First line of lyrics: The shepherds had an angel
genre: carol|Christmas music|sacred music|song|hymn|children's music
chorus: congregational singing|children's unison chorus
Rossetti poem(s): "A Christmas Carol, for my Godchildren" ("The shepherds had an angel")
Notes: #125 in The Hymnal for Boys and Girls. The tune is called "Felver."
Rossetti, Christina Georgina; text (English, 1830-1894)
Other data reference(s): "125. The Shepherds Had an Angel." Hymnary.org, https://hymnary.org/hymn/H4BG1935/125. Accessed 2 October 2020.
Cataloguer: Emily McConkey, University of Ottawa
"Copyright 1935 by D. Appleton-Century Company, Inc."
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.
Record: CRM-christmascarolformygodchildren-richards
"The shepherds had an angel" [unknown composer]
genre: carol|Christmas music|sacred music|song|hymn
Other data reference(s): "The shepherds had an angel." Hymnary.org, https://hymnary.org/text/the_shepherds_had_an_angel. Accessed 2 October 2020.
musical score: "The shepherds had an angel." The Riverdale Hymn Book‎, edited by Ira Seymour Dodd and Lindsay Bartholomew Longacre, Fleming H. Revell Co., New York, 1912, p. 429. Hymnary.org, https://hymnary.org/text/the_shepherds_had_an_angel. Accessed 2 October 2020.
Record: CRM-christmascarolformygodchildren-unknown-tynemouth
File(s): CRM-christmascarolformygodchildren-unknown-tynemouth.pdf
"What Do the Stars Do" [arr. Edith Lovell Thomas, music unknown composer]
First line of lyrics: What do the stars do
Rossetti poem(s): "'What do the stars do'"
Thomas, Edith Lovell; arrangement (American, 1878-1970)
Other data reference(s): "A First Book in Hymns and Worship‎page 44." Hymnary.org, https://hymnary.org/hymn/FBHW1922/page/44. Accessed 2 October 2020.
musical score: "What Do the Stars Do." A First Book in Hymns and Worship, edited by Edith Lovell Thomas, Abingdon Press, New York, 1922, p. 44. Hymnary.org, https://hymnary.org/hymn/FBHW1922/page/44. Accessed 2 October 2020.
Record: CRM-whatdothestars-unknown-thomas
File(s): CRM-whatdothestars-unknown-thomas.pdf
First line of lyrics: Remember me when I am gone away
Composition history: "I wrote Remember because I was moved by the potent sentiment of Christina Rossetti’s text. It portrayed a relationship ending prematurely, presumably from an impending death. Though the speaker was resigned to their fate, there was also a hopeful sense of wanting to reassure their partner that it would be okay for them to move on. That’s fertile ground for musical expression, so I constructed the song by spinning these twin messages—despair versus hopefulness—throughout the piece. INTRO: Remember me, when I am gone away I began the song with an unaccompanied round, intended as a quasi-echo, and calling to mind a static, quiet, dreamlike state. Then the texture coalesces into expanding homophony, like an image coming into focus, before proceeding into a complete statement of the first quatrain of the poem. FIRST QUATRAIN: Remember me, when I am gone away, Gone far away into the silent land; When you can no more hold me by the hand, Nor I half turn to go, yet turning stay. Here I paired a descending Soprano 1 melody with an ascending Soprano 2 melody on the words “Remember me,” representing the twin themes of despair and hopefulness, respectively. Initially, the hopefulness shines through more, as the sopranos soar over bright, happy harmonies on “when I am gone away,” before gently descending again. Next we arrive at the phrase “gone far away into the silent land.” This was actually the first musical idea that came to me when I imagined how to set this poem. Here I used long, slow whole notes on a single pitch in the Alto 1 part to give a sense of time stopping, or death. The other 3 vocal parts respond to this with faltering restatements of grief, before arriving with a mysterious dissonance on the word land, signifying that things are not fully resolved, literally. The minor tonality and escalating dynamics of the next phrases continue the emotional narrative, progressing from melancholy sadness to utter despair. SECOND QUATRAIN Remember me, when no more day by day You tell me of [the] future that you plann’d: Only remember me; you understand It will be late to counsel then or pray. Upon the restatement of the words “Remember me” in the next phrase, composure is regained. This leads to a gentler, less frantic plea, followed by another illustration of the speaker’s unavoidable fate, on “it will be late to counsel then or pray.” Here, the piano part is reminiscent of the death knell of a tolling bell, and the relentlessness of time marching on. Simultaneously, the vocal parts are descending gracefully before quietly resolving to a major chord, signifying the acceptance of impending death. CLOSING SESTET Yet if you should forget me for awhile, And afterward remember, do not grieve: For if the darkness and corruption leave A vestige of the thoughts that once I had. Better by far you should forget and smile, Than that you should remember and be sad. Here the mood brightens. To illustrate this, I established a steady forward rhythmic momentum in the piano and voice parts, intended to represent the speaker providing a path for the grieving partner to follow, toward hopefulness. After one statement, I modulate up, further emphasizing this hopeful outlook. Then the drama, volume and intensity increase, building focus just before the impactful final phrase, “Better by far you should forget and smile, than that you should remember and be sad.” Those final lines gave me pause. It could be read as tinged with bitterness or sarcasm, but I chose to set it sincerely. The voices are quite low in their range, and quiet, representing the finality of death. The entire conflict of despair versus hope finally resolves on the word “sad,” twisting stark, dissonant harmonies into a quiet, major resolution. Hopefulness has won out over despair. I ended the song by paraphrasing the final two lines into the parting instruction: “Remember and smile,” to reinforce that interpretation/conclusion. Those words are layered in the voice parts at different speeds, and the harmonies alternate between major and minor chords. This recalls both the dualistic nature of the piece, and the quasi-echo of the introduction. But this time the echoes slowly recede toward a final, quiet, resolution" (Burrill).
Performance history: Performed by Cantala Choir for concert entitled "Loss, Reflection, and Hope (Reflections on 9/11) – 10/15/11" (Cantala Repertoire).
Recordings: "Remember." Lyrics by Christina Rossetti, performance by Cantala Choir (Lawrence University), Phillip Swan, choir director.
Burrill, Brad; music (American, born 1970)
Other data reference(s): Burrill, Brad. "Re: "Christina Rossetti in Music" inquiry." Received by Mary Arseneau. 21 Oct. 2020.
sound recording: "Remember." Lyrics by Christina Rossetti, performance by Cantala Choir (Lawrence University), Phillip Swan, choir director.
"©2005 Brad Burrill, All Rights Reserved" This score is protected by copyright. All rights reserved. The score appears on this website by kind permission of composer Brad Burrill.
First line of lyrics: Come, blessed sleep, most full, most perfect, come
initial sharps/flats: no sharps or flats
other version 1 - instrumentation: piano
other version 1 - initial sharps/flats: no sharps or flats
Rossetti poem(s): "'There remaineth therefore a rest for the people of God'"
Place in the larger work: The first song of three in the song cycle called "Three Songs," settings of Christina Rossetti poems. The songs include 1. "Come, Blessed Sleep"; 2. "Dream of You"; 3. "Sleeping at Last."
Composition history: "These three poems by Christina Rossetti (1830-1894) were written several years apart, yet they seem to express similar emotions and concerns. [...] I had wanted to write a work for voice and harp for some time, and found the dark and secret world of these poems ideally suited to this sonority."
Performance history: "First performed by Catherine Wyn-Rogers and Helen Tunstall at the Purcell Room, London on 30th January 2004 as part of a portrait concert of Brian Elias given by Endymion."
Elias, Brian; music (English, born in India 1948)
Cataloguer: Emma-Catherine Wilson and Emily McConkey, University of Ottawa
musical score: Alexander Street, https://search.alexanderstreet.com/view/work/bibliographic_entity%7Cscore%7C2331417. Accessed 6 October 2020.
This score is copyright protected. A score can be consulted here: "Three Songs." Alexander Street, https://search.alexanderstreet.com/view/work/bibliographic_entity%7Cscore%7C2331417. Accessed 6 October 2020.
13 pages (pp. 1-12); complete song cycle performance time 15 minutes
First line of lyrics: I dream of you, to wake: would that I might
Place in the larger work: The second song of three in the song cycle called "Three Songs," settings of Christina Rossetti poems. The songs include 1. "Come, Blessed Sleep"; 2. "Dream of You"; 3. "Sleeping at Last."
Notes about the text: "Dream of You" is a musical setting of the third sonnet of Rossetti's "Monna Innominata."
Tempo markings: "m.p. dolce"; quarter note = ca.92
Cataloguer: Emma-Catherine Wilson, University of Ottawa
6 pages (pp. 14-19); complete song cycle performance time 15 minutes
First line of lyrics: Sleeping at last, the trouble and tumult over
Place in the larger work: The third song of three in the song cycle called "Three Songs," settings of Christina Rossetti poems. The songs include 1. "Come, Blessed Sleep"; 2. "Dream of You"; 3. "Sleeping at Last."
Musical score: Alexander Street, https://search.alexanderstreet.com/view/work/bibliographic_entity%7Cscore%7C2331417. Accessed 6 October 2020.
5 pages (pp. 20-24); complete song cycle performance time 15 minutes
First line of lyrics: Oh, what comes over the sea
other version 1 - initial sharps/flats: four flats
Rossetti poem(s): "Song" ("Oh what comes over the sea")
Bury, Winifred; music (British, 1897-1977)
In reference to the published works below: Gooch and Thatcher 4845
Reference: Gooch, Bryan N.S. and David S. Thatcher. Musical Settings of Early and Mid-Victorian Literature: A Catalogue. New York: Garland, 1979.
Reference: Ezust, Emily. The LiederNet Archive. http://www.lieder.net/lieder/index.html
Cataloguer: Warren Reid and Emily McConkey, University of Ottawa
musical score: Alexander Street, https://search.alexanderstreet.com/view/work/bibliographic_entity%7Cscore%7C2383565. Accessed 6 October 2020.
This score is copyright protected. A score can be consulted here: "Over the Sea." Alexander Street, https://search.alexanderstreet.com/view/work/bibliographic_entity%7Cscore%7C2383565. Accessed 6 October 2020.
"Copyright in U.S.A. 1934 by Paterson's Publications Ltd."
First line of lyrics: Where sunless rivers weep
Place in the larger work: The first song of three in the song cycle called "Autumn Twilight," settings of Christina Rossetti poems. The songs include 1. "The Charmed Sleep"; 2. "Summer Joy"; 3. "Autumn Twilight."
Woodgate, Leslie; music (English, 1900-1961)
In reference to the published works below: Gooch and Thatcher 4736
Cataloguer: Julia Farnsworth, Virginia Ouimet, and Mary Arseneau, University of Ottawa
musical score: Morriset Library, University of Ottawa, Ottawa
London: Stainer & Bell Ltd.; Brisbane: G.J. Grice; New York: G. Ricordi
"Copyright, 1925, by Stainer & Bell Ltd"
First line of lyrics: Two doves upon the selfsame branch
Rossetti poem(s): "Song" ("Two doves upon the selfsame branch")
Place in the larger work: The second song of three in the song cycle called "Autumn Twilight," settings of Christina Rossetti poems. The songs include 1. "The Charmed Sleep"; 2. "Summer Joy"; 3. "Autumn Twilight."
Cataloguer: Julia Farnsworth and Emily McConkey, University of Ottawa
First line of lyrics: Love, strong as Death, is dead
Place in the larger work: The third song of three in the song cycle called "Autumn Twilight," settings of Christina Rossetti poems. The songs include 1. "The Charmed Sleep"; 2. "Summer Joy"; 3. "Autumn Twilight."
Tempo markings: "Andante moderato ma con moto"
Cataloguer: Julia Farnsworth, Emily McConkey, and Mary Arseneau, University of Ottawa
First line of lyrics: None other lamb, none other name
Rossetti poem(s): "'None other Lamb, none other Name'"
Tempo markings: "Andante con moto"; half note = 62
Performance instructions: For piano or organ.
Barton, David; music (English, born 1983)
musical score: Alexander Street, https://search.alexanderstreet.com/view/work/bibliographic_entity%7Cscore%7C2247486. Accessed 12 October 2020.
This score is copyright protected. A score can be consulted here: "None Other Lamb." Alexander Street, https://search.alexanderstreet.com/view/work/bibliographic_entity%7Cscore%7C2247486. Accessed 12 October 2020.
First line of lyrics: Once in a dream I saw the flow'rs
Tempo markings: "Larghetto" quarter note = 63
Performance instructions: "for upper voices and piano"
Dedication: "For Angela Dugdale and the Glaven Ladies Choir"
Hurd, Michael; music (English, 1928-2006)
"Copyright 1986 Novello & Company Limited"
First line of lyrics: Where shall I find a white rose blowing?
Scott, Cyril; music (English, 1879-1970)
Cataloguer: Anna MacDonald, University of British Columbia & Emily McConkey, University of Ottawa
musical score: Royal Academy of Music Library, London
London: Elkin & Co. Ltd; New York: G. Ricordi & Co.
"Copyright, MCMXXVII, by Elkin & Co. Ltd."
First line of lyrics: Looking back along life's trodden way
Reference: IMSLP Petrucci Music Library, http://imslp.org/
Cataloguer: Melissa Poon, University of Ottawa
musical score: Eastman School of Music Archives, https://urresearch.rochester.edu/institutionalPublicationPublicView.action?institutionalItemId=22943. Accessed 29 March 2019. University of Rochester, Rochester
"copyright, MCMXVII, by Elkin & Co., Ltd. may be sung in public without fee or license."
First line of lyrics: Lullaby, oh Lullaby
other version 1 - initial sharps/flats: five flats
other version 2 - instrumentation: piano
other version 2 - initial sharps/flats: one flat
Rossetti poem(s): "'Lullaby, oh lullaby!'"
In reference to the published works below: Gooch and Thatcher 4603
Cataloguer: Mary Arseneau, University of Ottawa
London: Elkin & Co.; New York: Galaxy Music
First line of lyrics: The hope I dreamed of was a dream
Notes about the text: The score is also available in German, translated by Boomburg, A. M. von; translated lyrics (born 1863), with the title "Durch Ein Traumbild: Für Eine Singstimme Mit Klavierbegleitung."
In reference to the published works below: Gooch and Thatcher 4627
Other data reference(s): Record for “Album of six songs / Cyril Scott.” WorldCat, www.worldcat.org/oclc/58875799. Accessed 11 Apr. 2018.
Cataloguer: Arianne Zamin, University of Ottawa
musical score: Eastman School of Music Archives, http://hdl.handle.net/1802/23066. Accessed 12 October 2020. University of Rochester, Rochester
London: Elkin & Co.; New York: G. Ricordi & Co.
"Paradise Songs" [Alexander Brent-Smith]
First line of lyrics: Once in a dream I saw the flowers
instrumentation: piano|woodwinds|strings
Notes about the text: Each song in this song cycle sets to music one stanza from Rossetti's poem "Paradise". The songs do not follow the order of the poem and the fifth stanza is omitted. The songs are as follows: 1. "Once in a dream" (pp. 1-3) of first stanza; 2. "I heard the songs of Paradise" (pp. 4-7) of second stanza; 3. "The Tree of Life" (pp. 8-10) of fourth stanza; 4. "I saw the four-fold River flow" (pp. 11-16) of third stanza; 5. "I hope to see things" (pp. 17-19) of sixth stanza.
Performance instructions: "M.S. material for Woodwind and Strings, or for Strings only may be hired from the publishers."
Brent-Smith, Alexander; music (English 1889-1950)
In reference to the published works below: Gooch and Thatcher 4680
Cataloguer: Emma-Catherine Wilson & Emily McConkey, University of Ottawa
Musical score: The Royal College of Music, London
1945 [composition] [copyright]; 1951 [publication]
"Copyright, 1945, by Novello & Company, Limited"
First line of lyrics: We met hand to hand
instrumentation: a cappella|piano (for rehearsal only)
Composition history: "By permission of Messrs. Macmillan and Co., Ltd."
Tempo markings: "With moderate movement"; "Sustained and earnest"; half note = 44
Ireland, John [Nicholson]; music (English, 1879-1962)
This score is copyright protected. A score can be consulted here: "Twilight Night." Alexander Street, https://search.alexanderstreet.com/view/work/bibliographic_entity%7Cscore%7C2381834. Accessed 15 October 2020.
1922 September 3 [composition]; 1923 [publication] [copyright]
"Copyright, 1923, by Novello and Company, Limited."
Dedication: "Dedicated to the Salt Lake Vocal Artists - Brady Allred, conductor"
Antognini, Ivo; music (Swiss, born 1963)
Other data reference(s): "Remember : SATB a cappella." WorldCat, http://www.worldcat.org/oclc/1161998482. Accessed 15 October 2020.
This score is copyright protected. A score can be consulted here: "Remember." J.W. Pepper, https://www.jwpepper.com/Remember/10716024.item#/submit. Accessed 15 October 2020.
Houston: Alliance Music Publications, Inc.
"Copyright © 2017 JEHMS, Inc. A Division of Alliance Music Publications, Inc. P.O. Box 131977. Houston, Texas. 77219-1977 | International Copyright Secured. All Rights Reserved."
other version 1 - initial sharps/flats: three flats
Tempo markings: "Modereto quasi allegretto."
Performance history: "Sung by Madame Patey."
Blumenthal, Jacques; music (German, 1829-1908)
In reference to the published works below: Ives DM36
Reference: Ives, Maura. Christina Rossetti: A Descriptive Bibliography. New Castle, DE: Oak Knoll Press, 2011.
Other data reference(s): Record for “Dreamland : song.” WorldCat, http://www.worldcat.org/title/dreamland-song/oclc/852990590&referer=brief_results. Accessed 5 Nov. 2018.
Cataloguer: Virginia Ouimet, University of Ottawa
musical score: National Library of New Zealand, Wellington
instrumentation: piano (for rehearsal only)|a cappella
Notes about the text: "By permission of Messrs. Macmillan & Co."
In reference to the published works below: Gooch and Thatcher 4352; Ives DM159
Other data reference(s): Record for “Dreamland. Four-Part Song for S.A.T.B. Words ... by C. Rossetti.” WorldCat, http://www.worldcat.org/title/dreamland-four-part-song-for-satb-words-by-c-rossetti/oclc/497594723&referer=brief_results. Accessed 5 Nov. 2018.
Cataloguer: Virginia Ouimet and Emily McConkey, University of Ottawa
"Where Sunless Rivers Weep" [Charles Legh Naylor]
Naylor, Charles Legh; music (English, 1869-1945)
In reference to the published works below: Gooch and Thatcher 4353; Ives DM107
other version 1 - solo: mezzo-soprano|baritone
Performance instructions: (Other version 1) for mezzo-soprano or baritone.
Von Fielitz, Alexander; music (German, 1860-1930)
In reference to the published works below: Gooch and Thatcher 4355
Leipzig: Boosey & Hawkes Music Publishers Ltd.
Notes about the text: "[b]y kind permission of Messrs. Macmillan & Co"
Tempo markings: "Andante con moto tranquillo"
Walker, Ernest; music (English, 1870-1949)
In reference to the published works below: Gooch and Thatcher 4356
Other data reference(s): Record for "Six Songs." Worldcat, https://www.worldcat.org/title/six-songs/oclc/84336980&referer=brief_results. Accessed 27 October 2020. Record for "Six songs.' University at Buffalo Libraries, https://search.lib.buffalo.edu/permalink/01SUNY_BUF/r66d6a/alma990012238940204803. Accessed 27 October 2020.
musical score: "Dream Land." Six songs, Sidney Acott, pp. 3-6. Music Library General Collection, University at Buffalo Libraries, Getzville