Editing Arthur Sullivan (section)

===Mendelssohn scholar===
[[File:Young Arthur Sullivan.jpg|thumb|upright|Sullivan aged 16, in his Royal Academy of Music uniform|alt=Sullivan seated with one leg crossed over another, age 16, in his Royal Academy of Music uniform, showing his thick, curly hair. Black and white.]]
In 1856 the [[Royal Academy of Music]] awarded the first [[Mendelssohn Scholarship]] to the 14-year-old Sullivan, granting him a year's training at the academy.<ref name="Jacobs, pp. 12–13"/>{{refn| In 1848, [[Jenny Lind]] performed the soprano part to [[Felix Mendelssohn]]'s oratorio ''[[Elijah (oratorio)|Elijah]]'', which he had written for her. The concert raised £1,000 to fund a scholarship in his name. After Sullivan became the first recipient of the scholarship, Lind encouraged him in his career.<ref>Rosen, Carole. [http://www.oxforddnb.com/view/article/16671 "Lind, Jenny (1820–1887)"], ''Oxford Dictionary of National Biography'', Oxford University Press, 2004, accessed 7 December 2008 {{ODNBsub}}</ref>|group= n}} His principal teacher there was [[John Goss (composer)|John Goss]], whose own teacher, [[Thomas Attwood (composer)|Thomas Attwood]], had been a pupil of [[Wolfgang Amadeus Mozart|Mozart]].<ref name=mack>[[Alexander MacKenzie (composer)|MacKenzie, Alexander]]. [https://www.jstor.org/stable/929160 "The Life-Work of Arthur Sullivan"], ''Sammelbände der Internationalen Musikgesellschaft'', 3. Jahrg., H. 3, May 1902, pp. 539–564 {{subscription}}</ref> He studied piano with [[William Sterndale Bennett]] (the future head of the academy) and [[Arthur O'Leary (composer)|Arthur O'Leary]].<ref>Fitzsimons, pp. 98 and 142</ref> During this first year at the academy Sullivan continued to sing solos with the Chapel Royal, which provided a small amount of spending money.<ref>Jacobs, pp. 13–16</ref>

Sullivan's scholarship was extended to a second year, and in 1858, in what his biographer [[Arthur Jacobs]] calls an "extraordinary gesture of confidence",<ref name=Jacobs17>Jacobs, p. 17</ref> the scholarship committee extended his grant for a third year so that he could study in Germany, at the [[Felix Mendelssohn College of Music and Theatre|Leipzig Conservatoire]].<ref name=Jacobs17/> There, Sullivan studied composition with [[Julius Rietz]] and [[Carl Reinecke]], counterpoint with [[Moritz Hauptmann]] and [[Ernst Richter]], and the piano with [[Louis Plaidy]] and [[Ignaz Moscheles]].<ref>Ainger, p. 37</ref> He was trained in [[Felix Mendelssohn|Mendelssohn]]'s ideas and techniques but was also exposed to a variety of styles, including those of [[Franz Schubert|Schubert]], [[Giuseppe Verdi|Verdi]], [[Johann Sebastian Bach|Bach]] and [[Richard Wagner|Wagner]].<ref name=Jacobs24>Jacobs, p. 24</ref> Visiting a [[synagogue]], he was so struck by some of the [[cadence]]s and [[Chord progression|progressions]] of the music that thirty years later he could recall them for use in his [[grand opera]], ''[[Ivanhoe (opera)|Ivanhoe]]''.<ref name=Jacobs24/> He became friendly with the future impresario [[Carl Rosa]] and the violinist [[Joseph Joachim]], among others.<ref>Jacobs, pp. 22–24</ref>

The academy renewed Sullivan's scholarship to allow him a second year of study at Leipzig.<ref>Young, p. 21</ref> For his third and last year there, his father scraped together the money for living expenses, and the conservatoire assisted by waiving its fees.<ref name=Jacobs23>Jacobs, p. 23</ref> Sullivan's graduation piece, completed in 1861, was a suite of [[incidental music]] to [[William Shakespeare|Shakespeare]]'s ''[[The Tempest (Sullivan)|The Tempest]]''.<ref name=Jacobs24/> Revised and expanded, it was performed at the [[The Crystal Palace|Crystal Palace]] in 1862, a year after his return to London; ''[[The Musical Times]]'' described it as a sensation.<ref name=musicaltimes/><ref>Jacobs, pp. 27–28</ref> He began building a reputation as England's most promising young composer.<ref name=Lawrence2/>