selfsame branch")
Work contains multiple Christina Rossetti texts
Notes about the text: The words of Rossetti’s poem “Goblin Market” are both spoken and sung in this piece of musical theatre. In addition to the musical score that Pen adds to much of Rossetti’s text, co-writers Polly Pen and Peggy Harmon also introduce new textual elements which include original dialogue adapted from Rossetti’s poem, lyrics based on other Rossetti poems [“Mirage,” “Old and New Year Ditties,” and “Song” (“Two doves upon the selfsame branch”)], as well as lyrics from other writers including Dr. Theodore Baker, Christian Morgenstern (translated by Max Knight), and John Gay.
Composition history: Commissioned by Douglas Aibel, the artistic director of the Vineyard Theatre, New York.
Performance instructions: Two female voices.
Performance history: Debuted at the Vineyard Theatre, New York in 1985; on 13 April 1986 moved to Circle in the Square, New York.
Recordings: Pen, Polly. Goblin Market: A Musical. Lyrics by Peggy Harman, adapted from the poem by Christina Rossetti, orchestration by James McElwain, performance by original Off-Broadway cast Terry Klausner and Ann Morrison, orchestra conducted by Jan Rosenberg, London, Jay Records, 1986.
Notes: The vocal score includes sections 1.“Come Buy, Come Buy” Lizzie, Laura 1’46”; 2. “Overture” Orchestra 3’23”; 3. “We Must Not Look” Laura, Lizzie 3’18”; 4. “Mouth So Charmful” Lizzie, Laura 3’18” (Music by Antonio Lotti, Lyrics by Dr. Theodore Baker); 5. “Do You Not Remember Jeanie” Laura, Lizzie 1’48”; 6. “Sleep, Laura, Sleep” Lizzie 3’31” (Lyrics by Christian Morgenstern, trans. Max Knight); 7. “The Sisters” Lizzie, Laura 2’22” (Music by Johannes Brahms); 8. “Some There Are Who Never Venture” Laura, Lizzie 3’19” (Lyrics by John Gay, additional lyrics by Polly Pen and Peggy Harmon); 9. “Mirage” Laura 1’41”; 10. “Passing Away” Laura, Lizzie 3’06”; 11. “Here They Come” Laura, Lizzie 4’11”; 12. “Like a Lily” Laura, Lizzie 3’12”; 13. “Lizzie, Lizzie, Have You Tasted” Lizzie, Laura 3’54”; 14. “The Sisters” (Reprise) Lizzie, Laura 2’44” (Music by Johannes Brahms); 15. “Two Doves” Lizzie, Laura 2’39”; 16. “Closing Music” 1’48”
Lotti, Antonio; additional music (Italian, 1667-1740). Brahms, Johannes; additional music (German, 1833-1897). Ives, Charles; additional music (American, 1874-1954)
Rossetti, Christina Georgina; text (English, 1830-1894)
Pen, Polly; additional text (born 1954). Harmon, Peggy; additional text. Baker, Theodore, Dr.; additional text (American, 1851-1934). Gay, John; additional text (English, 1685-1732). Morgenstern, Christian; additional text (German, 1871-1914)
Knight, Max; translation of Christian Morgenstern text (American, born in Austria, died 1993)
Kaye, Annie; piano-vocal score musical preparation. Yurman, Lawrence; musical editor and additional arrangements
In reference to the published works below: Ives DM271
Reference: Ives, Maura. Christina Rossetti: A Descriptive Bibliography. New Castle, DE: Oak Knoll Press, 2011.
Cataloguer: Mary Arseneau, University of Ottawa
Vocal score and libretto: "Goblin Market." DPS Dramatists Play Service, https://www.dramatists.com/cgi-bin/db/single.asp?key=1892. Accessed 9 July 2018.
This score is copyright protected. A score can be consulted here: "Goblin Market." DPS Dramatists Play Service, https://www.dramatists.com/cgi-bin/db/single.asp?key=1892. Accessed 9 July 2018.
Protected by copyright. For permissions and performing rights, contact Dramatists Play Service, Inc.
File(s): CRM-goblinmarket-pen-p40.jpg; CRM-goblinmarket-pen-libretto-frontcover.jpg; CRM-goblinmarket-pen-libretto-backcover.jpg
First line of lyrics: Morning and evening
solo: soprano|mezzo-soprano|bass|baritone|tenor
instrumentation: flute|bassoon|strings|oboe|piano
initial sharps/flats: no sharps or flats
Composition history: When asked how he came to set multiple Rossetti texts, Crafts responded: "I first discovered C Rossetti's poetry through Goblin Market. I found it an intriguing Gothic tale which I used to read aloud around the campfire during backpacking trips through the American Southwest. Through that process over several years, I found that melodies were forming in my head. Eventually, I constructed a libretto using the poem virtually verbatim, but assigning the words to the two women of course, but also to a narrator and women's and men's choruses. Perhaps the highlight of the opera is the lullaby that the two girls sing to each other after Laura has eaten the fruit but is still unaware of the consequences. I see it as the "calm before the storm." (Crafts)
Performance instructions: "An opera in one act based by the poem by Christina Rossetti." To be performed by a cast of solo characters, women's chorus, men's chorus and flute, oboe, bassoon and strings (or two pianos). Characters are voiced thus: Laura (soprano), Lizzie (mezzo-soprano), Narrator (baritone). There are also four soloists from the men's chorus: Goblin 1: bass; Goblin 2: baritone; Goblin 3: tenor; Goblin 4: tenor.
Performance history: Crafts comments that the duet "Golden head by golden head" is the only excerpt from the opera that has been performed thus far. View soprano, Deborah Benedict (Laura) and mezzo-soprano, Karen Carle (Lizzie) with pianist, Charles Worth performing this excerpt, after an introduction by the composer: "Goblin Market - Daniel Steven Crafts - excerpt: Duet." YouTube, uploaded by wilton warlock, 17 Aug. 2019, https://youtu.be/IuY1lNnbR-Q.
Crafts, Daniel Steven; music (American, born 1949)
Other data reference(s): Crafts, Daniel Steven. "Re: Goblin Market." Received by Mary Arseneau, 12 July 2017.
Musical score compliments of composer Daniel Steven Crafts.
This work is protected by copyright. All rights reserved. This score appears in this website by kind permission of the copyright holder, composer Daniel Steven Crafts.
115 pages (3 parts: pp. 2-40, "continuation" pp. 1-41, "conclusion" pp. 1-25); performance time 80 minutes
First line of lyrics: Laughed every goblin when they spied her peeping
instrumentation: trombone (alto)|trombone (tenor)|piano (prepared)|intermedia environment
Notes about the text: Klein’s program notes indicate that “The work itself is not intended as a programmatic representation of the poem, but is rather a structural and psychological study of the actions and characters portrayed therein; as such, it exists as a parallel or alternate realization of the original, almost as a shadow or specter.” Klein’s interpretation probes the psychology of the poem, and while it makes minimal use of text from Rossetti's poem, Klein's composition is closely modeled on the poem formally and structurally as well as psychologically.
Composition history: Supported by a Composer Fellowship from the National Endowment for the Arts.
Performance instructions: Klein’s Goblin Market for solo trombonist and environment is to be performed by “trombonist with prepared piano and intermedia environment.” The intermedia environment includes amplification, live FX processing, computer music, lighting, and staging. Front matter in the musical score also includes a diagram indicating the placement of various elements on the stage.
Performance history: William Bootz, trombonist; Douglas Reed, prepared piano: 5 December 2009; Harold Golen Gallery (Miami, FL) — Video recording of complete work presented at Twelve Nights Electronic Music and Arts Festival; 8 February 2005; University of Evansville (Evansville, IN); 1 December 1998; University of Evansville (Evansville, IN). William Bootz, trombonist; Joseph Klein, prepared piano: 11 June 1995; University of Tulsa (Tulsa, OK) — Living Arts of Tulsa New Genre Festival; William Bootz, trombonist; Douglas Reed, prepared piano • 2 June 1995; University of Nevada, Las Vegas — International Trombone Workshop; 16 February 1995; Louisiana Tech University (Ruston, LA); 15 February 1995; Stephen F. Austin State University (Nacogdoches, TX); 14 February 1995; University of North Texas (Denton, TX); 13 February 1995; University of North Texas (Denton, TX); 12 February 1995; University of Oklahoma (Norman, OK); 27 April 1994; Indiana University (Bloomington, IN) [Movements I, II, & V]; 30 March 1994; Morehead State University (Morehead, KY). Andrew Glendening, trombonist; Jay Flippin, prepared piano: 17 March 1994; Morehead State University (Morehead, KY) — MSU New Music Festival. William Bootz, trombonist; Douglas Reed, prepared piano: 22 February 1994; University of Evansville (Evansville, IN) [premiere]. (Klein, "Goblin Market")
Recordings: Klein, Joseph. "Joseph Klein: Goblin Market (1993)." Performance by trombonist William Bootz, pianist Douglas Reed, editor Joseph Klein, recorded at the University of Egansville, 5 Jan. 2009. YouTube, uploaded 20 June 2015, https://youtu.be/xGiWEUdkA14. Klein, Joseph. "Goblin Market." Performance by trombonist William Bootz, pianist Douglas Reed. Improbable Encounters, Innova 873, 2014, Disc 2. Innova, https://www.innova.mu/albums/joseph-klein/improbable-encounters
Notes: The score included front matter: "About the Work"; "General"; "Equipment"; "Symbols"; "Setup Diagram"
Klein, Joseph; music (American, born 1962)
Klein, Joseph; abridged and adapted text (American, born 1962)
Other data reference(s): Klein, Joseph. "Goblin Market." Joseph Klein, Division of Composition Studies, College of Music, University of North Texas, https://josephklein.music.unt.edu/compositions/goblin_market. Accessed 15 Dec 2017. Klein, Joseph. "Re: Goblin Market." Received by Mary Arseneau. 1-3 Feb 2017.
Musical score: Klein, Joseph. "Goblin Market." Joseph Klein, Division of Composition Studies, College of Music, University of North Texas, https://josephklein.music.unt.edu/compositions/goblin_market. Accessed 15 Dec 2017.
This score is protected by copyright. All rights reserved. The score appears on this website by kind permission of composer Joseph Klein.
File(s): CRM-goblinmarket-Klein.pdf; CRM-goblinmarket-Klein-piv.jpg; CRM-goblinmarket-Klein-pv.jpg; CRM-goblinmarket-Klein-p7.jpg
Notes about the text: The text was abridged by the composer. The score is preceded by the text of the complete original poem (pp. 4-19), with passages that are omitted in the opera libretto in italics.
Composition history: Commissioned by Rhymes with Opera, 2011. Douglas Buchanan commented that omitting the figure of Jeanie was not his decision but was done in response to time constraints (Buchanan).
Tempo markings: "With energy; threatening"; quarter note = c 69
Performance instructions: "for two Sopranos, Baritone, Violin, and Accordion." "The accordion part may be realized several ways, depending on the type of accordion available to the performer: [...] If an accordion with left-hand chordal buttons is not available, the left-hand part may be read by a bass-clef instrument, preferably a cello, while the available accordion plays the right-hand part."
Performance history: Premiered by Rhymes with Opera, Baltimore, MD, 2 Dec. 2011. Douglas Buchanan, conductor; Robert Maril, baritone; Elisabeth Halliday, soprano; Bonnie Lander, soprano; George Lam, violin; Ruby Fulton, accordion; and Lavena Johanson, cello. Video recordings of this premiere performance are available on vimeo and Youtube: "Goblin Market." vimeo, uploaded by Douglas Duchanan, 29 Nov. 2014, https://vimeo.com/113177630. | "Goblin Market." Youtube, uploaded by fultonruby, 12 Feb. 2012, https://youtu.be/Jwz1noyGMIU.
Buchanan, Douglas; music (American, born 1984)
Buchanan, Douglas; abridged text (American, born 1984)
Other data reference(s): Douglas Buchanan, www.dbcomposer.com. Accessed 14 March 2017. Buchanan, Douglas. "Following up on 'Goblin Market," Received by Mary Arseneau, 12 March 2016.
Musical score compliments of composer Douglas Buchanan.
Baltimore MD: 200 Miles to Arnstadt Publications
"200 Miles to Arnstadt Publications © 2007 (ASCAP)." All rights reserved. The score appears on this website by kind permission of the copyright holder, composer Douglas Buchanan.
64 pages (pp. 21-84); performance time approximately 24 minutes
Notes about the text: Setting of part of the poem "Goblin Market" (lines 1-86)
Composition history: Commissioned by Dr. Lon Dehnert, director of the UCO Concert Chorale, University of Central Oklahoma.
Performance history: 1. Celebrating a Quarter of a Century of Compositions: Music of Samuel Magrill, Mitchell Hall Theatre, University of Central Oklahoma, Edmond, Oklahoma, 5 September 1996; 2. Music From Manuscript, The University of Central Oklahoma Choral Society, Mitchell Hall Theatre, University of Central Oklahoma, Edmond, Oklahoma, 14 October 1996; 3. The University of Central Oklahoma Choral Society performing at the Society of Composers' Regional Conference, Concert III, Potter Auditorium, Raley Chapel, Oklahoma Baptist University, Shawnee, Oklahoma, 21 February 1997 (Magrill)
Magrill, Samuel; music (American, born 1952)
Magrill, Samuel; abridged text (American, born 1952)
Other data reference(s): Magrill, Samuel. "Re: Goblin Market." Received by Mary Arseneau, 15 Nov. 2016.
Musical score: Jerome Library, Bowling Green State University, Bowling Green, Ohio.
"© Samuel Magrill 1996." This score is protected by copyright. All rights reserved. The score appears on this website by kind permission of composer Samuel Magrill.
39 pages; performance time approximately 6 minutes
First line of lyrics: And so, Jeannie dwindled and went grey, and grew thin, until finally, Jeannie died.
genre: chamber musical|musical theatre|chamber opera
Notes about the text: Kath Burlinson’s libretto/book for this chamber musical adds a significant amount of new creative content, specifically, new characters and both spoken dialogue and sung original poetic text that are not part of Rossetti’s poem. The ghost of Jeannie [sic] is added as a solo singing role, and a new narrative frame is also introduced. This new narrative frame draws on details from Rossetti’s fictional work "Speaking Likenesses" (1874).
Composition history: Commissioned by the National Youth Musical Theatre.
Performance instructions: "A Chamber Musical in One Act, adapted from the poem by Christina Rossetti." Musical score with occasional brief sections of spoken dialogue; musical score for six female soloists, a large ensemble forming SATB chorus, orchestra accompaniment. "Goblin Market is a sung through work for ensemble and orchestra. What makes this piece different is that all of the main roles are for women and girls. The ensemble comprises of any number of young people. This is not an easy work. The score is a complex in harmonies, counterpoints and the orchestration is rich and dense. Goblin Market works at the opera-musical interface and is a challenging work for any company." ("Goblin Market")
Performance history: Lyric Theatre, Belfast. Youth Music Theatre UK production, George Square Theatre, Edinburgh, Edinburgh Festival, August 2005 ("Goblin Market (2005)"); view the album of 125 photos of this production on Flickr: https://flic.kr/s/aHsjCUxcKB. University of Cumbria, April 2009 and December 2013.
Notes: A chamber musical in one act, with musical numbers consisting of "Overture" (pp. 1-3); "Prologue" (pp. 4-10); "Chapter One" (pp. 11-23); "Chapter Two" (pp. 24-44); "Chapter Three" (pp. 45-56); "Chapter Four" (pp. 57-74); "Chapter Five" (pp. 75-95); "Chapter Six" (pp. 96-111); "Chapter Seven" (pp. 112-124); "Chapter Eight" (pp. 124-148); "Chapter Nine" (pp. 149-167); "Chapter Ten" (pp. 168-188).
Burlinson, Kath; adapted and additional text (British)
Other data reference(s): "Goblin Market." Josef Weinberger Music Publishing Group Vienna. http://www.weinberger.co.at/stage/detail.php?shopitem=1431&department=5&back=%2Fstage%2Fcontent.php%3Fdepartment%3D5%26page%3D6%23LinkMore_13. Accessed 17 March 2017. "Goblin Market (2005)." British Youth Music Theatre, https://britishyouthmusictheatre.org/shows/goblin-market-2005. Accessed 17 March 2017. Personal correspondence with librettist Kath Burlinson and Sean Gray of Josef Weinberger Limited.
This score is copyright protected. A score can be consulted here: "Stage Repertoire." Josef Weinberger Music Publishing Group Vienna. https://www.weinberger.co.at/stage/index.php. Accessed 27 Nov. 2019.
2003 [copyright]; 2009 February [publication]
This work is protected by copyright. For permissions and licensing rights please contact publisher Josef Weinberger Limited, London.
File(s): CRM-goblinmarket-mitchell-titlepage.pdf
First line of lyrics: Does the road wind uphill all the way?
Composition history: "By kind permission of the Authoress and Messrs. Macmillan & Co."
Barrett Lennard, Emma, Lady; music (English, died 1916)
In reference to the published works below: Ives DM126; Gooch and Thatcher 4837
Reference: Gooch, Bryan N.S. and David S. Thatcher. Musical Settings of Early and Mid-Victorian Literature: A Catalogue. New York: Garland, 1979.
Other data reference(s): Record for "Up Hill. Song, the words ... by C. G. Rossetti." British Library, http://explore.bl.uk/BLVU1:LSCOP-ALL:BLL01004477920. Accessed 30 Mar. 2019.
Cataloguer: Sarah Pennington, University of Ottawa
musical score: The British Library, London
First line of lyrics: Does the road wind up-hill all the way?
Dedication: "Dedicated to Sir Walter Parratt"
Smith, Mabel Saumarez; music (British, 1873-1931)
In reference to the published works below: Ives DM172
Other data reference(s): Record for "Up-hill. [Part-song.] Words by C. Rossetti." British Library, http://explore.bl.uk/BLVU1:LSCOP-ALL:BLL01004665285. Accessed 31 Mar. 2019.
London: Charles Vincent; London: Stainer & Bell Ltd.
Tempo markings: "Andantino malinconico (Tempo di Siciliana)"
Performance instructions: "For Chorus of Women's Voices: Three-part"
Castelnuovo-Tedesco, Mario; music (American, born in Italy, 1895-1968)
In reference to the published works below: Gooch and Thatcher 4834
Other data reference(s): Record for “Four Christina Rossetti Settings, for Women's Voices and Piano, op. 153.” WorldCat, www.worldcat.org/oclc/35187877. Accessed 7 Feb. 2018. Westby, James. "Castelnuovo-Tedesco, Mario." Grove Music Online, 2001. Oxford University Press. https://doi.org/10.1093/gmo/9781561592630.article.05128
musical score: Royal Academy of Music, London
"Copyright, 1952, by Galaxy Music Corporation"
4 pages (pp. 2-5); performance time 2 minutes
"Does the Road Wind Uphill?" [George Fergusson]
In reference to the published works below: Gooch and Thatcher 4836
First line of lyrics: Does the road go up hill all the way?
Notes about the text: The first line of Rossetti's poem is "Does the road wind up-hill all the way?" but the first line of Sibyl's song is "Does the road go up hill all the way?" The final two lines of the poem are "Will there be beds for me and all who seek? / Yea, beds for all who come," while the last two lines of the song are "Will then be rest for me and all who seek. Yea rest for all who come."
Performance instructions: "molto legato"
Notes: The second song in the song collection called "Two Songs" by Sibyl, which includes 1. "When I am dead, my dearest" (Christina Rossetti); 2. "Up Hill" (Christina Rossetti).
Sibyl; music (British, pseudonym, active 1870)
In reference to the published works below: Ives DM15; Gooch and Thatcher 4838
Other data reference(s): Record for "Two Songs, Written by C. Rossetti. The Music by Sibyl." British Library, http://explore.bl.uk/BLVU1:LSCOP-ALL:BLL01004657177. Accessed 27 Oct. 2019. Review of Two Songs, by Sibyl. The Musical Times, Volume 14, 1 August 1870, p. 567. Google Books, https://books.google.ca/books?id=-lZGAQAAMAAJ&lpg=PA567&dq=up-hill%20sibyl%20composer&pg=PA567#v=onepage&q=up-hill%20sibyl%20composer&f=false. Review of Two Songs, by Sibyl. The Musical World, Volume 48, 30 July 1870, p. 513. Google Books, https://books.google.ca/books?id=VJMPAAAAYAAJ&lpg=PA513&dq=up-hill%20sibyl%20composer&pg=PA513#v=onepage&q=up-hill%20sibyl%20composer&f=false.
Cataloguer: Sarah Pennington, University of Ottawa; Anna Lewis, University of Ottawa
Tempo markings: "Slowly and with great expression"
Performance instructions: For high or medium voice.
Treharne, Bryceson; music (Welsh, 1879-1948)
In reference to the published works below: Gooch and Thatcher 4840
Other data reference(s): Record for “Uphill”. Hollis Classic, Harvard Libraries, Harvard University, http://id.lib.harvard.edu/alma/990032557470203941/catalog. Accessed 13 Feb. 2018.
musical score: Harvard College Library, Cambridge
"Copyright, 1917, by The Boston Music Co."
other version 1 - instrumentation: orchestra
Performance history: "While a pupil at RCM [Royal College of Music], he accompanied Anna Russell in a performance of his 'At the mid hour of night' and 'Up-hill' before Queen Victoria at Windsor Castle in June 1887" (Banfield, p. 26).
Notes: Manuscript available at The Library of Gonville and Caius College, University of Cambridge (Gooch and Thatcher 4841).
Wood, Charles; music (Irish, active and died in English, 1866-1926)
In reference to the published works below: Gooch and Thatcher 4841
Other data reference(s): Banfield, Stephen. Sensibility and English Song: Critical Studies of the Early Twentieth Century. Cambridge University Press, 1985, pp. 26, 529.
Cataloguer: Sarah Pennington and Roxanne Lafleur, University of Ottawa
First line of lyrics: Does the road wind up hill all the way?
Place in the larger work: Section III(a) of 10 sections in "Magnificat" as follows: I. "Magnificat"; I (a). "O we can wait no longer" (Walt Whitman); II. "Et Misericordia"; II (a). "Who is at my window" (Anonymous); III. "Fecit potenciam"; III (a). "Up-hill" (Christina Rossetti); IV. "Suscept Israel"; IV (a). "If there had anywhere appeared"; "Interlude"; V. "Gloria Patri" (Record for Magnificat).
Composition history: "This work was commissioned by the St Albans Chamber Choir with funds provided by the Eastern Arts Association."
Performance instructions: For orchestra (2 flutes, 2 oboes (2 doubling oboe d'amore), 1 bassoon, 3 trumpets, timpani/percussion (1 player), organ, strings). The composer suggests that "Magnificat" may be played in two different ways. Version I: the complete work as it appears in the score (duration: c. 34 minutes). Version II: a setting of the latin Magnificat using cuts made on score, which omits all the English texts, and using only soprano solo, chorus and orchestra (duration: c. 19 minutes).
Performance history: "First performed on 7 March 1981 in the Queen Elizabeth Hall, London by the St Albans Chamber Choir, conducted by Richard Stangroom."
Brown, Christopher Roland; music (English, born 1943)
Other data reference(s): Record for "Magnificat". Music Online: Classical Scores Library, Volume III, Alexander Street, https://search.alexanderstreet.com/view/work/bibliographic_entity|score_movement|2339360. Accessed 27 Feb. 2018. This source maybe restricted except to subscribing institutions or individuals.
musical score: Royal Academy of Music Library, London
This score is copyright protected. A score can be consulted here: Record for "Magnificat". Music Online: Classical Scores Library, Volume III, Alexander Street, https://search.alexanderstreet.com/view/work/bibliographic_entity|score_movement|2339360. Accessed 27 Feb. 2018. This source maybe restricted except to subscribing institutions or individuals.
"This score is protected by copyright. All rights reserved by Chester Roland Brown and Chester Music."
5 pages (pp. 34-39); version 1 performance time 34 minutes; version 2 performance time 19 minutes.
"Does the road wind uphill all the way?" [Arthur Foote]
First line of lyrics: Does the road wind uphill, uphill all the way?
Tempo markings: "Not fast: expressively"
Performance instructions: "The sentences sung by the quartet should be mainly without accompaniment."
Foote, Arthur; music (American, 1853-1937)
Reference: IMSLP Petrucci Music Library, http://imslp.org/
musical score: IMSLP Petrucci Music Library, imslp.org/wiki/Does_the_Road_Wind_Uphill_all_the_Way%3F_(Foote%2C_Arthur)
File(s): CRM-uphill-foote.pdf; CRM-uphill-foote-bars1-2.jpg; CRM-uphill-foote-bars3-5.jpg; CRM-uphill-foote-index.jpg
Place in the larger work: The fifth song of ten in the song cycle called "Nantucket Songs" which includes 1. "From Whence Cometh Song?" (Theodore Roethke); 2. "The Dance" (William Carlos Williams); 3. "Nantucket" (William Carlos Williams); 4. "Go, Lovely Rose" (Edmund Waller); 5. "Up-Hill" (Christina Rossetti); 6. "Mother, I Cannot Mind my Wheel" (Walter Savage Landor); 7. "Fear of Death" (John Ashbery); 8. "Thoughts of a Young Girl" (John Ashbery); 9. "Ferry Me Across the Water" (Christina Rossetti); 10. "The Dancer" (Edmund Waller).
Composition history: A note on the score states that "the cycle was commissioned by the Elizabeth Sprague Coolidge Foundation. It was composed between November, 1978 and May, 1979 on the island of Nantucket, hence the title. An apt subtitle might be 'Popular Songs', insofar as "Popular" means "entertaining" as opposed to "classically" indirect. Indeed, these songs -- merry or complex or strange though their texts may seem -- aim away from the head and toward the diaphragm. They are, as collegians say, emotional rather than intellectual, and need not to be understood to be enjoyed."
Performance instructions: "The questions must be nervous and hastening. The answers, as though by another voice, are cool and held back."
Performance history: First public and broadcast performance was by soprano Phyllis Bryn-Julson with Ned Rorem at the piano, at the Coolidge Auditorium of the Library of Congress, October 30, 1979.
Recordings: Rorem, Ned. Ned Rorem: The Nantucket Songs and Other Songs. Performance of the Nantucket Songs by Phyllis Bryn-Julson, soprano, Ned Rorem, piano as it was first broadcasted at the Library of Congress, Composers Recordings, Inc.1993; CD, Anthology of Recorded Music, Inc., 2007. New World Records, http://www.newworldrecords.org/album.cgi?rm=view&album_id=17439. (Rorem)
Other data reference(s): Rorem, Ned. Liner notes. Ned Rorem: The Nantucket Songs and Other Songs. Anthology of Recorded Music, Inc., 2007. New World Records, http://www.newworldrecords.org/album.cgi?rm=view&album_id=17439.
musical score: Carleton University Library, Ottawa
"This score is protected by copyright. All rights reserved by Boosey & Hawkes, Inc."
3 pages (pp. 14-16); complete song cycle performance time 18 minutes
File(s): CRM-uphill-rorem-first-four-bars.jpg; CRM-uphill-rorem-contents.jpg
Notes about the text: Substitutes "Shall I meet other wayfarers by night?" for "Shall I meet other wayfarers at night?" in the third stanza.
Harris, George, Jr.; music (American, 1884-1975)
musical score: New England Conservatory Library, Boston
"This score is protected by copyright. All rights reserved by George Harris."
Composition history: It states on the score that "'Uphill' was written as a piece to conclude a concert of music from around the world. The text, suggested by the conductor, was intended to represent feelings of '...we are home from our OE, and the home light is shining, and we are at peace - secure in the arms of family.' [. . .] "Uphill" was commissioned by The Hamilton Chorale (conductor: Julie Jackson-Gough)."
Performance instructions: "for SA(A)B and piano"
Performance history: 2010, New Zealand, in a concert "Around the World in 80 Minutes" by the Hamilton Chorale on July 31 at St Andrew’s Church, Bryce Street, Cambridge and August 1 at St Clare’s Church, Tuhikaramea Road, Hamilton.
Hamilton, David; music (New Zealand, born 1955)
Other data reference(s): "Around the World in 80 Minutes: 1." SOUNZ, July 31, 2010, Centre for New Zealand Music, https://www.sounz.org.nz/events/2005?locale=en. Accessed 2 Dec. 2019. "Around the World in 80 Minutes: 2." SOUNZ, Aug 1, 2010, Centre for New Zealand Music, https://www.sounz.org.nz/events/2006?locale=en. Accessed 2 Dec. 2019.
musical score: National Library of New Zealand, Wellington, New Zealand
"Copyright © David Hamilton 2010." This score is protected by copyright. All rights reserved. The score appears on this website by kind permission of composer David Hamilton.
"Does the Road wind uphill all the Way?" [William Gardiner Hammond]
Performance instructions: "Hymn-Anthem for Mixed Quartette or Chorus - with Contralto Solo"
Hammond, William Gardiner; music (American, 1874-1945)
Other data reference(s): Record for "Does the Road wind uphill all the way?". British Library, http://explore.bl.uk/BLVU1:LSCOP-ALL:BLL01004390945. Accessed 27 Feb. 2018.
"Copyright MCMVIII by the John Church Company"
instrumentation: piano|string quartet|viola|violin|cello
Place in the larger work: The fourth song of five in the song cycle called "The Green Castle" which includes 1. "Not to sleep" (Robert Graves); 2. "Justus quidem tu es" (Gerard Manley Hopkins); 3. "Silence of the night" (Christina Rossetti); 4. "Up-hill" (Christina Rossetti); 5. "The green castle" (Robert Graves).
Notes about the text: The first line "Does the road wind up-hill all the way?" is repeated at the end of the song.
Performance instructions: String quartet comprised of two violins, a viola, and a cello. "Note: Accidentals apply only to those notes before which they are placed. However some courtesy naturals have been scored."
Bertram, Michael; music (Australian, born 1935)
Other data reference(s): "Michael Bertram: Associate Artist." Australian Music Centre, December 2016, https://www.australianmusiccentre.com.au/artist/bertram-michael. Accessed 27 Feb. 2018. Record for "The Green Castle". National Library of Australia catalogue, https://nla.gov.au/nla.cat-vn2873598. Accessed 27 Feb. 2018.
musical score: National Library of Australia, Parkes, Australia
Part of: "Christina Rossetti, My Mother and Me"
Place in the larger work: The first song of five in the song cycle called "Christina Rossetti, My Mother and Me," settings of Christina Rossetti poems. The songs include 1. "Uphill"; 2. "Sleeping At Last"; 3. "Song"; 4. "Remember"; 5. "Another Spring".
Tempo markings: "Maestoso"; quarter note = 58
Performance instructions: This solo is for mezzo-soprano or baritone.
Shaffer, Jeanne E.; music (American, 1925-2007)
musical score: Toronto Music Library, Toronto
"Copyright © 1997 by Arsis Press | 1719 Bay Street, S.E., Washington D.C. 20003 | All Rights Reserved."
4 pages (pp. 1-4); complete song cycle performance time 13 minutes
Place in the larger work: The fifth song of five in the song cycle called "Christina's World," settings of Christina Rossetti poems. The songs include 1. "A birthday"; 2. "Who has seen the wind?"; 3. "Amor mundi"; 4. "When I am dead, my dearest"; 5. "Up-hill."
Composition history: Composed for soprano Gwen Coleman Detwiler, of the Cincinnati College-Conservatory’s voice faculty (Hall). On her website, Juliana Hall writes that "'the five songs of “Christina’s World,' on poems by Christina Rossetti, loosely follow a narrative arc beginning with the joyful emotions of true love, and continuing with darker observations about the nature of being alive and of the questions of life and death, the tension of which is resolved at the end of the cycle with a positive sense that as one approaches the end of this life, all will be well and find a place of welcome and rest" (Hall).
Performance instructions: "An Arduous Path"
Performance history: Performed on April 18, 2017 at Wyoming Presbyterian Church (Hall) by soprano Gwen Coleman Detwiler and Marie-France Lefebvre on piano.
Hall, Juliana; music (American, born 1958)
Reference: Ezust, Emily. The LiederNet Archive. http://www.lieder.net/lieder/index.html
Other data reference(s): Hall, Juliana. "CHRISTINA’S WORLD." Julianahall.com, https://www.julianahall.com/christinas-world/. Accessed 1 Apr. 2019.
Musical score: Yale Music Library, Connecticut
This score is copyright protected. A score can be consulted here: "Christina's World." E.C. Schirmer Music Company, https://www.canticledistributing.com/catalog/product/view/sku/8566*. Accessed 1 Apr. 2019.
"© Copyright 2017 by E.C. Schirmer Music Company, Inc., a division of ECS Publishing Group. www.ecspublishing.com All rights reserved."
13 pages (pp. 48-60); complete song cycle performance time 18 minutes
Composition history: A composer's note alongside the score explains that Raphael "endeavored to translate the words of the poets into music" which she was inspired to do after hearing James Stephens chant the verses of "Fifteen Acres." She was "strongly impressed [. . .] by the close interrelationship of the cadence, rhythm, tone, and accent in his chanting, and in the music which the words had suggested." In her other settings since, she has kept "the melody as closely as possible in consonance with the spirit and metrical form of the verses." She goes on to write, "For example, the poem 'Up-hill' consists of eight questions and eight answers. The questions, in a minor tone, modulate successively upward, one half-step - a frantic quest for the solution of the eternal query - whither? The answers are treated in a major key, mysterious, confident, final." (Raphael, xi)
Performance instructions: In the Author's Note, Raphael writes "The music has been done only as a setting for the words - sung or chanted. To those who love poetry, and love to hear it read, chanted, or sung, this book is offered." (Raphael, xii)
Notes: The fifteenth song of seventeen in the song collection called "Madrigal and minstrelsy" which includes 1."Laughing song" (William Blake); 2. "Song" (Christina Rossetti); 3. "The fifteen acres" (James Stephens); 4. "A woman's last word" (Robert Browning); 5. "Music, when soft voices die" (Percy Shelley); 6. "Home they brought her warrior dead" (Alfred, Lord Tennyson;) 7. "Matin song" (Thomas Heywood); 8. "Little lamb" (William Blake); 9. "Sonnet XXIX" (William Shakespeare); 10. "Song no. 2" (Stephens); 11. "The fiddler of Dooney" (William Butler Yeats); 12. "Arab love song" (Francis Thompson); 13. "Night" (William Blake); 14. "Give a man a horse he can ride" (James Thomson); 15. "Up-hill" (Christina Rossetti); 16. "Nurse's song" (William Blake); 17. "When you are old" (William Butler Yeats). Each setting is accompanied by an illustration by Marc Harchberger (American, 1900-1975), who also illustrated the cover of the collection.
Other data reference(s): Raphael, Juliet. Madrigal and Minstrelsy. Albert & Charles Boni, 1927.
musical score: Raphael, Juliet. Madrigal and Minstrelsy. Albert & Charles Boni, 1927. Mary Mellish Archibald Memorial Library, Mount Allison University, Sackville, New Brunswick
Place in the larger work: The third song of three in the song cycle "Songs on life and death" which includes 1. "Come to me" (Christina Rossetti); 2. "Do not stand..." (Mary Elizabeth Frye); 3. "Uphill" (Christina Rossetti).
Schoonenbeek, Kees; music (Dutch, born 1947)
musical score: IMSLP Petrucci Music Library, https://imslp.org/wiki/Songs_on_Life_and_Death_(Schoonenbeek%2C_Kees). Accessed 22 July 2019
"© Canzona Music Dieren - The Netherlands," and composer Kees Schoonenbeck; Creative Commons Attribution 4.0, https://imslp.org/wiki/IMSLP:Creative_Commons_Attribution_4.0. No changes have been made to the attached document.