Editing Arthur Sullivan (section)

===Musical quotations and parodies===
[[File:H.J. Whitlock - Photograph of Arthur Sullivan.jpg|left|thumb|upright|Sullivan in about 1870|alt=Head and shoulders of Sullivan as a young man, wearing a moustache, long sideburns and a serious expression]]
Throughout the Savoy operas, and occasionally in other works, Sullivan quotes or imitates well-known themes or parodies the styles of famous composers.<ref>Cooper, Martin. "Sullivan", ''Opera News'', April 1960, pp. 8–12</ref> On occasion he may have echoed his predecessors unconsciously: Hughes cites a [[George Frederick Handel|Handelian]] influence in "Hereupon We're Both Agreed" (''The Yeomen of the Guard''), and [[Rodney Milnes]] called "Sighing Softly" in ''The Pirates of Penzance'' "a song plainly inspired by – and indeed worthy of – Sullivan's hero, Schubert".<ref name="Hughes, p. 152">Hughes, p. 152</ref><ref>Milnes, Rodney. "Putting the Jolly in Roger", ''The Times'', 26 April 2001, Section 2, p. 20</ref> [[Edward Greenfield]] found a theme in the slow movement of the ''Irish Symphony'' "an outrageous crib" from Schubert's [[Symphony No. 8 (Schubert)|''Unfinished'' Symphony]].<ref>Greenfield, Edward. "Sullivan – Symphony in E major", ''The Gramophone'', February 1969, p. 61</ref> In early pieces, Sullivan drew on Mendelssohn's style in his music for ''The Tempest'', Auber's in his ''Henry VIII'' music and [[Charles Gounod|Gounod]]'s in ''The Light of the World''.<ref>De Ternant, Andrew. [https://www.jstor.org/stable/911932 "Debussy and Others on Sullivan"], ''The Musical Times'', 1 December 1924, pp. 1089–1090 {{subscription}}</ref> The influence of Mendelssohn pervades the fairy music in ''Iolanthe''.<ref>Hughes, pp. 46–47 and 152</ref> ''The Golden Legend'' shows the influence of [[Franz Liszt|Liszt]] and Wagner.<ref>Young, p. 221; and Burton, Nigel. [https://www.jstor.org/stable/964387 "100 Years of a Legend"], ''The Musical Times'', 1 October 1986 pp. 554–557 {{subscription}}</ref>

Sullivan adopted traditional musical forms, such as [[Madrigal (music)|madrigals]] in ''The Mikado'', ''Ruddigore'' and ''The Yeomen of the Guard'' and [[glee (music)|glees]] in ''H.M.S. Pinafore'' and ''The Mikado'', and the Venetian [[barcarolle]] in ''The Gondoliers''. He made use of dance styles to enhance the sense of time or place in various scenes: [[gavotte]]s in ''Ruddigore'' and ''The Gondoliers'';<ref name=h144>Hughes, pp. 144–145</ref> a country dance in ''The Sorcerer''; a nautical hornpipe in ''Ruddigore''; and the Spanish [[cachucha]] and Italian [[saltarello]] and [[tarantella]] in ''The Gondoliers''.<ref name=h144/> Occasionally he drew on influences from further afield. In ''The Mikado'', he used an old Japanese war song, and his 1882 trip to Egypt inspired musical styles in his later opera ''The Rose of Persia''.<ref>"The Rose of Persia; Or, the Story-teller and the Slave", ''The Era'', 2 December 1899, p. 14</ref>

Elsewhere, Sullivan wrote undisguised parody. Of the sextet "I Hear the Soft Note" in ''Patience'', he said to the singers, "I think you will like this. It is [[Thomas Arne|Dr Arne]] and [[Henry Purcell|Purcell]] at their best."<ref name=GGReminiscence/> In his comic operas, he followed [[Jacques Offenbach|Offenbach]]'s lead in lampooning the idioms of French and Italian opera, such as those of [[Gaetano Donizetti|Donizetti]], [[Vincenzo Bellini|Bellini]] and Verdi.<ref>Hughes, pp. 150–151; and Jacobs, p. 52</ref> Examples of his operatic parody include Mabel's aria "Poor Wand'ring One" in ''The Pirates of Penzance'', the duet "Who Are You, Sir?" from ''Cox and Box'',<ref>Hughes, pp. 151 and 80</ref> and the whispered plans for elopement in "This Very Night" in ''H.M.S. Pinafore'', parodying the conspirators' choruses in Verdi's ''[[Il trovatore]]'' and ''[[Rigoletto]]''.<ref name=Scherer>Scherer, Barrymore Laurence. [https://www.wsj.com/articles/SB10001424052702304186404576390112252351044 "Gilbert & Sullivan, Parody's Patresfamilias"], ''The Wall Street Journal'', 23 June 2011, accessed 19 December 2017 {{subscription}}</ref> The mock-jingoistic "He Is an Englishman" in ''H.M.S. Pinafore'' and choral passages in ''The Zoo'' satirise patriotic British tunes such as Arne's "[[Rule, Britannia!]]".<ref name=Scherer/> The chorus "With Catlike Tread" from ''The Pirates'' parodies Verdi's "[[Anvil Chorus]]" from ''Il trovatore''.<ref>Hughes, pp. 150–151</ref>

Hughes calls Bouncer's song in ''Cox and Box'' "a jolly Handelian parody" and notes a strong Handelian flavour to Arac's song in Act III of ''Princess Ida''.<ref name="Hughes, p. 152"/> In "A More Humane Mikado", at the words "Bach interwoven with [[Louis Spohr|Spohr]] and [[Ludwig van Beethoven|Beethoven]]", the clarinet and bassoon quote the fugue subject of Bach's [[Great Fantasia and Fugue in G minor, BWV 542|Fantasia and Fugue in G minor]].<ref>Hughes, p. 109</ref> Sullivan sometimes used Wagnerian [[leitmotif]]s for both comic and dramatic effect. In ''Iolanthe'', a distinctive four-note theme is associated with the title character, the Lord Chancellor has a fugal motif, and the Fairy Queen's music parodies that of Wagner heroines such as [[Brünnhilde]].<ref>Williams, p. 217</ref> In ''The Yeomen of the Guard'' the [[Tower of London]] is evoked by its own motif.<ref name=h143>Hughes, p. 143</ref> This use of the leitmotif technique is repeated and developed further in ''Ivanhoe''.<ref>Young, p. 223</ref>