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Somervell's four songs on poems from William Blake's Songs of Innocence were written in 1889, dedicated to Dolly and Gwen, and simple and child-like in form and appeal, perfectly crafted examples of such work. The song cycle based on Tennyson's monodrama Maud dates from 1898. There are thirteen songs in the whole work that traces the story from the memories of the suicide of the protagonist's father, ruined by unfortunate speculation, making his son's match with Maud, daughter of his father's closest friend, and his betrayer, impossible. Three of these are included here. Maud's family return to the Hall and gradually the young man at the heart of the drama falls in love with her again. In the fifth song of Somervell's cycle, Birds in the high Hall-garden, the lovers meet, before Maud returns to the house, with the flowers she has picked. The verses that tell of the arrival of another to woo her are omitted. The seventh song, Go not, happy day, expresses the love of the couple. The first part of the poem ends with the words that provide the ninth song of Somervell's cycle, Come into the garden, Maud, words perhaps more familiar in the setting by Balfe. The singer calls Maud to the garden, as he hears the sound of music from the Hall, where he has not been invited. As she approaches, he is in ecstasy, but the song does not tell how their meeting is to be interrupted by Maud's brother, his quarrel with her lover, and her brother's death in the dreadful hollow, where the drama had started. In the remaining songs Maud's lover seeks exile abroad and goes out of his mind, while Maud, in his absence, dies. The cycle ends with the singer's resolve to meet his fate in war for his country. The song cycle derived from Robert Browning's James Lee's Wife was published in 1907 with a dedication to Marie Brema, a Liverpool-born singer of German-American parentage who, in 1894, was th
