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The song was performed by Sherwood in their album The Favourite Songs of Henry VIII. Laura Wright recorded a version, featured on her album The Last Rose (2011). George Eliot refers to this song in her novel The Mill on the Floss, Book 6, Chapter 13, as being sung by character Stephen Guest.
John Tenniel, St. Cecilia (1850) illustrating Dryden's ode, in the Parliament Poets' Hall "A Song for St. Cecilia's Day" (1687) is the first of two odes written by the English Poet Laureate John Dryden for the annual festival of Saint Cecilia's Day observed in London every 22 November from 1683 to 1703.
Hymn to St Cecilia, Op. 27 is a choral piece by Benjamin Britten (1913–1976), a setting of a poem by W. H. Auden written between 1940 and 1942. Auden's original title was "Three Songs for St. Cecilia's Day", and he later published the poem as "Anthem for St. Cecilia’s Day (for Benjamin Britten)".
Brady's poem was derived from John Dryden's "A Song for St Cecilia's Day" of 1687. Following Dryden, Brady extols the birth and personality of musical instruments, including the idea that Cecilia invented the organ (see note 1).
Poems. By Thomas Carew, Esquire is a collection of lyrics, songs, pastorals, poetic dialogues, elegies, addresses, and occasional poems. Most of the pieces are fairly short—the longest, "A Rapture," is 166 lines, and well over half are under 50 lines. The subjects are various: a number of poems treat love, lovemaking, and feminine beauty.
An Appointment with Mr Yeats" by The Waterboys is an album of Yeats poems set to song. The poem "Down by the Salley Gardens" was based by Yeats on a fragment of a song he heard an old woman singing. Yeats' words have been recorded as a song by many performers. The song "A Bad Dream" by Keane is based on the poem "An Irish Airman Foresees His ...
Handel sets a poem which the English poet John Dryden wrote in 1687. The main theme of the text is the Pythagorean theory of harmonia mundi , that music was a central force in the Earth's creation. Music
The story of Amintor and Celia provides the narrative core for a number of restoration poems and songs, though the outcome of the story varies. A shorter version of the poem first appeared in Thomas Duffet's New Poems, Songs, Prologues and Epilogues, under the title Song to the Irish Tune. [2]