Editing Arthur Sullivan (section)

===Rising composer===
[[File:Sullivan-colleagues-1870s.jpg|thumb|Colleagues and collaborators: clockwise from top left, [[George Grove]], [[F. C. Burnand]], [[Richard D'Oyly Carte]], [[W. S.&nbsp;Gilbert]]|alt=Head and shoulders photos of each of the four men. Black and white. Grove is bald and benign-looking; Burnand fully-thatched and moderately bearded, looking pleased with himself; Carte, serious, dark-haired and neatly bearded; and Gilbert light-coloured hair and moustache looking slightly to right.]]
Sullivan embarked on his composing career with a series of ambitious works, interspersed with hymns, [[parlour songs]] and other light pieces in a more commercial vein. His compositions were not enough to support him financially, and between 1861 and 1872 he worked as a church organist, which he enjoyed; as a music teacher, which he hated and gave up as soon as he could;<ref>Ainger, p. 56</ref> and as an arranger of vocal scores of popular operas.<ref name=grove/>{{refn|Between 1861 and 1872 Sullivan worked as an organist at two fashionable London churches: [[St Michael's Church, Chester Square]], [[Pimlico]], and [[Church of St Yeghiche, South Kensington|St Peter's, Cranley Gardens]], [[Kensington]].<ref name=grove/> He taught, among other places, at the [[Crystal Palace School]].<ref>Musgrave, pp. 171–172</ref> Between 1860 and 1870 he arranged seven vocal scores of operas for [[Boosey & Hawkes|Boosey and Co]]: [[Ludwig van Beethoven|Beethoven's]] ''[[Fidelio]]'', [[Vincenzo Bellini|Bellini's]] ''[[La sonnambula]]'', [[Friedrich von Flotow|Flotow's]] ''[[Martha (opera)|Martha]]'', [[Charles Gounod|Gounod's]] ''[[Faust (opera)|Faust]]'', [[Wolfgang Amadeus Mozart|Mozart's]] ''[[Don Giovanni]]'', [[Gioachino Rossini|Rossini's]] ''[[The Barber of Seville]]'' and [[Giuseppe Verdi|Verdi's]] ''[[Il trovatore]]'', and he collaborated with [[Josiah Pittman]] in arranging 25 other operas by some of the above and [[Daniel Auber|Auber]], [[Michael William Balfe|Balfe]], [[Gaetano Donizetti|Donizetti]], [[Giacomo Meyerbeer|Meyerbeer]], [[Richard Wagner|Wagner]] and [[Carl Maria von Weber|Weber]].<ref name=grove/><ref>Jacobs, p. 61</ref>|group=n}} He took an early opportunity to compose several pieces for royalty in connection with the wedding of the [[Edward VII|Prince of Wales]] in 1863.<ref>Jacobs, p. 35</ref>

With ''[[The Masque at Kenilworth]]'' ([[Birmingham Triennial Music Festival|Birmingham Festival]], 1864), Sullivan began his association with works for voice and orchestra.<ref>Jacobs, p. 38</ref> While an organist at the [[Royal Opera House#Third theatre|Royal Italian Opera, Covent Garden]], he composed his first ballet, ''[[L'Île Enchantée]]'' (1864).<ref>Jacobs, p. 37</ref> His ''[[Symphony in E (Sullivan)|''Irish'' Symphony]]'' and ''[[Cello Concerto (Sullivan)|Cello Concerto]]'' (both 1866) were his only works in their respective genres.<ref>Jacobs, pp. 36 and 42</ref> In the same year, his [[Overture in C, "In Memoriam"|Overture in C (''In Memoriam'')]], commemorating the recent death of his father, was a commission from the [[Norfolk and Norwich Festival|Norwich Festival]]. It achieved considerable popularity.<ref>Jacobs, p. 43</ref> In June 1867 the [[Royal Philharmonic Society|Philharmonic Society]] gave the first performance of his overture ''Marmion''.<ref name=grove>Jacobs, Arthur. [http://www.oxfordmusiconline.com/subscriber/article/grove/music/27100  "Sullivan, Sir Arthur"], ''Grove Music Online'', Oxford University Press, accessed 19 August 2011 {{subscription}}</ref> The reviewer for ''[[The Times]]'' called it "another step in advance on the part of the only composer of any remarkable promise that just at present we can boast."<ref>"Concerts", ''The Times'', 17 June 1867, p. 12</ref> In October, Sullivan travelled with [[George Grove]] to Vienna in search of neglected scores by Schubert.<ref>Jacobs, p. 45; and Young, p. 56</ref> They unearthed manuscript copies of symphonies and vocal music, and were particularly elated by their final discovery, the incidental music to ''[[Rosamunde]]''.{{refn|They were permitted to copy the ''[[Rosamunde]]'' score and two of the symphonies – the [[Symphony No. 4 (Schubert)|Fourth]] and [[Symphony No. 6 (Schubert)|Sixth]] – and inspected four others (the [[Symphony No. 1 (Schubert)|First]], [[Symphony No. 2 (Schubert)|Second]], [[Symphony No. 3 (Schubert)|Third]] and [[Symphony No. 5 (Schubert)|Fifth]]), to the existence of which they quickly drew the attention of the musical world. 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.&nbsp;... There were the part books of the whole of the music in ''Rosamunde'', tied up after the second performance, in December 1823, and probably never disturbed since. Dr. Schneider [Schubert's nephew] must have been amused at our excitement&nbsp;... at any rate, he kindly overlooked it, and gave us permission to&nbsp;... copy what we wanted."<ref>Kreissle (1869), pp. 327–328 and, with respect to the whole journey, pp. 297–332</ref>|group=n}}

Sullivan's first attempt at opera, ''[[The Sapphire Necklace]]'' (1863–64) to a libretto by [[Henry Fothergill Chorley|Henry F. Chorley]], was not produced and is now lost, except for the overture and two songs that were separately published.<ref>Jacobs, pp. 42–43</ref> His first surviving opera, ''[[Cox and Box]]'' (1866), was written for a private performance.<ref>Ainger, p. 65</ref> It then received charity performances in London and Manchester, and was later produced at the [[Gallery of Illustration]], where it ran for an extraordinary 264 performances. [[W. S. Gilbert]], writing in ''[[Fun (magazine)|Fun]]'' magazine, pronounced the score superior to [[F. C. Burnand]]'s libretto.<ref>Young, p. 63</ref> Sullivan and Burnand were soon commissioned by [[Thomas German Reed]] for a two-act opera, ''[[The Contrabandista]]'' (1867; revised and expanded as ''[[The Chieftain]]'' in 1894), but it did not do as well.<ref>Young, p. 63; and Rollins and Witts, p. 15</ref> Among Sullivan's early [[part song]]s is "[[The Long Day Closes (song)|The Long Day Closes]]" (1868).<ref name=hymnssongs>Sullivan, Marc. [http://gasdisc.oakapplepress.com/sullsongs-dtl.htm "Discography of Sir Arthur Sullivan: Recordings of Hymns and Songs"], the Gilbert and Sullivan Discography, 11 July 2010, accessed 9 September 2011</ref> Sullivan's last major work of the 1860s was a short [[oratorio]], ''[[The Prodigal Son (Sullivan)|The Prodigal Son]]'', first given in [[Worcester Cathedral]] as part of the 1869 [[Three Choirs Festival]] to much praise.<ref>"Worcester Music Festival", ''The Times'', 9 September 1869, p. 10</ref>