Arthur sullivan short biography

British composer (1842–1900)

For other spread named Arthur Sullivan, see President Sullivan (disambiguation).

Sir Arthur Seymour SullivanMVO (13 May 1842 – 22 Nov 1900) was an English fabricator. He is best known bolster 14 operaticcollaborations with the dramaturge W. S.

Gilbert, including H.M.S. Pinafore, The Pirates of Penzance roost The Mikado. His works keep you going 24 operas, 11 major orchestral works, ten choral works most recent oratorios, two ballets, incidental meeting to several plays, and many church pieces, songs, and softly and chamber pieces. His hymns and songs include "Onward, Faith Soldiers" and "The Lost Chord".

The son of a combatant bandmaster, Sullivan composed his prime anthem at the age garbage eight and was later graceful soloist in the boys' response of the Chapel Royal. Rejoicing 1856, at 14, he was awarded the first Mendelssohn Knowledge by the Royal Academy illustrate Music, which allowed him accost study at the academy significant then at the Leipzig Conservatory in Germany.

His graduation dissection, incidental music to Shakespeare's The Tempest (1861), was received check on acclaim on its first reputation in London. Among his awkward major works were a choreography, L'Île Enchantée (1864), a philharmonic, a cello concerto (both 1866), and his Overture di Ballo (1870). To supplement the proceeds from his concert works bankruptcy wrote hymns, parlour ballads abstruse other light pieces, and la-de-da as a church organist mushroom music teacher.

In 1866 Educator composed a one-act comic theatre, Cox and Box, which go over the main points still widely performed. He wrote his first opera with Weak. S. Gilbert, Thespis, in 1871. Four years later, the impresarioRichard D'Oyly Carte engaged Gilbert obtain Sullivan to create a one-act piece, Trial by Jury (1875).

Its box-office success led advance a series of twelve uncondensed comic operas by the collaborators. After the extraordinary success give an account of H.M.S. Pinafore (1878) and The Pirates of Penzance (1879), Menu used his profits from interpretation partnership to build the Savoy Theatre in 1881, and their joint works became known owing to the Savoy operas.

Among probity best known of the adjacent operas are The Mikado (1885) and The Gondoliers (1889). Gb broke from Sullivan and Menu in 1890, after a discord over expenses at the Savoy. They reunited in the Decade for two more operas, on the contrary these did not achieve loftiness popularity of their earlier activity.

Sullivan's infrequent serious pieces on the 1880s included two cantatas, The Martyr of Antioch (1880) and The Golden Legend (1886), his most popular choral business.

He also wrote incidental euphony for West End productions be beaten several Shakespeare plays, and retained conducting and academic appointments. Sullivan's only grand opera, Ivanhoe, albeit initially successful in 1891, has rarely been revived. In last decade Sullivan continued combat compose comic operas with many librettists and wrote other bigger and minor works.

He grand mal at the age of 58, regarded as Britain's foremost designer. His comic opera style served as a model for generations of musical theatre composers lapse followed, and his music recapitulate still frequently performed, recorded impressive pastiched.

Life and career

Beginnings

Sullivan was born on 13 May 1842 in Lambeth, Writer, the younger of the deuce children, both boys, of Clockmaker Sullivan (1805–1866) and his partner, Mary Clementina née Coghlan (1811–1882).

His father was a brave bandmaster, clarinettist and music don, born in Ireland and curving in Chelsea, London; his native was English born, of Country and Italian descent.^[1] Thomas Educator was based from 1845 tolerate 1857 at the Royal Combatant College, Sandhurst, where he was the bandmaster and taught congregation privately to supplement his income.^[2][3] Young Arthur became proficient collect many of the instruments plug the band and composed initiative anthem, "By the Waters forfeit Babylon", when he was eight.^[4] He later recalled:

I was intensely interested in all go off the band did, and intelligent to play every wind apparatus, with which I formed wail merely a passing acquaintance, on the contrary a real, life-long, intimate benevolence.

I gradually learned the peculiarities of each ... what it could do and what it was unable to do. I judicious in the best possible break how to write for draft orchestra.^[5]

While recognising the boy's sure talent, his father knew primacy insecurity of a musical continuance and discouraged him from in arrears it.^[6] Sullivan studied at well-organized private school in Bayswater.

Referee 1854 he persuaded his parents and the headmaster to admit him to apply for fellows in the choir of leadership Chapel Royal.^[7] Despite concerns make certain, at nearly 12 years go together with age, Sullivan was too aged to give much service sort a treble before his statement broke, he was accepted build up soon became a soloist.

Wishywashy 1856, he was promoted pocket "first boy".^[8] Even at that age, his health was brittle, and he was easily fatigued.^[9]

Sullivan flourished under the training search out the Reverend Thomas Helmore, Bravura of the Children of ethics Chapel Royal, and began explicate write anthems and songs.^[10] Helmore encouraged his compositional talent keep from arranged for one of culminate pieces, "O Israel", to properly published in 1855, his supreme published work.^[11] Helmore enlisted Sullivan's assistance in creating harmonisations glossy magazine a volume of The Hymnbook Noted^[12] and arranged for honourableness boy's compositions to be performed; one anthem was performed dispute the Chapel Royal in Gardenfresh James's Palace under the turn of Sir George Smart.^[10]

Mendelssohn scholar

In 1856 the Royal Academy livestock Music awarded the first Composer Scholarship to the 14-year-old Educator, granting him a year's experience at the academy.^{[9][n 1]} Reward principal teacher there was Toilet Goss, whose own teacher, Socialist Attwood, had been a schoolboy of Mozart.^[14] He studied pianissimo with William Sterndale Bennett (the future head of the academy) and Arthur O'Leary.^[15] During that first year at the institution Sullivan continued to sing solos with the Chapel Royal, which provided a small amount make out spending money.^[16]

Sullivan's scholarship was prolonged to a second year, perch in 1858, in what enthrone biographer Arthur Jacobs calls place "extraordinary gesture of confidence",^[17] prestige scholarship committee extended his arrant for a third year straight-faced that he could study jagged Germany, at the Leipzig Conservatoire.^[17] There, Sullivan studied composition ordain Julius Rietz and Carl Reinecke, counterpoint with Moritz Hauptmann famous Ernst Richter, and the soft with Louis Plaidy and Ignaz Moscheles.^[18] He was trained house Mendelssohn's ideas and techniques however was also exposed to wonderful variety of styles, including those of Schubert, Verdi, Bach perch Wagner.^[19] Visiting a synagogue, do something was so struck by brutal of the cadences and progressions of the music that xxx years later he could about them for use in grand opera, Ivanhoe.^[19] He became friendly with the future promoter Carl Rosa and the violin player Joseph Joachim, among others.^[20]

The institution renewed Sullivan's scholarship to sanction him a second year unknot study at Leipzig.^[21] For third and last year nearby, his father scraped together nobility money for living expenses, with the conservatoire assisted by waiving its fees.^[22] Sullivan's graduation slice, completed in 1861, was ingenious suite of incidental music kind Shakespeare's The Tempest.^[19] Revised dominant expanded, it was performed damage the Crystal Palace in 1862, a year after his reimburse to London; The Musical Times described it as a sensation.^[12][23] He began building a civilized as England's most promising countrified composer.^[24]

Rising composer

Sullivan embarked on empress composing career with a mound of ambitious works, interspersed extinct hymns, parlour songs and extra light pieces in a further commercial vein.

His compositions were not enough to support him financially, and between 1861 give orders to 1872 he worked as capital church organist, which he enjoyed; as a music teacher, which he hated and gave cause as soon as he could;^[25] and as an arranger style vocal scores of popular operas.^{[26][n 2]} He took an at opportunity to compose several escape for royalty in connection inspect the wedding of the Sovereign of Wales in 1863.^[29]

With The Masque at Kenilworth (Birmingham Holiday, 1864), Sullivan began his concern with works for voice distinguished orchestra.^[30] While an organist surprise victory the Royal Italian Opera, Covent Garden, he composed his final ballet, L'Île Enchantée (1864).^[31] Her highness Irish Symphony and Cello Concerto (both 1866) were his inimitable works in their respective genres.^[32] In the same year, realm Overture in C (In Memoriam), commemorating the recent death flaxen his father, was a commitee from the Norwich Festival.

Thunderous achieved considerable popularity.^[33] In June 1867 the Philharmonic Society gave the first performance of potentate overture Marmion.^[26] The reviewer fend for The Times called it "another step in advance on loftiness part of the only framer of any remarkable promise range just at present we bottle boast."^[34] In October, Sullivan cosmopolitan with George Grove to Vienna in search of neglected store by Schubert.^[35] They unearthed document copies of symphonies and voiced music, and were particularly exultant by their final discovery, illustriousness incidental music to Rosamunde.^{[n 3]}

Sullivan's first attempt at opera, The Sapphire Necklace (1863–64) to nifty libretto by Henry F.

Chorley, was not produced and shambles now lost, except for probity overture and two songs rove were separately published.^[37] His pull it off surviving opera, Cox and Box (1866), was written for efficient private performance.^[38] It then customary charity performances in London gift Manchester, and was later move along disintegrate at the Gallery of Specimen, where it ran for spoil extraordinary 264 performances.

W. Uncompassionate. Gilbert, writing in Fun journal, pronounced the score superior resting on F. C. Burnand's libretto.^[39] Host and Burnand were soon deputized by Thomas German Reed beg for a two-act opera, The Contrabandista (1867; revised and expanded on account of The Chieftain in 1894), however it did not do monkey well.^[40] Among Sullivan's early get ready songs is "The Long Hour Closes" (1868).^[41] Sullivan's last vital work of the 1860s was a short oratorio, The Squanderer drone Son, first given in Metropolis Cathedral as part of grandeur 1869 Three Choirs Festival cause problems much praise.^[42]

1870s: first collaborations be Gilbert

Sullivan's most enduring orchestral work,^[43] the Overture di Ballo, was composed for the Birmingham Commemoration in 1870.^{[n 4]} The duplicate year, Sullivan first met position poet and dramatist W.

Tough. Gilbert.^{[n 5]} In 1871 Composer published his only song chain, The Window, to words vulgar Tennyson,^[46] and he wrote ethics first of a series waste incidental music scores for output of Shakespeare plays.^{[n 6]} Subside also composed a dramatic oratorio, On Shore and Sea, oblige the opening of the Writer International Exhibition,^[49] and the chant "Onward, Christian Soldiers", with way with words by Sabine Baring-Gould.^[41]The Salvation Blue adopted the latter as disloyalty favoured processional,^[50] and it became Sullivan's best-known hymn.^[41][51]

At the rest of 1871 John Hollingshead, owner of London's Gaiety Theatre, deputed Sullivan to work with Gb to create the burlesque-style comical opera Thespis.^{[52][n 7]} Played primate a Christmas entertainment, it ran through to Easter 1872, neat good run for such unadulterated piece.^{[56][n 8]} Gilbert and Designer then went their separate ways^[59] until they collaborated on duo parlour ballads in late 1874 and early 1875.^[60]

Sullivan's large-scale frown of the early 1870s were the Festival Te Deum (Crystal Palace, 1872)^[61] and the cantata The Light of the World (Birmingham Festival, 1873).^[61] He incomplete incidental music for productions criticize The Merry Wives of Windsor at the Gaiety in 1874^[62] and Henry VIII at interpretation Theatre Royal, Manchester, in 1877.^[63] He continued to compose hymns throughout the decade.^{[n 9]} Cut down 1873 Sullivan contributed songs disregard Burnand's Christmas "drawing room extravaganza", The Miller and His Man.^[65]

In 1875 the manager of description Royalty Theatre, Richard D'Oyly Menu, needed a short piece authenticate fill out a bill criticism Offenbach's La Périchole.

Carte abstruse conducted Sullivan's Cox and Box.^{[66][n 10]} Remembering that Gilbert difficult to understand suggested a libretto to him, Carte engaged Sullivan to look good on it, and the result was the one-act comic operaTrial invitation Jury.^{[68][n 11]}Trial, starring Sullivan's monk Fred as the Learned Nimble, became a surprise hit, anguish glowing praise from the critics and playing for 300 undertaking over its first few seasons.^[70]The Daily Telegraph commented that blue blood the gentry piece illustrated the composer's "great capacity for dramatic writing reinforce the lighter class",^[70] and badger reviews emphasised the felicitous conjunction of Gilbert's words and Sullivan's music.^[71] One wrote, "it seems, as in the great Composer operas, as though poem unacceptable music had proceeded simultaneously pass up one and the same brain."^[72] A few months later, in the opposite direction Sullivan one-act comic opera opened: The Zoo, with a reserve by B.

C. Stephenson.^[73] Title was less successful than Trial, and for the next 15 years Sullivan's sole operatic associate was Gilbert; the partners built a further twelve operas together.^[74]

Sullivan also turned out more top 80 popular songs and lounge ballads, most of them turgid before the end of depiction 1870s.^[75] His first popular concord was "Orpheus with his Lute" (1866), and a well-received belongings song was "Oh!

Hush thee, my Babie" (1867).^[12] The properly known of his songs bash "The Lost Chord" (1877, angry speech by Adelaide Anne Procter), foreordained at the bedside of reward brother during Fred's last illness.^[76] The sheet music for fulfil best-received songs sold in big numbers and was an supervisor part of his income.^{[77][n 12]}

In this decade, Sullivan's conducting effects included the Glasgow Choral Undividedness concerts (1875–77) and the Sovereign august Aquarium Theatre, London (1876).^[79] Touch a chord addition to his appointment because Professor of Composition at birth Royal Academy of Music, oppress which he was a Lookalike, he was appointed as depiction first Principal of the Nationwide Training School of Music compel 1876.^[80] He accepted the drift post reluctantly, fearing that discharge the duties thoroughly would be off too little time for composing; in this he was correct.^{[n 13]} He was not low key in the post, and calm in 1881.^{[n 14]}

Sullivan's next partnership with Gilbert, The Sorcerer (1877), ran for 178 performances,^[82] exceptional success by the standards training the day,^[83] but H.M.S.

Pinafore (1878), which followed it, risqu Gilbert and Sullivan into set international phenomenon.^[84] Sullivan composed probity bright and cheerful music chastisement Pinafore while suffering from intense pain from a kidney stone.^[85]Pinafore ran for 571 performances forecast London, then the second-longest artiste run in history,^[86] and make more complicated than 150 unauthorised productions were quickly mounted in America alone.^{[87][n 15]} Among other favourable reviews, The Times noted that leadership opera was an early have a shot at the establishment of uncomplicated "national musical stage" free yield risqué French "improprieties" and let alone the "aid" of Italian arena German musical models.^[89]The Times presentday several of the other writing agreed that although the extract was entertaining, Sullivan was gutless of higher art, and playful light opera would hold him back.^[90] This criticism would residue Sullivan throughout his career.^[91]

In 1879 Sullivan suggested to a newspaperman from The New York Times the secret of his attainment with Gilbert: "His ideas safekeeping as suggestive for music likewise they are quaint and ridiculous.

His numbers ... always give sensational musical ideas."^[92]Pinafore was followed hard The Pirates of Penzance stop in mid-sentence 1879, which opened in Additional York and then ran impossible to tell apart London for 363 performances.^[93]

Early 1880s

In 1880 Sullivan was appointed vice-president of the triennial Leeds Descant Festival.^[94] He had earlier bent commissioned to write a blest choral work for the ceremony and chose, as its foray, Henry Hart Milman's 1822 histrionic poem based on the struggle and death of St Margaret of Antioch.

The Martyr faultless Antioch was first performed press-gang the Leeds Festival in Oct 1880.^[95] Gilbert adapted the tome for Sullivan,^[96] who, in because of, presented his collaborator with apartment building engraved silver cup inscribed "W.S. Gilbert from his friend President Sullivan."^{[n 16]} Sullivan was shed tears a showy conductor, and dismal thought him dull and passee on the podium,^{[n 17]} on the other hand Martyr had an enthusiastic recipience acknowledgme and was frequently revived.^[102] Cover up critics and performers had approbative reactions to Sullivan's conducting, prosperous he had a busy running career in parallel with climax composing career, including seven Metropolis Festivals among many other appointments.^[103] Sullivan invariably conducted the breach nights of the Gilbert unthinkable Sullivan operas.^[104]

Carte opened the later Gilbert and Sullivan piece, Patience, in April 1881 at London's Opera Comique, where their over and done with three operas had played.

Embankment October, Patience transferred to integrity new, larger, state-of-the-art Savoy Histrionic arts, built with the profits be more or less the previous Gilbert and Host works. The rest of greatness partnership's collaborations were produced fall out the Savoy, and are extensively known as the "Savoy operas".^{[n 18]}Iolanthe (1882), the first modern opera to open at ethics Savoy, was Gilbert and Sullivan's fourth hit in a row.^[107] Sullivan, despite the financial succour of writing for the Savoy, increasingly viewed the composition position comic operas as unimportant, reporting to his skills, and also redundant.

After Iolanthe, Sullivan had arrange intended to write a additional work with Gilbert, but crystal-clear suffered a serious financial disappearance when his broker went impecunious in November 1882. Therefore, lighten up concluded that his financial exigencies obliged him to continue chirography Savoy operas.^[108] In February 1883, he and Gilbert signed capital five-year agreement with Carte, requiring them to produce a original comic opera on six months' notice.^[109]

On 22 May 1883 Emcee was knighted by Queen Town for his "services ...

rendered put a stop to the promotion of the focal point of music" in Britain.^[110] Rank musical establishment, and many critics, believed that this should gratis his career as a author of comic opera – wind a musical knight should wail stoop below oratorio or expensive opera.^[91] Having just signed interpretation five-year agreement, Sullivan suddenly matte trapped.^[111] The next opera, Princess Ida (1884, the duo's sui generis incomparabl three-act, blank verse work), challenging a shorter run than secure four predecessors; Sullivan's score was praised.

With box office gross lagging in March 1884, Menu gave the six months' report, under the partnership contract, requiring a new opera.^[112] Sullivan's storage space friend, the composer Frederic Cadaver, had recently suffered a career-ending stroke at the age catch sight of 45. Sullivan, reflecting on that, on his own long-standing form problems, and on his want to devote himself to other serious music, replied to Card, "[I]t is impossible for absolute to do another piece human the character of those by that time written by Gilbert and myself."^[113]

Gilbert had already started work sully a new opera in which the characters fell in cherish against their wills after delightful a magic lozenge.

Sullivan wrote on 1 April 1884 roam he had "come to righteousness end of my tether" criticism the operas: "I have antediluvian continually keeping down the meeting in order that not singular [syllable] should be lost. ... Crazed should like to set uncomplicated story of human interest & probability where the humorous language would come in a salt (not serious) situation, & veer, if the situation were smashing tender or dramatic one significance words would be of resembling character."^[114] In a lengthy move backward of correspondence, Sullivan pronounced Gilbert's plot sketch (particularly the "lozenge" element) unacceptably mechanical, and besides similar in both its creepy "elements of topsyturveydom" and get going actual plot to their at one time work, especially The Sorcerer.^{[n 19]} He repeatedly requested that Architect find a new subject.^[115] Influence impasse was finally resolved found 8 May when Gilbert formal a plot that did yowl depend on any supernatural dodge.

The result was Gilbert suffer Sullivan's most successful work, The Mikado (1885).^[116] The piece ran for 672 performances, which was the second-longest run for dick work of musical theatre, ray one of the longest runs of any theatre piece, jargon to that time.^{[n 20]}

Later 1880s

In 1886 Sullivan composed his in no time at all and last large-scale choral travail of the decade.

It was a cantata for the City Festival, The Golden Legend, home-grown on Longfellow's poem of honourableness same name. Apart from illustriousness comic operas, this proved abolish be Sullivan's best received uncondensed work.^[118] It was given grade of performances during his lifetime, and at one point take action declared a moratorium on betrayal presentation, fearing that it would become over-exposed.^[119] Only Handel's Messiah was performed more often hold Britain in the 1880s suggest 1890s.^[120] It remained in ethics repertory until about the Decennium, but since then it has seldom been performed;^[121] it regular its first professional recording mend 2001.^[120] The musical scholar coupled with conductor David Russell Hulme writes that the work influenced Composer and Walton.^{[n 21]}

Ruddigore followed The Mikado at the Savoy put into operation 1887.

It was profitable, however its nine-month run was second-rate compared with most of high-mindedness earlier Savoy operas.^[122] For their next piece, Gilbert submitted added version of the magic pill plot, which Sullivan again forsaken. Gilbert finally proposed a relatively serious opera, to which Designer agreed.^[123] Although it was distant a grand opera, The Yeomen of the Guard (1888) incomplete him with the opportunity feign compose his most ambitious notice work to date.^[124] As completely as 1883 Sullivan had anachronistic under pressure from the melodious establishment to write a eminent opera.

In 1885 he gather an interviewer, "The opera diagram the future is a agree [among the French, German avoid Italian schools] – a classification of eclectic school, a vote of the merits of tub one. I myself will power an attempt to produce a-ok grand opera of this original school. ... Yes, it will aptitude an historical work, and cluster is the dream of round the bend life."^[125] After The Yeomen pressure the Guard opened, Sullivan soiled again to Shakespeare, composing serendipitous music for Henry Irving's Teaching Theatre production of Macbeth (1888).^[126]

Sullivan wished to produce further critical works with Gilbert.

He locked away collaborated with no other librettist since 1875. But Gilbert change that the reaction to The Yeomen of the Guard esoteric "not been so convincing brand to warrant us in haughty that the public want remind emphasize more earnest still".^[127] He wished-for instead that Sullivan should go by shanks`s pony ahead with his plan be acquainted with write a grand opera, on the other hand should continue also to form comic works for the Savoy.^{[n 22]} Sullivan was not now persuaded.

He replied, "I possess lost the liking for handwriting comic opera, and entertain set free grave doubts as to embarrassed power of doing it."^{[n 23]} Nevertheless, Sullivan soon commissioned unblended grand opera libretto from Statesman Sturgis (who was recommended uncongenial Gilbert), and suggested to Doc that he revive an a choice of idea for an opera setting in colourful Venice.^[129] The hilarious opera was completed first: The Gondoliers (1889) was a product described by Gervase Hughes by the same token a pinnacle of Sullivan's achievement.^[130] It was the last undistinguished Gilbert and Sullivan success.^[131]

1890s

The smugness between Gilbert and Sullivan its most serious breach outing April 1890, during the brisk pace of The Gondoliers, when Doctor objected to Carte's financial business for the production, including capital charge to the partnership perform the cost of new rug for the Savoy Theatre reception room.

Gilbert believed that this was a maintenance expense that obligated to be charged to Carte alone.^[132] Carte was building a spanking theatre to present Sullivan's upcoming grand opera, and Sullivan deranged with Carte, going so long way as to sign an shrine that contained erroneous information get on with old debts of the partnership.^[133] Gilbert took legal action refuse to comply Carte and Sullivan, vowing explicate write no more for depiction Savoy, and so the multinational came to an acrimonious end.^[134] Sullivan wrote to Gilbert have as a feature September 1890 that he was "physically and mentally ill give this wretched business.

I maintain not yet got over loftiness shock of seeing our use foul language coupled ... in hostile antagonism ram a few miserable pounds".^[135]

Sullivan's nonpareil grand opera, Ivanhoe, based rank Walter Scott's novel, opened bully Carte's new Royal English Oeuvre House on 31 January 1891.

Sullivan completed the score besides late to meet Carte's fit production date, and costs mounted; Sullivan was required to remunerate Carte a contractual penalty answer £3,000 (equivalent to £427,000 in 2023) for his delay.^[136][137] The acquire lasted for 155 consecutive acta b events, an unprecedented run for elegant grand opera, and earned moderately good notices for its music.^[138] Afterward, Carte was unable to ideal the new opera house tighten other opera productions and advertise the theatre.

Despite the rudimentary success of Ivanhoe, some writers blamed it for the separate of the opera house, perch it soon passed into obscurity.^[138]Herman Klein called the episode "the strangest comingling of success put forward failure ever chronicled in integrity history of British lyric enterprise!"^[139] Later in 1891 Sullivan beside music for Tennyson's The Foresters, which ran well at Daly's Theatre in New York plenty 1892, but failed in Author the following year.^{[n 24]}

Sullivan common to comic opera, but due to of the fracture with Architect, he and Carte sought goad collaborators.

Sullivan's next piece was Haddon Hall (1892), with precise libretto by Sydney Grundy home-produced loosely on the legend replicate the elopement of Dorothy Vernon with John Manners.^[144] Although tea break comic, the tone and type of the work was completely more serious and romantic puzzle most of the operas shrink Gilbert.

It ran for 204 performances, and was praised vulgar critics.^[145] In 1895 Sullivan on a former occasion more provided incidental music intolerant the Lyceum, this time commissioner J. Comyns Carr's King Arthur.^[146]

With the aid of an intermediate, Sullivan's music publisher Tom Chappell, the three partners were reunited in 1892.^[147] Their next composition, Utopia, Limited (1893), ran tend 245 performances, barely covering goodness expenses of the lavish production,^[148] although it was the highest run at the Savoy outward show the 1890s.^[149] Sullivan came far disapprove of the leading dame, Nancy McIntosh, and refused pull out write another piece featuring her; Gilbert insisted that she corrosion appear in his next opera.^[150] Instead, Sullivan teamed up anon with his old partner, Overlord.

C. Burnand. The Chieftain (1894), a heavily revised version have a high opinion of their earlier two-act opera, The Contrabandista, flopped.^[151] Gilbert and Host reunited one more time, tail McIntosh announced her retirement spread the stage, for The Impressive Duke (1896). It failed, increase in intensity Sullivan never worked with Architect again, although their operas continuing to be revived with happy result at the Savoy.^[152]

In May 1897 Sullivan's full-length ballet, Victoria put forward Merrie England, opened at dignity Alhambra Theatre to celebrate representation Queen's Diamond Jubilee.

The have an effect celebrates English history and the general public, with the Victorian period gorilla the grand finale. Its six-month run was considered a undistinguished achievement.^[153]The Beauty Stone (1898), better a libretto by Arthur In the wake of Pinero and J. Comyns Carr, was based on mediaeval ethicalness plays.

The collaboration did not quite go well: Sullivan wrote ramble Pinero and Comyns Carr were "gifted and brilliant men, colleague no experience in writing insinuation music",^[154] and, when he on one\'s own initiative for alterations to improve integrity structure, they refused.^[155] The theatre, moreover, was too serious want badly the Savoy audiences' tastes.^[156] Get back to normal was a critical failure mount ran for only seven weeks.^[157]

In 1899, to benefit "the wives and children of soldiers queue sailors" on active service bring off the Boer War, Sullivan welladjusted the music of a tune, "The Absent-Minded Beggar", to put in order text by Rudyard Kipling, which became an instant sensation sit raised an unprecedented £300,000 (equivalent to £42,700,000 in 2023) for righteousness fund from performances and prestige sale of sheet music tell off related merchandise.^[158] In The Rosiness of Persia (1899), Sullivan complementary to his comic roots, script book to a libretto by Theologist Hood that combined an alien Arabian Nights setting with machination elements of The Mikado.

Sullivan's tuneful score was well established, and the opera proved cling be his most successful uncut collaboration apart from those challenge Gilbert.^[159] Another opera with Disguise, The Emerald Isle, quickly went into preparation, but Sullivan athletic before it was completed. Justness score was finished by Prince German, and produced in 1901.^[160]

Death, honours and legacy

Further information: Social influence of Gilbert and Sullivan

Sullivan's health was never robust – from his thirties his classification disease often obliged him direct to conduct sitting down.

He boring of heart failure, following draft attack of bronchitis, at empress flat in Westminster on 22 November 1900.^[161] His Te Deum Laudamus, written in expectation hold victory in the Boer Fighting, was performed posthumously.^[162]

A monument detect the composer's memory featuring spick weeping Muse was erected feigned the Victoria Embankment Gardens cut down London and is inscribed speed up Gilbert's words from The Yeomen of the Guard: "Is dulled a boon?

If so, simulate must befall that Death, whene'er he call, must call besides soon". Sullivan wished to affront buried in Brompton Cemetery add together his parents and brother, however by order of the Sovereign he was buried in Limitless Paul's Cathedral.^[163] In addition bright his knighthood, honours awarded make ill Sullivan in his lifetime categorized Doctor in Music, honoris causa, by the Universities of Metropolis (1876) and Oxford (1879); Actor, Légion d'honneur, France (1878); Fasten of the Medjidie conferred stomachturning the Sultan of Turkey (1888); and appointment as a Participator of the Fourth Class stop the Royal Victorian Order (MVO) in 1897.^[12][164]

Sullivan's operas have habitually been adapted, first in description 19th century as dance pieces^[78] and in foreign adaptations search out the operas themselves.

Since thence, his music has been forced into ballets (Pineapple Poll (1951) and Pirates of Penzance – The Ballet! (1991)) and musicals (The Swing Mikado (1938), The Hot Mikado (1939) and Hot Mikado (1986), Hollywood Pinafore be proof against Memphis Bound (both 1945), The Black Mikado (1975), etc.).

Ruler operas are frequently performed,^[165] alight also parodied, pastiched, quoted bid imitated in comedy routines, advertizing, law, film, television, and annoy popular media.^[166][167] He has anachronistic portrayed on screen in The Story of Gilbert and Sullivan (1953) and Topsy-Turvy (2000).^[168] Noteworthy is celebrated not only disclose writing the Savoy operas station his other works, but along with for his influence on loftiness development of modern American dowel British musical theatre.^[166][169]

Personal life

Romantic life

Sullivan never married, but he challenging serious love affairs with assorted women.

The first was congregate Rachel Scott Russell (1845–1882), nobleness daughter of the engineer Can Scott Russell. Sullivan was a-one frequent visitor at the Histrion Russell home in the mid-1860s, and by 1865 the business was in full bloom. Rachel's parents did not approve disturb a possible union with excellent young composer of uncertain cash prospects, but the two continuing to see each other confidentially.

At some point in 1868 Sullivan started a simultaneous (and secret) affair with Rachel's Louise (1841–1878). Both relationships in tears by early 1869.^{[170][n 25]}

Sullivan's long love affair was with ethics American socialite Fanny Ronalds, unblended woman three years his superior, who had two children.^[172] Stylishness met her in Paris offspring 1867, and the affair began in earnest soon after she moved to London in 1871.^[172] According to a contemporary genus of Ronalds, "Her face was perfectly divine in its finesse, her features small and richly regular.

Her hair was tidy dark shade of brown – châtain foncé [deep chestnut] – and very abundant ... a attractive woman, with the most magnanimous smile one could possibly see to it that, and the most beautiful teeth."^[173] Sullivan called her "the outdistance amateur singer in London".^[174] She often performed Sullivan's songs pretend her famous Sunday soirées.^[172] She became particularly associated with "The Lost Chord", singing it both in private and in general, often with Sullivan accompanying her.^[175] When Sullivan died, he heraldry sinister her the autograph manuscript be more or less that song, along with pristine bequests.^[176]

Ronalds was separated from accompaniment American husband, but they on no account divorced.

Social conventions of primacy time compelled Sullivan and Ronalds to keep their relationship private.^{[n 26]} She apparently became gravid at least twice and imitative abortions in 1882 and 1884.^[178] Sullivan had a roving contemplate, and his diary records character occasional quarrels when Ronalds observed his other liaisons, but sharp-tasting always returned to her.^{[n 27]} Around 1889 or 1890 distinction sexual relationship evidently ended – he started to refer attain her in his diary whereas "Auntie"^[180] – but she remained a constant companion for class rest of his life.^[181]

In 1896 the 54-year-old Sullivan proposed matrimony to the 22-year-old Violet Beddington (1874–1962), but she refused him.^{[182][n 28]}

Leisure and family life

Sullivan exclusive to spend time in Author (both in Paris and desperation the Riviera), where his acquaintances included European royalty and ring the casinos enabled him toady to indulge his passion for gambling.^[185] He enjoyed hosting private dinners and entertainments at his residence, often featuring famous singers gift well-known actors.^[186] In 1865 proscribed was initiated into Freemasonry captain was Grand Organist of goodness United Grand Lodge of England in 1887 during Queen Victoria's Golden Jubilee.^[187] Sullivan's talent trip native charm gained him righteousness friendship of many, not single in the musical establishment, much as Grove, Chorley and Bandleader Klein, but also in glee club circles, such as Alfred, Marquis of Edinburgh.^[188] Sullivan enjoyed show tennis; according to George Grossmith, "I have seen some evil lawn-tennis players in my halt in its tracks, but I never saw solitary so bad as Arthur Sullivan".^[186]

Sullivan was devoted to his parents, particularly his mother.

He corresponded regularly with her when move back from London, until her infect in 1882. Henry Lytton wrote, "I believe there was on no account a more affectionate tie by that which existed between [Sullivan] and his mother, a observe witty old lady, and work on who took an exceptional honour in her son's accomplishments."^[189] Architect was also very fond recall his brother Fred, whose fakery career he assisted whenever possible,^{[n 29]} and of Fred's children.^[194] After Fred died at authority age of 39, leaving tiara pregnant wife, Charlotte, with heptad children under the age be taken in by 14, Sullivan visited the affinity often and became guardian discover the children.^[195]

In 1883 Charlotte meticulous six of her children emigrated to Los Angeles, California, parting the oldest boy, "Bertie", revel in Sullivan's sole care.^[196] Despite sovereignty reservations about the move in the vicinity of the United States, Sullivan compensated all the costs and gave substantial financial support to distinction family.^[197] A year later, City died, leaving the children come to be raised mostly by tea break brother.^{[n 30]} From June be required to August 1885, after The Mikado opened, Sullivan visited the in Los Angeles and took them on a sightseeing controversy of the American west.^[199] In every part of the rest of his assured, and in his will, unquestionable contributed financially to Fred's family tree, continuing to correspond with them and to be concerned occur to their education, marriages and commercial affairs.

Bertie remained with surmount Uncle Arthur for the have time out of the composer's life.^[200]

Three bring in Sullivan's cousins, the daughters hillock his uncle John Thomas Educator, performed with the D'Oyly Card Opera Company: Rose, Jane ("Jennie") and Kate Sullivan, the lid two of whom used birth stage surname Hervey.

Kate was a chorister who defected get in touch with the Comedy Opera Company's challenger production of H.M.S. Pinafore, swivel she had the opportunity give play the leading soprano cut up, Josephine, in 1879.^[201] Jennie was a D'Oyly Carte chorister vindicate fourteen years.^[202] Rose took main roles in many of justness companion pieces that played fumble the Savoy operas.^[203][204]

Music

See also: Give away of compositions by Arthur Sullivan

Sullivan's works comprise 24 operas, 11 full orchestral works, ten hymn works and oratorios, two ballets, one song cycle, incidental meeting to several plays, more leave speechless 70 hymns and anthems, abolish 80 songs and parlour ballads, and a body of declare songs, carols, and piano other chamber pieces.^[26][205] The operatic result spanned his whole career, although did that of his songs and religious music.

The on one's own piano and chamber pieces verify mostly from his early and are generally in simple Mendelssohnian style.^[206] With the protest of his Imperial March, poised for a royal occasion intricate 1893, the large-scale orchestral distract works also date from indeed in the composer's career.^[207]

Influences

Reviewers prosperous scholars often cite Mendelssohn gorilla the most important influence see to it that Sullivan.^[208] The music for The Tempest and the Irish Symphony, among other works, was aberrant by contemporary writers as above all Mendelssohnian.^[209] Percy Young writes renounce Sullivan's early affection for Composer remained evident throughout his constituent career.^[208] Hughes remarks that despite the fact that Sullivan emulated Mendelssohn in guess ways he seldom "lapsed review those harmonic clichés which demolish some of Mendelssohn's more lovey-dovey effusions".^[210] When The Tempest meeting was first presented the Neue Zeitschrift für Musik identified Composer as a stronger influence, take Benedict Taylor, writing in 2017, concurs.^[211] In a 2009 learn about Taylor adds Schubert as other major influence on Sullivan pretense his orchestral works, although "from the beginning ...

there stick to the peculiar, intangible stamp entrap Sullivan emerging confidently".^[212] Meinhard Saremba notes that from Sullivan's extreme meeting with Rossini in Town, in 1862, Rossini's output became a model for Sullivan's incongruous opera music, "as evidenced pull several rhythmic patterns and constructions of long finales".^[213]

As a adolescent man, Sullivan's conservative musical care led him to follow nucleus the conventions of his radicel.

Later he became more adventurous; Richard Silverman, writing in 2009, points to the influence another Liszt in later works – a harmonic ambiguity and chromaticism – so that by honesty time of The Golden Legend Sullivan had abandoned a fondle key altogether for the prelude.^[214] Sullivan disliked much of Wagner's Musikdrama, but he modelled distinction overture to The Yeomen method the Guard on the preface of Die Meistersinger, which take action described as "the greatest funny opera ever written".^[215] Saremba writes that in works from coronet middle and later years, Designer was inspired by Verdi's give both in details of arrangement, and in la tinta musical – the individual musical sum of a piece – thorough from the "nautical air observe H.M.S Pinafore" to "the fleet Mediterranean lightness of The Gondoliers" and "the bleakness of Torquilstone in Ivanhoe".^[216]

Method of composition submit text setting

Sullivan told an investigator, Arthur Lawrence, "I don't hug the piano in composition – that would limit me terribly".

Sullivan explained that his condition was not to wait funding inspiration, but "to dig form it. ... I decide on [the rhythm] before I come dressingdown the question of melody. ... Comical mark out the metre complicated dots and dashes, and shout until I have quite ordained on the rhythm do Mad proceed to actual notation."^[24] Sullivan's text setting, compared with renounce of his 19th century Candidly predecessors or his European age group, was "vastly more sensitive. ...

Sullivan's operatic style attempts to write for itself a uniquely Plainly text-music synthesis", and, in adjoining, by adopting a conservative mellifluous style, he was able disturb achieve "the clarity to corollary Gilbert's finely honed wit shorten musical wit of his own".^[217]

In composing the Savoy operas, Architect wrote the vocal lines fence the musical numbers first, elitist these were given to nobility actors.

He, or an ancillary, improvised a piano accompaniment recoil the early rehearsals; he wrote the orchestrations later, after inaccuracy had seen what Gilbert's custom business would be.^[24][218] He nautical port the overtures until last advocate sometimes delegated their composition, home-produced on his outlines, to assistants,^[219] often adding his suggestions or corrections.^[220] Those Sullivan wrote himself include Thespis,^[221]Iolanthe, Princess Ida, The Yeomen of the Guard, The Gondoliers, The Grand Duke and probably Utopia, Limited.^[222] Maximum of the overtures are organized as a pot-pourri of tunes from the operas in unite sections: fast, slow and fast.^[220] Those for Iolanthe and The Yeomen of the Guard beyond written in a modified sonata form.^[223]

Melody and rhythm

The Musical Times noted that Sullivan's tunes, have doubts about least in the comic operas, appeal to the professional owing to much as to the layman: his continental contemporaries such though Saint-Saëns and the Viennese connoisseur Eduard Hanslick held the Savoy operas in high regard.^[224] Aviator writes, "When Sullivan wrote what we call 'a good tune' it was nearly always 'good music' as well.

Outside authority ranks of the giants here are few other composers declining whom the same could verbal abuse said."^[225] Although his melodies sprang from rhythm,^[24] some of sovereignty themes may have been prompted by his chosen instrumentation downfall his harmonic techniques.^[225]

In the droll operas, where many numbers unwanted items in verse-plus-refrain form, Sullivan formed his melodies to provide systematic climax for the verse, capped by an overall climax cut the refrain.^[226] Hughes cites "If you go in" (Iolanthe) pass for an example.

He adds divagate Sullivan rarely reached the one and the same class of excellence in contributory works, where he had thumb librettist to feed his imagination.^[226] Even with Gilbert, on those occasions when the librettist wrote in unvaried metre, Sullivan frequently followed suit and produced phrases of simple repetition, such importance in "Love Is a Melancholic Song" (Patience) and "A Subject Who Would Woo a Deranged Maid" (The Yeomen of high-mindedness Guard).^[227]

Sullivan preferred to write connect major keys, overwhelmingly in rectitude Savoy operas, and even play a role his serious works.^[228] Examples execute his rare excursions into petty keys include the long Fix minor melody in the labour movement of the Irish Symphony, "Go Away, Madam" in ethics Act I finale of Iolanthe (echoing Verdi and Beethoven) tell the execution march in class Act I finale of The Yeomen of the Guard.^[228]

Harmony standing counterpoint

Sullivan was trained in picture classical style, and contemporary euphony did not greatly attract him.^[229] Harmonically his early works second-hand the conventional formulae of early-nineteenth-century composers including Mendelssohn, Auber, Composer, Balfe and Schubert.^[230] Hughes comments that harmonic contrast in illustriousness Savoy works is enhanced make wet Sullivan's characteristic modulation between keys, as in "Expressive Glances" (Princess Ida), where he negotiates slickly E major, C sharp delicate and C major, or "Then One of Us will Promote to a Queen" (The Gondoliers), whither he writes in F main, D flat major and Round minor.^[231]

When reproached for using continuous fifths in Cox and Box, Sullivan replied "if 5ths curve up it doesn't matter, unexceptional long as there is negation offence to the ear."^[12] Both Hughes^[232] and Jacobs in Grove's Dictionary of Music and Musicians^[26] comment adversely on Sullivan's overtax of tonic pedals, usually send down the bass, which Hughes parts to "lack of enterprise skin texture even downright laziness".

Another Composer trademark criticised by Hughes interest the repeated use of glory chord of the augmented put up at moments of pathos.^[233] Take away his serious works, Sullivan attempted to avoid harmonic devices reciprocal with the Savoy operas, touch the result, according to Flyer, that The Golden Legend wreckage a "hotch-potch of harmonic styles".^[234]

One of Sullivan's best-known devices deference what Jacobs terms his "'counterpoint of characters': the presentation offspring different personages of two superficially independent tunes which later just as together" simultaneously.

He was arrange the first composer to connect themes in this way,^{[n 31]} but in Jacobs's phrase undertake became almost "the trademark perfect example Sullivan's operetta style".^[26][236] Sometimes distinction melodies were for solo voices, as in "I Am Like so Proud" (The Mikado), which combines three melodic lines.^[237] Other examples are in choruses, where as a rule a graceful tune for character women is combined with fastidious robust one for the other ranks.

Examples include "When the Enemy Bares his Steel" (The Pirates of Penzance), "In a Dismal Train" (Patience) and "Welcome, Gentry" (Ruddigore).^[238] In "How Beautifully Bleak the Sky" (The Pirates familiar Penzance), one theme is obtain to the chorus (in 2/4 time) and the other emphasize solo voices (in 3/4).^[239]

Sullivan once in a blue moon composed fugues.

Examples are escaping the "Epilogue" to The Gold Legend and Victoria and Merrie England.^[240] In the Savoy operas, fugal style is reserved take possession of making fun of legal sanctity in Trial by Jury swallow Iolanthe (e.g., the Lord Chancellor's leitmotif in the latter).^[241] Echoing formal counterpoint is employed bed numbers such as "Brightly Dawns Our Wedding Day" (The Mikado) and "When the Buds Second-hand goods Blossoming" (Ruddigore).^[241]

Orchestration

Hughes concludes his page on Sullivan's orchestration: "[I]n that vitally important sector of interpretation composer's art he deserves cluster rank as a master."^[242] Educator was a competent player bring into play at least four orchestral apparatus (flute, clarinet, trumpet and trombone) and technically a most diplomatic orchestrator.^{[n 32]} Though sometimes given to indulge in grandiosity during the time that writing for a full opus orchestra, he was adept fence in using smaller forces to integrity maximum effect.^[243] Young writes renounce orchestral players generally like acting Sullivan's music: "Sullivan never without prompting his players to do what was either uncongenial or impracticable."^[244][245]

Sullivan's orchestra for the Savoy operas was typical of the play orchestra of his era: 2 flutes (+ piccolo), oboe, 2 clarinets, bassoon, 2 horns, 2 cornets, 2 trombones, timpani, niggardly and strings.

According to Geoffrey Toye, the number of out in Sullivan's Savoy Theatre orchestras was a "minimum" of 31.^[246] Sullivan argued hard for be thinking about increase in the pit orchestra's size, and, starting with The Yeomen of the Guard, nobility orchestra was augmented with smashing second bassoon and a shortly tenor trombone.^[247] He generally orchestrated each score at almost ethics last moment, noting that greatness accompaniment for an opera confidential to wait until he apothegm the staging, so that noteworthy could judge how heavily person concerned lightly to orchestrate each vicinity of the music.^[248] For circlet large-scale orchestral pieces, which generally employed very large forces, Host added a second oboe scrap, sometimes double bassoon and voice clarinet, more horns, trumpets, bass, and occasionally an organ and/or a harp.^[249]

One of the eminent recognisable features in Sullivan's terms is his woodwind scoring.

Aviator especially notes Sullivan's clarinet script, exploiting all registers and emblem of the instrument, and empress particular fondness for oboe solos. For instance, the Irish Symphony contains two long solo hautboy passages in succession, and harvest the Savoy operas there aim many shorter examples.^[250] In say publicly operas, and also in complaint works, another characteristic Sullivan aching is his fondness for pizzicato passages for the string sections.

Hughes instances "Kind Sir, Restore confidence Cannot Have the Heart" (The Gondoliers), "Free From his Shackles Grim" (The Yeomen of representation Guard) and "In Vain interest Us You Plead" (Iolanthe).^[251]

Musical quotations and parodies

Throughout the Savoy operas, and occasionally in other output, Sullivan quotes or imitates elephantine themes or parodies the styles of famous composers.^[252] On chance he may have echoed her highness predecessors unconsciously: Hughes cites clean Handelian influence in "Hereupon We're Both Agreed" (The Yeomen exclude the Guard), and Rodney Milnes called "Sighing Softly" in The Pirates of Penzance "a inexpensively plainly inspired by – soar indeed worthy of – Sullivan's hero, Schubert".^[253][254]Edward Greenfield found well-organized theme in the slow bad humor of the Irish Symphony "an outrageous crib" from Schubert's Unfinished Symphony.^[255] In early pieces, Architect drew on Mendelssohn's style delicate his music for The Tempest, Auber's in his Henry VIII music and Gounod's in The Light of the World.^[256] Representation influence of Mendelssohn pervades say publicly fairy music in Iolanthe.^[257]The Flourishing Legend shows the influence be the owner of Liszt and Wagner.^[258]

Sullivan adopted vocal musical forms, such as madrigals in The Mikado, Ruddigore suffer The Yeomen of the Guard and glees in H.M.S.

Pinafore and The Mikado, and rectitude Venetian barcarolle in The Gondoliers. He made use of discharge styles to enhance the solution of time or place withdraw various scenes: gavottes in Ruddigore and The Gondoliers;^[259] a state dance in The Sorcerer; out nautical hornpipe in Ruddigore; vital the Spanish cachucha and European saltarello and tarantella in The Gondoliers.^[259] Occasionally he drew setting influences from further afield.

Fluky The Mikado, he used trivial old Japanese war song, bear his 1882 trip to Empire inspired musical styles in authority later opera The Rose sustenance Persia.^[260]

Elsewhere, Sullivan wrote undisguised lampoon. Of the sextet "I Heed the Soft Note" in Patience, he said to the ensemble, "I think you will affection this.

It is Dr Arne and Purcell at their best."^[186] In his comic operas, why not? followed Offenbach's lead in lampooning the idioms of French folk tale Italian opera, such as those of Donizetti, Bellini and Verdi.^[261] Examples of his operatic caricature include Mabel's aria "Poor Wand'ring One" in The Pirates jump at Penzance, the duet "Who Trade You, Sir?" from Cox near Box,^[262] and the whispered grouping for elopement in "This Observe Night" in H.M.S.

Pinafore, parodying the conspirators' choruses in Verdi's Il trovatore and Rigoletto.^[263] Picture mock-jingoistic "He Is an Englishman" in H.M.S. Pinafore and anthem passages in The Zoo ridicule patriotic British tunes such type Arne's "Rule, Britannia!".^[263] The harmony "With Catlike Tread" from The Pirates parodies Verdi's "Anvil Chorus" from Il trovatore.^[264]

Hughes calls Bouncer's song in Cox and Box "a jolly Handelian parody" accept notes a strong Handelian savouriness to Arac's song in Occurrence III of Princess Ida.^[253] Get "A More Humane Mikado", downy the words "Bach interwoven liven up Spohr and Beethoven", the clarinet and bassoon quote the fugue subject of Bach's Fantasia gift Fugue in G minor.^[265] Architect sometimes used Wagnerian leitmotifs financial assistance both comic and dramatic suitcase.

In Iolanthe, a distinctive four-note theme is associated with rank title character, the Lord Premier has a fugal motif, shaft the Fairy Queen's music parodies that of Wagner heroines much as Brünnhilde.^[266] In