See also:

• SIR

SIR See also:

• ARTHUR (Fr. Arius)
• ARTHUR, CHESTER ALAN (1830 – 1886)

ARTHUR See also:

• SEYMOUR
• SEYMOUR, HORATIO (1810-1886)
• SEYMOUR, or ST MAUR
• SEYMOUR, THOMAS

SEYMOUR See also:

• SULLIVAN, JOHN (1740–1795)
• SIR ARTHUR SEYMOUR SULLIVAN (1842—1900)
• SULLIVAN, THOMAS BARRY (1824-1891)

SULLIVAN (1842—1900)  , See also:

• ENGLISH

English musical composer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

• LONDON

London on the 13th of May 1842, being the younger of the two sons of See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas See also:

• SULLIVAN, JOHN (1740–1795)
• SULLIVAN, SIR ARTHUR SEYMOUR (1842—1900)
• SULLIVAN, THOMAS BARRY (1824-1891)

Sullivan, a cultivated Irish musician who was bandmaster at the Royal Military See also:

• COLLEGE (Collegium)

College, See also:

• SANDHURST

Sandhurst, from 1845 to 1856, and taught at the Military School of See also:

• MUSIC

Music at See also:

• KNELLER, SIR GODFREY (1648-1723)

Kneller See also:

• HALL
• HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
• HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
• HALL, BASIL (1788-1844)
• HALL, CARL CHRISTIAN (1812–1888)
• HALL, CHARLES FRANCIS (1821-1871)
• HALL, CHRISTOPHER NEWMAN (1816—19oz)
• HALL, EDWARD (c. 1498-1547)
• HALL, FITZEDWARD (1825-1901)
• HALL, ISAAC HOLLISTER (1837-1896)
• HALL, JAMES (1793–1868)
• HALL, JAMES (1811–1898)
• HALL, JOSEPH (1574-1656)
• HALL, MARSHALL (1790-1857)
• HALL, ROBERT (1764-1831)
• HALL, SAMUEL CARTER (5800-5889)
• HALL, SIR JAMES (1761-1832)
• HALL, WILLIAM EDWARD (1835-1894)

Hall from 1857 till his See also:

• DEATH

death in 1866 . His See also:

• MOTHER

mother, nee See also:

• MARY
• MARY (1457-1482)
• MARY (1496-1533)
• MARY, QUEEN OF SCOTS

Mary See also:

• COGHLAN, CHARLES FRANCIS (1841–1899)

Coghlan (1811--1882), had See also:

• ITALIAN

Italian See also:

• BLOOD

blood in her See also:

• VEINS

veins . See also:

• ARTHUR (Fr. Arius)
• ARTHUR, CHESTER ALAN (1830 – 1886)

Arthur Sullivan was brought up to music from boy-See also:

• HOOD,
• HOOD, JOHN BELL (1831–1879)
• HOOD, SAMUEL HOOD, VISCOUNT (1724–1816)
• HOOD, SIR SAMUEL (1762-1814)
• HOOD, THOMAS (1799-1845)
• HOOD, TOM (1835–1874)

hood, and he had learnt to See also:

• PLAY

play every See also:

• WIND
• WIND (a common Teut. word, cognate with Skt. vats, Lat. ventus, cf. " weather," to be of course distinguished from to " wind," to coil or twist, O.Eng. windan, cf. "wander," "wend," &c.)

wind See also:

• INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

instrument in his See also:

• FATHER

father's See also:

• BAND

band by the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of eight . He was sent to school at Bayswater till he was twelve, and then, through See also:

• SIR

Sir See also:

• GEORGE
• GEORGE, 8TH MARQUESS OF TWEEDDALE (1787-1876)
• GEORGE, HENRY (1839—1897)
• GEORGE, LAKE
• GEORGE, SAINT (d. 303)

George See also:

• SMART, CHRISTOPHER (1722-1771)
• SMART, HENRY (1813–1879)
• SMART, JOHN (c. 1740–1811)
• SMART, SIR GEORGE THOMAS (1776–1867)

Smart, he was, at his own persistent See also:

• REQUEST, LETTERS OF

request, made a See also:

• CHAPEL

Chapel Royal chorister, and entered Mr Helmore's school for Chapel Royal boys in See also:

• CHEYNE, THOMAS KELLY (1841— )

Cheyne Walk . He had a See also:

• FINE

fine See also:

• TREBLE (a doublet of " triple," three-fold, from Lat. triplus, triple; cf. " double " from duplus)

treble See also:

• VOICE (Fr. voix, from Lat. vox)

voice, and sang with exceptional See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste . In 1856 the Mendelssohn See also:

• SCHOLAR, SCHOLARSHIP

Scholar-See also:

• SHIP

ship at the Royal See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy of Music was thrown open for the first See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time for competition, and was won by Sullivan, his nearest See also:

• RIVAL

rival being See also:

• JOSEPH
• JOSEPH, COMTE DE (1785-1870)
• JOSEPH, FATHER (FRANCOIS LECLERC DU TREMBLAY) (1577-1638)

Joseph See also:

• BARNBY, SIR JOSEPH (1838–1896)

Barnby . At the Academy he studied under Sterndale See also:

• BENNETT, CHARLES EDWIN (1858- )
• BENNETT, JAMES GORDON (1794-1872)
• BENNETT, JOHN
• BENNETT, JOHN HUGHES (1812–1875)
• BENNETT, SIR WILLIAM STERNDALE (1816-1875)

Bennett, Arthur O'Leary and See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John See also:

• GOSS, SIR JOHN (1800–1880)

Goss, and did so well that he was given an See also:

• EXTENSION (Lat. ex, out ; tendere, to stretch)

extension of his scholarship for two years in See also:

• SUCCESSION (Lat. successio, from succedere, to follow after)

succession . In 1858, his voice having broken, he was enabled by means of his scholarship to go to study at the conservatorium of See also:

• LEIPZIG

Leipzig . There he had for teachers See also:

• MOSCHELES, IGNAZ (1794–1870)

Moscheles and Plaidy for See also:

• PIANOFORTE (Ital. piano, soft, and forte, loud)

pianoforte, See also:

• HAUPTMANN, GERHART (1862— )
• HAUPTMANN, MORITZ (1792—1868)

Hauptmann for See also:

• COUNTERPOINT (Lat. contrapunctus, " point counter point," " note against note ")

counterpoint, Rietz and See also:

• REINECKE, CARL HEINRICH CARSTEN (1824—1910)

Reinecke for See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition, and F . See also:

• DAVID
• DAVID (a Hebrew name meaning probably beloved 1)
• DAVID, FELICIEN (1810—1876)
• DAVID, GERARD [GHEERAERT DAVIT], (?=1523)
• DAVID, PIERRE JEAN (1789–1856)
• DAVID, ST (Dewi, Sant)

David for orchestral playing and conducting . Among his See also:

• FELLOW

fellow-students were See also:

• GRIEG, EDVARD HAGERUP (1843--1907)

Grieg, Carl See also:

• ROSA, CARL AUGUST NICHOLAS (1843-1889)
• ROSA, MONTE
• ROSA, SALVATOR (1615-1673)

Rosa, See also:

• WALTER, HUBERT (d. 1205)
• WALTER, JOHN (1738/9-1812)

Walter See also:

• BACHE, ALEXANDER DALLAS (1806-1867)
• BACHE, FRANCIS EDWARD (1833–1888)

Bache, J . F .

See also:

• BARNETT, JOHN (1802–1890)
• BARNETT, SAMUEL AUGUSTUS (1844– )

Barnett and See also:

• EDWARD

Edward Dannreuther . Instead of the Mendelssohn cultus which represented orthodoxy in London, See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German musical See also:

• INTEREST

interest at this See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period centred in See also:

• SCHUMANN, ROBERT ALEXANDER (1810-1856)

Schumann, See also:

• SCHUBERT, FRANZ PETER (1797-1828)

Schubert and the growing reputation of See also:

• WAGNER, ADOLF (1835- )
• WAGNER, RUDOLPH (1805-1864)
• WAGNER, WILHELM RICHARD (1813-1883)

Wagner, whilst See also:

• LISZT, FRANZ (1811-1886)

Liszt and Von Billow were the celebrities of the See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day . Sullivan thus became acquainted for the first time with See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master-pieces which were then practically ignored in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England . He entered enthusiastically into the spirit of the See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place, and after two years' hard study returned to London in See also:

• APRIL

April 1861 . Before doing so, however, he had composed his incidental music for The See also:

• TEMPEST, MARIE (1866– )

Tempest, which he had begun as a sort of diploma See also:

• WORK

work . Sullivan set himself to find converts in London to the enthusiasms he had imbibed at Leipzig . He became acquainted with George See also:

• GROVE (O.E. graf, cf. O.E. gr(efa, brushwood, later" greave "; the word does not appear in any other Teutonic language, and the New English Dictionary finds no Indo-European root to which it can be referred; Skeat considers it connected with " grave," to
• GROVE, SIR GEORGE (182o-1900)
• GROVE, SIR WILLIAM ROBERT (1811-1896)

Grove, then secretary of the Crystal See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

Palace, and See also:

• AUGUST (originally Sextilis)

August Manns, the conductor there; and at his instigation Schumann's First See also:

• SYMPHONY

Symphony was introduced at one of the See also:

• WINTER, JOHN STRANGE
• WINTER, PETER (c. 1755-1825)

winter cohcerts . See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

Early in 1862 Sullivan showed Grove and Manns his Tempest music, and on the 5th of April it was performed at the Crystal Palace . The See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production was an unmixed See also:

• TRIUMPH (triumphus)

triumph, and Sullivan's exceptional gifts as a composer were generally recognized from that moment . He had hitherto been occupying himself with teaching, and he continued for some years to See also:

• ACT (Lat. actus, actum)

act as organist at St See also:

• MICHAEL
• MICHAEL (1596-1645)
• MICHAEL (Hebrew Sn,q, " Who is like God? ")

Michael's, See also:

• CHESTER
• CHESTER, EARLS OF

Chester Square, but henceforth he devoted most of his time to composition . By 1864 he had produced his " See also:

• KENILWORTH

Kenilworth " See also:

• CANTATA (Italian for a song or story set to music)

cantata (remembered chiefly for the lovely See also:

• DUET (an adaptation of the Ital. duetto, from Lat. duo, two)

duet, " How sweet the Moonlight "), the " See also:

• SAPPHIRE

Sapphire Necklace " See also:

• OVERTURE (Fr. ouverture, opening)

overture, and the five beautiful songs from See also:

• SHAKESPEARE, WILLIAM (1564-1616)

Shakespeare, which include " See also:

• ORPHEUS

Orpheus with his See also:

• LUTE (Arabic al'ud, " the wood "; Fr. luth; Ital. liuto; Span. laud; Ger. Laute; Dut. luit)

Lute," "Oh See also:

• MISTRESS

Mistress Mine" and "The See also:

• WILLOW (Salix)

Willow See also:

• SONG

Song." His attractive See also:

• PERSONALITY (from Lat. persona, originally an actor's mask, from personare,1 to sound through)

personality, combined with his undoubted See also:

• GENIUS (from Lat. genere, gignere)

genius and brilliant promise, brought him many See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends . See also:

• COSTA, GIOVANNI (1826–1903)
• COSTA, LORENZO (146o-r535)
• COSTA, SIR MICHAEL ANDREW AGNUS (1808-1884)

Costa, who was conductor at Covent See also:

• GARDEN (from O. Fr. garden, mod. Fr. jardin; this, like our words " garth," a paddock attached to a building, and " yard," comes from a Teutonic word for an enclosure which appears in Gothic as gards and O. H. Ger. gart, cf. Dutch gaarde and Ger. .garten)

Garden, gave him the See also:

• POST

post of organist, and in 1864 he produced there his L'Ile Enchantee See also:

• BALLET

ballet .

Some of his spare time was spent in See also:

• IRELAND
• IRELAND, CHURCH
• IRELAND, CHURCH OF
• IRELAND, JOHN (1761-1842)
• IRELAND, JOHN (1838- )
• IRELAND, WILLIAM HENRY (1777-1835)

Ireland, where in 1863 he began the composition of his (" Irish ") Symphony in E, which was produced at the Crystal Palace in 1866 . The most important event, however, at this period, as bearing upon his later successes, was his co-operation with F . C . See also:

• BURNAND, SIR FRANCIS COWLEY (1836- )

Burnand in the musical extravaganza See also:

• COX, DAVID (1783-1859)
• COX, JACOB DOLSON (1828-1900)
• COX, KENYON (1856– )
• COX, RICHARD (I3oo ?–1581)
• COX, SAMUEL (1826–1893)
• COX, SAMUEL HANSON (1793-1880)
• COX, SIR GEORGE WILLIAM (1827-1902)

Cox and See also:

• BOX
• BOX (Gr. irl or, Lat. buxus, box-wood; cf. 2r6Eir, a pyx)

Box, which first showed his capacity for musical drollery . This was acted privately in 1866, and was completed for public performance in 1867, in which See also:

• YEAR

year Sullivan again co-operated with Burnand in Contrabandista . Meanwhile he was in request as a conductor, and was made, See also:

• PROFESSOR (the Latin noun formed from the verb profiteri, to declare publicly, to acknowledge, profess)

professor of composition at the Academy . His father's sudden death in 1866 inspired him to write the fine " In Memoriam " overture, which was produced at the See also:

• NORWICH
• NORWICH, GEORGE GORING, EARL OF (1583?-1663)

Norwich Festival . In 1867, besides producing his " Marmion " overture, he and Grove did a See also:

• GREAT

great service to their See also:

• ART

art by bringing to See also:

• LIGHT

light at See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna a number of lost Schubert See also:

• MSS

MSS., including the Rosamunde music . About this time Sullivan induced See also:

• TENNYSON, ALFRED TENNYSON

Tennyson to write his song-See also:

• CYCLE
• CYCLE (Gr. KUK)^os, a circle)

cycle" The Window," to be illustrated by See also:

• MILLAIS, SIR JOHN EVERETT (1829-1896)

Millais, with music by himself . But Millais abandoned the task, and Tennyson was not happy about his See also:

• SHARE (O. Eng. scearu, chiefly in compounds, e.g. land-scearu, a share of land, from sceran to cut; cf. " shear" )

share; and the See also:

• SERIES (a Latin word from serere, to join)

series, published in 1871, never became popular, in spite of Sullivan's dainty setting . In 1869 he brought out his See also:

• ORATORIO

oratorio The Prodigal Son at See also:

• WORCESTER
• WORCESTER, EARLS AND MARQUESSES OF
• WORCESTER, JOHN TIPTOFT, EARL OF (1427—1470)
• WORCESTER, WILLIAM (c. 1415-c. 1482)

Worcester, and in 187o his overture " Di Ballo " at See also:

• BIRMINGHAM

Birmingham . In 1871 Sullivan had become acquainted with W .

S . See also:

• GILBERT
• GILBERT (KINGSMILL) ISLANDS
• GILBERT (or GYLBERDE), WILLIAM (1544-1603)
• GILBERT, ALFRED (1854– )
• GILBERT, ANN (1821-1904)
• GILBERT, GROVE KARL (1843– )
• GILBERT, J
• GILBERT, JOHN (1810-1889)
• GILBERT, MARIE DOLORES ELIZA ROSANNA [" LOLA MONTEZ "] (1818-1861)
• GILBERT, NICOLAS JOSEPH LAURENT (1751–1780)
• GILBERT, SIR HUMPHREY (c. 1539-1583)
• GILBERT, SIR JOSEPH HENRY (1817-1901)
• GILBERT, SIR WILLIAM SCHWENK (1836– )

Gilbert (q.v.), and in 1872 they collaborated in a piece for the Gaiety See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

Theatre, called See also:

• THESPIS (6th cent. B.C.)

Thespis; or, The Gods Grown Old, which was a great success in spite of the limited vocal resources of the per-formers . In 1875 R . D'Oyly See also:

• CARTE, THOMAS (1686-1754)

Carte, then acting as manager for Selina Dolaro at the See also:

• ROYALTY (0. Fr. realte, reialte, royaulte, from Med. Lat. regalitas, the substantive of regalis, of or belonging to a king, rex)

Royalty, approached Gilbert with a view to his collaborating with Sullivan in a piece for that theatre . Gilbert had already suggested to Sullivan an operetta with its See also:

• SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

scene in a See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

law See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court, and within three See also:

• WEEKS, EDWIN LORD (1849-1903)

weeks of his completing the libretto of Trial by See also:

• JURY

Jury the music was written . The piece succeeded beyond all expectation; and on the strength of its promise of further successes D'Oyly Carte formed his See also:

• COMEDY

Comedy See also:

• OPERA (Italian for " work ")

Opera See also:

• COMPANY

Company and took the Opera Comique Theatre . There in 1877 The Sorcerer was produced, George See also:

• GROSSMITH, GEORGE (1847– )

Grossmith and See also:

• RUTLAND
• RUTLAND, EARLS AND DUKES OF
• RUTLAND, JOHN JAMES ROBERT MANNERS, 7TH DUKE OF (1818-1906)

Rutland See also:

• BARRINGTON, DAINES (1727-1800)
• BARRINGTON, GEORGE (b. 1755)
• BARRINGTON, JOHN SHUTE, 1ST V1SCOUNT (1678-1734)
• BARRINGTON, SAMUEL (1729-1800)
• BARRINGTON, SHUTE (1734-1826)
• BARRINGTON, WILLIAM WILDMAN SHUTE, 2ND VISCOUNT (1717-1793)

Barrington being in the See also:

• CAST (from the verb meaning " to throw "; the word is Scand. in origin, cf. Dan. kaste, and Swed. kasta; " cast " in Middle Eng. took the place of the A.S. weor pan, cf. Ger. werf en)

cast . In 1878 H.M.S . Pinafore was brought out at the Opera Comique . At first it did not attract large audiences, but eventually it became a popular success, and ran for 700 nights . In See also:

• AMERICA

America it was enthusiastically received, and the two authors, with D'Oyly Carte, went over to the States in 1879, with a company of their own, in See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order to produce it in New See also:

• YORK
• YORK (HOUSE OF)
• YORK, EDMUND OF LANGLEY, DUKE OF (1341-1402)
• YORK, EDWARD
• YORK, FREDERICK AUGUSTUS, DUKE OF (1763-1827)
• YORK, RICHARD, DUKE

York . To secure the See also:

• AMERICAN

American rights for their next opera, they brought out The Pirates of See also:

• PENZANCE

Penzance first at New York in 1879 .

In 188o, in London, it ran for nearly 400 nights . In 1881 See also:

• PATIENCE

Patience was produced at the Opera Comique, and was transferred later in the year to the See also:

• SAVOY, HOUSE
• SAVOY, HOUSE OF

Savoy Theatre . There all the later operas came out: lolanthe (1882), Princess See also:

• IDA (d. 559)

Ida (1884), The See also:

• MIKADO (Japanese for " exalted gate ")

Mikado—perhaps the most charming of all-(1885), Ruddigore (1887), The Yeomen of the Guard (1888), The Gondoliers (1889) . This succession of pieces by Gilbert and Sullivan had made their See also:

• UNITED

united names stand for a new type of light opera . Its See also:

• VOGUE, EUGENE MELCHIOR, COMTE DE (1848- )

vogue owed something to such admirable performers as George Grossmith—famous for his " See also:

• PATTER

patter songs "—Rutland Barrington, See also:

• MISS

Miss Jessie See also:

• BOND
• BOND, SIR EDWARD AUGUSTUS (1815-1898)

Bond, Miss Brandram, and later W . H . Denny and Walter Passmore; but these artistes only took See also:

• ADVANTAGE

advantage of the opportunities provided by the two authors . In place of the old adaptations of See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French opera bouffe they had substituted a genuinely English product, humorous and delightful, without a tinge of vulgarity or the See also:

• COMMONPLACE

commonplace . But disagreements now arose between them which caused a See also:

• DISSOLUTION (from Lat. dissolvere, to break up into parts)

dissolution of partner-ship . Sullivan's next Savoy opera, Haddon Hall (1892), had a libretto by See also:

• SYDNEY

Sydney See also:

• GRUNDY, MRS
• GRUNDY, SYDNEY (1848– )

Grundy; and the resumption of Gilbert's collaboration in 1893 in See also:

• UTOPIA

Utopia, Limited, and again in 1896 in The See also:

• GRAND

Grand See also:

• DUKE (corresponding to Fr. duc, Ital. duca, Ger. Herzog)

Duke, was not as successful as before . Sullivan's music, however, still showed its characteristic qualities in The Chieftain (1894)—largely an See also:

• ADAPTATION (from Lat. adaptare. to fit to)

adaptation of Contrabandista; The Beauty See also:

• STONE
• STONE (0. Eng. shin; the word is common to Teutonic languages, cf. Ger. Stein, Du. steen, Dan. and Swed. sten; the root is also seen in Gr. aria, pebble)
• STONE, CHARLES POMEROY (1824-1887)
• STONE, EDWARD JAMES (1831-1897)
• STONE, FRANK (1800-1859)
• STONE, GEORGE (1708—1764)
• STONE, LUCY [BLACKWELL] (1818-1893)
• STONE, MARCUS (184o— )
• STONE, NICHOLAS (1586-1647)

Stone (1898), with a libretto by A . W .

See also:

• PINERO, SIR ARTHUR WING (1855– )

Pinero and J . Comyns Carr; and particularly in The See also:

• ROSE
• ROSE (Rosa)
• ROSE, GEORGE (1744-1818)
• ROSE, HUGH JAMES (1795—1838)
• ROSE, WILLIAM STEWART (1775-1843)

Rose of See also:

• PERSIA

Persia (1900), with See also:

• CAPTAIN (derived from Lat. ca put, head, through the Low Lat. capitanus)

Captain See also:

• BASIL (Russ. VASILY)

Basil Hood . In the public mind Sir Arthur Sullivan (who was knighted in 1883) had during these years become principally associated with the enormous success of the Savoy operas; but these by no means exhausted his musical energies . In 1872 his Te Deum for the recovery of the See also:

• PRINCE
• PRINCE (Lat. princeps, from primus capio, " I am the first to take "; Ital. principe, Fr. prince)

prince of See also:

• WALES (Cymru, Gwalia, Cambria)

Wales was performed at the Crystal Palace . In 1873 he produced at the Birmingham Musical Festival his oratorio The Light of the See also:

• WORLD

World, in 1877 he wrote his incidental music to See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

Henry VIII., in 188o his sacred cantata The See also:

• MARTYR (Gr. pimp or µaprvs)

Martyr of See also:

• ANTIOCH

Antioch, and in 1886 his masterpiece, The See also:

• GOLDEN

Golden See also:

• LEGEND (through the French from the med. Lat. legenda, things to be read, from legere, to read)

Legend, was brought out at the See also:

• LEEDS
• LEEDS, THOMAS OSBORNE

Leeds Festival . The Golden Legend satisfied the most exacting critics that for originality of conception and grandeur of See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution English music possessed in Sullivan a composer of the highest calibre . In 1891, for the opening of D'Oyly Carte's new English opera-See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house in See also:

• SHAFTESBURY
• SHAFTESBURY, ANTHONY ASHLEY COOPER, 1ST EARL OF (1621-1683)
• SHAFTESBURY, ANTHONY ASHLEY COOPER, 7TH EARL OF (1801–1885)
• SHAFTESBURY, ANTHONYASHLEY COOPER, 3RD EARL OF (1671-1713)

Shaftesbury See also:

• AVENUE (the past participle feminine of Fr. avenir, to come to)

Avenue he wrote his " grand opera" Ivanhoe to a libretto by See also:

• JULIAN (FLAVIUS CLAUDIUS JULIANUS) (331-363)

Julian See also:

• STURGIS, RUSSELL (r836-1909)

Sturgis . The See also:

• ATTEMPT (Lat. adtemptare, attentare, to try)

attempt to put an English opera on the See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage for a See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long run was doomed to failure, but Ivanhoe was full of fine things . In 1892 he composed incidental music to Tennyson's Foresters . In 1897 he wrote a ballet for the See also:

• ALHAMBRA, THE

Alhambra, called See also:

• VICTORIA
• VICTORIA (or VITTORIA), TOMMASSO LUDOVICO DA (C. I540-C. 1613)
• VICTORIA [ALEXANDRINA VICTORIA]

Victoria and Merrie England . Among his numerous songs, a conspicuous merit of which is their admirable vocal quality, the best known are " If Doughty Deeds " (1866), " The Sailor's See also:

• GRAVE

Grave " (1872), " See also:

• THOU, JACQUES AUGUSTE DE [THUANUS] (1553-1617)
• THOU, NOM

Thou'rt Passing Hence " (1875), " I would I were a See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

King " (1878), " King Henry's Song " (1878) and " The Lost Chord " (1877) . This last, hackneyed as it became, was probably the most successful English song of the 19th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century .

It was written in 1877, during the fatal illness of Sullivan's See also:

• BROTHER

brother See also:

• FREDERIC, HAROLD (1856-1898)

Frederic, who, originally an architect, had become an actor, and by means of his fine voice and See also:

• POWERS, HIRAM (1805-1873)

powers as a comedian (best shown as the See also:

• JUDGE (Lat. judex, Fr. juge)

Judge in Trial by Jury) had won considerable success . Among Sullivan's many hymn tunes, the stirring " Onward, See also:

• CHRISTIAN
• CHRISTIAN, WILLIAM (1608-1663)

Christian Soldiers ! " (1872) is a permanent addition to See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

Church music . In 1876 he accepted the principalship of the See also:

• NATIONAL

National Training School of Music, which he held for six years; this was the germ of the subsequent Royal College . He received the honorary degree of See also:

• MUS

Mus . Doc. from See also:

• CAMBRIDGE
• CAMBRIDGE, EARLS AND DUKES OF
• CAMBRIDGE, RICHARD OWEN (1717-1802)

Cambridge (18761 and See also:

• OXFORD
• OXFORD, EARLS OF
• OXFORD, EDWARD DE VERE, 17TH EARL
• OXFORD, JOHN DE VERE, 13TH EARL OF (1443-1513)
• OXFORD, PROVISIONS OF
• OXFORD, ROBERT DE VERE, 9TH EARL OF (1362-1392)
• OXFORD, ROBERT HARLEY, 1ST

Oxford (1879) . In 1878 he was a member of the royal See also:

• COMMISSION (from Lat. commissio, committere)

commission for the See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris See also:

• EXHIBITION

Exhibition . He was conductor of the Leeds Festivals from 1879 to 1898, besides being conductor of the Philharmonic Society in 1885 . Apart from his broad sympathy and his See also:

• PRACTICAL

practical knowledge of See also:

• INSTRUMENTS

instruments, his work as a conductor must always be associated with his efforts to raise the See also:

• STANDARD
• STANDARD, BATTLE OF THE

standard of orchestral playing in England and his unwearying exertions on behalf of See also:

• BRITISH

British music and British musicians . Sullivan liked to be associated in the public mind with patriotic See also:

• OBJECTS

objects, and his setting of Rudyard See also:

• KIPLING, RUDYARD (1865— )

Kipling's " Absent-minded See also:

• BEGGAR

Beggar" song, at the opening of the See also:

• BOER

Boer See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

War in 1899, was, with the exception of The Rose of Persia, the last of his compositions brought out in his lifetime . He died somewhat suddenly of See also:

• HEART
• HEART, LUNG

heart failure on the 22nd of See also:

• NOVEMBER (Lat. novem, nine)

November 1900, and his See also:

• BURIAL

burial in St See also:

• PAUL
• PAUL (PAULUS)

Paul's See also:

• CATHEDRAL

Cathedral was the occasion of a remarkable demonstration of public sorrow . He See also:

• LEFT

left unpublished a Te Deum written for performance at the end of the Boer War, and an unfinished Savoy opera for a libretto by Captain Hood, which, completed by Edward German, was produced in 1901 as The See also:

• EMERALD

Emerald Isle .

Sullivan was the one really popular English composer of any See also:

• ARTISTIC

artistic See also:

• STANDING

standing in his time; and his celebrity as a public See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man has somewhat interfered with a definite See also:

• JUDGMENT

judgment as to his place in the See also:

• HISTORY

history of English music . In his own time, English musical taste See also:

• DEVELOPED

developed in a very remarkable degree; and musical See also:

• CRITICISM
• CRITICISM (from the Gr. KpiTrlS, a judge, Kpivew, to decide, to give an authoritative opinion)

criticism in serious quarters was a little disinclined to do See also:

• JUSTICE (Lat. justitia)

justice to what was " popular." One of the most agreeable companions, broad-minded, and See also:

• FREE

free from all affectation, he was intensely admired and loved in all circles of society; and though his See also:

• HEALTH

health was not robust, for he suffered during many years at intervals from a painful ailment, he was a man of the world who enjoyed the See also:

• LIFE

life which his success opened out to him without being spoilt by it . He was always a devoted and an industrious musician, and from the day he left Leipzig his See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence was powerfully exerted in favour of a wider and See also:

• FULLER, ANDREW (1954-1815)
• FULLER, GEORGE (1822—1884)
• FULLER, M
• FULLER, MARGARET, MARCHIONESS
• FULLER, MELVILLE WESTON (1833-1910)
• FULLER, THOMAS (16o8-1661)
• FULLER, WILLIAM (1670--c. 1717)

fuller recognition of musical culture . He was accused in some quarters of being unsympathetic towards Wagner and the post-Wagnerians, yet he had been one of the first to introduce Wagner's music to English audiences . He was keenly appreciative of new See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent, but his tastes were too eclectic to satisfy the enthusiasts for any particular school; he certainly had no liking for what he considered uninspired See also:

• ACADEMIC

academic See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing . Serious critics deplored, with more See also:

• JUSTIFICATION

justification, that he should have devoted so much of his great natural See also:

• GIFT (a common Teutonic word, cf. Ger. die Gift, gift, das Gift, poison, formed from the Teut. stem gab-, to give, cf. Dutch geven, Ger. geben; in O. Eng. the word appears with initial y, the guttural of later English is due to Scandinavian influence)

gift not merely to light comic opera, but to the production of a number of songs which, though always musicianly, were really of the nature of " pot-boiling." Sullivan was an extremely rapid worker, and his fertility in See also:

• MELODY (Gr. ,ueXw3ia, a choral song, from name, tune, and gi6i, song)

melody made it easy for him to produce what would please a large public . Moreover, it must be admitted that his great social success, so early achieved, was not calculated to nourish a rigidly artistic ideal . But when all is said, his genius remains undisputed; and it was a genius essentially English . His church music alone would entitle him to a high place among composers; and The Golden Legend, Ivanhoe, the In Memoriam overture, the " Irish " symphony and the charming " incidental music " to The Tempest and to Henry VIII. See also:

• FORM (Lat. forma)

form a splendid See also:

• LEGACY (Lat. legatum)

legacy of creative effort, characterized by the highest scholarly qualities in addition to those beauties which See also:

• APPEAL

appeal to every See also:

• EAR (common Teut.; O.E. are, Ger. Ohr, Du. oor, akin to Lat. auris, Gr. ovs)

ear . Whether his memory will be chiefly associated with these See also:

• WORKS

works, or rather with the world-wide popularity of some of his songs and comic operas, time alone can tell . The Savoy operas did not aim at intellectual or emotional grandeur, but at providing See also:

• INNOCENT (INNOCENTIUS)
• INNOCENT (POPES)

innocent and wholesome See also:

• PLEASURE (through Fr. plaisir from Lat. placere, to please; Gr. rlbovii)

pleasure; and in giving musical form to Gilbert's witty librettos Sullivan showed once for all what light opera may be when treated by the See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand of a master . His scores are as humorous and fanciful qud music as Gilbert's verses are qua dramatic literature .

Bubbling melody, consummate orchestration, lovely songs and concerted pieces (notably the famous vocal quintets) flowed from his See also:

• PEN (Lat. penna, a feather, pen)

pen in unexhausted and inimitable profusion . If he had written nothing else, his unique success in this See also:

• FIELD (a word common to many West German languages, cf. Ger. Feld, Dutch veld, possibly cognate with O.E. f olde, the earth, and ultimately with root of the Gr. irAaror, broad)
• FIELD, CYRUS WEST (1819-1892)
• FIELD, DAVID DUDLEY (18o5-1894)
• FIELD, EUGENE (1850-1895)
• FIELD, FREDERICK (18o1—1885)
• FIELD, HENRY MARTYN (1822-1907)
• FIELD, JOHN (1782—1837)
• FIELD, MARSHALL (183 1906)
• FIELD, NATHAN (1587—1633)
• FIELD, STEPHEN JOHNSON (1816-1899)
• FIELD, WILLIAM VENTRIS FIELD, BARON (1813-1907)

field would have been a solid See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title to fame . As it was, it is Sir Arthur Sullivan's See also:

• SPECIAL

special distinction not only to have been prolific in music which went straight to the See also:

• HEARTS

hearts of the See also:

• PEOPLE

people, but to have enriched the English repertoire with acknowledged masterpieces, which are no less remarkable for their technical accomplishment . See also Sir Arthur Sullivan: Life-See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story, Letters, and Reminiscences, by Arthur See also:

• LAWRENCE
• LAWRENCE (LAURENTIUS, LORENZO), ST
• LAWRENCE, AMOS (1786—1852)
• LAWRENCE, AMOS ADAMS (1814–1886)
• LAWRENCE, GEORGE ALFRED (1827–1876)
• LAWRENCE, JOHN LAIRD MAIR LAWRENCE, 1ST BARON (1811-1879)
• LAWRENCE, SIR HENRY MONTGOMERY (1806–1857)
• LAWRENCE, SIR THOMAS (1769–1830)
• LAWRENCE, STRINGER (1697–1775)

Lawrence (London: Bowden, 1899) . Besides being largely autobiographical, this See also:

• VOLUME

volume contains a See also:

• COMPLETE

complete See also:

• LIST (O.E. lisle, a Teutonic word, cf. Dut. lust, Ger. Leiste, adapted in Ital. lista and Fr. lisle)
• LIST, FRIEDRICH (1789-1846)

list of Sullivan's works, compiled by Mr See also:

• WILFRID (c. 634-709)

Wilfrid Bendall, who for many years acted as Sir Arthur's private secretary . (H .