Arthur Sullivan - Knowledge

1343:, when Gilbert objected to Carte's financial accounts for the production, including a charge to the partnership for the cost of new carpeting for the Savoy Theatre lobby. Gilbert believed that this was a maintenance expense that should be charged to Carte alone. Carte was building a new theatre to present Sullivan's forthcoming grand opera, and Sullivan sided with Carte, going so far as to sign an affidavit that contained erroneous information about old debts of the partnership. Gilbert took legal action against Carte and Sullivan, vowing to write no more for the Savoy, and so the partnership came to an acrimonious end. Sullivan wrote to Gilbert in September 1890 that he was "physically and mentally ill over this wretched business. I have not yet got over the shock of seeing our names coupled ... in hostile antagonism over a few miserable pounds". 2659: 2966:'s phonograph to London in a press conference, including the playing of a piano and cornet recording of Sullivan's "The Lost Chord", one of the first recordings of music ever made. At a party on 5 October 1888 given to demonstrate the technology, Sullivan recorded a speech to be sent to Edison, saying, in part: "I am astonished and somewhat terrified at the result of this evening's experiments: astonished at the wonderful power you have developed, and terrified at the thought that so much hideous and bad music may be put on record forever. But all the same I think it is the most wonderful thing that I have ever experienced, and I congratulate you with all my heart on this wonderful discovery." These recordings were found in the Edison Library in New Jersey in the 1950s: 2348: 1063: 983: 4011:, Mozart and Beethoven, whose influence is likely to be more lasting than the influence the great Englishman is slowly, but surely, exerting. ... I make no doubt that when ... Sullivan's life and works have become known on the continent, he will, by unanimous consent, be classed among the epoch-making composers, the select few whose genius and strength of will empowered them to find and found a national school of music, that is, to endow their countrymen with the undefinable, yet positive means of evoking in a man's soul, by the magic of sound, those delicate nuances of feeling which are characteristic of the emotional power of each different race." 1554: 2909:, but it was not until the 1960s that Sullivan's music other than the Savoy operas began to be widely revived. In 1960 Hughes published the first full-length book about Sullivan's music "which, while taking note of his weaknesses (which are many) and not hesitating to castigate his lapses from good taste (which were comparatively rare) to view them in perspective against the wider background of his sound musicianship." The work of the Sir Arthur Sullivan Society, founded in 1977, and books about Sullivan by musicians such as Young (1971) and Jacobs (1986) contributed to the re-evaluation of Sullivan's serious music. The 365: 1327: 2873: 2023: 1387: 715: 1757: 1717: 1888: 280: 256: 1174: 1207: 268: 8900: 1188:

should be lost. ... I should like to set a story of human interest & probability where the humorous words would come in a humorous (not serious) situation, & where, if the situation were a tender or dramatic one the words would be of similar character." In a lengthy exchange of correspondence, Sullivan pronounced Gilbert's plot sketch (particularly the "lozenge" element) unacceptably mechanical, and too similar in both its grotesque "elements of topsyturveydom" and in actual plot to their earlier work, especially

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in dots and dashes, and not until I have quite settled on the rhythm do I proceed to actual notation." Sullivan's text setting, compared with that of his 19th century English predecessors or his European contemporaries, was "vastly more sensitive. ... Sullivan's operatic style attempts to create for itself a uniquely English text-music synthesis", and, in addition, by adopting a conservative musical style, he was able to achieve "the clarity to match Gilbert's finely honed wit with musical wit of his own".

8947: 1274:(1888) provided him with the opportunity to compose his most ambitious stage work to date. As early as 1883 Sullivan had been under pressure from the musical establishment to write a grand opera. In 1885 he told an interviewer, "The opera of the future is a compromise – a sort of eclectic school, a selection of the merits of each one. I myself will make an attempt to produce a grand opera of this new school. ... Yes, it will be an historical work, and it is the dream of my life." After 1741:– and very abundant ... a lovely woman, with the most generous smile one could possibly imagine, and the most beautiful teeth." Sullivan called her "the best amateur singer in London". She often performed Sullivan's songs at her famous Sunday soirées. She became particularly associated with "The Lost Chord", singing it both in private and in public, often with Sullivan accompanying her. When Sullivan died, he left her the autograph manuscript of that song, along with other bequests. 522: 2869:

stamped him as a genius, and to the height of which he only rarely attained throughout life? ... It is because such great natural gifts – gifts greater, perhaps, than fell to any English musician since ... Purcell – were so very seldom employed in work worthy of them." Edward Elgar, to whom Sullivan had been particularly kind, rose to Sullivan's defence, branding Fuller Maitland's obituary "the shady side of musical criticism ... that foul unforgettable episode".

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ballads either; he must not dare to soil his hands with anything less than an anthem or a madrigal; oratorio, in which he has so conspicuously shone, and symphony, must now be his line. Here is not only an opportunity, but a positive obligation for him to return to the sphere from which he has too long descended do battle for the honour of English art ... against all foreign rivals, and arouse us thoroughly from our present half-torpid condition.

2306:, the orchestra was augmented with a second bassoon and a second tenor trombone. He generally orchestrated each score at almost the last moment, noting that the accompaniment for an opera had to wait until he saw the staging, so that he could judge how heavily or lightly to orchestrate each part of the music. For his large-scale orchestral pieces, which often employed very large forces, Sullivan added a second oboe part, sometimes 1730:. Sullivan was a frequent visitor at the Scott Russell home in the mid-1860s, and by 1865 the affair was in full bloom. Rachel's parents did not approve of a possible union with a young composer of uncertain financial prospects, but the two continued to see each other covertly. At some point in 1868 Sullivan started a simultaneous (and secret) affair with Rachel's sister Louise (1841–1878). Both relationships ended by early 1869. 8915: 9339: 233:, though initially successful in 1891, has rarely been revived. In his last decade Sullivan continued to compose comic operas with various librettists and wrote other major and minor works. He died at the age of 58, regarded as Britain's foremost composer. His comic opera style served as a model for generations of musical theatre composers that followed, and his music is still frequently performed, recorded and 1865:, among other works, was seen by contemporary writers as strikingly Mendelssohnian. Percy Young writes that Sullivan's early affection for Mendelssohn remained evident throughout his composing career. Hughes remarks that although Sullivan emulated Mendelssohn in certain ways he seldom "lapsed into those harmonic clichés which mar some of Mendelssohn's more sentimental effusions". When 1139:, Sullivan had not intended to write a new work with Gilbert, but he suffered a serious financial loss when his broker went bankrupt in November 1882. Therefore, he concluded that his financial needs obliged him to continue writing Savoy operas. In February 1883, he and Gilbert signed a five-year agreement with Carte, requiring them to produce a new comic opera on six months' notice. 2894:, condemned Sullivan for a "lack of sustained effort ... a fundamental lack of seriousness towards his art inability to perceive the smugness, the sentimentality and banality of the Mendelssohnian detritus ... to remain content with the flattest and most obvious rhythms, this yielding to a fatal facility, that excludes Sullivan from the ranks of the good composers." 3379:), to the existence of which they quickly drew the attention of the musical world. Grove described their final discovery: "I found, at the bottom of the cupboard and in its farthest corner, a bundle of music books two feet high, carefully tied round, and black with the undisturbed dust of nearly half-a-century. ... There were the part books of the whole of the music in 2777:, expressed reservations, writing that the opera's "best portions rise so far above anything else that Sir Arthur Sullivan has given to the world, and have such force and dignity, that it is not difficult to forget the drawbacks which may be found in the want of interest in much of the choral writing, and the brevity of the concerted solo parts." Sullivan's 1897 ballet 2041:) as an example. He adds that Sullivan rarely reached the same class of excellence in instrumental works, where he had no librettist to feed his imagination. Even with Gilbert, on those occasions when the librettist wrote in unvaried metre, Sullivan often followed suit and produced phrases of simple repetition, such as in "Love Is a Plaintive Song" ( 1737:, a woman three years his senior, who had two children. He met her in Paris around 1867, and the affair began in earnest soon after she moved to London in 1871. According to a contemporary description of Ronalds, "Her face was perfectly divine in its loveliness, her features small and exquisitely regular. Her hair was a dark shade of brown – 6048: 29: 2214:

orchestrator. Though sometimes inclined to indulge in grandiosity when writing for a full symphony orchestra, he was adept in using smaller forces to the maximum effect. Young writes that orchestral players generally like playing Sullivan's music: "Sullivan never asked his players to do what was either uncongenial or impracticable."

2835: 3668:"quite extraordinarily well. This is a rather subtle conductor who makes his effects almost unexpectedly, so reticent is his manner and so quiet his method. Yet effects are there, and … are marked by a great smoothness in the linking of phrase with phrase, and in consequence by a wonderful fluent continuousness of melody." 1170:, had recently suffered a career-ending stroke at the age of 45. Sullivan, reflecting on this, on his own long-standing kidney problems, and on his desire to devote himself to more serious music, replied to Carte, "t is impossible for me to do another piece of the character of those already written by Gilbert and myself." 929: 3616:

In a study of the School and its successor, the Royal College of Music, David Wright comments on Sullivan: "He lacked any fresh perspective on musical training and any vision of what the NTSM needed to achieve if it was to make a mark. ... Neither did Sullivan have real sympathy with the Society

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Even Sullivan's friend George Grove wrote: "Surely the time has come when so able and experienced a master of voice, orchestra, and stage effect – master, too, of so much genuine sentiment – may apply his gifts to a serious opera on some subject of abiding human or natural interest." Sullivan finally

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ome things that Mr. Arthur Sullivan may do, Sir Arthur ought not to do. In other words, it will look rather more than odd to see announced in the papers that a new comic opera is in preparation, the book by Mr. W. S. Gilbert and the music by Sir Arthur Sullivan. A musical knight can hardly write shop

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of 1866 won similarly enthusiastic praise, but as Arthur Jacobs notes, "The first rapturous outburst of enthusiasm for Sullivan as an orchestral composer did not last." A comment typical of those that followed him throughout his career was that "Sullivan's unquestionable talent should make him doubly

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must more or less sacrifice yourself. I say that this is just what I have been doing in all our joint pieces, and, what is more, must continue to do in comic opera to make it successful. Business and syllabic setting assume an importance which, however much they fetter me, cannot be overlooked. I am

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Gilbert wrote, "We have a name, jointly, for humorous work, tempered with occasional glimpses of earnest drama. I think we should do unwisely if we left, altogether, the path which we have trodden together so long and so successfully. I can quite understand your desire to write a big work, well, why

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defines the phrase as: "Designating any of the Gilbert and Sullivan operas originally presented at the Savoy Theatre in London by the D'Oyly Carte company. Also used more generally to designate any of the Gilbert and Sullivan operas, including those first presented before the Savoy Theatre opened in

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wrote of Sullivan's conducting of a Mozart symphony: "Sullivan presides on the podium from the comfortable recesses of a commodious armchair, his left arm lazily extended on the arm-rest, his right giving the beat in a mechanical way, his eyes fastened on the score. ... Sullivan never looked up

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Gilbert replied, "it most certainly never occurred to me to look for any other reward than the honour of being associated, however remotely and unworthily, in a success which, I suppose, will endure until music itself shall die. Pray believe that of the many substantial advantages that have resulted

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spoke naturally to all people, for all time, of the passions, sorrows and joys which are forever rooted in the human consciousness. ... It is his artistic consistency in this respect which obliges us to pronounce him our greatest Victorian composer. Time has now sufficiently dispersed the mists

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Sir Arthur Sullivan's music is music for the people. There is no attempt made to force on the public the dullness of academic experience. The melodies are all as fresh as last year's wine, and as exhilarating as sparkling champagne. There is not one tune which tires the hearing, and in the matter of

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and other light pieces in a more commercial vein. His compositions were not enough to support him financially, and between 1861 and 1872 he worked as a church organist, which he enjoyed; as a music teacher, which he hated and gave up as soon as he could; and as an arranger of vocal scores of popular

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printed an early example of critical censure of Sullivan for his accessibility: "The applause which it received was general and spontaneous it may be a question whether, if Mr. Sullivan could not be requested to furnish a higher class of work, he should not have been passed over altogether until a

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In the decade after his death, Sullivan's reputation sank considerably among music critics. In 1901 Fuller Maitland took issue with the generally laudatory tone of the obituaries: "Is there anywhere a case quite parallel to that of Sir Arthur Sullivan, who began his career with a work which at once

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called him England's "most conspicuous composer ... the musician who had such power to charm all classes. ... The critic and the student found new beauties at every fresh hearing. What ... set Sullivan in popular esteem far above all the other English composers of his day was the tunefulness of his

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held the Savoy operas in high regard. Hughes writes, "When Sullivan wrote what we call 'a good tune' it was nearly always 'good music' as well. Outside the ranks of the giants there are few other composers of whom the same could be said." Although his melodies sprang from rhythm, some of his themes

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In composing the Savoy operas, Sullivan wrote the vocal lines of the musical numbers first, and these were given to the actors. He, or an assistant, improvised a piano accompaniment at the early rehearsals; he wrote the orchestrations later, after he had seen what Gilbert's stage business would be.

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Sullivan told an interviewer, Arthur Lawrence, "I don't use the piano in composition – that would limit me terribly". Sullivan explained that his process was not to wait for inspiration, but "to dig for it. ... I decide on before I come to the question of melody. ... I mark out the metre

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Ronalds was separated from her American husband, but they never divorced. Social conventions of the time compelled Sullivan and Ronalds to keep their relationship private. She apparently became pregnant at least twice and procured abortions in 1882 and 1884. Sullivan had a roving eye, and his diary

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had "not been so convincing as to warrant us in assuming that the public want something more earnest still". He proposed instead that Sullivan should go ahead with his plan to write a grand opera, but should continue also to compose comic works for the Savoy. Sullivan was not immediately persuaded.

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at the Savoy in 1887. It was profitable, but its nine-month run was disappointing compared with most of the earlier Savoy operas. For their next piece, Gilbert submitted another version of the magic lozenge plot, which Sullivan again rejected. Gilbert finally proposed a comparatively serious opera,

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was first performed at the Leeds Festival in October 1880. Gilbert adapted the libretto for Sullivan, who, in gratitude, presented his collaborator with an engraved silver cup inscribed "W.S. Gilbert from his friend Arthur Sullivan." Sullivan was not a showy conductor, and some thought him dull and

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The academy renewed Sullivan's scholarship to allow him a second year of study at Leipzig. For his third and last year there, his father scraped together the money for living expenses, and the conservatoire assisted by waiving its fees. Sullivan's graduation piece, completed in 1861, was a suite of

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wrote in 1928 that Sullivan's "music has suffered in an extraordinary degree from the vigorous attacks which have been made upon it in professional circles. These attacks have succeeded in surrounding the composer with a kind of barricade of prejudice which must be swept away before justice can be

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called it "one of the greatest creations we have had for many years. Original, bold, inspired, grand in conception, in execution, in treatment, it is a composition which will make an 'epoch' and which will carry the name of its composer higher on the wings of fame and glory. ... The effect of

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One of Sullivan's best-known devices is what Jacobs terms his "'counterpoint of characters': the presentation by different personages of two seemingly independent tunes which later come together" simultaneously. He was not the first composer to combine themes in this way, but in Jacobs's phrase it

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wrote, "I believe there was never a more affectionate tie than that which existed between and his mother, a very witty old lady, and one who took an exceptional pride in her son's accomplishments." Sullivan was also very fond of his brother Fred, whose acting career he assisted whenever possible,

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I was intensely interested in all that the band did, and learned to play every wind instrument, with which I formed not merely a passing acquaintance, but a real, life-long, intimate friendship. I gradually learned the peculiarities of each ... what it could do and what it was unable to do. I

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Sullivan's biographers and scholars of his work have censured Tennyson's text. Gervase Hughes called it "puerile rubbish". Percy Young found it "Devoid of any kind of merit whatsoever." Sullivan's music was initially well-received, but Sullivan's biographers were not impressed: "One of Sullivan's

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as a stronger influence, and Benedict Taylor, writing in 2017, concurs. In a 2009 study Taylor adds Schubert as another major influence on Sullivan in his orchestral works, although "from the beginning ... there is the peculiar, intangible stamp of Sullivan emerging confidently". Meinhard Saremba

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opened, Sullivan visited the family in Los Angeles and took them on a sightseeing trip of the American west. Throughout the rest of his life, and in his will, he contributed financially to Fred's children, continuing to correspond with them and to be concerned with their education, marriages and

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Gilbert had already started work on a new opera in which the characters fell in love against their wills after taking a magic lozenge. Sullivan wrote on 1 April 1884 that he had "come to the end of my tether" with the operas: "I have been continually keeping down the music in order that not one

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The obituary also stated: "Many who are able to appreciate classical music regret that Sir Arthur Sullivan did not aim consistently at higher things, that he set himself to rival Offenbach and Lecocq instead of competing on a level of high seriousness with such musicians as Sir Hubert Parry and

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on 31 January 1891. Sullivan completed the score too late to meet Carte's planned production date, and costs mounted; Sullivan was required to pay Carte a contractual penalty of £3,000 (equivalent to £427,000 in 2023) for his delay. The production lasted for 155 consecutive performances, an

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of 16 December 1899: "he English history of the 19th century could not record the name of a man whose 'life work' is more worthy of honour, study and admiration than the name of Sir Arthur Sullivan ... it is a debatable point whether the universal history of music can point to any musical

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In Sullivan's diary, she appears as "Mrs. Ronalds" when he refers to their meetings in public, and "L. W." (for "Little Woman") or "D. H." (possibly "Dear Heart") for when they were alone together. When noting their private meetings, Sullivan indicated with tick marks the number of sexual acts

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had an enthusiastic reception and was frequently revived. Other critics and performers had favorable reactions to Sullivan's conducting, and he had a busy conducting career in parallel with his composing career, including seven Leeds Festivals among many other appointments. Sullivan invariably

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Sullivan's works comprise 24 operas, 11 full orchestral works, ten choral works and oratorios, two ballets, one song cycle, incidental music to several plays, more than 70 hymns and anthems, over 80 songs and parlour ballads, and a body of part songs, carols, and piano and chamber pieces. The

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commented that the piece illustrated the composer's "great capacity for dramatic writing of the lighter class", and other reviews emphasised the felicitous combination of Gilbert's words and Sullivan's music. One wrote, "it seems, as in the great Wagnerian operas, as though poem and music had

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with John Manners. Although still comic, the tone and style of the work was considerably more serious and romantic than most of the operas with Gilbert. It ran for 204 performances, and was praised by critics. In 1895 Sullivan once more provided incidental music for the Lyceum, this time for

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Fuller Maitland was later discredited when it was shown that he had invented a banal lyric, passing it off as genuine and condemning Sullivan for supposedly setting such inanity. In 1929 Fuller Maitland admitted that he had been wrong in earlier years to dismiss Sullivan's comic operas as

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Hughes concludes his chapter on Sullivan's orchestration: "n this vitally important sector of the composer's art he deserves to rank as a master." Sullivan was a competent player of at least four orchestral instruments (flute, clarinet, trumpet and trombone) and technically a most skilful

1810:, in Sullivan's sole care. Despite his reservations about the move to the United States, Sullivan paid all the costs and gave substantial financial support to the family. A year later, Charlotte died, leaving the children to be raised mostly by her brother. From June to August 1885, after 2684:

writes of "misapprehensions and prejudices, delivered to our door by the Victorian firm Musical Snobs Ltd. ... frivolity and high spirits were sincerely seen as elements that could not be exhibited by anyone who was to be admitted to the sanctified society of Art." As early as 1877

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records the occasional quarrels when Ronalds discovered his other liaisons, but he always returned to her. Around 1889 or 1890 the sexual relationship evidently ended – he started to refer to her in his diary as "Auntie" – but she remained a constant companion for the rest of his life.

1232:'s poem of the same name. Apart from the comic operas, this proved to be Sullivan's best received full-length work. It was given hundreds of performances during his lifetime, and at one point he declared a moratorium on its presentation, fearing that it would become over-exposed. Only 2921:

explained Sullivan's contributions to "the continued vitality of the Savoy operas": "Gilbert's lyrics ... take on extra point and sparkle when set to Sullivan's music. ... a delicate wit, whose airs have a precision, a neatness, a grace, and a flowing melody". A 2000 article in

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It ... may mark an epoch in English music, or we shall be greatly disappointed. Years on years have elapsed since we have heard a work by so young an artist so full of promise, so full of fancy, showing so much conscientiousness, so much skill, and so few references to any model

1135:(1882), the first new opera to open at the Savoy, was Gilbert and Sullivan's fourth hit in a row. Sullivan, despite the financial security of writing for the Savoy, increasingly viewed the composition of comic operas as unimportant, beneath his skills, and also repetitious. After 2691:

commented that Sullivan "wilfully throws his opportunity away. ... He possesses all the natural ability to have given us an English opera, and, instead, he affords us a little more-or-less excellent fooling." Few critics denied the excellence of Sullivan's theatre scores.

2765:(1888), Sullivan's most serious opera to that point: "he music follows the book to a higher plane, and we have a genuine English opera, forerunner of many others, let us hope, and possibly significant of an advance towards a national lyric stage." Sullivan's only grand opera, 3836:

completed. After the relationship with Ronalds had ceased to be sexual the tick marks no longer appeared alongside mentions of her, but continued to be used for his relationships with other women who have not been identified, and who were always referred to by their initials.

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bound, in the interests of the piece, to give way. Hence the reason of my wishing to do a work where the music is to be the first consideration – where words are to suggest music, not govern it, and where music will intensify and emphasize the emotional effects of the words.

1771:), where his acquaintances included European royalty and where the casinos enabled him to indulge his passion for gambling. He enjoyed hosting private dinners and entertainments at his home, often featuring famous singers and well-known actors. In 1865 he was initiated into 3013: 344:, and began to write anthems and songs. Helmore encouraged his compositional talent and arranged for one of his pieces, "O Israel", to be published in 1855, his first published work. Helmore enlisted Sullivan's assistance in creating harmonisations for a volume of 2317:

One of the most recognisable features in Sullivan's orchestration is his woodwind scoring. Hughes especially notes Sullivan's clarinet writing, exploiting all registers and colours of the instrument, and his particular fondness for oboe solos. For instance, the

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of criticism for us to be able to see the truth, to enjoy all his music, and to rejoice in the rich diversity of its panoply. ... et us resolve to set aside the "One-and-a-half-hurrahs" syndrome once and for all, and, in its place, raise THREE LOUD CHEERS.

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As a young man, Sullivan's conservative musical education led him to follow in the conventions of his predecessors. Later he became more adventurous; Richard Silverman, writing in 2009, points to the influence of Liszt in later works – a harmonic ambiguity and

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for his "services ... rendered to the promotion of the art of music" in Britain. The musical establishment, and many critics, believed that this should end his career as a composer of comic opera – that a musical knight should not stoop below oratorio or

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work), had a shorter run than its four predecessors; Sullivan's score was praised. With box office receipts lagging in March 1884, Carte gave the six months' notice, under the partnership contract, requiring a new opera. Sullivan's close friend, the composer

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sustains Dr. Sullivan's reputation as the most spontaneous, fertile, and scholarly composer of comic opera this country has ever produced." Comic opera, no matter how skilfully crafted, was viewed as an intrinsically lower form of art than oratorio.

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orchestration our only humorist has let himself run riot, not being handicapped with libretto, and the gain is enormous. ... All through we have orchestration of infinite delicacy, tunes of alarming simplicity, but never a tinge of vulgarity.

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as "A Dramatic Cantata"; Gilbert and Sullivan insisted on calling the rest of their joint works "operas", often with a descriptive adjective, such as a "nautical comic opera" (Jacobs, p. 118), an "aesthetic opera" or a "Japanese opera" (Jacobs,

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was performed more often in Britain in the 1880s and 1890s. It remained in the repertory until about the 1920s, but since then it has seldom been performed; it received its first professional recording in 2001. The musical scholar and conductor

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that summarised Sullivan's career to that date. It prematurely carried a caption stating "It is reported that after the Leeds Festival Dr. Sullivan will be knighted" and was accompanied by a punny parody version of "When I, good friends" from

2833: 1192:. He repeatedly requested that Gilbert find a new subject. The impasse was finally resolved on 8 May when Gilbert proposed a plot that did not depend on any supernatural device. The result was Gilbert and Sullivan's most successful work, 1493:

experience in writing for music", and, when he asked for alterations to improve the structure, they refused. The opera, moreover, was too serious for the Savoy audiences' tastes. It was a critical failure and ran for only seven weeks.

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Throughout the Savoy operas, and occasionally in other works, Sullivan quotes or imitates well-known themes or parodies the styles of famous composers. On occasion he may have echoed his predecessors unconsciously: Hughes cites a

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operatic output spanned his whole career, as did that of his songs and religious music. The solo piano and chamber pieces are mostly from his early years, and are generally in a Mendelssohnian style. With the exception of his

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and several of the other papers agreed that although the piece was entertaining, Sullivan was capable of higher art, and frivolous light opera would hold him back. This criticism would follow Sullivan throughout his career.

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part, the middle-aged woman with fading charms, cannot again be clothed in music by me. Nor can I again write to any wildly improbable plot in which there is not some human interest. ... You say that in serious opera,

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in 1876. He accepted the latter post reluctantly, fearing that discharging the duties thoroughly would leave too little time for composing; in this he was correct. He was not effective in the post, and resigned in 1881.

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Sullivan was trained in the classical style, and contemporary music did not greatly attract him. Harmonically his early works used the conventional formulae of early-nineteenth-century composers including Mendelssohn,

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unprecedented run for a grand opera, and earned good notices for its music. Afterwards, Carte was unable to fill the new opera house with other opera productions and sold the theatre. Despite the initial success of

2154:), which combines three melodic lines. Other examples are in choruses, where typically a graceful tune for the women is combined with a robust one for the men. Examples include "When the Foeman Bares his Steel" ( 200:(1889). Gilbert broke from Sullivan and Carte in 1890, after a quarrel over expenses at the Savoy. They reunited in the 1890s for two more operas, but these did not achieve the popularity of their earlier works. 2322:

contains two long solo oboe passages in succession, and in the Savoy operas there are many shorter examples. In the operas, and also in concert works, another characteristic Sullivan touch is his fondness for

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In the comic operas, where many numbers are in verse-plus-refrain form, Sullivan shaped his melodies to provide a climax for the verse, capped by an overall climax in the refrain. Hughes cites "If you go in"

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and of Fred's children. After Fred died at the age of 39, leaving his pregnant wife, Charlotte, with seven children under the age of 14, Sullivan visited the family often and became guardian to the children.

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had its first professional recording in 1968, and many of Sullivan's non-Gilbert works have since been recorded. Scholarly critical editions of an increasing number of Sullivan's works have been published.

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Sullivan continued, "I have lost the necessary nerve for it, and it is not too much to say that it is distasteful to me. The types used over and over again (unavoidable in such a company as ours), the

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The term came to be applied to all 13 surviving Gilbert and Sullivan operas, and extended, by some writers, to the other comic operas and companion pieces produced at the Savoy Theatre until 1909. The

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ran for 571 performances in London, then the second-longest theatrical run in history, and more than 150 unauthorised productions were quickly mounted in America alone. Among other favourable reviews,

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He left the overtures until last and sometimes delegated their composition, based on his outlines, to his assistants, often adding his suggestions or corrections. Those Sullivan wrote himself include

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to Vienna in search of neglected scores by Schubert. They unearthed manuscript copies of symphonies and vocal music, and were particularly elated by their final discovery, the incidental music to

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Sullivan's critical reputation has undergone extreme changes since the 1860s when critics, struck by his potential, hailed him as the long-awaited great English composer. His incidental music to

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Sullivan's health was never robust – from his thirties his kidney disease often obliged him to conduct sitting down. He died of heart failure, following an attack of bronchitis, at his flat in

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noted that the opera was an early attempt at the establishment of a "national musical stage" free from risqué French "improprieties" and without the "aid" of Italian and German musical models.

920: 3011: 1300:

He replied, "I have lost the liking for writing comic opera, and entertain very grave doubts as to my power of doing it." Nevertheless, Sullivan soon commissioned a grand opera libretto from

4021:

Professor Stanford. If he had followed this path, he might have enrolled his name among the great composers of all time. ... That Sir Arthur Sullivan could aim high and succeed he proved by

3654:, who praised Sullivan as a composer ("They trained him to make Europe yawn, and he took advantage of their teaching to make London and New York laugh and whistle."), commented: "Under his 3216:, which he had written for her. The concert raised £1,000 to fund a scholarship in his name. After Sullivan became the first recipient of the scholarship, Lind encouraged him in his career. 3083:

Sullivan's non-Savoy works were infrequently recorded until the 1960s. A few of his songs were put on disc in the early years of the 20th century, including versions of "The Lost Chord" by

1783:. Sullivan's talent and native charm gained him the friendship of many, not only in the musical establishment, such as Grove, Chorley and Herman Klein, but also in society circles, such as 1631:

Sullivan's operas have often been adapted, first in the 19th century as dance pieces and in foreign adaptations of the operas themselves. Since then, his music has been made into ballets (

3658:

orchestras are never deficient in refinement. Coarseness, exaggeration, and carelessness are unacquainted with him. So, unfortunately, are vigor and earnestness." Vernon Blackburn of the

2126:, usually in the bass, which Hughes attributes to "lack of enterprise or even downright laziness". Another Sullivan trademark criticised by Hughes is the repeated use of the chord of the 2239: 837:

at the Theatre Royal, Manchester, in 1877. He continued to compose hymns throughout the decade. In 1873 Sullivan contributed songs to Burnand's Christmas "drawing room extravaganza",

1826:, where she had the opportunity to play the leading soprano role, Josephine, in 1879. Jennie was a D'Oyly Carte chorister for fourteen years. Rose took principal roles in many of the 1421: 2604:, a distinctive four-note theme is associated with the title character, the Lord Chancellor has a fugal motif, and the Fairy Queen's music parodies that of Wagner heroines such as 1822:: Rose, Jane ("Jennie") and Kate Sullivan, the first two of whom used the stage surname Hervey. Kate was a chorister who defected to the Comedy Opera Company's rival production of 1442:, and refused to write another piece featuring her; Gilbert insisted that she must appear in his next opera. Instead, Sullivan teamed up again with his old partner, F. C. Burnand. 998:, London (1876). In addition to his appointment as Professor of Composition at the Royal Academy of Music, of which he was a Fellow, he was appointed as the first Principal of the 2792:

Although the more solemn members of the musical establishment could not forgive Sullivan for writing music that was both comic and accessible, he was, nevertheless, "the nation's

333:

before his voice broke, he was accepted and soon became a soloist. By 1856, he was promoted to "first boy". Even at this age, his health was delicate, and he was easily fatigued.

2056:, overwhelmingly in the Savoy operas, and even in his serious works. Examples of his rare excursions into minor keys include the long E minor melody in the first movement of the 1703:(2000). He is celebrated not only for writing the Savoy operas and his other works, but also for his influence on the development of modern American and British musical theatre. 2990: 1198:(1885). The piece ran for 672 performances, which was the second-longest run for any work of musical theatre, and one of the longest runs of any theatre piece, up to that time. 2801:

music, that quality in it by which ... was immediately recognized as a joyous contribution to the gaiety of life. ... Sullivan's name stood as a synonym for music in England.

979:), written at the bedside of his brother during Fred's last illness. The sheet music for his best-received songs sold in large numbers and was an important part of his income. 1529:. Sullivan's tuneful score was well received, and the opera proved to be his most successful full-length collaboration apart from those with Gilbert. Another opera with Hood, 321:

While recognising the boy's obvious talent, his father knew the insecurity of a musical career and discouraged him from pursuing it. Sullivan studied at a private school in

2302:, the number of players in Sullivan's Savoy Theatre orchestras was a "minimum" of 31. Sullivan argued hard for an increase in the pit orchestra's size, and, starting with 1373:

called the episode "the strangest comingling of success and failure ever chronicled in the history of British lyric enterprise!" Later in 1891 Sullivan composed music for

1125:, built with the profits of the previous Gilbert and Sullivan works. The rest of the partnership's collaborations were produced at the Savoy, and are widely known as the " 308:, where he was the bandmaster and taught music privately to supplement his income. Young Arthur became proficient with many of the instruments in the band and composed an 7892: 2240: 2130:

at moments of pathos. In his serious works, Sullivan attempted to avoid harmonic devices associated with the Savoy operas, with the result, according to Hughes, that

2097:

and Schubert. Hughes comments that harmonic contrast in the Savoy works is enhanced by Sullivan's characteristic modulation between keys, as in "Expressive Glances" (

617:

called it "another step in advance on the part of the only composer of any remarkable promise that just at present we can boast." In October, Sullivan travelled with

1044:

the secret of his success with Gilbert: "His ideas are as suggestive for music as they are quaint and laughable. His numbers ... always give me musical ideas."

1884:

in Paris, in 1862, Rossini's output became a model for Sullivan's comic opera music, "as evidenced in several rhythmic patterns and constructions of long finales".

9458: 3617:

of Arts' progressive social ideals of scholarship education regardless of social origin, despite having himself gained his education through scholarship support."

9483: 745:, was composed for the Birmingham Festival in 1870. The same year, Sullivan first met the poet and dramatist W. S. Gilbert. In 1871 Sullivan published his only 1726:

Sullivan never married, but he had serious love affairs with several women. The first was with Rachel Scott Russell (1845–1882), the daughter of the engineer

1295:

Sullivan wished to produce further serious works with Gilbert. He had collaborated with no other librettist since 1875. But Gilbert felt that the reaction to

9215: 1577: 1557: 9205: 8818: 3179: 3056:. The D'Oyly Carte Opera Company continued to produce recordings until 1979. After the copyrights expired, recordings were made by opera companies such as 1475:. The work celebrates English history and culture, with the Victorian period as the grand finale. Its six-month run was considered a great achievement. 407:

calls an "extraordinary gesture of confidence", the scholarship committee extended his grant for a third year so that he could study in Germany, at the

2010:

noted that Sullivan's tunes, at least in the comic operas, appeal to the professional as much as to the layman: his continental contemporaries such as

3003: 5146: 8701:

Sullivan and the Scott Russells: A Victorian love affair told through the letters of Rachel and Louise Scott Russell to Arthur Sullivan, 1864–1870

3626:

Gilbert, Sullivan and Carte tried for many years to control the American performance copyrights over their operas, but they were unable to do so.

879:

as the Learned Judge, became a surprise hit, earning glowing praise from the critics and playing for 300 performances over its first few seasons.

9220: 1794:

Sullivan was devoted to his parents, particularly his mother. He corresponded regularly with her when away from London, until her death in 1882.

400:. During this first year at the academy Sullivan continued to sing solos with the Chapel Royal, which provided a small amount of spending money. 3817:

lamest ... resourceless in magic" (Young); " even one memorable number" (Jacobs). More recent critics have praised Sullivan's contribution.

8993: 1400:

Sullivan returned to comic opera, but because of the fracture with Gilbert, he and Carte sought other collaborators. Sullivan's next piece was

408: 105: 3691:

Even after Gilbert made changes (but retained a magic lozenge that changed people into what they pretended to be), Sullivan did not accept it.

9393: 3650:

from the notes; it was as though he was reading at sight. The heavenly piece plodded along for better or for worse, listlessly, insensibly."

646:(1866), was written for a private performance. It then received charity performances in London and Manchester, and was later produced at the 1018:(1878), which followed it, turned Gilbert and Sullivan into an international phenomenon. Sullivan composed the bright and cheerful music of 9388: 7828: 2593: 174:(1875). Its box-office success led to a series of twelve full-length comic operas by the collaborators. After the extraordinary success of 92:

The son of a military bandmaster, Sullivan composed his first anthem at the age of eight and was later a soloist in the boys' choir of the

3469:

music was composed for the concert hall, rather than theatrical performance, although it was later used for at least one stage production.

1458:(1896). It failed, and Sullivan never worked with Gilbert again, although their operas continued to be revived with success at the Savoy. 9178: 3073: 9403: 9448: 9342: 9173: 1688: 1548: 1215: 341: 3036:

The first commercial recordings of Sullivan's music, beginning in 1898, were of individual numbers from the Savoy operas. In 1917 the

9428: 9378: 9210: 8941: 4985:

Wright, David. "The South Kensington Music Schools and the Development of the British Conservatoire in the Late Nineteenth Century",

640:, was not produced and is now lost, except for the overture and two songs that were separately published. His first surviving opera, 9443: 5067:

Prestige, Colin. "D'Oyly Carte and the Pirates: The Original New York Productions of Gilbert and Sullivan", pp. 113–148 at p. 118,

967:, most of them written before the end of the 1870s. His first popular song was "Orpheus with his Lute" (1866), and a well-received 759:, and he wrote the first of a series of incidental music scores for productions of Shakespeare plays. He also composed a dramatic 9383: 9195: 6084: 6076: 5055: 3766:

not write one? But why abandon the Savoy business? Cannot the two things be done concurrently? If you can write an oratorio like

3234: 3174: 2118: 1849:, composed for a royal occasion in 1893, the large-scale orchestral concert works also date from early in the composer's career. 1839: 7777: 2150:

became almost "the trademark of Sullivan's operetta style". Sometimes the melodies were for solo voices, as in "I Am So Proud" (

9408: 8893: 7466: 3899:, and later that year he again played Cox, this time at the Gaiety. The next year, he created the role of the Learned Judge in 3889:

at the Gaiety Theatre, remaining at the Gaiety thereafter. He took his own company on tour in the summer of 1874, appearing in

3226: 2629: 3045: 1222:

In 1886 Sullivan composed his second and last large-scale choral work of the decade. It was a cantata for the Leeds Festival,

9433: 8841: 8782: 8734: 8708: 8689: 8653: 8634: 8593: 8574: 8548: 8509: 8470: 8451: 8432: 8360: 8242: 8216: 8180: 8158: 8105: 8086: 8043: 8024: 8005: 7986: 7962: 7943: 2116:, Sullivan replied "if 5ths turn up it doesn't matter, so long as there is no offence to the ear." Both Hughes and Jacobs in 1784: 1639: 862:. Remembering that Gilbert had suggested a libretto to him, Carte engaged Sullivan to set it, and the result was the one-act 1592:: "Is life a boon? If so, it must befall that Death, whene'er he call, must call too soon". Sullivan wished to be buried in 9423: 9188: 6260:, Friends of the University of Michigan Gilbert and Sullivan Society, Volume XLIV, No. 1, Issue 259, Summer 2013, pp. 24–29 3571:, again with Fred as Cox, had been revived in 1874, and Arthur Sullivan may have been considering a return to comic opera. 1748:

In 1896 the 54-year-old Sullivan proposed marriage to the 22-year-old Violet Beddington (1874–1962), but she refused him.

9453: 2982: 756: 592: 563: 300:

Coghlan (1811–1882). His father was a military bandmaster, clarinettist and music teacher, born in Ireland and raised in

40: 7868: 7852: 886:

proceeded simultaneously from one and the same brain." A few months later, another Sullivan one-act comic opera opened:

304:, London; his mother was English born, of Irish and Italian descent. Thomas Sullivan was based from 1845 to 1857 at the 8986: 7840: 3885:, and he toured as Cox in his own production that summer. Later that year, he played Apollo in Gilbert and Sullivan's 9398: 3535:

was never published and is now lost, except for one song that was published separately, a chorus that was re-used in

2941: 2680:

When Sullivan turned to comic opera with Gilbert, the serious critics began to express disapproval. The music critic

1693: 1489:. The collaboration did not go well: Sullivan wrote that Pinero and Comyns Carr were "gifted and brilliant men, with 999: 821: 305: 1452:, flopped. Gilbert and Sullivan reunited one more time, after McIntosh announced her retirement from the stage, for 1304:(who was recommended by Gilbert), and suggested to Gilbert that he revive an old idea for an opera set in colourful 9438: 2851:. Includes parts of the overture, "A Wand'ring Minstrel", "Three Little Maids", "Tit-willow" and the Act II finale. 2645: 1651: 1081: 1073: 296:, London, the younger of the two children, both boys, of Thomas Sullivan (1805–1866) and his wife, Mary Clementina 20: 7880: 7904: 1892: 549:

operas. He took an early opportunity to compose several pieces for royalty in connection with the wedding of the

118:(1861), was received with acclaim on its first performance in London. Among his early major works were a ballet, 3103:. Since then, much of Sullivan's serious music and his operas without Gilbert have been recorded, including the 1339:

The relationship between Gilbert and Sullivan suffered its most serious breach in April 1890, during the run of

81:

to several plays, and numerous church pieces, songs, and piano and chamber pieces. His hymns and songs include "

9413: 8234: 4231: 3752: 3049: 2770: 325:. In 1854 he persuaded his parents and the headmaster to allow him to apply for membership in the choir of the 3826:

Some two hundred love letters from the two Scott Russell women survive and are excerpted in detail in Wolfson.

9463: 9332: 9153: 8979: 8078: 6840: 5090:"The Twilight of the Opera Pirates: A Prehistory of the Right of Public Performance for Musical Compositions" 3140: 1819: 1776: 1084:. He had earlier been commissioned to write a sacred choral work for the festival and chose, as its subject, 6256:; and Usher, David A. "In Search of Miss Violet: The Personal Journey of a Gilbert & Sullivan Devotee", 1871: 380:

to the 14-year-old Sullivan, granting him a year's training at the academy. His principal teacher there was

9478: 8931: 8882: 8252: 7167: 3446: 3076:

has released professional and amateur CDs and videos of its productions and other Sullivan recordings, and

3057: 1791:, "I have seen some bad lawn-tennis players in my time, but I never saw anyone so bad as Arthur Sullivan". 600: 397: 8000:. London and Madison, New Jersey: Associated University Presses and Fairleigh Dickinson University Press. 5462: 3518:

by Hollingshead's offer of the role of Apollo to the composer's elder brother, the comic actor and singer

2905:

continued to perform Sullivan's serious music. In 1942 Wood presented a Sullivan centenary concert at the

2494:, he used an old Japanese war song, and his 1882 trip to Egypt inspired musical styles in his later opera 2197:

in the latter). Less formal counterpoint is employed in numbers such as "Brightly Dawns Our Wedding Day" (

9473: 2779: 2101:), where he negotiates smoothly E major, C sharp minor and C major, or "Then One of Us will Be a Queen" ( 1857:

Reviewers and scholars often cite Mendelssohn as the most important influence on Sullivan. The music for

1569: 1463: 1224: 1068: 694: 348:

and arranged for the boy's compositions to be performed; one anthem was performed at the Chapel Royal in

223:

productions of several Shakespeare plays, and held conducting and academic appointments. Sullivan's only

215: 8937: 5450: 4394: 513:

described it as a sensation. He began building a reputation as England's most promising young composer.

9418: 9183: 8878: 4653:"Christian Soldiers: The Salvation Army brings humility and $ 48 million to the fairgrounds discussion" 3435: 3430: 2278:

Sullivan's orchestra for the Savoy operas was typical of the theatre orchestra of his era: 2 flutes (+

2230: 1600:. In addition to his knighthood, honours awarded to Sullivan in his lifetime included Doctor in Music, 1229: 827: 774: 685: 604: 82: 8396:. Vol. 2. Translated by Arthur Duke Coleridge. Appendix by George Grove. Longmans, Green, and Co. 1535:, quickly went into preparation, but Sullivan died before it was completed. The score was finished by 9468: 8927: 8603: 3915: 3709: 3488: 3376: 3372: 3368: 3364: 3360: 3356: 2616:

is evoked by its own motif. This use of the leitmotif technique is repeated and developed further in

2381: 2258: 1361: 1089: 587: 566:, 1864), Sullivan began his association with works for voice and orchestra. While an organist at the 544:

Sullivan embarked on his composing career with a series of ambitious works, interspersed with hymns,

393: 385: 129: 9363: 8151:

Arthur O'Leary & Arthur Sullivan: Musical Journeys from Kerry to the Heart of Victorian England

6958: 3125: 2881: 2872: 1502: 637: 578: 567: 558: 329:. Despite concerns that, at nearly 12 years of age, Sullivan was too old to give much service as a 125: 7249: 1780: 9168: 9110: 9068: 9023: 5560: 3990: 3551: 3537: 3415: 3286: 2357: 1818:

Three of Sullivan's cousins, the daughters of his uncle John Thomas Sullivan, performed with the

1605: 1383:, which ran well at Daly's Theatre in New York in 1892, but failed in London the following year. 1270: 1050: 849: 751: 647: 572: 534: 389: 377: 165: 120: 97: 63: 5915: 3567:

and some operettas on a tour, in 1871, managed by the composer's brother, Fred, who played Cox.

2347: 1369:, some writers blamed it for the failure of the opera house, and it soon passed into obscurity. 9163: 8824: 4961: 4926:

Young, pp. 273–278, gives a complete list. For links and descriptions, see Howarth, Paul (ed.)

4652: 3742: 3461: 3053: 2694: 2643:

was received with acclaim at the Crystal Palace, just before his 20th birthday, in April 1862.

1597: 1283: 1233: 797: 499: 373: 114: 101: 4888: 1815:

financial affairs. Bertie remained with his Uncle Arthur for the rest of the composer's life.

1613: 1497:

In 1899, to benefit "the wives and children of soldiers and sailors" on active service in the

1155:. Having just signed the five-year agreement, Sullivan suddenly felt trapped. The next opera, 9245: 8889: 5785: 5333: 5156: 4351: 3941: 3768: 3321: 3299: 3242: 2959: 2580:"a jolly Handelian parody" and notes a strong Handelian flavour to Arac's song in Act III of 2094: 1625: 1617: 1318:

as a pinnacle of Sullivan's achievement. It was the last great Gilbert and Sullivan success.

1094: 976: 940: 703: 632: 448: 209: 9373: 9368: 9002: 7674:

Wolfson, John (1973). "A history of Savoyard recordings", Notes to Pearl LP set GEM 118/120

5975:, Oxford University Press, September 2004 (online edition, May 2006), accessed 8 July 2008 5074: 3531:

Its run was extended beyond the length of a normal run at the Gaiety. The musical score of

3494: 3425: 3337: 3268: 3250: 2884:, also dismissed Sullivan as "merely the idle singer of an empty evening". As late as 1966 2589: 1609: 1211: 901: 381: 349: 48: 8956: 7739:, the Gilbert and Sullivan Discography, accessed 18 November 2001, accessed 5 October 2014 7726:, the Gilbert and Sullivan Discography, accessed 8 September 2011, accessed 5 October 2014 6844: 6021: 2327:

passages for the string sections. Hughes instances "Kind Sir, You Cannot Have the Heart" (

1827: 403:

Sullivan's scholarship was extended to a second year, and in 1858, in what his biographer

8: 9277: 8814: 8558: 8402: 7816: 6684:, 5 December 1889, reprinted at the Gilbert and Sullivan Archive, accessed 6 October 2011 6648: 6356: 6310: 3651: 3440: 3225:

Between 1861 and 1872 Sullivan worked as an organist at two fashionable London churches:

3108: 2749: 2170:), one theme is given to the chorus (in 2/4 time) and the other to solo voices (in 3/4). 1585: 1402: 1244: 1109: 881: 801: 778: 699: 494: 353: 109: 8899: 8796: 8792: 7662: 6677: 3682:

1881, or to designate any comic opera of a similar style which appeared at the theatre".

3594:

Later, songs from the Gilbert and Sullivan operas were adapted and sold as dance pieces.

2525:

and Verdi. Examples of his operatic parody include Mabel's aria "Poor Wand'ring One" in

439:'s ideas and techniques but was also exposed to a variety of styles, including those of 9301: 9253: 8754: 8723: 8563: 5151: 5070: 3895: 3246: 3037: 2926:

by Nigel Burton noted the resurgence of Sullivan's reputation beyond the comic operas:

2454:. He made use of dance styles to enhance the sense of time or place in various scenes: 2109: 1727: 1663: 1511: 1482: 1040: 982: 782: 670: 665: 504: 44:(13 May 1842 – 22 November 1900) was an English composer. He is best known for 14 7749: 6339: 3636:

to me from our association, this last is, and always will be, the most highly prized."

2501:

Elsewhere, Sullivan wrote undisguised parody. Of the sextet "I Hear the Soft Note" in

8966: 8837: 8802: 8778: 8761: 8730: 8704: 8685: 8668: 8649: 8630: 8613: 8589: 8570: 8544: 8524: 8505: 8488: 8466: 8447: 8428: 8408: 8378: 8356: 8350: 8334: 8314: 8294: 8277: 8260: 8238: 8212: 8195: 8176: 8154: 8137: 8120: 8101: 8082: 8061: 8039: 8020: 8001: 7982: 7976: 7958: 7939: 7794: 7723: 7357: 6491: 6474: 6300:, February 1901, reprinted at the Gilbert and Sullivan Archive, accessed 28 July 2018 6293: 5488: 5265: 5200: 4927: 4549: 3701: 3660: 3499: 3394: 3329: 3325: 3295: 3212: 3207: 3069: 2906: 2518: 2514: 2373: 2249: 2090: 1984: 1922: 1881: 1593: 1498: 1429: 1085: 833: 793: 786: 741: 509: 464: 436: 134: 8862: 7774: 7710: 7684: 7358:"In the Purgatory of Tradition: Arthur Sullivan and the English Musical Renaissance" 5715: 3418:, probably in July 1870. Gilbert was then known for his light verse, especially his 2185:. In the Savoy operas, fugal style is reserved for making fun of legal solemnity in 9309: 9293: 9075: 8951: 8036:

Sir Arthur Sullivan's Grand Opera Ivanhoe and its Theatrical and Musical Precursors

7916: 7507: 6508: 5407: 4802: 3882: 3798: 3774: 3259: 3131: 3077: 2664: 2558: 2522: 2419: 2127: 1807: 1788: 1761: 1675: 1645: 1531: 1477: 1468: 1238: 893: 815: 765: 490: 420: 220: 78: 7919:, the Gilbert and Sullivan Discography, 1 November 2009, accessed 10 December 2017 7762: 7476: 6251: 5992: 5978: 4218: 3705: 2658: 1930:– the individual musical character of a piece – ranging from the "nautical air of 1553: 591:(both 1866) were his only works in their respective genres. In the same year, his 9269: 9124: 9061: 9040: 8391: 8226: 7781: 7765:, the Gilbert and Sullivan Discography, 18 November 2001, accessed 5 October 2014 7713:, the Gilbert and Sullivan Discography, 24 December 2003, accessed 5 October 2014 7700:, the Gilbert and Sullivan Discography, 18 November 2001, accessed 5 October 2014 7687:, the Gilbert and Sullivan Discography, 18 November 2001, accessed 5 October 2014 5844: 5079:, Edited by James Helyar. Lawrence, Kansas: University of Kansas Libraries, 1971. 3719: 3646: 3148: 3144: 3065: 3061: 2723:

Sullivan's knighthood in 1883 gave the serious music critics further ammunition.

2613: 2372:"a song plainly inspired by – and indeed worthy of – Sullivan's hero, Schubert". 2019:

may have been prompted by his chosen instrumentation or his harmonic techniques.

2015: 1876: 1573:, written in expectation of victory in the Boer War, was performed posthumously. 1506: 1472: 1434: 1374: 1348: 1331: 1143: 1062: 1014: 964: 845: 806: 726: 473: 432: 301: 229: 157: 57: 8586:

Shaw's Music: The Complete Music Criticism of Bernard Shaw, Volume 2 (1890–1893)

8565:

Shaw's Music: The Complete Music Criticism of Bernard Shaw, Volume 1 (1876–1890)

7736: 7697: 4498:

Kreissle (1869), pp. 327–328 and, with respect to the whole journey, pp. 297–332

854: 155:, which is still widely performed. He wrote his first opera with W. S. Gilbert, 9200: 9131: 9117: 8718: 8607: 8326: 8053: 7819:, the Gilbert and Sullivan Discography, 12 July 2009, accessed 10 December 2017 7797:, the Gilbert and Sullivan Discography, 18 April 2010, accessed 2 December 2017 7752:, the Gilbert and Sullivan Discography, 27 August 2002, accessed 5 October 2014 7632: 5160: 4552:, the Gilbert and Sullivan Discography, 11 July 2010, accessed 9 September 2011 3928: 3714: 3333: 3313: 3304: 3277: 3272: 3161: 3100: 2895: 2842: 2517:'s lead in lampooning the idioms of French and Italian opera, such as those of 2396: 2307: 1768: 1633: 1621: 1521: 1454: 1439: 1416: 1411: 1315: 1310: 1301: 1252: 1147: 1054:

in 1879, which opened in New York and then ran in London for 363 performances.

995: 972: 936: 900:, and for the next 15 years Sullivan's sole operatic collaborator was Gilbert; 656: 482: 452: 444: 440: 337: 196: 86: 73:. His works include 24 operas, 11 major orchestral works, ten choral works and 8962: 6241: 5968: 4208: 2011: 255: 28: 9357: 9314: 9285: 9047: 9013: 8765: 8672: 8617: 8492: 8420: 8346: 8338: 8318: 8168: 8141: 8124: 7635:, the Gilbert and Sullivan Discography, 10 July 2010, accessed 5 October 2014 6106:, pp. 10–11, 2003, Brandeis University Press: Lebanon, N.H. (2003) 1584653116 5594:

Letter from Sullivan to Gilbert, 12 March 1889, quoted in Jacobs, pp. 283–284

3976: 3969: 3905:, a role that he would play in London and on tour for the rest of his career. 3901: 3855: 3519: 3281: 3263: 3084: 2963: 2687: 2681: 2510: 2365: 2311: 2299: 2254: 2022: 1909: 1756: 1734: 1720: 1669: 1536: 1486: 1444: 1407: 1392: 1379: 1278:

opened, Sullivan turned again to Shakespeare, composing incidental music for

1167: 1122: 1114: 1012:(1877), ran for 178 performances, a success by the standards of the day, but 876: 867: 825:(Birmingham Festival, 1873). He provided incidental music for productions of 732: 676: 661: 651: 545: 538: 530: 424: 416: 404: 279: 183: 170: 139: 52: 8806: 8298: 8281: 8264: 7644:"The Lasting Charm of Gilbert and Sullivan: Operas of an Artificial World", 5726:

at the Gilbert and Sullivan Archive, 3 October 2003, accessed 5 October 2014

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comedy routines, advertising, law, film, television, and other popular media

521: 9089: 9054: 8820:

The operettas of Sir Arthur Sullivan: A study of available autograph scores

8528: 8480: 8463:

Conductors in Britain 1870–1914: Wielding the Baton at the Height of Empire

8412: 8382: 8370: 8199: 8098:

The C. H. Workman Productions: A Centenary Review of the Final Savoy Operas

5585:

Letter from Gilbert to Sullivan, 20 February 1889, quoted in Jacobs, p. 282

4930:, the Gilbert and Sullivan Archive, 18 July 2004, accessed 18 December 2017 3863: 3604: 3317: 3308: 3290: 2743: 2566: 2539: 2435: 2086: 1987:

of tunes from the operas in three sections: fast, slow and fast. Those for

1901: 1795: 1370: 1353: 1279: 1248: 1157: 1008: 720: 618: 526: 428: 412: 326: 267: 187: 142:

and other light pieces, and worked as a church organist and music teacher.

93: 8065: 5999:, the Gilbert and Sullivan Archive, 12 January 2010, accessed 28 July 2018 599:, commemorating the recent death of his father, was a commission from the 9237: 9158: 9148: 8306: 7972: 6507:

Rollins and Witts, pp. 8, 10–12, 70, 71, 73–75 and 77; and Stone, David.

4964:, the Gilbert and Sullivan Archive, 4 April 2010, accessed 28 August 2018 3877: 3479: 3420: 3136: 3040:(HMV) produced the first album of a complete Gilbert and Sullivan opera, 2885: 2585: 2506: 2412: 2387:. In early pieces, Sullivan drew on Mendelssohn's style in his music for 2287: 2123: 1996: 1887: 1803: 1772: 1699: 1596:

with his parents and brother, but by order of the Queen he was buried in

1564: 1326: 1162: 1152: 1126: 944: 863: 642: 468: 467:

of the music that thirty years later he could recall them for use in his

330: 224: 219:(1886), his most popular choral work. He also wrote incidental music for 151: 146: 45: 7784:, International Gilbert and Sullivan Festival, accessed 10 December 2017 3858:, who used elements of her relationship with Sullivan in his 1925 novel 3506:

were extremely popular on the English stage in both French and English.

1386: 364: 138:(1870). To supplement the income from his concert works he wrote hymns, 9096: 8971: 8536: 7556: 6993:

Eden and Saremba, Appendix: The orchestration of Sullivan's major works

5221: 4587: 4188: 3967:

The cartoon was accompanied by a parody of "When I, good friends" from

3238: 3203: 3088: 3028: 2902: 2860: 2847: 2483: 2479: 2447: 2314:, more horns, trumpets, tuba, and occasionally an organ and/or a harp. 2270: 2253:(1870) is regarded as Sullivan's most successful orchestral work. This 1913: 1657: 1516: 1515:(1899), Sullivan returned to his comic roots, writing to a libretto by 1194: 1179: 955: 746: 550: 162: 69: 7101: 7072: 5851:, the Gilbert and Sullivan Archive, 28 May 1998, accessed 28 July 2018 5661: 5469:, Grove Music Online, Oxford University Press, accessed 18 August 2011 4999: 4235: 2997:

One of the recordings played at the press conference on 14 August 1888

2783:

was one of several late pieces that won praise from most critics:

1206: 971:

was "Oh! Hush thee, my Babie" (1867). The best known of his songs is "

9103: 5705:, full score, Introduction, vol. I, pp. XII–XIV, 2008, The Amber Ring 3958:

Sullivan could also play the oboe and bassoon, but less proficiently.

3946: 3351: 3245:. Between 1860 and 1870 he arranged seven vocal scores of operas for 2890: 2597: 2545: 2324: 2194: 2069: 2053: 1259: 968: 681: 623: 613: 478: 456: 322: 8868: 7435:, 26 May 1897, p. 7; "Sir Arthur Sullivan's New Ballet 'Victoria'", 3165:, has received many recordings since its first performance in 1951. 2677:

careful not to mistake popular applause for artistic appreciation."

1173: 312:, "By the Waters of Babylon", when he was eight. He later recalled: 9082: 8909: 8905: 8541:

Gramophone Records of the First World War: An HMV Catalogue 1914–18

7978:

Oh Joy! Oh Rapture! The Enduring Phenomenon of Gilbert and Sullivan

5089: 4550:"Discography of Sir Arthur Sullivan: Recordings of Hymns and Songs" 3780: 3503: 3410: 3072:

each conducted audio sets of several Savoy operas. Since 1994, the

2475: 2028: 1912:

key altogether for the prelude. Sullivan disliked much of Wagner's

1684: 1131: 689: 234: 203:

Sullivan's infrequent serious pieces during the 1880s included two

74: 6248:, Oxford University Press, January 2008, accessed 26 October 2012 5762:

Eden, David and William Parry. Notes to Hyperion CD set CDA67486,

3845:

One such flirtation was with "Anna", whom he met in Paris in 1878.

3510:

entered the Gaiety's repertory eight weeks before the premiere of

1716: 1448:(1894), a heavily revised version of their earlier two-act opera, 769:, for the opening of the London International Exhibition, and the 9261: 7893:"Early works of Arthur Sullivan: On Shore and Sea and Kenilworth" 7360:, Deutsche Sullivan Gesellschaft, 2000, accessed 10 December 2017 4002:

Gian Andrea Mazzucato wrote this summary of Sullivan's career in

3254: 3230: 2455: 2295: 2283: 2279: 1767:

Sullivan loved to spend time in France (both in Paris and on the

1357: 1288: 1104:

conducted the opening nights of the Gilbert and Sullivan operas.

991: 888: 760: 714: 460: 293: 204: 182:(1879), Carte used his profits from the partnership to build the 7907:, Chandos CD set CHAN 10935, WorldCat, accessed 10 December 2017 7883:, Chandos CD set CHAN 10578, WorldCat, accessed 11 December 2017 2584:. In "A More Humane Mikado", at the words "Bach interwoven with 2533:, and the whispered plans for elopement in "This Very Night" in 990:

In this decade, Sullivan's conducting appointments included the

5922:, the Gilbert and Sullivan Archive, 2004, accessed 18 July 2018 5340:, Oxford University Press, June 2017, accessed 9 December 2017 5201:"The Martyr of Antioch: Gilbert's Contribution to the Libretto" 3159:

and 35 individual Sullivan songs. Mackerras's Sullivan ballet,

3019:

Sullivan's phonographic letter to Thomas Edison, 5 October 1888

2291: 1733:

Sullivan's longest love affair was with the American socialite

1680: 1305: 317:

learned in the best possible way how to write for an orchestra.

309: 7696:

Rollins and Witts, Appendix, pp. xi–xiii; and Shepherd, Marc.

7510:

at the Gilbert and Sullivan Archive, accessed 12 December 2017

3784:, can't you write a grand opera without giving up pieces like 2946: 2592:", the clarinet and bassoon quote the fugue subject of Bach's 2137: 1432:, the three partners were reunited in 1892. Their next opera, 1268:

to which Sullivan agreed. Although it was not a grand opera,

688:" (1868). Sullivan's last major work of the 1860s was a short 8521:

The D'Oyly Carte Opera Company in Gilbert and Sullivan Operas

7895:, Dutton CD set DLX 7310, WorldCat, accessed 11 December 2017 7871:, Hyperion CD set 67280, World Cat, accessed 11 December 2017 4008: 3478:

With a classical story and a mixture of political satire and

2505:, he said to the singers, "I think you will like this. It is 2490:. Occasionally he drew on influences from further afield. In 2174: 2065: 1679:(1975), etc.). His operas are frequently performed, and also 1588:

Gardens in London and is inscribed with Gilbert's words from

1428:

With the aid of an intermediary, Sullivan's music publisher

1022:

while suffering from excruciating pain from a kidney stone.

680:

in 1894), but it did not do as well. Among Sullivan's early

664:'s libretto. Sullivan and Burnand were soon commissioned by 104:, which allowed him to study at the academy and then at the 5094:

Cardozo Arts & Entertainment Law Journal, Vol. 24, 2007

4352:"An Illustrated interview with Sir Arthur Sullivan, Part I" 3514:. Sullivan may have been encouraged to write the music for 2403:. The influence of Mendelssohn pervades the fairy music in 1581: 852:, needed a short piece to fill out a bill with Offenbach's 800:, commissioned Sullivan to work with Gilbert to create the 770: 709: 8404:

Sir Arthur Sullivan, Life Story, Letters and Reminiscences

8194:(fourteenth ed.). London: Sir Isaac Pitman and Sons. 7843:, EMI LP EL 27 0430 1, WorldCat, accessed 11 December 2017 7683:

Rollins and Witts, Appendix pp. x–xi; and Shepherd, Marc.

7443:, 29 May 1897, p. 730; and "Victoria And Merrie England", 7132:"The Rose of Persia; Or, the Story-teller and the Slave", 4215:, Oxford University Press, 2004, accessed 7 December 2008 3945:, where the "witches' sabbath" theme is combined with the 3424:; his theatre reviews; and his two dozen plays, including 8017:

Gilbert of Gilbert & Sullivan: his Life and Character

7665:, the Gilbert and Sullivan Archive, accessed 28 July 2018 6962:, November 2016, p. 1372; and "The Savoy Opera Revival", 6851:, Oxford University Press, 2001 accessed 11 October 2018 6346:, the Gilbert and Sullivan Archive, accessed 28 July 2018 6195:

Jacobs, pp. 178, 203–204; and Ainger, pp. 210 and 237–238

5716:"An Account of the Composition and Production of Ivanhoe" 5505:

Russell Hulme, David. Notes to Hyperion CD set CDA67280,

5491:, the Gilbert and Sullivan Archive, accessed 28 July 2018 5410:, the Gilbert and Sullivan Archive, accessed 28 July 2018 5203:, the Gilbert and Sullivan Archive, accessed 28 July 2018 4962:"Dance Arrangements from the Savoy Operas" (Introduction) 4807:, the Gilbert and Sullivan Archive, accessed 28 July 2018 3989:

Sullivan received honorary doctorates of music from the

2105:), where he writes in F major, D flat major and D minor. 1945: 1080:

In 1880 Sullivan was appointed director of the triennial

813:

Sullivan's large-scale works of the early 1870s were the

3465:

at the Prince's Theatre, Manchester. Sullivan's earlier

3392:

The work received an enthusiastic public reception, but

3080:

has recorded several of the operas in the 21st century.

2769:(1891), received generally favourable reviews, although 1117:, where their past three operas had played. In October, 963:

Sullivan also turned out more than 80 popular songs and

603:. It achieved considerable popularity. In June 1867 the 168:

engaged Gilbert and Sullivan to create a one-act piece,

8863:

Extensive list of links to Sullivan works and materials

7998:

Contradiction Contradicted – The Plays of W. S. Gilbert

3550:

Sullivan composed 72 hymns, including two settings of "

1802:

In 1883 Charlotte and six of her children emigrated to

1626:

Member of the Fourth Class of the Royal Victorian Order

525:

Colleagues and collaborators: clockwise from top left,

368:

Sullivan aged 16, in his Royal Academy of Music uniform

336:

Sullivan flourished under the training of the Reverend

7831:, EMI LP ASD 2435, WorldCat, accessed 11 December 2017 7356:, London 1879–89, p. 762, quoted in Sarema, Meinhard. 7058:

Greenfield, Edward. "Sullivan – Symphony in E major",

4989:, Oxford University Press, Vol. 130 No. 2, pp. 236–282 3408:

They met at a rehearsal for a second run of Gilbert's

3316:

in arranging 25 other operas by some of the above and

650:, where it ran for an extraordinary 264 performances. 108:

in Germany. His graduation piece, incidental music to

2942:

Gilbert and Sullivan § Recordings and broadcasts

2711:

declared: "t is an advantage to have the composer of

1558:

Arthur Sullivan Memorial, Victoria Embankment Gardens

1088:'s 1822 dramatic poem based on the life and death of 8627:

W. S. Gilbert, A Classic Victorian & His Theatre

6091:, British Film Institute, accessed 13 December 2017. 5896:

Entry from Sullivan's diary, quoted in Jacobs p. 379

4048:

The first was "Take a pair of sparkling eyes", from

2418:

Sullivan adopted traditional musical forms, such as

4401:, Oxford University Press, accessed 19 August 2011 4145: 4143: 186:in 1881, and their joint works became known as the 8753: 8722: 8562: 7032: 7030: 6288: 6286: 6284: 5581: 5579: 5554:"Sir Arthur Sullivan: A Talk With the Composer of 3554:", of which the "Propior Deo" is the better known. 2537:, parodying the conspirators' choruses in Verdi's 2342: 1107:Carte opened the next Gilbert and Sullivan piece, 8375:Thirty Years of Musical Life in London, 1870–1900 8058:Sullivan's Comic Operas – A Critical Appreciation 7618:"Sir Henry Wood Jubilee Concert at Albert Hall", 7168:"Gilbert & Sullivan, Parody's Patresfamilias" 5720:Thirty Years of Musical Life in London, 1870–1900 5668:, Vol. 114, No. 1563, May 1973, pp. 475–478 5611: 5609: 5457:Oxford University Press, accessed 18 August 2011 4928:"Sir Arthur Sullivan's Songs and Parlour Ballads" 4240:Sammelbände der Internationalen Musikgesellschaft 3700:The longest-running piece of musical theatre was 3135:(2014), conducted by, respectively, Tom Higgins, 2557:satirise patriotic British tunes such as Arne's " 2513:at their best." In his comic operas, he followed 2141:Characteristic "counterpoint of characters" from 2072:) and the execution march in the Act I finale of 2026:Climaxes of verse and refrain of "If You Go In" ( 1121:transferred to the new, larger, state-of-the-art 9355: 8629:. Oxford and New York: Oxford University Press. 8355:. Oxford and New York: Oxford University Press. 7981:. Oxford and New York: Oxford University Press. 7587: 7585: 5071:Papers Presented at the International Conference 5058:, StageBeauty.net (2007), accessed 10 March 2009 4140: 2715:occupying himself with a worthier form of art." 1787:. Sullivan enjoyed playing tennis; according to 1410:based loosely on the legend of the elopement of 503:. Revised and expanded, it was performed at the 477:. He became friendly with the future impresario 9459:Freemasons of the United Grand Lodge of England 8890:"Archival material relating to Arthur Sullivan" 8293:. Saffron Walden: Sir Arthur Sullivan Society. 8075:The Cambridge Companion to Gilbert and Sullivan 7027: 6281: 5603:Jacobs, pp. 282–283 and 288; and Ainger, p. 294 5576: 5278:Ainger, pp. 190, 195, 203, 215, 255–256 and 390 4184: 4182: 4180: 4178: 4176: 3980:that summarised Sullivan's career to that date. 3918:, went on to become a well-known film director. 2549:. The mock-jingoistic "He Is an Englishman" in 190:. Among the best known of the later operas are 9484:University of Music and Theatre Leipzig alumni 8775:Abide With Me: The World of the Victorian Hymn 8756:Sir Arthur Sullivan – Composer & Personage 7045:Milnes, Rodney. "Putting the Jolly in Roger", 6524:See Sullivan family tree in appendix to Jacobs 6294:"Sir Arthur Sullivan: A Personal Reminiscence" 6043: 6041: 5606: 5056:"Longest Running Plays in London and New York" 3875:In 1871 Fred appeared as Cox in his brother's 3664:thought that Sullivan conducted Mendelssohn's 1880:notes that from Sullivan's first meeting with 1038:In 1879 Sullivan suggested to a reporter from 986:Caricature of Sullivan as a conductor, c. 1879 739:Sullivan's most enduring orchestral work, the 8987: 7724:"The Gilbert and Sullivan for All recordings" 7582: 6740: 6738: 6692: 6690: 6513:Who Was Who in the D'Oyly Carte Opera Company 6496:Who Was Who in the D'Oyly Carte Opera Company 6479:Who Was Who in the D'Oyly Carte Opera Company 6361:Who Was Who in the D'Oyly Carte Opera Company 6137: 6135: 6133: 5263:Blackburn, Vernon. "Leeds Musical Festival", 4899:, 3 April 1875, p. 226, accessed 17 June 2008 4544: 4542: 4540: 2718: 1580:in the composer's memory featuring a weeping 7806:HMV 78 discs 02397 and 03151: Rust, p. xxxiv 6773: 6771: 5545:Ainger, pp. 281–282; and Jacobs, pp. 274–275 4346: 4344: 4342: 4340: 4173: 3095:was made in 1932, conducted by Sargent. The 2757:Hopes for a new departure were expressed in 1983:. Most of the overtures are structured as a 1542: 1006:Sullivan's next collaboration with Gilbert, 789:, and it became Sullivan's best-known hymn. 507:in 1862, a year after his return to London; 19:For other people named Arthur Sullivan, see 9206:People associated with Gilbert and Sullivan 9179:International Gilbert and Sullivan Festival 8682:Gilbert and Sullivan: Gender, Genre, Parody 8465:. Woodbridge, Suffolk: Boydell and Brewer. 7859:, V7/9, WorldCat, accessed 11 December 2017 7625: 7162: 7160: 6385:Ainger, p. 107; and "The London Theatres", 6038: 5140: 5036:Crowther (2000), p. 96; and Stedman, p. 169 4956: 4954: 4761: 4759: 4573: 4571: 4294: 4292: 4290: 4271: 4269: 4157: 4155: 3939:cites examples including the finale of the 3723:ran for 931 performances beginning in 1886. 3399:more fitting opportunity presented itself." 3180:People associated with Gilbert and Sullivan 3074:International Gilbert and Sullivan Festival 2754:the public performance was unprecedented." 2623: 2360:influence in "Hereupon We're Both Agreed" ( 2122:comment adversely on Sullivan's overuse of 2079: 1934:" to "the swift Mediterranean lightness of 1485:and J. Comyns Carr, was based on mediaeval 1461:In May 1897 Sullivan's full-length ballet, 660:magazine, pronounced the score superior to 607:gave the first performance of his overture 411:. There, Sullivan studied composition with 96:. In 1856, at 14, he was awarded the first 9174:Cultural influence of Gilbert and Sullivan 8994: 8980: 8898: 8584:Shaw, Bernard (1981). Dan Laurence (ed.). 8038:. Lewiston, New York: Edwin Mellen Press. 7658: 7656: 7654: 7551: 7549: 7547: 7352:Grove, George. "Sullivan, Arthur Seymour" 7174:, 23 June 2011, accessed 19 December 2017 6735: 6687: 6629:Eden and Saremba, p. 57; and Klein, p. 196 6130: 5969:"Sullivan, Sir Arthur Seymour (1842–1900)" 4863: 4861: 4537: 4534:Young, p. 63; and Rollins and Witts, p. 15 2376:found a theme in the slow movement of the 2060:, "Go Away, Madam" in the Act I finale of 1751: 1549:Cultural influence of Gilbert and Sullivan 1501:, Sullivan composed the music of a song, " 904:created a further twelve operas together. 342:Master of the Children of the Chapel Royal 8942:International Music Score Library Project 8760:. New York: The Pierpont Morgan Library. 8667:. Coventry: Sir Arthur Sullivan Society. 8485:Thespis – A Gilbert & Sullivan Enigma 8446:. Cambridge: Cambridge University Press. 8081:. Cambridge: Cambridge University Press. 7698:"G&S Discography: The Electrical Era" 7431:, 26 May 1897, p. 8; "Alhambra Theatre", 7354:Grove's Dictionary of Music and Musicians 7343:25 October 1880, quoted in Jacobs, p. 149 6780: 6768: 5758: 5756: 5501: 5499: 5497: 4981: 4979: 4337: 4242:, 3. Jahrg., H. 3, May 1902, pp. 539–564 3580:The title page of the libretto describes 2950:Advertisement for the first recording of 2747:hailed it as a "triumph of English art". 2119:Grove's Dictionary of Music and Musicians 2045:) and "A Man Who Would Woo a Fair Maid" ( 9001: 8752:Allen, Reginald; Gale R. D'Luhy (1975). 8487:. London: Dillon's University Bookshop. 8390:Kreissle von Hellborn, Heinrich (1869). 8117:Sir Arthur Sullivan – His Life and Music 7557:"Sullivan Reassessed: See How the Fates" 7157: 7119: 7117: 6752: 6750: 6481:, 27 January 2007, accessed 28 July 2018 6363:, 27 January 2007, accessed 28 July 2018 5746: 5744: 5734: 5732: 5427: 5425: 5309:, 17 September 1910, p. 1; Fitz-Gerald, 5137:Dailey, p. 28; and Lawrence, pp. 163–164 4987:Journal of the Royal Musical Association 4951: 4882: 4756: 4568: 4389: 4387: 4385: 4383: 4381: 4379: 4377: 4375: 4373: 4319: 4287: 4266: 4152: 4106: 4104: 3241:. He taught, among other places, at the 3048:of most of the operas issued by HMV and 2945: 2871: 2804: 2657: 2561:". The chorus "With Catlike Tread" from 2346: 2136: 2021: 1938:" and "the bleakness of Torquilstone in 1886: 1755: 1715: 1552: 1385: 1325: 1205: 1172: 1061: 994:Choral Union concerts (1875–77) and the 981: 819:(Crystal Palace, 1872) and the oratorio 713: 710:1870s: first collaborations with Gilbert 520: 363: 27: 9196:List of compositions by Arthur Sullivan 8801:. New York: Little, Brown and Company. 8684:. New York: Columbia University Press. 8291:Uncle Arthur: The California Connection 7936:Gilbert and Sullivan – A Dual Biography 7651: 7544: 7471:Oxford Dictionary of National Biography 6907: 6905: 6562: 6560: 6263: 6246:Oxford Dictionary of National Biography 5973:Oxford Dictionary of National Biography 4858: 4726:, Vol. 4, part 3, Issue 29, Summer 2011 4213:Oxford Dictionary of National Biography 4074: 3185: 3175:List of compositions by Arthur Sullivan 3052:followed from the 1920s, supervised by 3004:After-dinner speech at the Little Menlo 2880:Fuller Maitland's followers, including 2737:redeemed himself in critical eyes with 2600:for both comic and dramatic effect. In 2298:, percussion and strings. According to 2134:is a "hotch-potch of harmonic styles". 1840:List of compositions by Arthur Sullivan 1308:. The comic opera was completed first: 9356: 8646:Arthur Sullivan: A Musical Reappraisal 8519:Rollins, Cyril; R. John Witts (1961). 8444:The Musical Life of the Crystal Palace 8073:Eden, David; Meinhard Saremba (2009). 7750:"G&S Discography: The Digital Era" 7145:Hughes, pp. 150–151; and Jacobs, p. 52 6515:, 7 August 2002, accessed 28 July 2018 6498:, 8 August 2002, accessed 28 July 2018 6311:"Gilbert and Sullivan: Musical Masons" 5753: 5697: 5695: 5494: 5236:in Rodmell, p. 343; and Jacobs, p. 249 5133: 5131: 5129: 4976: 4722:Walters, Michael. "Thespis: a reply", 3927:An earlier exponent of the device was 3772:while you are occupied by pieces like 3355:score and two of the symphonies – the 3091:. The first of many recordings of the 2630:Critical reputation of Arthur Sullivan 2201:) and "When the Buds Are Blossoming" ( 2177:. Examples are from the "Epilogue" to 2166:). In "How Beautifully Blue the Sky" ( 1946:Method of composition and text setting 1806:, California, leaving the oldest boy, 359: 8975: 8798:Gilbert and Sullivan and Their Operas 8352:Arthur Sullivan: A Victorian Musician 7737:"G&S Discography: The Stereo Era" 7207: 7114: 6747: 6115:Ainger, p. 87; and Jacobs, pp. 53–55. 5961: 5741: 5729: 5662:"Ivanhoe and the Royal English Opera" 5422: 4920: 4370: 4101: 2380:"an outrageous crib" from Schubert's 1691:. He has been portrayed on screen in 396:(the future head of the academy) and 9394:Alumni of the Royal Academy of Music 8874:Detailed 1879 article about Sullivan 8834:Sir Arthur Sullivan: A Resource Book 8648:. Abingdon and New York: Routledge. 7955:The First Night Gilbert and Sullivan 7711:"The D'Oyly Carte Stereo Recordings" 7633:"Discography of Sir Arthur Sullivan" 7427:"Sir Arthur Sullivan's New Ballet", 6956:Seeley, Paul. "Authentic Sullivan", 6902: 6857: 6557: 5548: 4225: 2796:composer laureate". His obituary in 2596:. Sullivan sometimes used Wagnerian 2529:, the duet "Who Are You, Sir?" from 2002: 292:Sullivan was born on 13 May 1842 in 145:In 1866 Sullivan composed a one-act 9389:19th-century English male musicians 9338: 8543:. Newton Abbot: David and Charles. 8407:(1907 ed.). London: Duffield. 7938:. Oxford: Oxford University Press. 7829:"Irish Symphony; Overture di Ballo" 7685:"The First D'Oyly Carte Recordings" 7519:Fuller Maitland, J. A. "Obituary", 7491:Sir Arthur Sullivan Society Journal 6732:Jacobs, p. 244; and Harding, p. 119 6575:Taylor, Chapter 1, 3rd and 4th page 6315:Pietre-Stones Review of Freemasonry 6242:"Schiff, Sydney Alfred (1868–1944)" 5692: 5126: 4835:Nineteenth Century Theatre Research 3438:, and blank verse comedies such as 3227:St Michael's Church, Chester Square 1830:that played with the Savoy operas. 785:adopted the latter as its favoured 630:Sullivan's first attempt at opera, 13: 8745: 8703:. Chichester: Packard Publishing. 7100:Young, p. 221; and Burton, Nigel. 6186:Jacobs, p. 161; and Ainger, p. 177 6008:"Funeral of Sir Arthur Sullivan", 5222:"Dr. Hanslick on Music in England" 5120:Allen, Introduction to chapter on 4236:"The Life-Work of Arthur Sullivan" 4110:Sullivan, quoted in Young, pp. 4–5 3027:Problems playing these files? See 2971: 2811: 2634: 2219: 1916:, but he modelled the overture to 909: 568:Royal Italian Opera, Covent Garden 516: 459:, he was so struck by some of the 240: 14: 9495: 9449:English people of Italian descent 8948:Works by or about Arthur Sullivan 8851: 8729:. London: J. M. Dent & Sons. 8237:(ed and trans). New York: Dover. 8136:. London: Stanley Paul & Co. 8132:Fitz-Gerald, S. J. Adair (1924). 8115:Findon, Benjamin William (1904). 7795:"The Ohio Light Opera Recordings" 7506:, 23 November 1900, pp. 7 and 9, 7079:, 1 December 1924, pp. 1089–1090 7049:, 26 April 2001, Section 2, p. 20 6079:The Story of Gilbert and Sullivan 5467:The New Grove Dictionary of Opera 4588:"The Birmingham Musical Festival" 4358:, vol. xiv, No. 84, December 1897 3363:– and inspected four others (the 3099:was first recorded in 1968 under 2335:) and "In Vain to Us You Plead" ( 2331:), "Free From his Fetters Grim" ( 1694:The Story of Gilbert and Sullivan 1640:Pirates of Penzance – The Ballet! 1161:(1884, the duo's only three-act, 1099:old-fashioned on the podium, but 1000:National Training School of Music 858:. Carte had conducted Sullivan's 306:Royal Military College, Sandhurst 161:, in 1871. Four years later, the 9429:English male classical composers 9379:19th-century classical composers 9337: 9328: 9327: 9211:Works about Gilbert and Sullivan 8913: 8777:. London: SCM-Canterbury Press. 8331:The Music of Sir Arthur Sullivan 7910: 7898: 7886: 7874: 7862: 7846: 7834: 7822: 7809: 7800: 7787: 7768: 7755: 7742: 7729: 7716: 7703: 7690: 7677: 7668: 7638: 7612: 7603: 7594: 7569: 7535: 7526: 7513: 7496: 7493:, No. 34, Spring 1992, pp. 11–12 7483: 7473:archive, accessed 20 April 2010 7459: 7450: 7421: 7412: 7403: 7394: 7385: 7372: 7363: 7346: 7337: 7324: 7311: 7298: 7286: 7277: 7268: 7259: 7243: 7234: 7225: 7216: 7198: 7189: 7180: 7148: 7139: 7126: 7094: 7085: 7073:"Debussy and Others on Sullivan" 7065: 7052: 7039: 7014: 7005: 6996: 6987: 6978: 6969: 6950: 6941: 6932: 6923: 6914: 6893: 6884: 6875: 6866: 6834: 6825: 6816: 6807: 6798: 6789: 6759: 6726: 6717: 6708: 6699: 6671: 6662: 6641: 6632: 6623: 6614: 6605: 6596: 6587: 6578: 6569: 6548: 6539: 6527: 6518: 6501: 6484: 6467: 6458: 6449: 6440: 6431: 6422: 6413: 6401: 6392: 6379: 6366: 6349: 6332: 6320: 6303: 6272: 6234: 6225: 6216: 6207: 6198: 6189: 6180: 6171: 6162: 6153: 6144: 6118: 6109: 6094: 6070: 6061: 6029: 6015: 6002: 5985: 5952: 5943: 5934: 5925: 5908: 5899: 5890: 5881: 5872: 5863: 5854: 5837: 5828: 5819: 5810: 5801: 5792: 5773: 5708: 5683: 5674: 5654: 5645: 5636: 5627: 5618: 5597: 5588: 5567: 5539: 5530: 5521: 5512: 5481: 5472: 5443: 5434: 5413: 5400: 5391: 5382: 5373: 5364: 5355: 5346: 5327: 5299: 5290: 5281: 5272: 5257: 5248: 5239: 5228:, 1 September 1886, pp. 518–520 5215: 5206: 5193: 5184: 5175: 5166: 5114: 5101: 5082: 5061: 5054:Gaye, p. 1532; and Gillan, Don. 5048: 4042: 4032: 4014: 3996: 3983: 3961: 3952: 3921: 3908: 3869: 3862:. She was the younger sister of 3848: 3839: 3829: 3820: 3810: 3791: 3759: 3726: 3694: 3685: 3671: 3639: 3629: 3620: 3607:also discovered this to be true. 3349:They were permitted to copy the 3008: 2987: 2859:Problems playing this file? See 2831: 2269:Problems playing this file? See 2257:arrangement is performed by the 2237: 2208: 1779:in 1887 during Queen Victoria's 1711: 1706: 1314:(1889) was a piece described by 1247:writes that the work influenced 954:Problems playing this file? See 939:" (1877) by Arthur Sullivan and 925: 570:, he composed his first ballet, 278: 266: 254: 21:Arthur Sullivan (disambiguation) 9444:English people of Irish descent 8795:; Cunningham Bridgeman (1914). 8523:. London: Michael Joseph, Ltd. 8311:The English Musical Renaissance 8211:. Tunbridge Wells: Spellmount. 7763:"G&S on Film, TV and Video" 5039: 5030: 5021: 5012: 5006:, 1 November 1918, pp. 489–491 5000:"Charles Hubert Hastings Parry" 4992: 4967: 4942: 4933: 4911: 4902: 4870: 4849: 4840: 4819: 4810: 4795: 4786: 4777: 4768: 4747: 4738: 4729: 4716: 4707: 4698: 4689: 4680: 4671: 4662: 4645: 4636: 4627: 4618: 4609: 4600: 4580: 4555: 4528: 4519: 4510: 4501: 4492: 4489:Jacobs, p. 45; and Young, p. 56 4483: 4470: 4461: 4452: 4443: 4434: 4425: 4416: 4407: 4361: 4328: 4310: 4301: 4278: 4257: 4248: 4201: 4195:, 1 December 1900, pp. 785–787 4164: 4128:Jacobs, p. 7; and Ainger, p. 24 3610: 3597: 3588: 3574: 3557: 3544: 3525: 3472: 3453: 3402: 3386: 3343: 3219: 3196: 2576:Hughes calls Bouncer's song in 2343:Musical quotations and parodies 2052:Sullivan preferred to write in 674:(1867; revised and expanded as 9404:Burials at St Paul's Cathedral 9384:19th-century English composers 8938:Free scores by Arthur Sullivan 8928:Free scores by Arthur Sullivan 8865:, Gilbert and Sullivan Archive 8665:The Ballets of Arthur Sullivan 8313:. London: Secker and Warburg. 7917:"Recordings of Pineapple Poll" 7663:"Historic Sullivan Recordings" 7439:, 26 May 1897, p. 7; "Music", 5408:"The Carpet Quarrel Explained" 4131: 4122: 4113: 4092: 4083: 4065: 4007:personality since the days of 3750:– as, via them, does Walton's 3713:, which held the record until 3206:performed the soprano part to 1869:music was first presented the 1775:and was Grand Organist of the 1525:setting with plot elements of 1201: 1057: 896:. It was less successful than 875:, starring Sullivan's brother 1: 9409:Composers awarded knighthoods 8209:Gilbert and Sullivan's London 8100:. Loves Park: Scott Farrell. 8079:Cambridge Companions to Music 8019:. London: The History Press. 7166:Scherer, Barrymore Laurence. 7108:, 1 October 1986 pp. 554–557 6659:, vol. XIV No. 1, Summer 1990 6035:Bradley (2005), pp. 30 and 68 5997:, A Thanksgiving for Victory" 4837:, 12 December 1984, pp. 39–54 4724:W. S. Gilbert Society Journal 4594:, 1 October 1870, pp. 615–20 4058: 2935: 2845:recording of selections from 2594:Fantasia and Fugue in G minor 2193:(e.g., the Lord Chancellor's 1852: 1777:United Grand Lodge of England 1624:(1888); and appointment as a 1346:Sullivan's only grand opera, 245: 9434:English male opera composers 8932:Choral Public Domain Library 8879:"The Other Side of Sullivan" 8561:(1981). Dan Laurence (ed.). 8259:. London: Chapman and Hall. 8134:The Story of the Savoy Opera 7477:UK public library membership 7295:, quoted in Allen, pp. 49–50 7020:Cooper, Martin. "Sullivan", 6649:"Rhythm and Text Setting in 6398:Ainger, pp. 107, 113 and 120 6252:UK public library membership 5979:UK public library membership 5463:"Cloches de Corneville, Les" 5311:The Story of the Savoy Opera 4561:"Worcester Music Festival", 4219:UK public library membership 3993:in 1876, and Oxford in 1879. 3935:. The article on Berlioz in 3058:Gilbert and Sullivan for All 1142:On 22 May 1883 Sullivan was 1113:, in April 1881 at London's 16:British composer (1842–1900) 7: 9424:English classical composers 8912:(public domain audiobooks) 8869:Sir Arthur Sullivan Society 8836:. Boston: Scarecrow Press. 8832:Dillard, Philip H. (1996). 8588:. London: The Bodley Head. 8569:. London: The Bodley Head. 8272:Harris, Roger, ed. (1986). 8231:Hanslick's Music Criticisms 7467:"Elgar, Sir Edward William" 7441:The Illustrated London News 7330:"University Intelligence", 7317:"University Intelligence", 6620:Eden and Saremba, pp. 76–77 5296:Rollins and Witts, pp. 3–18 4917:Rollins and Witts, pp. 5–12 3312:, and he collaborated with 3235:St Peter's, Cranley Gardens 3168: 2780:Victoria and Merrie England 2368:called "Sighing Softly" in 2183:Victoria and Merrie England 1891:Sullivan by the cartoonist 1481:(1898), with a libretto by 1464:Victoria and Merrie England 1406:(1892), with a libretto by 844:In 1875 the manager of the 636:(1863–64) to a libretto by 37:Sir Arthur Seymour Sullivan 10: 9500: 9454:English Romantic composers 9184:W. S. Gilbert bibliography 9154:D'Oyly Carte Opera Company 8957:Sullivan manuscript scores 8921: 8856: 8680:Williams, Carolyn (2010). 8604:Stanford, Charles Villiers 8442:Musgrave, Michael (1995). 8393:The Life of Franz Schubert 8257:Saint-Saëns and his Circle 7926: 7817:"Overture di Ballo (1870)" 7579:, 22 September 1934, p. 10 7304:Beatty-Kingston, William. 6278:Young, pp. 246–247 and 250 5147:"A Talk With Mr. Sullivan" 4254:Fitzsimons, pp. 98 and 142 3645:The Viennese music critic 3436:German Reed Entertainments 3044:, followed by eight more. 2939: 2719:Knighthood and later years 2627: 2108:When reproached for using 1995:are written in a modified 1872:Neue Zeitschrift für Musik 1837: 1820:D'Oyly Carte Opera Company 1546: 831:at the Gaiety in 1874 and 828:The Merry Wives of Windsor 775:Onward, Christian Soldiers 83:Onward, Christian Soldiers 18: 9323: 9229: 9141: 9032: 9009: 8644:Taylor, Benedict (2017). 8625:Stedman, Jane W. (1996). 8502:Charles Villiers Stanford 8461:Palmer, Fiona M. (2017). 8401:Lawrence, Arthur (1899). 8190:Gaye, Freda, ed. (1967). 8175:. London: Omnibus Press. 8060:. London: Edward Arnold. 8015:Crowther, Andrew (2011). 7996:Crowther, Andrew (2000). 7563:, Winter 2000, pp. 15–22 7523:, March 1901, pp. 300–309 7256:, 30 October 1880, p. 202 7091:Hughes, pp. 46–47 and 152 6845:"Berlioz, (Louis-)Hector" 6389:, 6 September 1874, p. 11 6012:, 28 November 1900, p. 12 5779:Lamb, Andrew. "Sullivan, 5338:Oxford English Dictionary 4565:, 9 September 1869, p. 10 4209:"Lind, Jenny (1820–1887)" 3916:Frederic Richard Sullivan 3854:Beddington later married 3710:Les cloches de Corneville 3679:Oxford English Dictionary 3489:Orpheus in the Underworld 2470:; a nautical hornpipe in 2173:Sullivan rarely composed 2162:) and "Welcome, Gentry" ( 2158:), "In a Doleful Train" ( 1908:Sullivan had abandoned a 1904:– so that by the time of 1785:Alfred, Duke of Edinburgh 1687:, quoted and imitated in 1604:, by the Universities of 1567:on 22 November 1900. His 1543:Death, honours and legacy 1471:to celebrate the Queen's 1362:Royal English Opera House 1216:National Portrait Gallery 796:, proprietor of London's 394:William Sterndale Bennett 285:As Chapel Royal chorister 9399:British ballet composers 8963:Works by Arthur Sullivan 8906:Works by Arthur Sullivan 8663:Tillett, Selwyn (1998). 8276:. Chorleywood: R Clyde. 8207:Goodman, Andrew (1988). 8192:Who's Who in the Theatre 8149:Fitzsimons, Bob (2008). 8119:. London: James Nisbet. 8034:Dailey, Jeff S. (2008). 7953:Allen, Reginald (1976). 7934:Ainger, Michael (2002). 7648:, 14 February 1957, p. 5 7456:Quoted in Tillett, p. 26 7418:Quoted in Jacobs, p. 331 7378:"Leeds Music Festival", 7136:, 2 December 1899, p. 14 6872:Hughes, pp. 79 and 81–82 6376:, 5 September 1871, p. 1 6049:"Actors Cast Away Cares" 5949:Jacobs, pp. 387, 391–392 5440:Rollins and Witts, p. 10 4825:McElroy, George. "Whose 4633:Jacobs, pp. 27–28 and 38 3541:, and the Act II ballet. 3190: 3126:The Masque at Kenilworth 2624:Reputation and criticism 2080:Harmony and counterpoint 2014:and the Viennese critic 1833: 1760:Sullivan and his nephew 1539:, and produced in 1901. 1519:that combined an exotic 1503:The Absent-Minded Beggar 1360:, opened at Carte's new 1321: 559:The Masque at Kenilworth 392:. He studied piano with 9439:English opera composers 9111:The Yeomen of the Guard 9069:The Pirates of Penzance 8773:Bradley, Ian C (1997). 8096:Farrell, Scott (2009). 7780:5 February 2020 at the 7622:, 6 October 1938, p. 10 7565:(subscription required) 7541:Quoted in Young, p. 264 7502:Sullivan's Obituary in 7437:The Manchester Guardian 7400:Quoted in Allen, p. 312 7391:Quoted in Harris, p. IV 7382:, 17 October 1886, p. 6 7308:, 1 January 1883, p. 28 7240:Quoted in Jacobs, p. 28 7176:(subscription required) 7172:The Wall Street Journal 7110:(subscription required) 7102:"100 Years of a Legend" 7081:(subscription required) 6853:(subscription required) 6638:Eden and Saremba, p. 60 6611:Eden and Saremba, p. 57 6602:Eden and Saremba, p. 38 6222:Ainger, pp. 306 and 342 6150:Quoted in Jacobs, p. 88 6103:Our Musicals, Ourselves 6057:(subscription required) 5789:, December 2004, p. 121 5670:(subscription required) 5561:San Francisco Chronicle 5459:(subscription required) 5342:(subscription required) 5307:The Manchester Guardian 5230:(subscription required) 5172:Rollins and Witts, p. 7 5155:, 1 August 1879, p. 3, 5097:(subscription required) 5018:Rollins and Witts, p. 5 5008:(subscription required) 4735:Rees, pp. 34, 49 and 89 4596:(subscription required) 4403:(subscription required) 4244:(subscription required) 4197:(subscription required) 4080:Ainger, pp. 6 and 22–23 3991:University of Cambridge 3786:The Yeomen of the Guard 3552:Nearer, My God, to Thee 3538:The Pirates of Penzance 3416:Gallery of Illustration 2763:The Yeomen of the Guard 2727:of that year observed: 2610:The Yeomen of the Guard 2553:and choral passages in 2527:The Pirates of Penzance 2432:The Yeomen of the Guard 2411:shows the influence of 2370:The Pirates of Penzance 2362:The Yeomen of the Guard 2333:The Yeomen of the Guard 2304:The Yeomen of the Guard 2168:The Pirates of Penzance 2156:The Pirates of Penzance 2074:The Yeomen of the Guard 2047:The Yeomen of the Guard 1993:The Yeomen of the Guard 1969:The Yeomen of the Guard 1918:The Yeomen of the Guard 1752:Leisure and family life 1590:The Yeomen of the Guard 1297:The Yeomen of the Guard 1276:The Yeomen of the Guard 1271:The Yeomen of the Guard 1051:The Pirates of Penzance 648:Gallery of Illustration 378:Mendelssohn Scholarship 352:under the direction of 180:The Pirates of Penzance 98:Mendelssohn Scholarship 64:The Pirates of Penzance 32:Arthur Sullivan in 1888 8825:Aberystwyth University 8699:Wolfson, John (1984). 8500:Rodmell, Paul (2017). 7154:Hughes, pp. 151 and 80 7062:, February 1969, p. 61 7024:, April 1960, pp. 8–12 6340:"Leaders of the Savoy" 6338:Lytton, Henry (1922). 6298:The Pall Mall Magazine 6240:Whitworth, Michael H. 5701:Gordon-Powell, Robin. 5269:, 7 October 1898, p. 3 5163:, accessed 22 May 2012 5027:Crowther (2000), p. 96 4804:The Miller and His Man 4606:Crowther (2011), p. 84 4395:"Sullivan, Sir Arthur" 4025:and by a good deal of 3933:réunion de deux thèmes 3462:The Merchant of Venice 2976: 2955: 2933: 2877: 2876:20th-century audiences 2816: 2790: 2734: 2669: 2656: 2401:The Light of the World 2352: 2351:Sullivan in about 1870 2282:), oboe, 2 clarinets, 2224: 2146: 2033: 1896: 1764: 1723: 1643:(1991)) and musicals ( 1560: 1397: 1336: 1219: 1184: 1090:St Margaret of Antioch 1077: 996:Royal Aquarium Theatre 987: 914: 839:The Miller and His Man 822:The Light of the World 736: 541: 388:, had been a pupil of 374:Royal Academy of Music 369: 319: 102:Royal Academy of Music 33: 9414:Composers from London 9246:The Sapphire Necklace 8959:at The Morgan Library 8612:. London: Constable. 8504:. London: Routledge. 8377:. London: Heinemann. 8333:. London: Macmillan. 8289:Hayes, Scott (2003). 7369:Stanford, pp. 161–163 7334:, 11 June 1879, p. 10 7231:Jacobs, pp. 28 and 42 6795:Hughes, pp. 44 and 49 6682:The Pall Mall Gazette 6678:"Sir Arthur Sullivan" 6372:"Public Amusements", 6344:Secrets of a Savoyard 5317:; Rollins and Witts, 5069:Gilbert and Sullivan 4879:, 27 March 1875, p. 3 4480:, 17 June 1867, p. 12 4458:Jacobs, pp. 36 and 42 4413:Musgrave, pp. 171–172 3942:Symphonie fantastique 3914:One of the children, 3769:The Martyr of Antioch 3447:Pygmalion and Galatea 3300:The Barber of Seville 3243:Crystal Palace School 3070:Sir Charles Mackerras 3046:Electrical recordings 2975: 2949: 2940:Further information: 2928: 2899:done to his genius." 2888:, a music critic for 2875: 2815: 2805:Posthumous reputation 2785: 2771:J. A. Fuller Maitland 2759:The Daily Telegraph's 2729: 2709:The Martyr of Antioch 2661: 2651: 2466:; a country dance in 2350: 2223: 2140: 2025: 1890: 1759: 1719: 1618:Order of the Medjidie 1556: 1547:Further information: 1389: 1329: 1209: 1176: 1095:The Martyr of Antioch 1065: 985: 977:Adelaide Anne Procter 941:Adelaide Anne Procter 913: 892:, with a libretto by 717: 704:Three Choirs Festival 668:for a two-act opera, 633:The Sapphire Necklace 524: 427:, and the piano with 409:Leipzig Conservatoire 384:, whose own teacher, 367: 314: 210:The Martyr of Antioch 132:(both 1866), and his 106:Leipzig Conservatoire 31: 9464:Gilbert and Sullivan 9169:Bridget D'Oyly Carte 9024:Richard D'Oyly Carte 9003:Gilbert and Sullivan 8894:UK National Archives 8815:Hulme, David Russell 8609:Studies and Memories 8153:. Tralee: Doghouse. 7957:. London: Chappell. 7853:"The Rose of Persia" 7071:De Ternant, Andrew. 6026:, 9 July 1897, p. 54 5920:: Notes on the Text" 5564:, 22 July 1885, p. 9 5536:Ainger, pp. 265, 270 5489:"Sullivan Biography" 5254:Shaw, Vol. 1, p. 237 5245:Shaw, Vol. 2, p. 174 5232:; Hanslick, p. 263, 5075:University of Kansas 4753:Stedman, pp. 126–127 4350:Lawrence, Arthur H. 4232:MacKenzie, Alexander 4137:Jacobs, pp. 8 and 12 4004:The Musical Standard 3931:, who called it the 3186:Notes and references 2917:In 1957 a review in 2823:"Favorite airs from 1082:Leeds Music Festival 1074:Leeds Music Festival 850:Richard D'Oyly Carte 718:Poster: scenes from 702:as part of the 1869 605:Philharmonic Society 535:Richard D'Oyly Carte 435:. He was trained in 419:, counterpoint with 166:Richard D'Oyly Carte 9479:People from Lambeth 9164:Rupert D'Oyly Carte 8725:Sir Arthur Sullivan 8427:. London: Phoenix. 7869:"The Golden Legend" 7609:Dunhill 1928, p. 13 7447:, 29 May 1897, p. 8 7409:Dailey, pp. 129–133 7321:, 18 May 1876, p. 6 7250:"A Humorous Knight" 7186:Hughes, pp. 150–151 7123:Hughes, pp. 144–145 6966:, 28 September 1919 6714:Hughes, pp. 130–141 6428:Ainger, pp. 224–225 6357:"Frederic Sullivan" 6292:Grossmith, George. 6231:Ainger, pp. 364–365 6141:Ainger, pp. 128–129 5931:Jacobs, pp. 379–380 5887:Jacobs, pp. 372–376 5816:Jacobs, pp. 436–437 5807:Jacobs, pp. 341–342 5798:Jacobs, pp. 336–342 5738:Jacobs, pp. 335–336 5680:Jacobs, pp. 328–329 5642:Ainger, pp. 315–316 5527:Ainger, pp. 259–261 5487:Turnbull, Stephen. 5478:Jacobs, pp. 242–243 5461:; and Gänzl, Kurt. 5455:Grove Music Online, 5431:Jacobs, pp. 190–193 5361:Ainger, pp. 217–219 5111:, 27 May 1878, p. 6 4829:; or, When Did the 4816:Ainger, pp. 107–108 4356:The Strand Magazine 3486:was reminiscent of 3441:The Palace of Truth 3426:operatic burlesques 3151:released an album, 3109:Julian Lloyd Webber 3066:Sir Malcolm Sargent 3054:Rupert D'Oyly Carte 2446:, and the Venetian 1612:(1879); Chevalier, 1598:St Paul's Cathedral 1586:Victoria Embankment 1584:was erected in the 1245:David Russell Hulme 975:" (1877, lyrics by 935:1913 recording of " 882:The Daily Telegraph 804:-style comic opera 792:At the end of 1871 779:Sabine Baring-Gould 700:Worcester Cathedral 686:The Long Day Closes 611:. The reviewer for 564:Birmingham Festival 360:Mendelssohn scholar 51:with the dramatist 9474:Oratorio composers 9302:The Rose of Persia 9254:The Contrabandista 7857:BBC Music Magazine 6849:Grove Music Online 6657:19th Century Music 6554:Young, pp, 271–272 6326:Jacobs, p. 73 and 6317:, 18 December 2007 6309:Beresiner, Yasha. 6067:Bradley, Chapter 1 6055:, 18 October 2006 6023:The London Gazette 5781:The Contrabandista 5764:The Contrabandista 5406:Crowther, Andrew. 5199:McClure, Derrick. 5152:The New York Times 4792:Young, pp. 278–280 4659:, 18 November 2005 4399:Grove Music Online 3896:The Contrabandista 3753:Belshazzar's Feast 3113:The Rose of Persia 3101:Sir Charles Groves 3038:Gramophone Company 2977: 2958:On 14 August 1888 2956: 2878: 2817: 2725:The Musical Review 2670: 2565:parodies Verdi's " 2496:The Rose of Persia 2474:; and the Spanish 2353: 2225: 2147: 2110:consecutive fifths 2034: 1920:on the prelude of 1897: 1765: 1762:Herbert ("Bertie") 1728:John Scott Russell 1724: 1664:Hollywood Pinafore 1561: 1512:The Rose of Persia 1483:Arthur Wing Pinero 1450:The Contrabandista 1398: 1337: 1220: 1185: 1078: 1041:The New York Times 988: 915: 783:The Salvation Army 737: 671:The Contrabandista 666:Thomas German Reed 542: 539:W. S. Gilbert 481:and the violinist 376:awarded the first 370: 53:W. S. Gilbert 34: 9419:English Anglicans 9351: 9350: 9221:Performing groups 8967:Project Gutenberg 8843:978-0-8108-3157-5 8793:Cellier, François 8784:978-0-334-02703-4 8736:978-0-460-03934-5 8710:978-0-906527-14-6 8691:978-0-231-14804-7 8655:978-1-4094-6910-0 8636:978-0-19-816174-5 8595:978-0-370-31271-2 8576:978-0-370-30247-8 8550:978-0-7153-6842-8 8511:978-1-138-26903-3 8472:978-1-783-27145-0 8453:978-0-521-37562-7 8434:978-0-7538-1085-9 8362:978-0-19-315443-8 8274:The Golden Legend 8244:978-0-486-25739-6 8218:978-0-946771-31-8 8182:978-0-7119-0257-2 8160:978-0-9558746-1-1 8107:978-1-257-34089-7 8088:978-0-521-88849-3 8045:978-0-7734-5068-4 8026:978-0-7524-5589-1 8007:978-0-8386-3839-2 7988:978-0-19-516700-9 7964:978-0-903443-10-4 7945:978-0-19-514769-8 7841:"Romance, op. 62" 7561:The Musical Times 7521:Cornhill Magazine 7475:(subscription or 7293:The London Figaro 7106:The Musical Times 7077:The Musical Times 6929:Hughes, pp. 96–97 6899:Hughes, pp. 73–74 6881:Hughes, pp. 79–80 6822:Hughes, pp. 47–48 6680:, interviewed by 6374:Liverpool Mercury 6250:(subscription or 5977:(subscription or 5666:The Musical Times 5507:The Golden Legend 5451:"Cellier, Alfred" 5449:Mackerness, E.D. 5287:Palmer, chapter 3 5266:Pall Mall Gazette 5226:The Musical Times 5107:"Opera Comique", 5004:The Musical Times 4908:Jacobs, pp. 91–92 4897:The Musical World 4765:Jacobs, pp. 75–76 4642:Jacobs, pp. 65–66 4615:Jacobs, pp. 57–58 4592:The Musical Times 4507:Jacobs, pp. 42–43 4334:Jacobs, pp. 27–28 4307:Jacobs, pp. 22–24 4263:Jacobs, pp. 13–16 4217:(subscription or 4193:The Musical Times 4189:"Arthur Sullivan" 4161:Jacobs, pp. 10–11 4149:Jacobs, pp. 12–13 4023:The Golden Legend 3748:The Golden Legend 3702:Robert Planquette 3661:Pall Mall Gazette 3395:The Musical Times 3208:Felix Mendelssohn 3155:, which includes 3141:David Lloyd-Jones 3117:The Golden Legend 3093:Overture di Ballo 3014: 2992: 2924:The Musical Times 2907:Royal Albert Hall 2836: 2739:The Golden Legend 2688:The London Figaro 2409:The Golden Legend 2391:, Auber's in his 2374:Edward Greenfield 2250:Overture di Ballo 2242: 2232:Overture di Ballo 2179:The Golden Legend 2132:The Golden Legend 2008:The Musical Times 2003:Melody and rhythm 1923:Die Meistersinger 1906:The Golden Legend 1620:conferred by the 1616:, France (1878); 1594:Brompton Cemetery 1225:The Golden Legend 1086:Henry Hart Milman 1069:The Golden Legend 930: 794:John Hollingshead 777:", with words by 742:Overture di Ballo 698:, first given in 510:The Musical Times 350:St James's Palace 261:Aged four or five 216:The Golden Legend 135:Overture di Ballo 9491: 9469:Knights Bachelor 9341: 9340: 9331: 9330: 9310:The Emerald Isle 9294:The Beauty Stone 8996: 8989: 8982: 8973: 8972: 8952:Internet Archive 8917: 8916: 8902: 8897: 8847: 8828: 8810: 8788: 8769: 8759: 8740: 8728: 8714: 8695: 8676: 8659: 8640: 8621: 8599: 8580: 8568: 8554: 8532: 8515: 8496: 8476: 8457: 8438: 8416: 8397: 8386: 8366: 8342: 8322: 8302: 8285: 8268: 8248: 8227:Hanslick, Eduard 8222: 8203: 8186: 8164: 8145: 8128: 8111: 8092: 8069: 8049: 8030: 8011: 7992: 7968: 7949: 7920: 7914: 7908: 7902: 7896: 7890: 7884: 7878: 7872: 7866: 7860: 7850: 7844: 7838: 7832: 7826: 7820: 7815:Shepherd, Marc. 7813: 7807: 7804: 7798: 7793:Shepherd, Marc. 7791: 7785: 7772: 7766: 7761:Shepherd, Marc. 7759: 7753: 7748:Shepherd, Marc. 7746: 7740: 7735:Shepherd, Marc. 7733: 7727: 7722:Shepherd, Marc. 7720: 7714: 7709:Shepherd, Marc. 7707: 7701: 7694: 7688: 7681: 7675: 7672: 7666: 7660: 7649: 7642: 7636: 7631:Shepherd, Marc. 7629: 7623: 7616: 7610: 7607: 7601: 7598: 7592: 7589: 7580: 7573: 7567: 7566: 7553: 7542: 7539: 7533: 7530: 7524: 7517: 7511: 7500: 7494: 7487: 7481: 7480: 7463: 7457: 7454: 7448: 7433:The Morning Post 7425: 7419: 7416: 7410: 7407: 7401: 7398: 7392: 7389: 7383: 7376: 7370: 7367: 7361: 7350: 7344: 7341: 7335: 7328: 7322: 7315: 7309: 7302: 7296: 7290: 7284: 7281: 7275: 7272: 7266: 7263: 7257: 7247: 7241: 7238: 7232: 7229: 7223: 7220: 7214: 7211: 7205: 7204:Williams, p. 217 7202: 7196: 7193: 7187: 7184: 7178: 7177: 7164: 7155: 7152: 7146: 7143: 7137: 7130: 7124: 7121: 7112: 7111: 7098: 7092: 7089: 7083: 7082: 7069: 7063: 7056: 7050: 7043: 7037: 7034: 7025: 7018: 7012: 7009: 7003: 7000: 6994: 6991: 6985: 6982: 6976: 6973: 6967: 6954: 6948: 6945: 6939: 6936: 6930: 6927: 6921: 6918: 6912: 6909: 6900: 6897: 6891: 6888: 6882: 6879: 6873: 6870: 6864: 6861: 6855: 6854: 6838: 6832: 6829: 6823: 6820: 6814: 6811: 6805: 6802: 6796: 6793: 6787: 6784: 6778: 6775: 6766: 6763: 6757: 6754: 6745: 6742: 6733: 6730: 6724: 6723:Williams, p. 298 6721: 6715: 6712: 6706: 6703: 6697: 6694: 6685: 6675: 6669: 6666: 6660: 6645: 6639: 6636: 6630: 6627: 6621: 6618: 6612: 6609: 6603: 6600: 6594: 6591: 6585: 6582: 6576: 6573: 6567: 6564: 6555: 6552: 6546: 6543: 6537: 6531: 6525: 6522: 6516: 6505: 6499: 6488: 6482: 6471: 6465: 6464:Hayes, pp. 23–32 6462: 6456: 6455:Hayes, pp. 14–22 6453: 6447: 6446:Hayes, pp. 10–12 6444: 6438: 6435: 6429: 6426: 6420: 6417: 6411: 6405: 6399: 6396: 6390: 6383: 6377: 6370: 6364: 6353: 6347: 6336: 6330: 6324: 6318: 6307: 6301: 6290: 6279: 6276: 6270: 6267: 6261: 6255: 6238: 6232: 6229: 6223: 6220: 6214: 6211: 6205: 6202: 6196: 6193: 6187: 6184: 6178: 6175: 6169: 6166: 6160: 6157: 6151: 6148: 6142: 6139: 6128: 6122: 6116: 6113: 6107: 6100:Jones, J. Bush. 6098: 6092: 6074: 6068: 6065: 6059: 6058: 6053:Hartford Courant 6045: 6036: 6033: 6027: 6019: 6013: 6006: 6000: 5995:Te Deum Laudamus 5989: 5983: 5982: 5967:Jacobs, Arthur. 5965: 5959: 5956: 5950: 5947: 5941: 5938: 5932: 5929: 5923: 5918:The Beauty Stone 5914:Coles, Clifton. 5912: 5906: 5903: 5897: 5894: 5888: 5885: 5879: 5876: 5870: 5867: 5861: 5858: 5852: 5843:Coles, Clifton. 5841: 5835: 5832: 5826: 5823: 5817: 5814: 5808: 5805: 5799: 5796: 5790: 5777: 5771: 5760: 5751: 5748: 5739: 5736: 5727: 5712: 5706: 5699: 5690: 5687: 5681: 5678: 5672: 5671: 5658: 5652: 5649: 5643: 5640: 5634: 5631: 5625: 5622: 5616: 5613: 5604: 5601: 5595: 5592: 5586: 5583: 5574: 5571: 5565: 5552: 5546: 5543: 5537: 5534: 5528: 5525: 5519: 5516: 5510: 5503: 5492: 5485: 5479: 5476: 5470: 5460: 5447: 5441: 5438: 5432: 5429: 5420: 5417: 5411: 5404: 5398: 5395: 5389: 5386: 5380: 5377: 5371: 5368: 5362: 5359: 5353: 5350: 5344: 5343: 5331: 5325: 5303: 5297: 5294: 5288: 5285: 5279: 5276: 5270: 5261: 5255: 5252: 5246: 5243: 5237: 5231: 5219: 5213: 5210: 5204: 5197: 5191: 5188: 5182: 5179: 5173: 5170: 5164: 5144: 5138: 5135: 5124: 5118: 5112: 5105: 5099: 5098: 5086: 5080: 5065: 5059: 5052: 5046: 5043: 5037: 5034: 5028: 5025: 5019: 5016: 5010: 5009: 4998:Legge, Robin H. 4996: 4990: 4983: 4974: 4971: 4965: 4958: 4949: 4946: 4940: 4937: 4931: 4924: 4918: 4915: 4909: 4906: 4900: 4886: 4880: 4874: 4868: 4865: 4856: 4853: 4847: 4844: 4838: 4823: 4817: 4814: 4808: 4799: 4793: 4790: 4784: 4781: 4775: 4772: 4766: 4763: 4754: 4751: 4745: 4742: 4736: 4733: 4727: 4720: 4714: 4711: 4705: 4702: 4696: 4693: 4687: 4684: 4678: 4675: 4669: 4666: 4660: 4651:Branston, John. 4649: 4643: 4640: 4634: 4631: 4625: 4622: 4616: 4613: 4607: 4604: 4598: 4597: 4584: 4578: 4575: 4566: 4559: 4553: 4548:Sullivan, Marc. 4546: 4535: 4532: 4526: 4523: 4517: 4514: 4508: 4505: 4499: 4496: 4490: 4487: 4481: 4474: 4468: 4465: 4459: 4456: 4450: 4447: 4441: 4438: 4432: 4429: 4423: 4420: 4414: 4411: 4405: 4404: 4393:Jacobs, Arthur. 4391: 4368: 4365: 4359: 4348: 4335: 4332: 4326: 4323: 4317: 4314: 4308: 4305: 4299: 4296: 4285: 4282: 4276: 4273: 4264: 4261: 4255: 4252: 4246: 4245: 4229: 4223: 4222: 4205: 4199: 4198: 4186: 4171: 4168: 4162: 4159: 4150: 4147: 4138: 4135: 4129: 4126: 4120: 4117: 4111: 4108: 4099: 4096: 4090: 4087: 4081: 4078: 4072: 4069: 4053: 4046: 4040: 4036: 4030: 4018: 4012: 4000: 3994: 3987: 3981: 3965: 3959: 3956: 3950: 3925: 3919: 3912: 3906: 3883:Alhambra Theatre 3873: 3867: 3852: 3846: 3843: 3837: 3833: 3827: 3824: 3818: 3814: 3808: 3795: 3789: 3763: 3757: 3730: 3724: 3698: 3692: 3689: 3683: 3675: 3669: 3643: 3637: 3633: 3627: 3624: 3618: 3614: 3608: 3601: 3595: 3592: 3586: 3578: 3572: 3563:Carte conducted 3561: 3555: 3548: 3542: 3529: 3523: 3476: 3470: 3457: 3451: 3431:Robert the Devil 3406: 3400: 3390: 3384: 3347: 3341: 3223: 3217: 3200: 3132:On Shore and Sea 3078:Ohio Light Opera 3062:Australian Opera 3016: 3015: 2994: 2993: 2983:"The Lost Chord" 2974: 2838: 2837: 2814: 2559:Rule, Britannia! 2259:U.S. Marine Band 2244: 2243: 2222: 2128:augmented fourth 1928:la tinta musical 1828:companion pieces 1789:George Grossmith 1676:The Black Mikado 1646:The Swing Mikado 1622:Sultan of Turkey 1614:Légion d'honneur 1570:Te Deum Laudamus 1532:The Emerald Isle 1505:", to a text by 1478:The Beauty Stone 1469:Alhambra Theatre 1467:, opened at the 1048:was followed by 932: 931: 921:"The Lost Chord" 912: 894:B. C. Stephenson 816:Festival Te Deum 766:On Shore and Sea 706:to much praise. 695:The Prodigal Son 638:Henry F. Chorley 601:Norwich Festival 491:incidental music 485:, among others. 421:Moritz Hauptmann 354:Sir George Smart 346:The Hymnal Noted 282: 270: 258: 79:incidental music 43: 9499: 9498: 9494: 9493: 9492: 9490: 9489: 9488: 9364:Arthur Sullivan 9354: 9353: 9352: 9347: 9319: 9230:Sullivan operas 9225: 9137: 9125:Utopia, Limited 9062:H.M.S. Pinafore 9028: 9019:Arthur Sullivan 9005: 9000: 8924: 8914: 8888: 8859: 8854: 8844: 8831: 8813: 8791: 8785: 8772: 8751: 8748: 8746:Further reading 8743: 8737: 8719:Young, Percy M. 8717: 8711: 8698: 8692: 8679: 8662: 8656: 8643: 8637: 8624: 8602: 8596: 8583: 8577: 8557: 8551: 8535: 8518: 8512: 8499: 8479: 8473: 8460: 8454: 8441: 8435: 8425:Rudyard Kipling 8419: 8400: 8389: 8369: 8363: 8345: 8327:Hughes, Gervase 8325: 8305: 8288: 8271: 8251: 8245: 8235:Henry Pleasants 8225: 8219: 8206: 8189: 8183: 8167: 8161: 8148: 8131: 8114: 8108: 8095: 8089: 8072: 8054:Dunhill, Thomas 8052: 8046: 8033: 8027: 8014: 8008: 7995: 7989: 7971: 7965: 7952: 7946: 7933: 7929: 7924: 7923: 7915: 7911: 7903: 7899: 7891: 7887: 7879: 7875: 7867: 7863: 7851: 7847: 7839: 7835: 7827: 7823: 7814: 7810: 7805: 7801: 7792: 7788: 7782:Wayback Machine 7773: 7769: 7760: 7756: 7747: 7743: 7734: 7730: 7721: 7717: 7708: 7704: 7695: 7691: 7682: 7678: 7673: 7669: 7661: 7652: 7643: 7639: 7630: 7626: 7617: 7613: 7608: 7604: 7599: 7595: 7590: 7583: 7575:"Light Opera", 7574: 7570: 7564: 7555:Burton, Nigel. 7554: 7545: 7540: 7536: 7531: 7527: 7518: 7514: 7501: 7497: 7488: 7484: 7474: 7464: 7460: 7455: 7451: 7426: 7422: 7417: 7413: 7408: 7404: 7399: 7395: 7390: 7386: 7377: 7373: 7368: 7364: 7351: 7347: 7342: 7338: 7329: 7325: 7316: 7312: 7303: 7299: 7291: 7287: 7283:Gammond, p. 137 7282: 7278: 7273: 7269: 7264: 7260: 7248: 7244: 7239: 7235: 7230: 7226: 7221: 7217: 7212: 7208: 7203: 7199: 7194: 7190: 7185: 7181: 7175: 7165: 7158: 7153: 7149: 7144: 7140: 7131: 7127: 7122: 7115: 7109: 7099: 7095: 7090: 7086: 7080: 7070: 7066: 7057: 7053: 7044: 7040: 7035: 7028: 7019: 7015: 7010: 7006: 7001: 6997: 6992: 6988: 6983: 6979: 6974: 6970: 6955: 6951: 6946: 6942: 6937: 6933: 6928: 6924: 6919: 6915: 6910: 6903: 6898: 6894: 6889: 6885: 6880: 6876: 6871: 6867: 6862: 6858: 6852: 6841:Macdonald, Hugh 6839: 6835: 6830: 6826: 6821: 6817: 6812: 6808: 6803: 6799: 6794: 6790: 6785: 6781: 6776: 6769: 6764: 6760: 6755: 6748: 6743: 6736: 6731: 6727: 6722: 6718: 6713: 6709: 6704: 6700: 6695: 6688: 6676: 6672: 6667: 6663: 6646: 6642: 6637: 6633: 6628: 6624: 6619: 6615: 6610: 6606: 6601: 6597: 6592: 6588: 6583: 6579: 6574: 6570: 6565: 6558: 6553: 6549: 6544: 6540: 6532: 6528: 6523: 6519: 6506: 6502: 6489: 6485: 6472: 6468: 6463: 6459: 6454: 6450: 6445: 6441: 6436: 6432: 6427: 6423: 6418: 6414: 6406: 6402: 6397: 6393: 6384: 6380: 6371: 6367: 6354: 6350: 6337: 6333: 6325: 6321: 6308: 6304: 6291: 6282: 6277: 6273: 6268: 6264: 6249: 6239: 6235: 6230: 6226: 6221: 6217: 6212: 6208: 6203: 6199: 6194: 6190: 6185: 6181: 6176: 6172: 6167: 6163: 6158: 6154: 6149: 6145: 6140: 6131: 6123: 6119: 6114: 6110: 6099: 6095: 6075: 6071: 6066: 6062: 6056: 6046: 6039: 6034: 6030: 6020: 6016: 6007: 6003: 5991:Howarth, Paul. 5990: 5986: 5976: 5966: 5962: 5957: 5953: 5948: 5944: 5939: 5935: 5930: 5926: 5913: 5909: 5904: 5900: 5895: 5891: 5886: 5882: 5877: 5873: 5868: 5864: 5859: 5855: 5849:: Introduction" 5842: 5838: 5833: 5829: 5824: 5820: 5815: 5811: 5806: 5802: 5797: 5793: 5778: 5774: 5761: 5754: 5749: 5742: 5737: 5730: 5714:Klein, Herman. 5713: 5709: 5700: 5693: 5688: 5684: 5679: 5675: 5669: 5659: 5655: 5650: 5646: 5641: 5637: 5633:Stedman, p. 270 5632: 5628: 5623: 5619: 5614: 5607: 5602: 5598: 5593: 5589: 5584: 5577: 5572: 5568: 5553: 5549: 5544: 5540: 5535: 5531: 5526: 5522: 5517: 5513: 5504: 5495: 5486: 5482: 5477: 5473: 5458: 5448: 5444: 5439: 5435: 5430: 5423: 5418: 5414: 5405: 5401: 5396: 5392: 5387: 5383: 5378: 5374: 5369: 5365: 5360: 5356: 5351: 5347: 5341: 5332: 5328: 5321:; and Farrell, 5304: 5300: 5295: 5291: 5286: 5282: 5277: 5273: 5262: 5258: 5253: 5249: 5244: 5240: 5229: 5220: 5216: 5211: 5207: 5198: 5194: 5189: 5185: 5180: 5176: 5171: 5167: 5145: 5141: 5136: 5127: 5122:H.M.S. Pinafore 5119: 5115: 5106: 5102: 5096: 5087: 5083: 5066: 5062: 5053: 5049: 5044: 5040: 5035: 5031: 5026: 5022: 5017: 5013: 5007: 4997: 4993: 4984: 4977: 4972: 4968: 4959: 4952: 4947: 4943: 4938: 4934: 4925: 4921: 4916: 4912: 4907: 4903: 4887: 4883: 4875: 4871: 4866: 4859: 4854: 4850: 4845: 4841: 4824: 4820: 4815: 4811: 4801:Howarth, Paul. 4800: 4796: 4791: 4787: 4782: 4778: 4773: 4769: 4764: 4757: 4752: 4748: 4743: 4739: 4734: 4730: 4721: 4717: 4712: 4708: 4703: 4699: 4694: 4690: 4685: 4681: 4676: 4672: 4667: 4663: 4650: 4646: 4641: 4637: 4632: 4628: 4623: 4619: 4614: 4610: 4605: 4601: 4595: 4586:Lunn, Henry C. 4585: 4581: 4576: 4569: 4560: 4556: 4547: 4538: 4533: 4529: 4524: 4520: 4515: 4511: 4506: 4502: 4497: 4493: 4488: 4484: 4475: 4471: 4466: 4462: 4457: 4453: 4448: 4444: 4439: 4435: 4430: 4426: 4421: 4417: 4412: 4408: 4402: 4392: 4371: 4366: 4362: 4349: 4338: 4333: 4329: 4324: 4320: 4315: 4311: 4306: 4302: 4297: 4288: 4283: 4279: 4274: 4267: 4262: 4258: 4253: 4249: 4243: 4230: 4226: 4216: 4207:Rosen, Carole. 4206: 4202: 4196: 4187: 4174: 4169: 4165: 4160: 4153: 4148: 4141: 4136: 4132: 4127: 4123: 4118: 4114: 4109: 4102: 4097: 4093: 4089:Jacobs, pp. 6–7 4088: 4084: 4079: 4075: 4070: 4066: 4061: 4056: 4047: 4043: 4037: 4033: 4019: 4015: 4001: 3997: 3988: 3984: 3966: 3962: 3957: 3953: 3926: 3922: 3913: 3909: 3874: 3870: 3853: 3849: 3844: 3840: 3834: 3830: 3825: 3821: 3815: 3811: 3796: 3792: 3764: 3760: 3731: 3727: 3699: 3695: 3690: 3686: 3676: 3672: 3647:Eduard Hanslick 3644: 3640: 3634: 3630: 3625: 3621: 3615: 3611: 3602: 3598: 3593: 3589: 3579: 3575: 3562: 3558: 3549: 3545: 3530: 3526: 3508:La belle Hélène 3495:La belle Hélène 3477: 3473: 3458: 3454: 3407: 3403: 3391: 3387: 3348: 3344: 3224: 3220: 3201: 3197: 3193: 3188: 3171: 3149:Chandos Records 3145:Richard Bonynge 3034: 3033: 3025: 3023: 3022: 3021: 3020: 3017: 3009: 3006: 3000: 2999: 2998: 2995: 2988: 2985: 2978: 2972: 2944: 2938: 2866: 2865: 2857: 2855: 2854: 2853: 2852: 2839: 2832: 2829: 2818: 2812: 2807: 2721: 2713:H.M.S. Pinafore 2705:The Athenaeum's 2637: 2635:Early reception 2632: 2626: 2614:Tower of London 2551:H.M.S. Pinafore 2535:H.M.S. Pinafore 2440:H.M.S. Pinafore 2345: 2294:, 2 trombones, 2276: 2275: 2267: 2265: 2264: 2263: 2262: 2245: 2238: 2235: 2226: 2220: 2211: 2082: 2016:Eduard Hanslick 2005: 1981:Utopia, Limited 1948: 1855: 1842: 1836: 1824:H.M.S. Pinafore 1754: 1714: 1709: 1628:(MVO) in 1897. 1551: 1545: 1507:Rudyard Kipling 1473:Diamond Jubilee 1435:Utopia, Limited 1324: 1204: 1060: 1015:H.M.S. Pinafore 965:parlour ballads 961: 960: 952: 950: 949: 948: 947: 933: 926: 923: 916: 910: 846:Royalty Theatre 727:H.M.S. Pinafore 712: 593:Overture in C ( 573:L'Île Enchantée 551:Prince of Wales 519: 517:Rising composer 433:Ignaz Moscheles 362: 290: 289: 288: 287: 286: 283: 275: 274: 271: 263: 262: 259: 248: 243: 241:Life and career 176:H.M.S. Pinafore 140:parlour ballads 121:L'Île Enchantée 77:, two ballets, 58:H.M.S. Pinafore 39: 24: 17: 12: 11: 5: 9497: 9487: 9486: 9481: 9476: 9471: 9466: 9461: 9456: 9451: 9446: 9441: 9436: 9431: 9426: 9421: 9416: 9411: 9406: 9401: 9396: 9391: 9386: 9381: 9376: 9371: 9366: 9349: 9348: 9346: 9345: 9335: 9324: 9321: 9320: 9318: 9317: 9306: 9298: 9290: 9282: 9274: 9266: 9258: 9250: 9242: 9233: 9231: 9227: 9226: 9224: 9223: 9218: 9213: 9208: 9203: 9198: 9193: 9192: 9191: 9189:dramatic works 9181: 9176: 9171: 9166: 9161: 9156: 9151: 9145: 9143: 9139: 9138: 9136: 9135: 9132:The Grand Duke 9128: 9121: 9118:The Gondoliers 9114: 9107: 9100: 9093: 9086: 9079: 9072: 9065: 9058: 9051: 9044: 9036: 9034: 9030: 9029: 9027: 9026: 9021: 9016: 9010: 9007: 9006: 8999: 8998: 8991: 8984: 8976: 8970: 8969: 8960: 8954: 8945: 8935: 8923: 8920: 8919: 8918: 8903: 8886: 8876: 8871: 8866: 8858: 8855: 8853: 8852:External links 8850: 8849: 8848: 8842: 8829: 8811: 8789: 8783: 8770: 8747: 8744: 8742: 8741: 8735: 8715: 8709: 8696: 8690: 8677: 8660: 8654: 8641: 8635: 8622: 8600: 8594: 8581: 8575: 8555: 8549: 8533: 8516: 8510: 8497: 8477: 8471: 8458: 8452: 8439: 8433: 8421:Lycett, Andrew 8417: 8398: 8387: 8367: 8361: 8347:Jacobs, Arthur 8343: 8323: 8303: 8286: 8269: 8253:Harding, James 8249: 8243: 8223: 8217: 8204: 8187: 8181: 8169:Gammond, Peter 8165: 8159: 8146: 8129: 8112: 8106: 8093: 8087: 8070: 8050: 8044: 8031: 8025: 8012: 8006: 7993: 7987: 7973:Bradley, Ian C 7969: 7963: 7950: 7944: 7930: 7928: 7925: 7922: 7921: 7909: 7897: 7885: 7873: 7861: 7845: 7833: 7821: 7808: 7799: 7786: 7767: 7754: 7741: 7728: 7715: 7702: 7689: 7676: 7667: 7650: 7637: 7624: 7611: 7602: 7593: 7581: 7568: 7543: 7534: 7525: 7512: 7495: 7489:Quoted in the 7482: 7465:Maine, Basil. 7458: 7449: 7429:The Daily News 7420: 7411: 7402: 7393: 7384: 7371: 7362: 7345: 7336: 7323: 7310: 7297: 7285: 7276: 7267: 7258: 7242: 7233: 7224: 7215: 7213:Hughes, p. 143 7206: 7197: 7195:Hughes, p. 109 7188: 7179: 7156: 7147: 7138: 7125: 7113: 7093: 7084: 7064: 7060:The Gramophone 7051: 7038: 7036:Hughes, p. 152 7026: 7013: 7011:Hughes, p. 117 7004: 7002:Hughes, p. 104 6995: 6986: 6984:Findon, p. 107 6977: 6975:Hughes, p. 108 6968: 6949: 6940: 6931: 6922: 6920:Hughes, p. 118 6913: 6901: 6892: 6883: 6874: 6865: 6856: 6833: 6824: 6815: 6806: 6797: 6788: 6779: 6767: 6765:Hughes, p. 125 6758: 6756:Hughes, p. 128 6746: 6744:Hughes, p. 129 6734: 6725: 6716: 6707: 6698: 6696:Hughes, p. 130 6686: 6670: 6668:Ainger, p. 138 6661: 6647:Fink, Robert. 6640: 6631: 6622: 6613: 6604: 6595: 6586: 6577: 6568: 6556: 6547: 6538: 6526: 6517: 6500: 6490:Stone, David. 6483: 6473:Stone, David. 6466: 6457: 6448: 6439: 6430: 6421: 6419:Hayes, pp. 6–7 6412: 6400: 6391: 6378: 6365: 6355:Stone, David. 6348: 6331: 6319: 6302: 6280: 6271: 6269:Jacobs, p. 371 6262: 6233: 6224: 6215: 6213:Jacobs, p. 295 6206: 6197: 6188: 6179: 6177:Ainger, p. 390 6170: 6168:Ainger, p. 135 6161: 6159:Ainger, p. 167 6152: 6143: 6129: 6117: 6108: 6093: 6069: 6060: 6047:Downs, Peter. 6037: 6028: 6014: 6001: 5984: 5960: 5958:Jacobs, p. 400 5951: 5942: 5940:Lycett, p. 432 5933: 5924: 5907: 5905:Jacobs, p. 379 5898: 5889: 5880: 5871: 5869:Ainger, p. 357 5862: 5860:Ainger, p. 352 5853: 5836: 5834:Ainger, p. 346 5827: 5825:Ainger, p. 328 5818: 5809: 5800: 5791: 5772: 5752: 5740: 5728: 5707: 5691: 5689:Ainger, p. 322 5682: 5673: 5660:Lamb, Andrew. 5653: 5651:Ainger, p. 312 5644: 5635: 5626: 5624:Ainger, p. 303 5617: 5605: 5596: 5587: 5575: 5566: 5547: 5538: 5529: 5520: 5518:Jacobs, p. 243 5511: 5493: 5480: 5471: 5442: 5433: 5421: 5419:Ainger, p. 230 5412: 5399: 5397:Jacobs, p. 187 5390: 5388:Jacobs, p. 188 5381: 5379:Ainger, p. 220 5372: 5370:Ainger, p. 219 5363: 5354: 5352:Jacobs, p. 178 5345: 5326: 5298: 5289: 5280: 5271: 5256: 5247: 5238: 5214: 5212:Jacobs, p. 146 5205: 5192: 5190:Ainger, p. 163 5183: 5181:Jacobs, p. 139 5174: 5165: 5139: 5125: 5113: 5100: 5081: 5060: 5047: 5045:Ainger, p. 155 5038: 5029: 5020: 5011: 4991: 4975: 4973:Ainger, p. 121 4966: 4950: 4948:Goodman, p. 19 4941: 4939:Ainger, p. 128 4932: 4919: 4910: 4901: 4881: 4877:The Daily News 4869: 4857: 4848: 4846:Ainger, p. 108 4839: 4818: 4809: 4794: 4785: 4783:Jacobs, p. 108 4776: 4767: 4755: 4746: 4744:Stedman, p. 94 4737: 4728: 4715: 4706: 4697: 4688: 4679: 4670: 4661: 4644: 4635: 4626: 4617: 4608: 4599: 4579: 4567: 4554: 4536: 4527: 4518: 4509: 4500: 4491: 4482: 4469: 4460: 4451: 4442: 4433: 4424: 4415: 4406: 4369: 4360: 4336: 4327: 4318: 4309: 4300: 4286: 4277: 4265: 4256: 4247: 4224: 4200: 4172: 4163: 4151: 4139: 4130: 4121: 4112: 4100: 4091: 4082: 4073: 4071:Young, pp. 1–2 4063: 4062: 4060: 4057: 4055: 4054: 4050:The Gondoliers 4041: 4031: 4013: 3995: 3982: 3960: 3951: 3929:Hector Berlioz 3920: 3907: 3868: 3864:Ada Beddington 3847: 3838: 3828: 3819: 3809: 3790: 3758: 3725: 3715:Alfred Cellier 3693: 3684: 3670: 3638: 3628: 3619: 3609: 3603:His successor 3596: 3587: 3573: 3556: 3543: 3524: 3471: 3452: 3401: 3385: 3342: 3314:Josiah Pittman 3218: 3194: 3192: 3189: 3187: 3184: 3183: 3182: 3177: 3170: 3167: 3162:Pineapple Poll 3105:Cello Concerto 3097:Irish Symphony 3024: 3018: 3007: 3002: 3001: 2996: 2986: 2981: 2980: 2979: 2970: 2969: 2968: 2960:George Gouraud 2937: 2934: 2911:Irish Symphony 2903:Sir Henry Wood 2896:Thomas Dunhill 2856: 2843:Edison Records 2840: 2830: 2821: 2820: 2819: 2810: 2809: 2808: 2806: 2803: 2720: 2717: 2674:Irish Symphony 2636: 2633: 2628:Main article: 2625: 2622: 2488:The Gondoliers 2464:The Gondoliers 2452:The Gondoliers 2378:Irish Symphony 2344: 2341: 2329:The Gondoliers 2320:Irish Symphony 2308:double bassoon 2266: 2246: 2236: 2229: 2228: 2227: 2218: 2217: 2216: 2210: 2207: 2103:The Gondoliers 2081: 2078: 2058:Irish Symphony 2004: 2001: 1977:The Grand Duke 1973:The Gondoliers 1947: 1944: 1936:The Gondoliers 1932:H.M.S Pinafore 1863:Irish Symphony 1854: 1851: 1847:Imperial March 1835: 1832: 1781:Golden Jubilee 1753: 1750: 1713: 1710: 1708: 1705: 1652:The Hot Mikado 1634:Pineapple Poll 1544: 1541: 1522:Arabian Nights 1487:morality plays 1455:The Grand Duke 1440:Nancy McIntosh 1417:J. Comyns Carr 1412:Dorothy Vernon 1341:The Gondoliers 1323: 1320: 1316:Gervase Hughes 1311:The Gondoliers 1302:Julian Sturgis 1286:production of 1284:Lyceum Theatre 1214:(1888) in the 1203: 1200: 1177:Programme for 1148:Queen Victoria 1059: 1056: 973:The Lost Chord 951: 937:The Lost Chord 934: 924: 919: 918: 917: 908: 907: 906: 798:Gaiety Theatre 755:, to words by 711: 708: 588:Cello Concerto 518: 515: 505:Crystal Palace 483:Joseph Joachim 398:Arthur O'Leary 386:Thomas Attwood 361: 358: 338:Thomas Helmore 284: 277: 276: 272: 265: 264: 260: 253: 252: 251: 250: 249: 247: 244: 242: 239: 197:The Gondoliers 130:cello concerto 87:The Lost Chord 49:collaborations 15: 9: 6: 4: 3: 2: 9496: 9485: 9482: 9480: 9477: 9475: 9472: 9470: 9467: 9465: 9462: 9460: 9457: 9455: 9452: 9450: 9447: 9445: 9442: 9440: 9437: 9435: 9432: 9430: 9427: 9425: 9422: 9420: 9417: 9415: 9412: 9410: 9407: 9405: 9402: 9400: 9397: 9395: 9392: 9390: 9387: 9385: 9382: 9380: 9377: 9375: 9372: 9370: 9367: 9365: 9362: 9361: 9359: 9344: 9336: 9334: 9326: 9325: 9322: 9316: 9312: 9311: 9307: 9304: 9303: 9299: 9296: 9295: 9291: 9288: 9287: 9286:The Chieftain 9283: 9280: 9279: 9275: 9272: 9271: 9267: 9264: 9263: 9259: 9256: 9255: 9251: 9248: 9247: 9243: 9240: 9239: 9235: 9234: 9232: 9228: 9222: 9219: 9217: 9214: 9212: 9209: 9207: 9204: 9202: 9199: 9197: 9194: 9190: 9187: 9186: 9185: 9182: 9180: 9177: 9175: 9172: 9170: 9167: 9165: 9162: 9160: 9157: 9155: 9152: 9150: 9147: 9146: 9144: 9140: 9134: 9133: 9129: 9127: 9126: 9122: 9120: 9119: 9115: 9113: 9112: 9108: 9106: 9105: 9101: 9099: 9098: 9094: 9092: 9091: 9087: 9085: 9084: 9080: 9078: 9077: 9073: 9071: 9070: 9066: 9064: 9063: 9059: 9057: 9056: 9052: 9050: 9049: 9048:Trial by Jury 9045: 9043: 9042: 9038: 9037: 9035: 9031: 9025: 9022: 9020: 9017: 9015: 9014:W. S. Gilbert 9012: 9011: 9008: 9004: 8997: 8992: 8990: 8985: 8983: 8978: 8977: 8974: 8968: 8964: 8961: 8958: 8955: 8953: 8949: 8946: 8943: 8939: 8936: 8933: 8929: 8926: 8925: 8911: 8907: 8904: 8901: 8895: 8891: 8887: 8884: 8881:, lecture by 8880: 8877: 8875: 8872: 8870: 8867: 8864: 8861: 8860: 8845: 8839: 8835: 8830: 8826: 8822: 8821: 8816: 8812: 8808: 8804: 8800: 8799: 8794: 8790: 8786: 8780: 8776: 8771: 8767: 8763: 8758: 8757: 8750: 8749: 8738: 8732: 8727: 8726: 8720: 8716: 8712: 8706: 8702: 8697: 8693: 8687: 8683: 8678: 8674: 8670: 8666: 8661: 8657: 8651: 8647: 8642: 8638: 8632: 8628: 8623: 8619: 8615: 8611: 8610: 8605: 8601: 8597: 8591: 8587: 8582: 8578: 8572: 8567: 8566: 8560: 8559:Shaw, Bernard 8556: 8552: 8546: 8542: 8538: 8534: 8530: 8526: 8522: 8517: 8513: 8507: 8503: 8498: 8494: 8490: 8486: 8482: 8481:Rees, Terence 8478: 8474: 8468: 8464: 8459: 8455: 8449: 8445: 8440: 8436: 8430: 8426: 8422: 8418: 8414: 8410: 8406: 8405: 8399: 8395: 8394: 8388: 8384: 8380: 8376: 8372: 8371:Klein, Herman 8368: 8364: 8358: 8354: 8353: 8348: 8344: 8340: 8336: 8332: 8328: 8324: 8320: 8316: 8312: 8308: 8304: 8300: 8296: 8292: 8287: 8283: 8279: 8275: 8270: 8266: 8262: 8258: 8254: 8250: 8246: 8240: 8236: 8232: 8228: 8224: 8220: 8214: 8210: 8205: 8201: 8197: 8193: 8188: 8184: 8178: 8174: 8170: 8166: 8162: 8156: 8152: 8147: 8143: 8139: 8135: 8130: 8126: 8122: 8118: 8113: 8109: 8103: 8099: 8094: 8090: 8084: 8080: 8076: 8071: 8067: 8063: 8059: 8055: 8051: 8047: 8041: 8037: 8032: 8028: 8022: 8018: 8013: 8009: 8003: 7999: 7994: 7990: 7984: 7980: 7979: 7974: 7970: 7966: 7960: 7956: 7951: 7947: 7941: 7937: 7932: 7931: 7918: 7913: 7906: 7901: 7894: 7889: 7882: 7877: 7870: 7865: 7858: 7854: 7849: 7842: 7837: 7830: 7825: 7818: 7812: 7803: 7796: 7790: 7783: 7779: 7776: 7771: 7764: 7758: 7751: 7745: 7738: 7732: 7725: 7719: 7712: 7706: 7699: 7693: 7686: 7680: 7671: 7664: 7659: 7657: 7655: 7647: 7641: 7634: 7628: 7621: 7615: 7606: 7597: 7588: 7586: 7578: 7572: 7562: 7558: 7552: 7550: 7548: 7538: 7532:Young, p. 264 7529: 7522: 7516: 7509: 7505: 7499: 7492: 7486: 7478: 7472: 7468: 7462: 7453: 7446: 7442: 7438: 7434: 7430: 7424: 7415: 7406: 7397: 7388: 7381: 7375: 7366: 7359: 7355: 7349: 7340: 7333: 7327: 7320: 7314: 7307: 7301: 7294: 7289: 7280: 7274:Jacobs, p. 49 7271: 7265:Jacobs, p. 48 7262: 7255: 7251: 7246: 7237: 7228: 7222:Young, p. 223 7219: 7210: 7201: 7192: 7183: 7173: 7169: 7163: 7161: 7151: 7142: 7135: 7129: 7120: 7118: 7107: 7103: 7097: 7088: 7078: 7074: 7068: 7061: 7055: 7048: 7042: 7033: 7031: 7023: 7017: 7008: 6999: 6990: 6981: 6972: 6965: 6961: 6960: 6953: 6947:Hughes, p. 96 6944: 6938:Young, p. 178 6935: 6926: 6917: 6911:Hughes, p. 75 6908: 6906: 6896: 6887: 6878: 6869: 6863:Hughes, p. 78 6860: 6850: 6846: 6842: 6837: 6831:Hughes, p. 66 6828: 6819: 6813:Hughes, p. 48 6810: 6804:Hughes, p. 59 6801: 6792: 6786:Hughes, p. 44 6783: 6777:Hughes, p. 52 6774: 6772: 6762: 6753: 6751: 6741: 6739: 6729: 6720: 6711: 6702: 6693: 6691: 6683: 6679: 6674: 6665: 6658: 6654: 6652: 6644: 6635: 6626: 6617: 6608: 6599: 6593:Taylor, p. 10 6590: 6584:Hughes, p. 69 6581: 6572: 6563: 6561: 6551: 6545:Jacobs, p. 42 6542: 6536: 6530: 6521: 6514: 6510: 6504: 6497: 6493: 6492:Jennie Hervey 6487: 6480: 6476: 6475:Kate Sullivan 6470: 6461: 6452: 6443: 6434: 6425: 6416: 6410: 6404: 6395: 6388: 6382: 6375: 6369: 6362: 6358: 6352: 6345: 6341: 6335: 6329: 6323: 6316: 6312: 6306: 6299: 6295: 6289: 6287: 6285: 6275: 6266: 6259: 6253: 6247: 6243: 6237: 6228: 6219: 6210: 6204:Jacobs, p. 20 6201: 6192: 6183: 6174: 6165: 6156: 6147: 6138: 6136: 6134: 6127: 6121: 6112: 6105: 6104: 6097: 6090: 6088: 6082: 6080: 6073: 6064: 6054: 6050: 6044: 6042: 6032: 6025: 6024: 6018: 6011: 6005: 5998: 5996: 5988: 5980: 5974: 5970: 5964: 5955: 5946: 5937: 5928: 5921: 5919: 5911: 5902: 5893: 5884: 5878:Young, p. 201 5875: 5866: 5857: 5850: 5848: 5840: 5831: 5822: 5813: 5804: 5795: 5788: 5787: 5782: 5776: 5769: 5768:The Foresters 5765: 5759: 5757: 5750:Young, p. 194 5747: 5745: 5735: 5733: 5725: 5721: 5717: 5711: 5704: 5698: 5696: 5686: 5677: 5667: 5663: 5657: 5648: 5639: 5630: 5621: 5615:Hughes, p. 24 5612: 5610: 5600: 5591: 5582: 5580: 5570: 5563: 5562: 5557: 5551: 5542: 5533: 5524: 5515: 5508: 5502: 5500: 5498: 5490: 5484: 5475: 5468: 5464: 5456: 5452: 5446: 5437: 5428: 5426: 5416: 5409: 5403: 5394: 5385: 5376: 5367: 5358: 5349: 5339: 5335: 5330: 5324: 5320: 5316: 5312: 5308: 5302: 5293: 5284: 5275: 5268: 5267: 5260: 5251: 5242: 5235: 5227: 5223: 5218: 5209: 5202: 5196: 5187: 5178: 5169: 5162: 5158: 5154: 5153: 5148: 5143: 5134: 5132: 5130: 5123: 5117: 5110: 5104: 5095: 5091: 5088:Rosen, Z. S. 5085: 5078: 5076: 5072: 5064: 5057: 5051: 5042: 5033: 5024: 5015: 5005: 5001: 4995: 4988: 4982: 4980: 4970: 4963: 4960:Sands, John. 4957: 4955: 4945: 4936: 4929: 4923: 4914: 4905: 4898: 4894: 4892: 4891:Trial by Jury 4885: 4878: 4873: 4864: 4862: 4855:Jacobs, p. 90 4852: 4843: 4836: 4832: 4828: 4822: 4813: 4806: 4805: 4798: 4789: 4780: 4774:Jacobs, p. 76 4771: 4762: 4760: 4750: 4741: 4732: 4725: 4719: 4710: 4701: 4692: 4686:Jacobs, p. 50 4683: 4677:Ainger, p. 93 4674: 4665: 4658: 4657:Memphis Flyer 4654: 4648: 4639: 4630: 4624:Jacobs, p. 68 4621: 4612: 4603: 4593: 4589: 4583: 4577:Hughes, p. 14 4574: 4572: 4564: 4558: 4551: 4545: 4543: 4541: 4531: 4522: 4516:Ainger, p. 65 4513: 4504: 4495: 4486: 4479: 4473: 4467:Jacobs, p. 43 4464: 4455: 4449:Jacobs, p. 37 4446: 4440:Jacobs, p. 38 4437: 4431:Jacobs, p. 35 4428: 4422:Jacobs, p. 61 4419: 4410: 4400: 4396: 4390: 4388: 4386: 4384: 4382: 4380: 4378: 4376: 4374: 4367:Ainger, p. 56 4364: 4357: 4353: 4347: 4345: 4343: 4341: 4331: 4325:Jacobs, p. 23 4322: 4313: 4304: 4298:Jacobs, p. 24 4295: 4293: 4291: 4284:Ainger, p. 37 4281: 4275:Jacobs, p. 17 4272: 4270: 4260: 4251: 4241: 4237: 4233: 4228: 4220: 4214: 4210: 4204: 4194: 4190: 4185: 4183: 4181: 4179: 4177: 4167: 4158: 4156: 4146: 4144: 4134: 4125: 4116: 4107: 4105: 4095: 4086: 4077: 4068: 4064: 4051: 4045: 4035: 4028: 4024: 4017: 4010: 4005: 3999: 3992: 3986: 3979: 3978: 3977:Trial by Jury 3972: 3971: 3970:Trial by Jury 3964: 3955: 3948: 3944: 3943: 3938: 3934: 3930: 3924: 3917: 3911: 3904: 3903: 3902:Trial by Jury 3898: 3897: 3892: 3888: 3884: 3880: 3879: 3872: 3865: 3861: 3857: 3856:Sydney Schiff 3851: 3842: 3832: 3823: 3813: 3805: 3800: 3794: 3787: 3783: 3782: 3777: 3776: 3771: 3770: 3762: 3755: 3754: 3749: 3745: 3744: 3739: 3735: 3729: 3722: 3721: 3716: 3712: 3711: 3707: 3706:opéra-comique 3703: 3697: 3688: 3680: 3674: 3667: 3663: 3662: 3657: 3653: 3648: 3642: 3632: 3623: 3613: 3606: 3600: 3591: 3583: 3577: 3570: 3566: 3560: 3553: 3547: 3540: 3539: 3534: 3528: 3521: 3520:Fred Sullivan 3517: 3513: 3509: 3505: 3501: 3497: 3496: 3491: 3490: 3485: 3481: 3475: 3468: 3464: 3463: 3459:This was for 3456: 3449: 3448: 3443: 3442: 3437: 3434:, 1868), his 3433: 3432: 3427: 3423: 3422: 3417: 3413: 3412: 3405: 3397: 3396: 3389: 3382: 3378: 3374: 3370: 3366: 3362: 3358: 3354: 3353: 3346: 3339: 3335: 3331: 3327: 3323: 3319: 3315: 3311: 3310: 3306: 3302: 3301: 3297: 3293: 3292: 3288: 3284: 3283: 3279: 3275: 3274: 3270: 3266: 3265: 3264:La sonnambula 3261: 3257: 3256: 3252: 3248: 3247:Boosey and Co 3244: 3240: 3236: 3232: 3228: 3222: 3215: 3214: 3209: 3205: 3199: 3195: 3181: 3178: 3176: 3173: 3172: 3166: 3164: 3163: 3158: 3154: 3150: 3146: 3142: 3138: 3134: 3133: 3128: 3127: 3122: 3118: 3114: 3110: 3106: 3102: 3098: 3094: 3090: 3086: 3085:Enrico Caruso 3081: 3079: 3075: 3071: 3067: 3063: 3059: 3055: 3051: 3047: 3043: 3039: 3032: 3030: 3005: 2984: 2967: 2965: 2964:Thomas Edison 2961: 2953: 2948: 2943: 2932: 2927: 2925: 2920: 2915: 2912: 2908: 2904: 2900: 2897: 2893: 2892: 2887: 2883: 2882:Ernest Walker 2874: 2870: 2864: 2862: 2850: 2849: 2844: 2828: 2826: 2802: 2799: 2795: 2789: 2784: 2782: 2781: 2776: 2772: 2768: 2764: 2760: 2755: 2752: 2751: 2746: 2745: 2740: 2733: 2728: 2726: 2716: 2714: 2710: 2706: 2701: 2697: 2696: 2690: 2689: 2683: 2682:Peter Gammond 2678: 2675: 2667: 2666: 2662:Cartoon from 2660: 2655: 2650: 2648: 2647: 2646:The Athenaeum 2642: 2631: 2621: 2619: 2615: 2611: 2607: 2603: 2599: 2595: 2591: 2587: 2583: 2579: 2574: 2572: 2568: 2564: 2560: 2556: 2552: 2548: 2547: 2542: 2541: 2536: 2532: 2528: 2524: 2520: 2516: 2512: 2508: 2504: 2499: 2497: 2493: 2489: 2485: 2481: 2477: 2473: 2469: 2465: 2461: 2457: 2453: 2449: 2445: 2441: 2437: 2433: 2429: 2425: 2421: 2416: 2414: 2410: 2406: 2402: 2398: 2394: 2390: 2386: 2384: 2379: 2375: 2371: 2367: 2366:Rodney Milnes 2363: 2359: 2349: 2340: 2338: 2334: 2330: 2326: 2321: 2315: 2313: 2312:bass clarinet 2309: 2305: 2301: 2300:Geoffrey Toye 2297: 2293: 2289: 2285: 2281: 2274: 2272: 2260: 2256: 2255:military band 2252: 2251: 2234: 2233: 2215: 2209:Orchestration 2206: 2204: 2200: 2196: 2192: 2188: 2187:Trial by Jury 2184: 2180: 2176: 2171: 2169: 2165: 2161: 2157: 2153: 2144: 2139: 2135: 2133: 2129: 2125: 2121: 2120: 2115: 2111: 2106: 2104: 2100: 2096: 2092: 2088: 2077: 2075: 2071: 2067: 2063: 2059: 2055: 2050: 2048: 2044: 2040: 2031: 2030: 2024: 2020: 2017: 2013: 2009: 2000: 1998: 1994: 1990: 1986: 1982: 1979:and probably 1978: 1974: 1970: 1966: 1962: 1958: 1952: 1943: 1941: 1937: 1933: 1929: 1925: 1924: 1919: 1915: 1911: 1907: 1903: 1894: 1889: 1885: 1883: 1878: 1874: 1873: 1868: 1864: 1860: 1850: 1848: 1841: 1831: 1829: 1825: 1821: 1816: 1813: 1809: 1805: 1800: 1797: 1792: 1790: 1786: 1782: 1778: 1774: 1770: 1763: 1758: 1749: 1746: 1742: 1740: 1739:châtain foncé 1736: 1735:Fanny Ronalds 1731: 1729: 1722: 1721:Fanny Ronalds 1718: 1712:Romantic life 1707:Personal life 1704: 1702: 1701: 1696: 1695: 1690: 1686: 1682: 1678: 1677: 1673:(both 1945), 1672: 1671: 1670:Memphis Bound 1666: 1665: 1660: 1659: 1654: 1653: 1648: 1647: 1642: 1641: 1636: 1635: 1629: 1627: 1623: 1619: 1615: 1611: 1607: 1603: 1602:honoris causa 1599: 1595: 1591: 1587: 1583: 1579: 1574: 1572: 1571: 1566: 1559: 1555: 1550: 1540: 1538: 1537:Edward German 1534: 1533: 1528: 1524: 1523: 1518: 1514: 1513: 1508: 1504: 1500: 1495: 1492: 1488: 1484: 1480: 1479: 1474: 1470: 1466: 1465: 1459: 1457: 1456: 1451: 1447: 1446: 1445:The Chieftain 1441: 1437: 1436: 1431: 1426: 1424: 1423: 1418: 1413: 1409: 1408:Sydney Grundy 1405: 1404: 1395: 1394: 1393:The Chieftain 1388: 1384: 1382: 1381: 1380:The Foresters 1376: 1372: 1368: 1363: 1359: 1355: 1351: 1350: 1344: 1342: 1334: 1333: 1328: 1319: 1317: 1313: 1312: 1307: 1303: 1298: 1293: 1291: 1290: 1285: 1281: 1277: 1273: 1272: 1266: 1262: 1261: 1256: 1254: 1250: 1246: 1241: 1240: 1235: 1231: 1227: 1226: 1217: 1213: 1208: 1199: 1197: 1196: 1191: 1182: 1181: 1175: 1171: 1169: 1168:Frederic Clay 1164: 1160: 1159: 1154: 1149: 1145: 1140: 1138: 1134: 1133: 1128: 1124: 1123:Savoy Theatre 1120: 1116: 1115:Opera Comique 1112: 1111: 1105: 1102: 1097: 1096: 1091: 1087: 1083: 1075: 1071: 1070: 1064: 1055: 1053: 1052: 1047: 1043: 1042: 1036: 1033: 1029: 1025: 1021: 1017: 1016: 1011: 1010: 1004: 1001: 997: 993: 984: 980: 978: 974: 970: 966: 959: 957: 946: 942: 938: 922: 905: 903: 899: 895: 891: 890: 884: 883: 878: 874: 870: 869: 868:Trial by Jury 865: 861: 857: 856: 851: 847: 842: 840: 836: 835: 830: 829: 824: 823: 818: 817: 811: 809: 808: 803: 799: 795: 790: 788: 784: 780: 776: 772: 768: 767: 762: 758: 754: 753: 748: 744: 743: 735: 734: 733:Trial by Jury 729: 728: 723: 722: 716: 707: 705: 701: 697: 696: 691: 687: 683: 679: 678: 677:The Chieftain 673: 672: 667: 663: 662:F. C. Burnand 659: 658: 654:, writing in 653: 652:W. S. Gilbert 649: 645: 644: 639: 635: 634: 628: 626: 625: 620: 616: 615: 610: 606: 602: 598: 596: 590: 589: 584: 583: 581: 575: 574: 569: 565: 561: 560: 554: 552: 547: 546:parlour songs 540: 536: 532: 531:F. C. Burnand 528: 523: 514: 512: 511: 506: 502: 501: 496: 492: 486: 484: 480: 476: 475: 470: 466: 462: 458: 455:. Visiting a 454: 450: 446: 442: 438: 434: 430: 426: 425:Ernst Richter 422: 418: 417:Carl Reinecke 414: 410: 406: 405:Arthur Jacobs 401: 399: 395: 391: 387: 383: 379: 375: 366: 357: 355: 351: 347: 343: 339: 334: 332: 328: 324: 318: 313: 311: 307: 303: 299: 295: 281: 269: 257: 238: 236: 232: 231: 226: 222: 218: 217: 212: 211: 206: 201: 199: 198: 193: 189: 185: 184:Savoy Theatre 181: 177: 173: 172: 171:Trial by Jury 167: 164: 160: 159: 154: 153: 148: 143: 141: 137: 136: 131: 127: 123: 122: 117: 116: 111: 107: 103: 99: 95: 90: 88: 84: 80: 76: 72: 71: 66: 65: 60: 59: 54: 50: 47: 42: 38: 30: 26: 22: 9308: 9300: 9292: 9284: 9276: 9268: 9260: 9252: 9244: 9236: 9130: 9123: 9116: 9109: 9102: 9095: 9090:Princess Ida 9088: 9081: 9074: 9067: 9060: 9055:The Sorcerer 9053: 9046: 9039: 9018: 8934:(ChoralWiki) 8883:Robin Wilson 8833: 8819: 8797: 8774: 8755: 8724: 8700: 8681: 8664: 8645: 8626: 8608: 8585: 8564: 8540: 8520: 8501: 8484: 8462: 8443: 8424: 8403: 8392: 8374: 8351: 8330: 8310: 8307:Howes, Frank 8290: 8273: 8256: 8230: 8208: 8191: 8172: 8150: 8133: 8116: 8097: 8074: 8057: 8035: 8016: 7997: 7977: 7954: 7935: 7912: 7900: 7888: 7876: 7864: 7856: 7848: 7836: 7824: 7811: 7802: 7789: 7770: 7757: 7744: 7731: 7718: 7705: 7692: 7679: 7670: 7645: 7640: 7627: 7619: 7614: 7605: 7600:Howes, p. 54 7596: 7591:Hughes, p. 6 7576: 7571: 7560: 7537: 7528: 7520: 7515: 7503: 7498: 7490: 7485: 7470: 7461: 7452: 7444: 7440: 7436: 7432: 7428: 7423: 7414: 7405: 7396: 7387: 7380:The Observer 7379: 7374: 7365: 7353: 7348: 7339: 7331: 7326: 7318: 7313: 7305: 7300: 7292: 7288: 7279: 7270: 7261: 7253: 7245: 7236: 7227: 7218: 7209: 7200: 7191: 7182: 7171: 7150: 7141: 7133: 7128: 7105: 7096: 7087: 7076: 7067: 7059: 7054: 7046: 7041: 7021: 7016: 7007: 6998: 6989: 6980: 6971: 6964:The Observer 6963: 6957: 6952: 6943: 6934: 6925: 6916: 6895: 6886: 6877: 6868: 6859: 6848: 6836: 6827: 6818: 6809: 6800: 6791: 6782: 6761: 6728: 6719: 6710: 6701: 6681: 6673: 6664: 6656: 6650: 6643: 6634: 6625: 6616: 6607: 6598: 6589: 6580: 6571: 6566:Young, p. 22 6550: 6541: 6534: 6529: 6520: 6512: 6503: 6495: 6486: 6478: 6469: 6460: 6451: 6442: 6433: 6424: 6415: 6408: 6403: 6394: 6386: 6381: 6373: 6368: 6360: 6351: 6343: 6334: 6327: 6322: 6314: 6305: 6297: 6274: 6265: 6257: 6245: 6236: 6227: 6218: 6209: 6200: 6191: 6182: 6173: 6164: 6155: 6146: 6125: 6120: 6111: 6102: 6096: 6086: 6078: 6072: 6063: 6052: 6031: 6022: 6017: 6009: 6004: 5994: 5987: 5972: 5963: 5954: 5945: 5936: 5927: 5917: 5910: 5901: 5892: 5883: 5874: 5865: 5856: 5846: 5839: 5830: 5821: 5812: 5803: 5794: 5784: 5780: 5775: 5767: 5763: 5723: 5719: 5710: 5702: 5685: 5676: 5665: 5656: 5647: 5638: 5629: 5620: 5599: 5590: 5573:Hughes, p.19 5569: 5559: 5555: 5550: 5541: 5532: 5523: 5514: 5506: 5483: 5474: 5466: 5454: 5445: 5436: 5415: 5402: 5393: 5384: 5375: 5366: 5357: 5348: 5337: 5329: 5322: 5318: 5314: 5310: 5306: 5301: 5292: 5283: 5274: 5264: 5259: 5250: 5241: 5233: 5225: 5217: 5208: 5195: 5186: 5177: 5168: 5150: 5142: 5121: 5116: 5108: 5103: 5093: 5084: 5073:held at the 5068: 5063: 5050: 5041: 5032: 5023: 5014: 5003: 4994: 4986: 4969: 4944: 4935: 4922: 4913: 4904: 4896: 4890: 4884: 4876: 4872: 4867:Allen, p. 30 4851: 4842: 4834: 4830: 4826: 4821: 4812: 4803: 4797: 4788: 4779: 4770: 4749: 4740: 4731: 4723: 4718: 4709: 4700: 4691: 4682: 4673: 4668:Young, p. 99 4664: 4656: 4647: 4638: 4629: 4620: 4611: 4602: 4591: 4582: 4562: 4557: 4530: 4525:Young, p. 63 4521: 4512: 4503: 4494: 4485: 4477: 4476:"Concerts", 4472: 4463: 4454: 4445: 4436: 4427: 4418: 4409: 4398: 4363: 4355: 4330: 4321: 4316:Young, p. 21 4312: 4303: 4280: 4259: 4250: 4239: 4227: 4212: 4203: 4192: 4166: 4133: 4124: 4115: 4098:Jacobs, p. 7 4094: 4085: 4076: 4067: 4049: 4044: 4039:"ephemeral". 4034: 4026: 4022: 4016: 4003: 3998: 3985: 3975: 3968: 3963: 3954: 3940: 3936: 3932: 3923: 3910: 3900: 3894: 3890: 3886: 3876: 3871: 3859: 3850: 3841: 3831: 3822: 3812: 3803: 3793: 3785: 3779: 3773: 3767: 3761: 3751: 3747: 3746:owe much to 3741: 3737: 3733: 3728: 3718: 3717:'s operetta 3708: 3696: 3687: 3678: 3673: 3665: 3659: 3655: 3652:Bernard Shaw 3641: 3631: 3622: 3612: 3605:Hubert Parry 3599: 3590: 3581: 3576: 3568: 3564: 3559: 3546: 3536: 3532: 3527: 3515: 3511: 3507: 3493: 3487: 3483: 3474: 3466: 3460: 3455: 3445: 3439: 3429: 3419: 3409: 3404: 3393: 3388: 3380: 3350: 3345: 3309:Il trovatore 3307: 3298: 3291:Don Giovanni 3289: 3280: 3271: 3262: 3253: 3221: 3211: 3210:'s oratorio 3198: 3160: 3156: 3152: 3130: 3124: 3123:(2009); and 3120: 3116: 3112: 3111:(1986); and 3104: 3096: 3092: 3082: 3041: 3035: 3026: 2957: 2951: 2929: 2923: 2918: 2916: 2910: 2901: 2889: 2879: 2867: 2858: 2846: 2824: 2797: 2793: 2791: 2786: 2778: 2774: 2766: 2762: 2758: 2756: 2748: 2744:The Observer 2742: 2738: 2735: 2730: 2724: 2722: 2712: 2708: 2704: 2699: 2698:commented, " 2693: 2686: 2679: 2673: 2671: 2663: 2652: 2644: 2640: 2638: 2617: 2609: 2601: 2582:Princess Ida 2581: 2577: 2575: 2571:Il trovatore 2570: 2567:Anvil Chorus 2562: 2554: 2550: 2544: 2540:Il trovatore 2538: 2534: 2530: 2526: 2502: 2500: 2495: 2491: 2487: 2478:and Italian 2471: 2468:The Sorcerer 2467: 2463: 2459: 2451: 2443: 2439: 2431: 2427: 2423: 2417: 2415:and Wagner. 2408: 2404: 2400: 2392: 2388: 2382: 2377: 2369: 2361: 2354: 2336: 2332: 2328: 2319: 2316: 2303: 2277: 2268: 2248: 2231: 2212: 2202: 2198: 2190: 2186: 2182: 2178: 2172: 2167: 2163: 2159: 2155: 2151: 2148: 2142: 2131: 2124:tonic pedals 2117: 2113: 2107: 2102: 2099:Princess Ida 2098: 2083: 2073: 2061: 2057: 2051: 2046: 2042: 2038: 2035: 2027: 2007: 2006: 1992: 1988: 1980: 1976: 1972: 1968: 1965:Princess Ida 1964: 1960: 1956: 1953: 1949: 1939: 1935: 1931: 1927: 1921: 1917: 1905: 1902:chromaticism 1898: 1870: 1866: 1862: 1858: 1856: 1846: 1843: 1823: 1817: 1811: 1801: 1796:Henry Lytton 1793: 1766: 1747: 1743: 1738: 1732: 1725: 1698: 1692: 1674: 1668: 1662: 1656: 1650: 1644: 1638: 1632: 1630: 1601: 1589: 1575: 1568: 1562: 1530: 1526: 1520: 1510: 1496: 1490: 1476: 1462: 1460: 1453: 1449: 1443: 1433: 1430:Tom Chappell 1427: 1420: 1401: 1399: 1391: 1378: 1371:Herman Klein 1366: 1354:Walter Scott 1347: 1345: 1340: 1338: 1330: 1309: 1296: 1294: 1287: 1280:Henry Irving 1275: 1269: 1264: 1258: 1257: 1237: 1223: 1221: 1210:Portrait by 1193: 1190:The Sorcerer 1189: 1186: 1178: 1158:Princess Ida 1156: 1141: 1136: 1130: 1127:Savoy operas 1118: 1108: 1106: 1100: 1093: 1079: 1067: 1066:Scenes from 1049: 1045: 1039: 1037: 1031: 1027: 1023: 1019: 1013: 1009:The Sorcerer 1007: 1005: 989: 962: 953: 902:the partners 897: 887: 880: 872: 866: 859: 855:La Périchole 853: 843: 838: 832: 826: 820: 814: 812: 805: 791: 787:processional 764: 750: 740: 738: 731: 725: 721:The Sorcerer 719: 693: 675: 669: 655: 641: 631: 629: 622: 619:George Grove 612: 608: 594: 586: 579: 577: 576:(1864). His 571: 557: 555: 543: 527:George Grove 508: 498: 487: 472: 465:progressions 429:Louis Plaidy 413:Julius Rietz 402: 372:In 1856 the 371: 345: 335: 327:Chapel Royal 320: 315: 297: 291: 228: 214: 208: 202: 195: 191: 188:Savoy operas 179: 175: 169: 156: 150: 144: 133: 119: 113: 94:Chapel Royal 91: 68: 62: 56: 55:, including 36: 35: 25: 9374:1900 deaths 9369:1842 births 9343:WikiProject 9278:Haddon Hall 9238:Cox and Box 9216:Adaptations 9201:Grim's Dyke 9159:Helen Carte 9149:Savoy opera 8537:Rust, Brian 7306:The Theatre 6890:Rees, p. 80 6705:Rees, p. 79 6509:Rose Hervey 6437:Hayes, p. 9 6087:Topsy-Turvy 5305:See, e.g., 5077:in May 1970 4713:Rees, p. 78 4704:Rees, p. 15 4695:Rees, p. 72 4170:Young, p. 8 4119:Young, p. 5 3891:Cox and Box 3878:Cox and Box 3569:Cox and Box 3565:Cox and Box 3480:grand opera 3444:(1870) and 3421:Bab Ballads 3251:Beethoven's 3137:Ronald Corp 2962:introduced 2886:Frank Howes 2695:The Theatre 2649:commented: 2641:The Tempest 2578:Cox and Box 2563:The Pirates 2531:Cox and Box 2389:The Tempest 2114:Cox and Box 2012:Saint-Saëns 1997:sonata form 1875:identified 1867:The Tempest 1859:The Tempest 1804:Los Angeles 1773:Freemasonry 1700:Topsy-Turvy 1697:(1953) and 1655:(1939) and 1637:(1951) and 1608:(1876) and 1565:Westminster 1422:King Arthur 1403:Haddon Hall 1390:Poster for 1352:, based on 1228:, based on 1202:Later 1880s 1163:blank verse 1153:grand opera 1058:Early 1880s 945:Reed Miller 864:comic opera 860:Cox and Box 643:Cox and Box 595:In Memoriam 500:The Tempest 495:Shakespeare 469:grand opera 437:Mendelssohn 273:Aged twelve 225:grand opera 213:(1880) and 194:(1885) and 178:(1878) and 152:Cox and Box 147:comic opera 115:The Tempest 110:Shakespeare 9358:Categories 9313:(1901) w/ 9097:The Mikado 7022:Opera News 6651:The Mikado 5786:Gramophone 4059:References 3738:Caractacus 3239:Kensington 3204:Jenny Lind 3157:The Window 3147:. In 2017 3089:Clara Butt 3042:The Mikado 3029:media help 2952:The Mikado 2936:Recordings 2861:media help 2848:The Mikado 2825:The Mikado 2761:review of 2707:review of 2606:Brünnhilde 2598:leitmotifs 2492:The Mikado 2484:tarantella 2480:saltarello 2448:barcarolle 2444:The Mikado 2424:The Mikado 2395:music and 2393:Henry VIII 2383:Unfinished 2271:media help 2199:The Mikado 2152:The Mikado 2143:The Mikado 2054:major keys 1985:pot-pourri 1914:Musikdrama 1853:Influences 1838:See also: 1812:The Mikado 1658:Hot Mikado 1527:The Mikado 1517:Basil Hood 1265:The Mikado 1230:Longfellow 1195:The Mikado 1180:The Mikado 956:media help 943:, sung by 834:Henry VIII 752:The Window 747:song cycle 682:part songs 246:Beginnings 192:The Mikado 163:impresario 124:(1864), a 70:The Mikado 9104:Ruddigore 8766:642398593 8673:227181926 8618:238881659 8493:220047638 8339:500626743 8319:460655985 8229:(1988) . 8173:Offenbach 8142:711957498 8125:499660152 7881:"Ivanhoe" 7646:The Times 7620:The Times 7577:The Times 7508:reprinted 7504:The Times 7479:required) 7332:The Times 7319:The Times 7047:The Times 6254:required) 6124:Wolfson, 6010:The Times 5981:required) 5724:reprinted 5109:The Times 4833:Begin?", 4563:The Times 4478:The Times 4221:required) 3947:Dies irae 3799:Grossmith 3743:Gerontius 3734:King Olaf 3585:Preface). 3504:operettas 3500:Offenbach 3428:(such as 3381:Rosamunde 3352:Rosamunde 3330:Meyerbeer 3326:Donizetti 3296:Rossini's 3260:Bellini's 3202:In 1848, 2919:The Times 2891:The Times 2798:The Times 2775:The Times 2750:The World 2741:in 1886. 2590:Beethoven 2546:Rigoletto 2519:Donizetti 2515:Offenbach 2472:Ruddigore 2460:Ruddigore 2428:Ruddigore 2420:madrigals 2358:Handelian 2325:pizzicato 2203:Ruddigore 2195:leitmotif 2164:Ruddigore 2091:Donizetti 2070:Beethoven 2064:(echoing 1685:pastiched 1606:Cambridge 1263:followed 1260:Ruddigore 1218:, London 1032:The Times 1028:The Times 969:part song 802:burlesque 624:Rosamunde 614:The Times 553:in 1863. 479:Carl Rosa 457:synagogue 382:John Goss 323:Bayswater 235:pastiched 75:oratorios 9333:Category 9083:Iolanthe 9076:Patience 8910:LibriVox 8817:(1986). 8807:58942004 8721:(1971). 8606:(1908). 8539:(1975). 8483:(1964). 8423:(2000). 8373:(1903). 8349:(1984). 8329:(1959). 8309:(1966). 8299:52232815 8282:16794345 8265:60222627 8255:(1965). 8171:(1980). 8056:(1928). 7975:(2005). 7778:Archived 7469:, 1949, 5722:(1903), 5556:Pinafore 5161:93754709 5157:ProQuest 3781:Iolanthe 3775:Patience 3704:'s 1877 3502:, whose 3482:parody, 3411:Ages Ago 3287:Mozart's 3278:Gounod's 3269:Flotow's 3169:See also 3119:(2001); 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