# A Dictionary of Music and Musicians/Sullivan, Arthur

​SULLIVAN, Arthur Seymour, was born in London, May 13, 1842. His father was a bandmaster, and chief professor of the clarinet at Kneller Hall; he was thus born amongst music. His first systematic instruction was received from the Rev. Thomas Helmore, Master of the Children of the Chapel Royal, which he entered April 12, 1854, and left on the change of his voice, June 22, 1857. 'His voice was very sweet,' says Mr. Helmore, 'and his style of singing far more sympathetic than that of most boys.' While at the Chapel Royal he wrote many anthems and small pieces. One of them, 'O Israel,' a 'sacred song,' was published by Novellos in 1855. In 1856 the Mendelssohn Scholarship was brought into active existence, and in July of that year Sullivan was elected the first scholar. Without leaving the Chapel Royal he began to study at the Royal Academy of Music under Goss and Sterndale Bennett, and remained there till his departure for Leipzig in the autumn of 1858. An overture 'of considerable merit' ismentioned at this time as having been played at one of the private concerts of the Academy. At Leipzig he entered the Conservatorium under Plaidy, Hauptmann, Richter, Julius Rietz, and Moscheles, and remained there in company with Walter Bache, John F. Barnett, Franklin Taylor, and Carl Rosa, till the end of 1861. He then returned to London, bringing with him his music to Shakspeare's 'Tempest,' which was produced at the Crystal Palace, April 5, 1862, and repeated on the 12th of the same month, and several times since.
This beautiful composition made a great sensation in musical circles and launched him into London musical society. Two very graceful pianoforte pieces, entitled 'Thoughts,' were among his earliest publications. The arrival of the Princess of Wales in March 1863, produced a song, 'Bride from the North,' and a Procession March and Trio in E♭; and a song entitled 'I heard the 'Nightingale' was published April 28 of the same year. But his next work of importance was a cantata called 'Kenilworth,' words by the late H. F. Chorley, written for the Birmingham Festival of 1864, and produced there. It contains a very fine duet, for soprano and tenor, to Shakspeare's words, 'On such a night as this,' which is far too good to be forgotten. His music to the ballet of 'L'Ile enchantée' was produced at Covent Garden, May 16, 1864.
At this date he lost much time over an opera called 'The Sapphire Necklace,' also by Mr. Chorley; the undramatic character of the libretto of which prevented its representation. The overture has been frequently heard at the Crystal Palace and elsewhere, and the music has been used up in other works. In March 1866 Mr. Sullivan produced a Symphony in E at the Crystal Palace, which has been often played subsequently, there and at the Philharmonic, etc. In the same year he had the misfortune to lose his father, to whom he was fondly attached, and he uttered his grief in an overture entitled 'In Memoriam,' which was produced (Oct. 30) at the Norwich Festival of that year. A concerto for Cello and orchestra was played by Piatti at the Crystal Palace on Nov. 24. This was followed by an overture, 'Marmion,' commissioned by the Philharmonic Society, and produced by them June 3, 1867. In the autumn of that year he accompanied his friend the Editor of this Dictionary to Vienna, in search of the Schubert MSS., which have since become so well known. At the same time his symphony was played at the Gewandhaus at Leipzig. In 1869 he composed ​a short oratorio on the story of the 'Prodigal Son,' for the Worcester Festival, where it was produced (Mr. Sims Reeves taking the principal part) on Sept. 8. In 1870 he again contributed a work to the Birmingham Festival, the graceful and melodious 'Overture di Ballo' (in E♭), which, while couched throughout in dance-rhythms, is constructed in perfectly classical form, and is one of the most favourite pieces in the Sydenham repertoire. To continue the list of his commissioned works: in 1871, in company with Gounod, Hiller, and Pinsuti, he wrote a piece for the opening of the 'Annual International Exhibition' at the Albert Hall, on May 1—a cantata by Tom Taylor called 'On Shore and Sea,' for solo, chorus, and orchestra. On the recovery of the Prince of Wales from his illness, he composed, at the call of the Crystal Palace Company, a Festival Te Deum, for soprano solo, orchestra, and chorus, which was performed there May 1, 1872. At this time he was closely engaged in editing the collection of 'Church Hymns with Tunes' for the Christian Knowledge Society, for which he wrote 21 original tunes. In 1873 Mr. Sullivan made a third appearance at Birmingham, this time with the leading feature of the Festival, an oratorio entitled 'The Light of the World,' the words selected from the Bible by himself. The success of this very fine work at Birmingham was great, and it has often since been performed, but the very solemn treatment naturally adopted in the parts which relate the sufferings of the Redeemer will always restrict its performance. Mr. Sullivan succeeded Sir Michael Costa as conductor of the Leeds Festival of 1880, and wrote for it 'The Martyr of Antioch,' to words selected from Milman's play of that name. The work lies between an oratorio and a cantata, and was enthusiastically received. Mr. Sullivan has accepted the same post for the Festival of 1883. [App. p.797 "add that he conducted the Leeds Festivals of 1883 and 1886, composing for the latter 'The Golden Legend,' to words selected from Longfellow's poem."]—It may here be said that in 1869 he wrote additional accompaniments to Handel's 'Jephtha' for the opening of Barnby's 'Oratorio Concerts,' Feb. 6.
We will now go back to those works which have made Mr. Sullivan's name most widely known, not only in Europe but in Australia and America—his comic Operettas, and his Songs. 'Cox and Box, a new Triumviretta,' was an adaptation by Mr. F. C. Burnand of Madison Morton's well-known farce, made still more comic by the interpolations, and set by Mr. Sullivan with a brightness and a drollery which at once put him in the highest rank as a comic composer. It was first heard at Moray Lodge (Mr. Arthur J. Lewis's) on April 27, 1867, and produced in public at the Adelphi a fortnight after, on May 11. The vein thus struck was not at first very rapidly worked. 'The Contrabandista' (2 acts, words by Burnand) followed at St. George's Opera House on Dec. 18, 1867, but then there was a pause. 'Thespis, or the Gods grown old; an operatic extravaganza' by Gilbert (Gaiety, Dec. 26, 1871), and 'The Zoo, an original musical folly,' by B. Rowe (St. James's, June 5, 1875), though full of fun and animation, were neither of them sufficient to take the public. 'Trial by Jury, an extravaganza,'—and a very extravagant one too,—words by W. S. Gilbert, produced at the Royalty, March 25, 1875, had a great success, and many representations, owing in part to the very humorous conception of the character of the Judge by Mr. Sullivan's brother Frederick. But none of these can be said to have taken a real hold on the public. 'The Sorcerer, an original modern comic opera,' by W. S. Gilbert, which first established the popularity of its composer, was a new departure, a piece of larger dimensions and more substance than any of its predecessors. It was produced at the Opera Comique, Strand, Nov. 17, 1877, and ran uninterruptedly for 175 nights. The company formed for this piece by Mr. Doyly Carte, including that admirable artist Mr. Grossmith, was maintained in the next, 'H. M.S. Pinafore,' produced at the same house, May 25, 1878. This not only ran in London for 700 consecutive nights, but had an extraordinary vogue in the provinces, and was adopted in the United States to a degree exceeding all previous record. To protect their interests there, Mr. Sullivan and Mr. Gilbert visited the United States in 1879, and remained for several months. An attempt to bring out the piece at Berlin as 'Amor an Bord' failed, owing to the impossibility of anything like political caricature in Germany. But it was published by Litolff in 1882. The vein, of droll satire on current topics adopted in the two last pieces has been kept up in 'The Pirates of Penzance' (April 3, 1880, 350 nights), 'Patience, an æsthetic opera' (April 25, 1881, 578 nights), and 'Iolanthe' (Nov. 25, 1882) which is still running as prosperous a course as any of the others. Such unprecedented recognition speaks for itself. But it is higher praise to say, with a leading critic, that 'while Mr. Sullivan's music is as comic and lively as anything by Offenbach, it has the extra advantage of being the work of a cultivated musician, who would scorn to write ungrammatically even if he could.' We might add 'vulgarly or coarsely,' which, in spite of all temptations, our countryman has never done. 'His refinement,' as a writer of our own has well said, 'is a thousand times more telling than any coarse utterances.' But may we not fairly ask whether the ability so conspicuous in these operettas is always to be employed on works which from their very nature must be even more fugitive than comedy in general? 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 the production of a serious opera on some subject of abiding human or national interest.
The 'Tempest' music has never—so far as the writer is aware—been used in a performance of ​the play; in fact, since Mr. Macready's time 'The Tempest' has scarcely ever been put on the stage. But Mr. Sullivan has written incidental music for three other of Shakspeare's dramas; viz. 'The Merchant of Venice,' Prince's Theatre, Manchester, Sept. 18, 1871; 'The Merry Wives of Windsor,' Gaiety Theatre, Dec. 19, 1874; and 'Henry VIII,' Theatre Royal, Manchester, Aug. 29, 1878. Of these the first is by far the best, and is an excellent specimen of the merits of its composer, in spirit, tunefulness, orchestration, and irrepressible humour.
Mr. Sullivan's Songs are as well known as his operettas. They are almost always of a tender or sentimental cast; and some of them, such as 'Sweet day so cool, so calm, so bright'; the 'Arabian Love Song,' by Shelley; 'O fair dove, fond dove,' by Jean Ingelow; the Shakspeare Songs; and the series—or, as the Germans would call it, the Liedercyclus—of 'The Window,' written for the purpose by Tennyson, stand in a very high rank. None of these, however, have attained the popularity of others, which, though slighter than those just named, and more in the ballad style, have hit the public taste to a remarkable degree. Such are 'Will he come?' and 'The lost chord' (both by Miss Procter); 'O ma charmante' (V. Hugo); 'The distant shore' and 'Sweethearts' (both by W. S. Gilbert), etc.
The same tunefulness and appropriateness that have made his Songs such favourites, also distinguish his numerous Anthems. Here the excellent training of the Chapel Royal shows itself without disguise, in the easy flow of the voices, the display of excellent, and evenlearned, counterpoint, when demanded by words or subject, and the frequent examples throughout of that melodious style and independent treatment that marks the anthems of the best of the old England school. His Part-songs, like his Anthems, are flowing and spirited, and always appropriate to the words. There are two sets; one sacred, dedicated to his friend Franklin Taylor, and one secular, of which 'O hush thee, my babie' has long been an established favourite.
His Hymn-tunes are numerous—47 in all—and some of them, such as 'Onward, Christian Soldiers,' have justly become great favourites. Others, such as 'The strain upraise' and the arrangement of St. Ann's, to Heber's words 'The Son of God goes forth to war,' are on a larger scale, and would do honour to any composer.
If his vocal works have gained Sir Arthur Sullivan the applause of the public, it is in his orchestral music that his name will live among musicians. His music to 'The Tempest' and 'The Merchant of Venice,' his oratorios, his Overture di Ballo, and, still more, his Symphony in E—unfortunately his only work in this department—show what remarkable gifts he has for the orchestra. Form and symmetry he seems to possess by instinct; rhythm and melody clothe everything he touches; the music shows not only sympathetic genius, but sense, judgment, proportion, and a complete absence of pedantry and pretension; while the orchestration is distinguished by a happy and original beauty hardly surpassed by the greatest masters. Here again we may express our earnest hope that such great qualities as these may not pass away without leaving some enduring monument of his mature powers, some Symphony or Concerto added to the permanent repertory of the English School, now so vigorously reviving.
During the early part of his career Mr. Sullivan was organist of St. Michael's Church, Chester Square. After this, in 1867, he undertook the direction of the music at St. Peter's, Onslow Gardens, for which many of his anthems were composed, and where he remained till 1871. He was musical adviser to the Royal Aquarium Company from its incorporation in July 1874 down to May 1876, organised the admirable band with which it started, and himself conducted its performances. For the seasons 1878 and 79 he conducted the Promenade Concerts at Covent Garden for Messrs. Gatti; and for those of 75–76, and 76–77, the Glasgow Festivals. He was Principal of the National Training School at South Kensington from 1876 to 1881, when his engagements compelled him to resign in favour of Dr. Stainer, and he is now a member of the Council of the Royal College of Music. He received the Honorary Degree of Doctor of Music from the University of Cambridge in 1876, and Oxford, 1879. In 1878 he acted as British Commissioner for Music at the International Exhibition at Paris, and was decorated with the Légion d'honneur. He also bears the Order of Saxe-Coburg and Gotha, and on May 15, 1883, was knighted by the Queen.
List of Sir Arthur Sullivan's works, with names of original publishers, and year of publication.
ORATORIOS.
The Prodigal Son. B. 1869. The Light of the World. C. 1873. The Martyr of Antioch. Ch. 1880.
CANTATAS
Kenilworth. Ch. 1864. On Shore and Sea. B. 1871.
SERVICES.
Te Deum, and Domine salvam fac (Orch., C). N. 1872. Te Deum, Jubilate, and Kyrie (Voices only, D). N. 1866–1872.
ANTHEMS.
O love the Lord (Full; F). N. 1864. We have heard with our ears (Full, à 5; G). N. 1865. O taste and see (Full; F). N. 1867. Rejoice in the Lord. B. 1868. Sing, O heavens. B. 1868. O God, Thou art worthy (Wedding; C). N. 1871. I will worship. B. 1871. I will mention (Verse; G). N. 1875. I will sing of Thy power (Verse; A). N. 1877. Hearken unto me (C). N. 1877. Turn Thy face from my sins. (Full; C). N. 1878.
MISCELLANEOUS SACRED.
Sacred Song. 'O Israel.' N. 1855. The Son of God (St. Ann's tune, Organ oblig.; C). 3rd ed. of R. B. Borthwick's 'Supplemental Hymn and Tune Book,' 1868. All this night (Carol). N. 1870. I sing the birth (Carol). B. 1871. Five Sacred Part-songs. B. 1871:
    It came upon the midnight.
    Lead, kindly Light.
    Through sorrow's path.
    Watchman, what of the night?
    The way is long and drear.
Turn Thee again, and Mercy and Truth; 2 Choruses adapted from the Russian Church Music. N. 1874. The strain upraise (G). N. 1874. Upon the snow-clad earth (Carol). 'The Choir.' 1876.
HYMN TUNES.
(The original appearance alone given.)
In 'Good Words,' March 1867.
    Hymn of the Homeland.
In Hullah's 'Book of Praise Hymnal' (Macmillan), 1867.
    'Thou God of love.'
    'Of Thy love some gracious token.'
In 'Psalms and Hymns for Divine Worship '(Nisbet). 1867.
    Mount Zion, 'Rock of Ages.'
    Formosa. 'Light of those' ('Falfield').
    S. Luke. 'God moves in a mysterious way.'
In Brown Borthwick's 'Supplemental Hymn and Tune Book.' N., 3rd ed. 1868.
    'The strain upraise of joy and praise.'
In 'Sarum Hymnal.' 1869.
    'When through the torn sail' ('Gennesareth,' also ' Heber').
In 'The Hymnary.' N. 1872.
    'Lord in this.' No. 222. ('Lacrymae' and 'Penitente.')
    'O Jesu our salvation.' 225. ('Lux Mundi.')
    'Saviour, when in dust to Thee.' 249.
    'Welcome, happy morning.' 284.
    'Come, ye faithful.' 285. (S. Kevin.)
    'Onward Christian soldiers.' 476. ('S. Gertrude,' also 'Church Militant.')
    'Safe home.' 507.
    'Gentle Shepherd.' 609. ('The Long Home.')
    'Angel voices.' 532.
    'Nearer, my God, to Thee.' 570. ('Propior Deo.')
    'Art thou weary.' 697. ('Venite,' also 'Rest.')
    'We are but strangers here.' 646. ('S. Edmund,' also Heaven is my home.')
In Church Hymns with Tunes. S.P.C.K. 1874.
    Christus. 496.
    Cœna Domini. 207.
    Coronæ. 354.
    Dulce sonans. 316.
    Ever faithful. 414.
    Evelyn. 390.
    Golden Sheaves. 281.
    Hanford. 400.
    Holy City. 497.
    Hushed was the evening hymn. 572.
    Litany. 585.
    Do. 592.
    Paradise. 473.
    Pilgrimage. 367.
    Resurrexit. 132.
    St. Francis. 220.
    St. Nathaniel. 257.
    Saints of God. 191.
    Ultor omnipotens. 262.
    Valete. 30.
    Veni Creator. 346.
Also 5 tunes not marked as composed for this work, but published here for the first time:—
    St. Mary Magdalene.
    Lux in tenebris.
    Lux Eoi.
    St. Patrick.
    St. Theresa.
(Besides 7 tunes specially adapted or arranged.) In 'Presbyterian Hymnal for the young.' 1882.
    'Courage brother.'
DRAMATIC WORKS.
The Contrabandista. B. 1868. Cox and Box. B. 1869. Thespis (MS.). 1872. Trial by Jury. Ch. 1875. The Zoo (MS.). 1875. The Sorcerer. M. 1877. H.M.S. Pinafore. M. 1878. Pirates of Penzance. Ch. 1880. Patience. Ch. 1881. Iolanthe. Ch. 1882. [App. p.797 "add 'Princess Ida,' 1884; 'The Mikado,' 1885; 'Ruddigore,' 1887; 'The Yeomen of the Guard,' 1888; all published by Chappell."]
INCIDENTAL MUSIC TO PLAYS.
The Tempest. Op. 1. C., 1862.; afterwards N. Merchant of Venice. C. 1873. The Merry Wives of Windsor. MS. Henry VIII. M. 1879. [App. p.797 "add Overture and incidental music to Macbeth, produced Dec. 29, 1888."]
[App. p.797 "Among the vocal works add the cantata 'The Golden Legend,' produced at the Leeds Festival of 1886, and published by Novello; and the trio 'Morn, happy morn,' for soprano, alto and tenor, with flute obbligato, written for the play of 'Olivia,' by W. G. Wills."]
PART SONGS.
The last night of the year. N. 1868. Choral Songs. N.:—
    The rainy day. 1867.
    O hush thee, my babie. 1867.
    Evening. 1868.
    Joy to the Victors. 1868.
    Parting gleams. 1863.
    Echoes. 1868.
    The long day closes. 1868.
    The beleaguered. 1868.
'Song of peace,' In The Choralist, no. 160. B.
ODE.
I wish to tune (Baritone and Orch.) B. 1868.
SONGS.
The Window, or the Loves of the Wrens: words written for music by Alfred Tennyson, Poet Laureate; the music by Arthur Sullivan. Strahan & Co. 1871. (11 Songs set out of 12).
Bride from the North. C. 1863. I heard the nightingale. Ch. 1863. Arabian Love Song (Shelley). Ch. 1866. Orpheus with his lute. C. 1866. O mistress mine. C. 1866. Sigh no more, ladles. C. 1866. The Willow Song. C. 1866. Sweet day, so cool. C. 1866. Rosalind. C. 1866. Thou art lost to me. B. 1866. Will he come? B. 1866. A weary lot is thine. Ch. 1866. If doughty deeds. Ch. 1866. She is not fair to outward view. B. 1866. Ah! County Guy. A. & P. 1867. The Maiden's Story. Ch. 1867. Give. B. 1867. In the summers long ago. M, 1867. What does little birdie say? A. & P. in 'Hanover Square,' 1867. The moon in silent brightness. O fair dove, fond dove. A. & P. in 'Hanover Square,' 1868. O sweet and fair. B. 1868. The snow lies white. B. 1868. The mother's dream. B. 1868. The Troubadour. B. 1869. Birds in the night (Lullaby from Cox and Box). B. 1869. Sad memories. M. 1869. Dove song. B. 1869. A life that lives for you. B. 1870. The Village Chimes. B. 1870. Looking back. B. 1870. Once again. B. 1872. Golden days. B. 1872. None but I can say. B. 1872. Guinevere. C. 1872. The Sailor's grave. C. 1872. Little maid of Arkadee (Thespis). C. 1872. There sits a bird. C. 1873. Looking forward. B. 1873. The Young Mother, 3 Songs—Cradle Song; Ay di mi; First Departure. C. 1873. O ma charmante. C. 1873. O Bella mia. C. 1873. Sweet dreamer. C. 1873. Two Songs in 'The Miller and his Man,' a drawing-room entertainment by F. C. Burnand. 1873. Sleep, my love, sleep. 1874. Mary Morison. 1874. The Distant Shore. Ch. 1874. Thou art weary. Ch. 1874. My dear and only love. B. 1874. Living poems. B. 1874. Tender and true. Ch. 1874. Christmas Bells at Sea. N. 1875. Love laid his sleepless head. B. 1875. The love that loves me not. N. 1875. Let me dream again. B. 1875. Thou'rt passing hence. Ch. 1875. Sweethearts. Ch. 1875. My dearest heart. B. 1876. Sometimes. B. 1877. The lost chord. B. 1877. I would I were a king. B. 1877. When thou art near. B. 1877. Old love letters. B. 1879. St. Agnes Eve. B. 1879. The Dominion Hymn. Ch. 1880. Edward Gray (Tennyson Album). S. L. 1880. The Sisters (Duet S. & A. Leisure Hour, 1881).
ORCHESTRAL WORKS, ETC.
Procession March. C. 1863. Music to the Ballet 'L'Ile enchanted.' May 16, 1864. Symphony in E. 1866. MS. Concerto, Cello, and Orchestra 1866. MS. Overtures:—
    Sapphire Necklace. MS.
    In Memoriam. 1866. MS.
    Marmion. 1867. MS.
    Di Ballo. S. L. 1869.
Additional accompaniments to Handel's 'Jephtha.' 1869. MS. Duo concertante, PF. and Cello. D. Lamborn Cock.
WORKS FOR PIANOFORTE.
Thoughts, Op. 2. Nos. 1 and 2. 1862. Twilight. Ch. 1868. Day dreams. 6 pieces. B. 1867.
[ G. ]
* ↑ Athenæum, July 24. 1858.
* ↑ See 'Times' of May 13, 1867.
* ↑ This opera was written, composed, and produced in the extraordinarily short space of 16 days.
* ↑ Arranged for the German stage by Ernst Dohm.
* ↑ On Oct. 10, 1881, the company removed from the Opéra Comique, to the new 'Savoy Theatre' in the Strand.
* ↑ 232 performances to July 16, 1883.
* ↑ See the whole passage in pp. 306, 307 of this volume.
* ↑ See the Festival Te Deum.