Editing Gilbert and Sullivan (section)

==Collaborations==
[[Image:pirates of penzance restoration.jpg|thumb|200px|right|1880 ''Pirates'' poster]]

===Major works and original London runs===
* ''[[Thespis (opera)|Thespis]]''; or, ''The Gods Grown Old'' (1871) 63 performances
* ''[[Trial by Jury]]'' (1875) 131 performances
* ''[[The Sorcerer]]'' (1877) 178 performances
* ''[[H.M.S. Pinafore]]''; or, ''The Lass That Loved a Sailor'' (1878) 571 performances
* ''[[The Pirates of Penzance]]''; or, ''The Slave of Duty'' (1879) 363 performances
* ''[[The Martyr of Antioch]]'' (cantata) (1880) (Gilbert helped to modify the poem by [[Henry Hart Milman]])
* ''[[Patience (operetta)|Patience]]''; or ''Bunthorne's Bride'' (1881) 578 performances
* ''[[Iolanthe]]''; or, ''The Peer and the Peri'' (1882) 398 performances
* ''[[Princess Ida]]''; or, ''Castle Adamant'' (1884) 246 performances
* ''[[The Mikado]]''; or, ''The Town of Titipu'' (1885) 672 performances
* ''[[Ruddigore]]''; or, ''The Witch's Curse'' (1887) 288 performances
* ''[[The Yeomen of the Guard]]''; or, ''The Merryman and his Maid'' (1888) 423 performances
* ''[[The Gondoliers]]''; or, ''The King of Barataria'' (1889) 554 performances
* ''[[Utopia, Limited]]''; or, ''The Flowers of Progress'' (1893) 245 performances
* ''[[The Grand Duke]]''; or, ''The Statutory Duel'' (1896) 123 performances

===Parlour ballads===
* "The Distant Shore" (1874)
* "The Love that Loves Me Not" (1875)
* "Sweethearts" (1875), based on Gilbert's 1874 play, ''[[Sweethearts (play)|Sweethearts]]''

===Overtures===
The overtures from the Gilbert and Sullivan operas remain popular, and there are many recordings of them.<ref>Shepherd, Marc. [http://gasdisc.oakapplepress.com/miscover.htm Overtures], {{webarchive|url=https://web.archive.org/web/20080530212505/http://www.cris.com/~oakapple/gasdisc/miscover.htm |date=30 May 2008}} ''A Gilbert and Sullivan Discography'' (2005)</ref> Most of them are structured as a [[potpourri (music)|''potpourri'']] of tunes from the operas. They are generally well-orchestrated, but not all of them were composed by Sullivan. However, even those delegated to his assistants were based on an outline he provided,<ref>[http://gsarchive.net/sullivan/interviews/gazette.html "Sir Arthur Sullivan"], Interviewed by ''The Pall Mall Gazette'', 5 December 1889, accessed 21 August 2012</ref> and in many cases incorporated his suggestions or corrections.<ref name="Hughes, p. 130">Hughes, p. 130</ref> Sullivan invariably conducted them (as well as the entire operas) on opening night, and they were included in the published scores approved by Sullivan.<ref name="Hughes, p. 130"/>

Those Sullivan wrote himself include the overtures to ''[[Thespis (operetta)|Thespis]]'', ''[[Iolanthe]]'', ''[[Princess Ida]]'', ''[[The Yeomen of the Guard]]'', ''[[The Gondoliers]]'' and ''[[The Grand Duke]]''. Sullivan's authorship of the overture to ''[[Utopia, Limited]]'' cannot be verified with certainty, as his autograph score is now lost, but it is likely attributable to him, as it consists of only a few bars of introduction, followed by a straight copy of music heard elsewhere in the opera (the Drawing Room scene). ''Thespis'' is now lost, but there is no doubt that Sullivan wrote its overture.<ref>Rees, Terence. ''Thespis – A Gilbert & Sullivan Enigma''. London (1964): Dillon's University Bookshop, p. 79.</ref> Very early performances of ''[[The Sorcerer]]'' used a section of Sullivan's [[incidental music]] to Shakespeare's ''[[Henry VIII (play)|Henry the VIII]]'', as he did not have time to write a new overture, but this was replaced in 1884 by one executed by [[Hamilton Clarke]].<ref name=Ainger140>Ainger, p. 140</ref> Of those remaining, the overtures to ''[[H.M.S. Pinafore]]'' and ''[[The Pirates of Penzance]]'' are by [[Alfred Cellier]],<ref>Ainger, pp. 157 and 177</ref> the overture to ''[[Patience (operetta)|Patience]]'' is by [[Eugen d'Albert|Eugene d'Albert]],{{refn|The biographer Michael Ainger writes, "That evening (21 April 1881) Sullivan gave his sketch of the overture to Eugene d'Albert to score. D'Albert was a seventeen-year-old student at the National Training School (where Sullivan was the principal and supervisor of the composition dept.) and winner of the Mendelssohn Scholarship that year.<ref>Ainger, p. 195</ref> Several months before that, Sullivan had given d'Albert the task of preparing a piano reduction of ''[[The Martyr of Antioch]]'' for use in choral rehearsals of that 1880 work. The musicologist [[David Russell Hulme]] studied the handwriting in the score's manuscript and confirmed that it is that of Eugen, not of his father Charles (as had erroneously been reported by Jacobs), both of whose script he sampled and compared to the ''Patience'' manuscript.<ref name=hulme/>|group=n}} The overtures to ''[[The Mikado]]'' and ''[[Ruddigore]]'' are by Hamilton Clarke (although the ''Ruddigore'' overture was later replaced by one written by [[Geoffrey Toye]]).<ref>Stone, David (2001), [http://gsarchive.net/whowaswho/C/ClarkeHamilton.htm "Hamilton Clarke"], ''Who Was Who in the D'Oyly Carte Opera Company'', ''The Gilbert and Sullivan Archive'', accessed 14 July 2008</ref>

Most of the overtures are in three sections: a lively introduction, a slow middle section, and a concluding allegro in sonata form, with two subjects, a brief development, a recapitulation and a coda. Sullivan himself did not always follow this pattern. The overture to ''Princess Ida'', for instance, has only an opening fast section and a concluding slow section. The overture to ''Utopia Limited'' is dominated by a slow section, with only a very brief original passage introducing it.<ref name="Hughes, p. 130"/>

In the 1920s, the [[D'Oyly Carte Opera Company]] commissioned its musical director at the time, [[Geoffrey Toye]], to write new overtures for ''Ruddigore'' and ''The Pirates of Penzance''. Toye's ''Ruddigore'' overture entered the general repertory, and today is more often heard than the original overture by Clarke.<ref>Shepherd, Marc, ''[http://gasdisc.oakapplepress.com/rud1924.htm The 1924 D'Oyly Carte Ruddigore]'', ''The Gilbert and Sullivan Discography'', accessed 14 July 2008</ref> Toye's ''Pirates'' overture did not last long and is now presumed lost.<ref>Shepherd, Marc. [http://gasdisc.oakapplepress.com/rud1931-gram.htm "Reviews of the HMV Electrical ''Ruddigore'', ''The Gramophone'', 1931"], ''Gilbert and Sullivan Discography'', quoting from 1932 letter from Geoffrey Toye in ''The Gramophone'', February 1932, (Vol. IX); p. 371, accessed 22 August 2012</ref> [[Malcolm Sargent|Sir Malcolm Sargent]] devised a new ending for the overture to ''The Gondoliers'', adding the "cachucha" from the second act of the opera. This gave the ''Gondoliers'' overture the familiar fast-slow-fast pattern of most of the rest of the [[Savoy Opera]] overtures, and this version has competed for popularity with Sullivan's original version.<ref name="Hughes, p. 130"/><ref name=hulme>Hulme, David Russell. [http://cadair.aber.ac.uk/dspace/handle/2160/7735 ''The Operettas of Sir Arthur Sullivan: a study of available autograph full scores''] {{Webarchive|url=https://web.archive.org/web/20131005002145/http://cadair.aber.ac.uk/dspace/handle/2160/7735 |date=5 October 2013}} (Doctoral Thesis) 1985, [[University of Wales]], accessed 30 January 2014</ref>