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Sullivan's longest love affair was with the American socialite Fanny Ronaldsa woman three years his senior, who had two children. Ronalds was separated from her American husband, but they never divorced. Social conventions of the time compelled Sullivan and Ronalds to keep their relationship private. In the year-old Sullivan proposed marriage to the year-old Violet Beddington —but she refused him. Sullivan loved to spend time in France both in Paris and on the Rivierawhere his acquaintances included European royalty and where the casinos enabled him to indulge his passion for gambling.
Sullivan was devoted to his parents, particularly his mother. He corresponded regularly with her when away from London, until her death in Henry Lytton wrote, "I believe there was never a more affectionate tie than that which existed between [Sullivan] and his mother, a very witty old lady, and one who took an exceptional pride in her son's accomplishments. In Charlotte and six of her children emigrated to Los AngelesCalifornia, leaving the oldest boy, "Bertie"in Sullivan's sole care.
Bertie remained with his Uncle Arthur for the rest of the composer's life. Kate was a chorister who defected to the Comedy Opera Company's rival production of H. Pinaforewhere she had the opportunity to play the leading soprano role, Josephine, in Sullivan's works comprise 24 operas, 11 full orchestral works, ten choral works and oratorios, two ballets, one song cycle, incidental music to several plays, more than 70 hymns and anthems, over 80 songs and parlour ballads, and a body of part songs, carols, and piano and chamber pieces.
The solo piano and chamber pieces are mostly from his early years, and are generally in a Mendelssohnian style. Reviewers and scholars often cite Mendelssohn as the most important influence on Sullivan.
As a young man, Sullivan's conservative musical education led him to follow in the conventions of his predecessors. Later he became more adventurous; Richard Silverman, writing inpoints to the influence of Liszt in later works — a harmonic ambiguity and chromaticism — so that by the time of The Golden Legend Sullivan had abandoned a home key altogether for the prelude.
S Pinafore " to "the swift Mediterranean lightness of The Gondoliers " and "the bleakness of Torquilstone in Ivanhoe ". Sullivan told an interviewer, Arthur Lawrence, "I don't use the piano in composition — that would limit me terribly". Sullivan explained that his process was not to wait for inspiration, but "to dig for it. I decide on [the rhythm] before I come to the question of melody.
I mark out the metre in dots and dashes, and not until I have quite settled on the rhythm do I proceed to actual notation. Sullivan's operatic style attempts to create for itself a uniquely English text-music synthesis", and, in addition, by adopting a conservative musical style, he was able to achieve "the clarity to match Gilbert's finely honed wit with musical wit of his own".
In composing the Savoy operas, Sullivan wrote the vocal lines of the musical numbers first, and these were given to the actors.
He, or an assistant, improvised a piano accompaniment at the early rehearsals; he wrote the orchestrations later, after he had seen what Gilbert's stage business would be. Outside the ranks of the giants there are few other composers of whom the same could be said. In the comic operas, where many numbers are in verse-plus-refrain form, Sullivan shaped his melodies to provide a climax for the verse, capped by an overall climax in the refrain. He adds that Sullivan rarely reached the same class of excellence in instrumental works, where he had no librettist to feed his imagination.
Sullivan preferred to write in major keysoverwhelmingly in the Savoy operas, and even in his serious works. Sullivan was trained in the classical style, and contemporary music did not greatly attract him. When reproached for using consecutive fifths in Cox and BoxSullivan replied "if 5ths turn up it doesn't matter, so long as there is no offence to the ear.
Another Sullivan trademark criticised by Hughes is the repeated use of the chord of the augmented fourth at moments of pathos. One of Sullivan's best-known devices is what Jacobs terms his "'counterpoint of characters': the presentation by different personages of two seemingly independent tunes which later come together" simultaneously.
He was not the first composer The New Song We Sing - Various - New Song (Praise & Worship) (CD) combine themes in this way, [n 31] but in Jacobs's phrase it became almost "the trademark of Sullivan's operetta style". Sullivan rarely composed fugues. Hughes concludes his chapter on Sullivan's orchestration: "[I]n this vitally important sector of the composer's art he deserves to rank as a master.
According to Geoffrey Toyethe number of players in Sullivan's Savoy Theatre orchestras was a "minimum" of One of the most recognisable features in Sullivan's orchestration is his woodwind scoring.
Hughes especially notes Sullivan's clarinet writing, exploiting all registers and colours of the instrument, and his particular fondness for oboe solos. For instance, the Irish Symphony contains two long solo oboe passages in succession, and in the Savoy operas there are many shorter examples. Throughout the Savoy operas, and occasionally in other works, Sullivan quotes or imitates well-known themes or parodies the styles of famous composers.
He made use of dance styles to enhance the sense of time or place in various scenes: gavottes in Ruddigore and The Gondoliers ;  a country dance in The Sorcerer ; a nautical hornpipe in Ruddigore ; and the Spanish cachucha and Italian saltarello and tarantella in The Gondoliers.
In The Mikadohe used an old Japanese war song, and his trip to Egypt inspired musical styles in his later opera The Rose of Persia. Elsewhere, Sullivan wrote undisguised parody. It is Dr. Arne and Purcell at their best. Pinaforeparodying the conspirators' choruses in Verdi's Il trovatore and Rigoletto.
Sullivan's critical reputation has undergone extreme changes since the s when critics, struck by his potential, hailed him as the long-awaited great English composer. The Athenaeum commented:. Years on years have elapsed since we have heard a work by so young an artist so full of promise, so full of fancy, showing so much conscientiousness, so much skill, and so few references to any model elect.
His Irish Symphony of won similarly enthusiastic praise, but as Arthur Jacobs notes, "The first rapturous outburst of enthusiasm for Sullivan as an orchestral composer did not last.
When Sullivan turned to comic opera with Gilbert, the serious critics began to express disapproval. The music critic Peter Gammond writes of "misapprehensions and prejudices, delivered to our door by the Victorian firm Musical Snobs Ltd. He possesses all the natural ability to have given us an English opera, and, instead, he affords us a little more-or-less excellent fooling.
The Theatre commented, " Iolanthe sustains Dr. Sullivan's reputation as the most spontaneous, fertile, and scholarly composer of comic opera this country has ever produced. Pinafore occupying himself with a worthier form of art. Sullivan's knighthood in gave the serious music critics further ammunition. The Musical Review of that year observed:. Arthur Sullivan may do, Sir Arthur ought not to do. In other words, it will look rather more than odd to see announced in the papers that a new comic opera is in preparation, the book by Mr.
Gilbert and the music by Sir Arthur Sullivan. A musical knight can hardly write shop ballads either; he must not dare to soil his hands with anything less than an anthem or a madrigal; oratorio, in which he has so conspicuously shone, and symphony, must now be his line. Here is not only an opportunity, but a positive obligation for him to return to the sphere from which he has too long descended [and] do battle for the honour of English art Even Sullivan's friend George Grove wrote: "Surely the time has come when so able and experienced a master of voice, orchestra, and stage effect — master, too, of so much genuine sentiment — may apply his gifts to a serious opera on some subject of abiding human or natural interest.
Original, bold, inspired, grand in conception, in execution, in treatment, it is a composition which will make an 'epoch' and which will carry the name of its composer higher on the wings of fame and glory. The effect of the public performance was unprecedented. Hopes for a new departure were expressed in The Daily Telegraph's review of The Yeomen of the The New Song We Sing - Various - New Song (Praise & Worship) (CD)Sullivan's most serious opera to that point: "[T]he music follows the book to a higher plane, and we have a genuine English opera, forerunner of many others, let us hope, and possibly significant of an advance towards a national lyric stage.
Fuller Maitlandin The Timesexpressed reservations, writing that the opera's "best portions rise so far above anything else that Sir Arthur Sullivan has given to the world, and have such force and dignity, that it is not difficult to forget the drawbacks which may be found in the want of interest in much of the choral writing, and the brevity of the concerted solo parts. Sir Arthur Sullivan's music is music for the people. There is no attempt made to force on the public the dullness of academic experience.
The melodies are all as fresh as last year's wine, and as exhilarating as sparkling champagne. There is not one tune which tires the hearing, and in the matter of orchestration our only humorist has let himself run riot, not being handicapped with libretto, and the gain is enormous. All through we have orchestration of infinite delicacy, tunes of alarming simplicity, but never a tinge of vulgarity. Although the more solemn members of the musical establishment could not forgive Sullivan for writing music that was both comic and accessible, he was, nevertheless, "the nation's de facto composer laureate".
The critic and the student found new beauties at every fresh hearing. In the decade after his death, Sullivan's reputation sank considerably among music critics.
In Fuller Maitland took issue with the generally laudatory tone of the obituaries: "Is there anywhere a case quite parallel to that of Sir Arthur Sullivan, who began his career with a work which at once stamped him as a genius, and to the height of which he only rarely attained throughout life?
It is because such great natural gifts — gifts greater, perhaps, than fell to any English musician since Purcell — were so very seldom employed in work worthy of them. Fuller Maitland's followers, including Ernest Walkeralso dismissed Sullivan as "merely the idle singer of an empty evening". These attacks have succeeded in surrounding the composer with a kind of barricade of prejudice which must be swept away before justice can be done to his genius. Sir Henry Wood continued to perform Sullivan's serious music.
In Hughes published the first full-length book about Sullivan's music "which, while taking note of his weaknesses which are many and not hesitating to castigate his lapses from good taste which were comparatively rare [attempted] to view them in perspective against the wider background of his sound musicianship.
In a review in The Times explained Sullivan's contributions to "the continued vitality of the Savoy operas": "Gilbert's lyrics It is his artistic consistency in this respect which obliges us to pronounce him our greatest Victorian composer. Time has now sufficiently dispersed the mists of criticism for us to be able to see the truth, to enjoy all The New Song We Sing - Various - New Song (Praise & Worship) (CD) music, and to rejoice in the rich diversity of its panoply.
On 14 August George Gouraud introduced Thomas Edison 's phonograph to London in a press conference, including the playing of a piano and cornet recording of Sullivan's "The Lost Chord", one of the first recordings of music ever made.
But all the same I think it is the most wonderful thing that I have ever experienced, and I congratulate you with all my heart on this wonderful discovery. The first commercial recordings of Sullivan's music, beginning inwere of individual numbers from the Savoy operas. Sullivan's non-Savoy works were infrequently recorded until the s. A few of his songs were put on disc in the early years of the 20th century, including versions of "The Lost Chord" by Enrico Caruso and Clara Butt.
From Wikipedia, the free encyclopedia. For other people named Arthur Sullivan, see Arthur Sullivan disambiguation. Further information: Cultural influence of Gilbert and Sullivan. See also: List of compositions by Arthur Sullivan. Overture di Ballo. The Overture di Ballo is regarded as Sullivan's most successful orchestral work. Marine Band. Main article: Critical reputation of Arthur Sullivan. A Edison Records recording of selections from The Mikado.
One of the recordings played at the press conference on 14 August After-dinner speech at the Little Menlo. Sullivan's phonographic letter to Thomas Edison, 5 October After Sullivan became the first recipient of the scholarship, Lind encouraged him in his career. Peter's, Cranley Gardens, Kensington. Grove described their final discovery: "I found, at the bottom of the cupboard and in its farthest corner, a bundle of music books two feet high, carefully tied round, and black with the undisturbed dust of nearly half-a-century.
There were the part books of the whole of the music in Rosamundetied up after the second performance, in Decemberand probably never disturbed since. Schneider [Schubert's nephew] must have been amused at our excitement Sullivan could not be requested to furnish a higher class of work, he should not have been passed over altogether until a more fitting opportunity presented itself. Cox and Boxagain with Fred as Cox, had been revived inand Arthur Sullivan may have been considering a return to comic opera.
Neither did Sullivan have real sympathy with the Society of Arts' progressive social ideals of scholarship education regardless of social origin, despite having himself gained his education through scholarship support.
Pray believe that of the many substantial advantages that have resulted The New Song We Sing - Various - New Song (Praise & Worship) (CD) me from our association, this last is, and always will be, the most highly prized.
Sullivan never looked up from the notes; it was as though he was reading at sight. The heavenly piece plodded along for better or for worse, listlessly, insensibly. Coarseness, exaggeration, and carelessness are unacquainted with him. So, unfortunately, are vigor and earnestness. This is a rather subtle conductor who makes his effects almost unexpectedly, so reticent is his manner and so quiet his method. Yet effects are there, and … are marked by a great smoothness in the linking of phrase with phrase, and in consequence by a wonderful fluent continuousness of melody.
Also used more generally to designate any of the Gilbert and Sullivan operas, including those first presented before the Savoy Theatre opened inor to designate any comic opera of a similar style which appeared at The New Song We Sing - Various - New Song (Praise & Worship) (CD) theatre". I think we should do unwisely if we left, altogether, the path which we have trodden together so long and so successfully. I can quite understand your desire to write a big work, well, why not write one?
But why abandon the Savoy business? Cannot the two things be done concurrently? If you can write an oratorio like The Martyr of Antioch while you are occupied by pieces like Patience and Iolanthecan't you write a grand opera without giving up pieces like The Yeomen of the Guard?
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