DOCSLIB.ORG

Sir Arthur Sullivan Complete List of Works

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sir Arthur Sullivan Complete List of Works Sir Arthur Sullivan Complete List of Works Titles listed in italics are known to have been composed (although not necessarily performed) but are now believed to be lost. 1. THEATRE First production / performance in London, unless otherwise stated. TITLE AND GENRE TEXT FIRST PRODUCTION PUBLICATION / REMARKS The Tempest Shakespeare Leipzig, Gewandhaus, 6 April 1861; Piano duet, Novello & Co (Incidental Music) revised version, Crystal Palace, c.1862; Full score, Novello & 5 April 1862 Co 1891 The Sapphire Necklace – later H.F. Chorley Crystal Palace, 13 April 1867 Composed 1862-3. known as The False Heiress (Overture and two excerpts only – see Overture (arr. for Military (Opera) below under Songs / Partsongs) Band by Charles Godfrey) Chappell & Co 186-[?] L’Ile enchantée (Ballet) Covent Garden Theatre, 14 May 1864 Not published; partly re-used Cox and Box; or The F.C. Burnand Private performance (with piano acc.) Vocal score, Boosey & Co Long-lost Brothers (after J.M. Morton’s 23 May 1866; 1869; Full score and parts (Opera) Box and Cox ) Adelphi Theatre (with orchestra) (ed. Roger Harris) R. Clyde 1 Act 13 May 1867 1999 The Contrabandista; or F.C. Burnand St George’s Opera House, Vocal Score, Boosey & Co The Law of the Ladrones 2 Acts 18 December 1867 c.1870; Full score and parts (Opera) [see The Chieftain, (ed. Robin Gordon-Powell) below] The Amber Ring 2004 The Merchant of Venice Shakespeare Manchester, Prince’s Theatre, Piano solo / duet, (Incidental Music) 19 September 1871 J.B. Cramer 187-[?]; Full score, Bosworth & Co (Leipzig) 1898 Thespis; or The Gods Grown W.S. Gilbert Gaiety Theatre, 1 song, 1872 (see below). Old 2 Acts 26 December 1871 Ballet music (Piano (Opera) reduction, arr. Roderick Spencer) Sir Arthur Sullivan Society 1996 The Merry Wives of Shakespeare Gaiety Theatre, 1 song, 1875 (see below) Windsor 19 December 1874 (Incidental Music) Trial by Jury W.S. Gilbert Royalty Theatre, Vocal score, Chappell & Co (Opera) 1 Act 25 March 1875 1875; Full score, Broude Brothers 1994; Edwin F Kalmus (no date) The Zoo Bolton Rowe St James’s Theatre, Vocal score, (ed. G. Morton) (Opera) [pseudonym of B.C. 5 June 1875 1969; (ed. R. Spencer) 1975; Stephenson] Full score and parts (ed. 1 Act Roger Harris) R. Clyde 2010 Henry VIII Shakespeare Manchester, Theatre Royal, Full score, Metzler & Co (Incidental Music) 29 August 1877 1878 The Sorcerer W.S. Gilbert Opéra Comique, 17 November 1877; Vocal score, Metzler & Co (Opera) 2 Acts revised version, Savoy Theatre, 1877; revised version 1884 11 October 1884 HMS Pinafore; or The W.S. Gilbert Opéra Comique, Vocal score, Metzler & Co Lass that Loved a Sailor 2 Acts 25 May 1878 1878; Full score: H. Litolffs (Opera) Verlag (German translation, as Amor an Bord ) 1882; Dover Publications 2002; Broude Brothers 2003; Edwin F Kalmus (no date) The Pirates of Penzance; W.S. Gilbert Paignton, Royal Bijou Theatre, Vocal score, Chappell & Co or The Slave of Duty 2 Acts 30 December 1879; New York, Fifth 1880; Full score: (Opera) Avenue Theatre, 31 December 1879; Dover Publications, 2001; Opéra Comique, 3 April 1880 Edwin F Kalmus (no date) Patience; or Bunthorne’s W.S. Gilbert Opéra Comique, Vocal score, Chappell & Co Bride 2 Acts 23 April 1881 1881; Full score, Edwin F (Opera) Kalmus (no date) Iolanthe; or The Peer and W.S. Gilbert Savoy Theatre, Vocal score, Chappell & Co the Peri 2 Acts 25 November 1882 1883; Full score, Edwin F (Opera) Kalmus (no date) Princess Ida; or Castle W.S. Gilbert (after Savoy Theatre, Vocal score, Chappell & Co Adamant Tennyson’s The 5 January 1884 1884 (Opera) Princess ) 3 Acts The Mikado; or The Town W.S. Gilbert Savoy Theatre, Vocal score, Chappell & Co of Titipu 2 Acts 14 March 1885 1885; Full score: Bosworth (Opera) & Co (Leipzig) 1898; Edwin F Kalmus (no date); Dover Publications 1999; Facsimile of Autograph, Gregg 1968 Ruddigore; or The Witch’s W.S. Gilbert Savoy Theatre, Vocal score, Chappell & Co Curse 2 Acts 22 January 1887 1887; Full score and parts (Opera) (ed. David Russell Hulme) Oxford University Press 2000; Edwin F Kalmus (no date) The Yeomen of the W.S. Gilbert Savoy Theatre, Vocal score, Chappell & Co Guard; or The Merryman 2 Acts 3 October 1888 1888; Full score, Edwin F and His Maid Kalmus (no date); Study / (Opera) Miniature/ score – Overture, Edition Eulenberg 1979 Macbeth Shakespeare Lyceum Theatre, Full score – Overture, (Incidental Music) 29 December 1888 Chappell & Co 1893; Full score and parts (ed. Robin Gordon-Powell) The Amber Ring 2006 The Gondoliers; or The W.S. Gilbert Savoy Theatre, Vocal score, Chappell & Co King of Barataria 2 Acts 7 December 1889 1890; Study / Miniature (Opera) score, Edition Eulenberg 1984; Full score, Edwin F Kalmus (no date) Ivanhoe Julian Sturgis (after Royal English Opera House, Vocal score, Chappell & Co (Opera) Scott) 31 January 1891 1891; Full score, Chappell & 3 Acts Co 1891; Full score and parts (ed. Robin Gordon-Powell) The Amber Ring 2008 The Foresters Tennyson New York, Daly’s Theatre, Vocal score, Chappell & Co (Incidental Music) 17 March 1892 1892 Haddon Hall Sydney Grundy Savoy Theatre, Vocal score, Chappell & Co (Opera) 3 Acts 24 September 1892 1892; Full score and parts (ed. Roger Harris), R. Clyde 2006 Utopia Limited; or The W.S. Gilbert Savoy Theatre Vocal score, Chappell & Co Flowers of Progress 2 Acts 7 October, 1893 1893 (Opera) The Chieftain F.C. Burnand Savoy Theatre, Vocal score, Boosey & Co (Opera) 2 Acts [revised from 12 December 1894 1894; revised edition 1895 The Contrabandista - see above] King Arthur J Comyns Carr Lyceum Theatre, Vocal score, Novello & Co (Incidental Music) 12 January 1895 1904 (ed. Wilfred Bendall) The Grand Duke; or The W.S. Gilbert Savoy Theatre, Vocal score, Chappell & Co Statutory Duel 2 Acts 7 March 1896 1896 (Opera) Victoria and Merrie Carlo Coppi Alhambra Theatre, Piano solo, Metzler & Co England 25 May 1897 1897 (arr. Wilfred Bendall) (Ballet) The Beauty Stone A.W. Pinero and Savoy Theatre, Vocal score, Chappell & Co (Opera) J Comyns Carr 28 May 1898 1898 3 Acts The Rose of Persia; or The Basil Hood Savoy Theatre Vocal score, Chappell & Co Story-teller and the Slave 2 Acts 29 November 1899 1900 (Opera) The Emerald Isle; or The Basil Hood Savoy Theatre, Vocal score, Chappell & Co Caves of Carrig-Cleena 2 Acts 27 April 1901 1901 (Completed by Edward (Opera) German) 2. CHORAL WITH ORCHESTRA TITLE AND GENRE TEXT FIRST PERFORMANCE PUBLICATION / REMARKS Cum sancto spiritu (Fugue) Liturgical Composed ?1857 Psalm The Bible Composed ?1858 Kenilworth (“A Masque of Henry Fothergill Birmingham Festival, Vocal score, Chappell & Co the Days of Queen Chorley 8 September 1864 1865; Full Score (ed. Robin Elizabeth”) Gordon-Powell) The Amber Ring 2002 The Prodigal Son Selected by the Worcester Music Festival, Vocal score, Boosey & Co (Oratorio) composer from the 8 September 1869 1869; Full Score (ed. Robin Bible Gordon-Powell) The Amber Ring 2003 On Shore and Sea Tom Taylor London International Exhibition, Vocal score, Boosey & Co (Cantata) Royal Albert Hall, 1871; Full Score (ed. Martin 1 May 1871 Wright) The Amber Ring 2006 Te deum laudamus and Liturgical Crystal Palace, Vocal score, Novello, Ewer Domine salvam fac 1 May 1872 & Co 1872; Full score, reginam Novello & Co 1887 The Light of the World Selected by the Birmingham Festival, Vocal score, J.B. Cramer (Oratorio) composer from the 27 August 1873 1873 Bible The Martyr of Antioch H.H. Milman Leeds Festival, 15 October 1880. Vocal score, Chappell & Co (Sacred Music Drama) Revised as Opera, Edinburgh, 1880; Full score, Chappell & 15 February 1898 Co 1899 Ode for the Opening of Tennyson Royal Albert Hall, Vocal score, Chappell & Co the Colonial and Indian 4 May 1886 1886 Exhibition The Golden Legend Joseph Bennett Leeds Festival, Vocal score, Novello & Co (Cantata) (after Longfellow) 16 October 1886 1886; Full score, Novello & Co 1886 Ode Written and Lewis Morris Imperial Institute, Vocal score, Chappell & Co Composed for the 4 July 1887 1887 Occasion of Laying the Foundation Stone of the Imperial Institute Te deum laudamus: A Liturgical St Paul’s Cathedral, Vocal score, Novello & Co Thanksgiving for Victory 8 June 1902 1902; Full score, Novello & Co 1902 3. ORCHESTRAL TITLE AND GENRE DETAILS FIRST PERFORMANCE PUBLICATION / REMARKS Timon of Athens Overture after Shakespeare Existence doubtful; mentioned only by Alexander Mackenzie in an obituary tribute. Overture in d-minor. Royal Academy of Music 13 July 1858 The Feast of Roses, Overture after Moore’s ‘Lalla Leipzig, Gewandhaus Rookh’. 25 May 1860 God Save the Queen Arrangement for Orchestra Princess Of Wales’s March Military Band performances, Piano solo, Cramer 1863 (also called Marche Danoise) March 1863 Procession March (also Composed for the wedding Crystal Palace, 10 March Piano solo and Piano duet, called The Royal Wedding of the Prince of Wales and 1863, and various Military Cramer 1863 and Grand March) Princess Alexandra Band performances on that day Symphony in E Published as ‘The Irish’ Crystal Palace, Full score, Novello & Co 10 March 1866 1915; Miniature / study score, Musikproduktion Jürgen Höflich, Munich 2006 Overture in C, Written after the death of the Norwich Festival, Full score, Novello & Co ‘In Memoriam’ composer’s father 30 October 1866 1885 Concerto for Violoncello Autograph score and Crystal Palace, Full score, Josef Weinberger and Orchestra in D performance material lost, 24 November 1866 1986 [Score reconstructed by except for solo part David Mackie and Sir Charles Mackerras, from memory] Marmion Overture after Scott Queen’s Concert Rooms, Full score and parts Hanover Square, 3 June 1867 (ed. Robin Gordon-Powell) [not St James’s Hall, as stated The Amber Ring 2003 in most reference books] Overture di Ballo Originally Overtura Birmingham Festival, Full score, Novello & Co 31 August 1870 1889 Russian National Anthem Orchestration of Joseph Royal Albert Hall, Unpublished [Arrangement for Barnby’s arrangement of God 18 May 1874 Orchestra] Save the Tsar (composed by [at a gala concert attended by Prince Alexei Lvov, 1833) Tsar Alexander II during a State Visit to London] Imperial March Written for the State Imperial Institute, Full score and parts Opening of the Imperial 10 May 1893 (ed.
Load more

Recommended publications
  • George H. Clutsam
    GEORGE H. CLUTSAM George Clutsam published his first composition at age nine and in his early twenties toured with various minstrel shows through Australasia and the East. After moving to England in 1887 he established himself as an accompanist and composer of both serious and light music. Among his works were several operas and a number of musical comedies, burlesques and plays. His biggest success was the Shubert-inspired 1922 musical play Lilac Time (later Blossom Time, 1942), for which he arranged Shubert's music and composed additional music. Described by one London critic as being musically one "of the moderns" and "a close student of Strauss and Debussy [whose] work revealed great mastery of orchestral possibilities and many clever touches of instrumental humour," George Howard Clutsam was born in Sydney on 26 September 1866. His early life saw him exposed to and involved in many different styles of music. He is believed to have moved around with his parents quite often during his early years, spending periods of time in Sydney and Victoria before they moved to New Zealand in the late 1870s. It was in that country that Clutsam developed his passion for music through piano lessons and a desire to compose. An Australasian writer records in this respect that "Master G. Clutsam, a native of Victoria, but now of Dunedin… and who is only nine years old, has composed and published a piece for the pianoforte entitled "La Pluie De Printemps" (11 Oct. 1879, 647). Although the writer was incorrect in respect of Clutsam's age (he would have been 13 years old) it is clear that the young pianist/composer was already on the road to a career that would eventually see him accepted as one of the leading popular composers of London around the turn of the century.
    [Show full text]
  • Reception of Charles Villiers Stanford and His Music in the American Press Dr Adèle Commins, Auteur(S) Dundalk Institute of Technology, Ireland
    Watchmen on the Walls of Music Across the Atlantic: Reception of Charles Villiers Stanford and his Music in the American Press Dr Adèle Commins, Auteur(s) Dundalk Institute of Technology, Ireland Titre de la revue Imaginaires (ISSN 1270-931X) 22 (2019) : « How Popular Culture Travels: Cultural Numéro Exchanges between Ireland and the United States » Pages 29-59 Directeur(s) Sylvie Mikowski et Yann Philippe du numéro DOI de l’article 10.34929/imaginaires.vi22.5 DOI du numéro 10.34929/imaginaires.vi22 Ce document est mis à disposition selon les termes de la licence Creative Commons attribution / pas d'utilisation commerciale / pas de modification 4.0 international Éditions et presses universitaires de Reims, 2019 Bibliothèque Robert de Sorbon, Campus Croix-Rouge Avenue François-Mauriac, CS 40019, 51726 Reims Cedex www.univ-reims.fr/epure Watchmen on the Walls of Music Across the Atlantic: Reception of Charles Villiers Stanford and How PopularHow Culture Travels his Music in the American Press #22 IMAGINAIRES Dr Adèle Commins Dundalk Institute of Technology, Ireland Introduction Irish born composer Charles Villiers Stanford (1852–1924) is a cen- tral figure in the British Musical Renaissance. Often considered only in the context of his work in England, with occasional references to his Irish birthplace, the reception of Stanford’s music in America provides fresh perspectives on the composer and his music. Such a study also highlights the circulation of culture between Ireland, England and the USA at the start of the twentieth century and the importance of national identity in a cosmopolitan society of many diasporas. Although he never visited America, the reception of Stanford’s music and reviews in the American media highlight the cultural (mis)understanding that existed and the evolving identities in both American and British society at the turn of the twentieth century.
    [Show full text]
  • Theater Souvenir Programs Guide [1881-1979]
    Theater Souvenir Programs Guide [1881-1979] RBC PN2037 .T54 1881 Choose which boxes you want to see, go to SearchWorks record, and page boxes electronically. BOX 1 1: An Illustrated Record by "The Sphere" of the Gilbert & Sullivan Operas 1939 (1939). Note: Operas: The Mikado; The Goldoliers; Iolanthe; Trial by Jury; The Pirates of Penzance; The Yeomen of the Guard; Patience; Princess Ida; Ruddigore; H.M.S. Pinafore; The Grand Duke; Utopia, Limited; The Sorcerer. 2: Glyndebourne Festival Opera (1960). Note: 26th Anniversary of the Glyndebourne Festival, operas: I Puritani; Falstaff; Der Rosenkavalier; Don Giovanni; La Cenerentola; Die Zauberflöte. 3: Parts I Have Played: Mr. Martin Harvey (1881-1909). Note: 30 Photographs and A Biographical Sketch. 4: Souvenir of The Christian King (Or Alfred of "Engle-Land"), by Wilson Barrett. Note: Photographs by W. & D. Downey. 5: Adelphi Theatre : Adelphi Theatre Souvenir of the 200th Performance of "Tina" (1916). 6: Comedy Theatre : Souvenir of "Sunday" (1904), by Thomas Raceward. 7: Daly's Theatre : The Lady of the Rose: Souvenir of Anniversary Perforamnce Feb. 21, 1923 (1923), by Frederick Lonsdale. Note: Musical theater. 8: Drury Lane Theatre : The Pageant of Drury Lane Theatre (1918), by Louis N. Parker. Note: In celebration of the 21 years of management by Arthur Collins. 9: Duke of York's Theatre : Souvenir of the 200th Performance of "The Admirable Crichton" (1902), by J.M. Barrie. Note: Oil paintings by Chas. A. Buchel, produced under the management of Charles Frohman. 10: Gaiety Theatre : The Orchid (1904), by James T. Tanner. Note: Managing Director, Mr. George Edwardes, musical comedy.
    [Show full text]
  • SIR ARTHUR SULLIVAN: Life-Story, Letters, and Reminiscences
    This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com SirArthurSullivan ArthurLawrence,BenjaminWilliamFindon,WilfredBendall \ SIR ARTHUR SULLIVAN: Life-Story, Letters, and Reminiscences. From the Portrait Pruntfd w 1888 hv Sir John Millais. !\i;tn;;;i*(.vnce$. i-\ !i. W. i ind- i a. 1 V/:!f ;d B'-:.!.i;:. SIR ARTHUR SULLIVAN : Life-Story, Letters, and Reminiscences. By Arthur Lawrence. With Critique by B. W. Findon, and Bibliography by Wilfrid Bendall. London James Bowden 10 Henrietta Street, Covent Garden, W.C. 1899 /^HARVARD^ UNIVERSITY LIBRARY NOV 5 1956 PREFACE It is of importance to Sir Arthur Sullivan and myself that I should explain how this book came to be written. Averse as Sir Arthur is to the " interview " in journalism, I could not resist the temptation to ask him to let me do something of the sort when I first had the pleasure of meeting ^ him — not in regard to journalistic matters — some years ago. That permission was most genially , granted, and the little chat which I had with J him then, in regard to the opera which he was writing, appeared in The World. Subsequent conversations which I was privileged to have with Sir Arthur, and the fact that there was nothing procurable in book form concerning our greatest and most popular composer — save an interesting little monograph which formed part of a small volume published some years ago on English viii PREFACE Musicians by Mr.
    [Show full text]
  • Vol. 17, No. 4 April 2012
    Journal April 2012 Vol.17, No. 4 The Elgar Society Journal The Society 18 Holtsmere Close, Watford, Herts., WD25 9NG Email: [email protected] April 2012 Vol. 17, No. 4 President Editorial 3 Julian Lloyd Webber FRCM ‘... unconnected with the schools’ – Edward Elgar and Arthur Sullivan 4 Meinhard Saremba Vice-Presidents The Empire Bites Back: Reflections on Elgar’s Imperial Masque of 1912 24 Ian Parrott Andrew Neill Sir David Willcocks, CBE, MC Diana McVeagh ‘... you are on the Golden Stair’: Elgar and Elizabeth Lynn Linton 42 Michael Kennedy, CBE Martin Bird Michael Pope Book reviews 48 Sir Colin Davis, CH, CBE Lewis Foreman, Carl Newton, Richard Wiley Dame Janet Baker, CH, DBE Leonard Slatkin Music reviews 52 Sir Andrew Davis, CBE Julian Rushton Donald Hunt, OBE DVD reviews 54 Christopher Robinson, CVO, CBE Richard Wiley Andrew Neill Sir Mark Elder, CBE CD reviews 55 Barry Collett, Martin Bird, Richard Wiley Letters 62 Chairman Steven Halls 100 Years Ago 65 Vice-Chairman Stuart Freed Treasurer Peter Hesham Secretary The Editor does not necessarily agree with the views expressed by contributors, Helen Petchey nor does the Elgar Society accept responsibility for such views. Front Cover: Arthur Sullivan: specially engraved for Frederick Spark’s and Joseph Bennett’s ‘History of the Leeds Musical Festivals’, (Leeds: Fred. R. Spark & Son, 1892). Notes for Contributors. Please adhere to these as far as possible if you deliver writing (as is much preferred) in Microsoft Word or Rich Text Format. A longer version is available in case you are prepared to do the formatting, but for the present the editor is content to do this.
    [Show full text]
  • The Mikado the Articles in This Study Guide Are Not Meant to Mirror Or Interpret Any Productions at the Utah Shakespeare Festival
    Insights A Study Guide to the Utah Shakespeare Festival The Mikado The articles in this study guide are not meant to mirror or interpret any productions at the Utah Shakespeare Festival. They are meant, instead, to be an educational jumping-off point to understanding and enjoying the plays (in any production at any theatre) a bit more thoroughly. Therefore the stories of the plays and the interpretative articles (and even characters, at times) may differ dramatically from what is ultimately produced on the Festival’s stages. Insights is published by the Utah Shakespeare Festival, 351 West Center Street; Cedar City, UT 84720. Bruce C. Lee, communications director and editor; Phil Hermansen, art director. Copyright © 2011, Utah Shakespeare Festival. Please feel free to download and print Insights, as long as you do not remove any identifying mark of the Utah Shakespeare Festival. For more information about Festival education programs: Utah Shakespeare Festival 351 West Center Street Cedar City, Utah 84720 435-586-7880 www.bard.org. Cover photo: Erin Annarella (top), Carol Johnson, and Sarah Dammann in The Mikado, 1996 Contents Information on the Play Synopsis 4 CharactersThe Mikado 5 About the Playwright 6 Scholarly Articles on the Play Mere Pish-Posh 8 Utah Shakespeare Festival 3 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Synopsis: The Mikado Nanki-Poo, the son of the royal mikado, arrives in Titipu disguised as a peasant and looking for Yum- Yum. Without telling the truth about who he is, Nanki-Poo explains that several months earlier he had fallen in love with Yum-Yum; however she was already betrothed to Ko-Ko, a cheap tailor, and he saw that his suit was hopeless.
    [Show full text]
  • Early 20Th-Century Operetta from the German Stage: a Cosmopolitan Genre
    This is a repository copy of Early 20th-Century Operetta from the German Stage: A Cosmopolitan Genre. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/150913/ Version: Accepted Version Article: Scott, DB orcid.org/0000-0002-5367-6579 (2016) Early 20th-Century Operetta from the German Stage: A Cosmopolitan Genre. The Musical Quarterly, 99 (2). pp. 254-279. ISSN 0027-4631 https://doi.org/10.1093/musqtl/gdw009 © The Author 2016. Published by Oxford University Press. This is an author produced version of a paper published in The Musical Quarterly. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Early 20th-Century Operetta from the German Stage: A Cosmopolitan Genre Derek B. Scott In the first four decades of the twentieth century, new operettas from the German stage enjoyed great success with audiences not only in cities in Europe and North America but elsewhere around the world.1 The transfer of operetta and musical theatre across countries and continents may be viewed as cosmopolitanism in action.
    [Show full text]
  • Serpent Newsletter
    Serpent Newsletter Serpent Newsletter P.O. Box 954 Mundelein, Illinois 60060 USA Newsletter for Serpent Enthusiasts September 27, 2011 A Note from the Editor Workshops Ÿ This newsletter has a somewhat different balance then some The 2011 Serpentarium other recent editions. For a while now we have been seeing many new materials in each issue, but there have been no The latest biennial international serpent gathering took place new audio or video recordings uncovered or discovered once again at Boswedden House on the rocky western shores since April of this year, with the exception of one CD that of Cornwall, England. Nigel Nathan and Thelma Griffiths did not arrive in time for a review. By way of compensation, were the hosts, and Phil Humphries of the London Serpent there have been many notices of other serpent activities and Trio presided over the sessions. results from some interesting research have also come to light. Participants began to arrive Thursday, May 26, in the afternoon. The weather was blustery with plenty of pelting There has been some suggestion that more people would rain, but it was easing up somewhat by dinner time. Early prefer to receive this newsletter electronically than in print arrivals included John Weber, his friend and serpent form. So it’s a good time to find out the feelings of all newcomer Ross Nuccio, and Paul Schmidt, all from the readers and thus inform future decisions. The newsletter Chicago area. This trio, plus Nigel, enjoyed getting up-to- goes to players and other interested individuals, as well as to speed on the local news during dinner at the golf course early music directors, composers, college faculty, libraries, tavern just down the hill from Boswedden.
    [Show full text]
  • MERRIE ENGLAND Music by Edward German
    Press Information The Finborough Theatre is now fully air conditioned Summer Season | April to July 2012 Part of the Finborough Theatre's Celebrating British Music Theatre series Citric Acid in association with Neil McPherson for the Finborough Theatre presents The first professional London production for 52 years MERRIE ENGLAND Music by Edward German. Libretto by Basil Hood. Directed by Alex Sutton. Musical Direction by Eamonn O’ Dwyer. Designed by Philip Lindley. Lighting by Miguel Vicente. Produced by Luke Holbrook. Costume Design by Sophia Anastasiou. Cast: Sammy Andrews. Alexander Beck. Jamie Birkett. Daniel Cane. Luke Courtier. Stephen Darcy. Virge Gilchrist. Tom Giles. Stuart Hickey. Rachel Holbrook. Nichola Jolley. Christopher Killik. Ruth Leavesley. Brendan Matthew. Michael Riseley. Jody Ellen Robinson. Gemma Sandzer. Rhys Saunders. Originally written for the Savoy Theatre in 1902 and a longtime British musical classic, this rediscovery celebrates both the Queen’s Diamond Jubilee as well as the 150th anniversary of the birth of composer Edward German. Merrie England plays at the Finborough Theatre for a limited run of nine Sunday and Monday evening performances and Tuesday matinees, opening on Sunday, 27 May 2012 (Press Night: Monday, 28 May 2012 at 7.30pm). Edward German's patriotic pageant deals with love and rivalries at the court of Queen Elizabeth I as the monarch visits the townsfolk of Windsor to celebrate May Day. With a plot that includes such historical personages as Sir Walter Raleigh and the Earl of Essex, murder plots and tales of witchcraft unravel to the background of the May Day revels... An English light opera in the style made famous by Gilbert and Sullivan, Merrie England features a prominent chorus and a range of principal numbers including ballads, patter songs, duets and quintets.
    [Show full text]
  • The Parish of All Saints • Ashmont Liturgical Music
    The Parish of All Saints • Ashmont Liturgical Music October 6 The Twentieth Sunday after Pentecost Late Pentecost through Christmas 2013 Communion Service in A minor – Harold Darke The Rev’d Michael J. Godderz, Rector Psalm 37:3-10 Anglican Chant: Joseph Barnby Andrew P. Sheranian, Organist and Master of Choristers Ave verum corpus – Richard Dering Organ Christian Haigh, Organ Scholar Prière à Notre Dame (Suite Gothique) – Léon Boëllmann Michael Raleigh, Archibald T. Davison Fellow Toccata in B minor – Eugène Gigout October 13 The Twenty-First Sunday after Pentecost September 15 The Seventeenth Sunday after Pentecost Missa Brevis – Andrea Gabrieli Communion Service in B minor – T. Tertius Noble Psalm 113 Anglican Chant: Thomas Walmisley Psalm 51:1-11 Anglican Chant: Samuel Wesley North Port – Sacred Harp Ave verum corpus – Edward Elgar Organ Organ Prelude in C major BWV 545 – Johann Sebastian Bach Toccata in D minor – Johann Sebastian Bach Fugue in C major BWV 545 – Johann Sebastian Bach Fugue in D minor ‘Dorian’ – Johann Sebastian Bach October 20 The Twenty-Second Sunday after Pentecost September 22 The Eighteenth Sunday after Pentecost Communion Service in B-flat and F major – Charles V. Stanford Communion Service in F – William H. Harris Psalm 121 Anglican Chant: Henry Walford Davies Psalm 138 Anglican Chant: Samuel Sebastian Wesley I will lift up mine eyes – Leo Sowerby Listen, sweet dove – Grayston Ives Organ Organ Prelude in G minor – Johannes Brahms Adagio (Sonata I) – Felix Mendelssohn-Bartholdy Fugue in G minor – Johannes Brahms Allegro assai vivace (Sonata I) – Felix Mendelssohn-Bartholdy October 27 The Twenty-Third Sunday after Pentecost September 29 The Feast of St.
    [Show full text]
  • Gilbert & Sullivan
    ST DAVIDS PLAYERS 14th - 18th OCTOBER 2014 PLEASE ST DAVIDS PLAYERS NOTE: www.stdavidsplayers.co.uk St David’s Players take no responsibility for any oers or advert content contained in this le. Special oers shown in adverts may no longer be valid. eat well with Riverford get your 3rd vegbox free free * vegbox Libretto by W S Gilbert Music by Arthur Sullivan in the edition by David Russell Hulme © Oxford University Press 2000. Performed by arrangement with Oxford University Press. All rights reserved. Director Jane May Musical Director Mark Perry 14th - 18th OCTOBER 2014 Nightly at 7.30pm Matinée on Saturday 18th at 2.30pm enjoy better veg vegboxes from £10.35 ST LOYE’S FOUNDATION healthy, seasonal, all organic Supporting free delivery ST LOYE’S FOUNDATION in 2014 e Exeter Barneld eatre is tted Members of the audience are asked to Members of the audience are reminded try a seasonal organic vegbox today with free delivery with an Inductive Loop system. SWITCH OFF any mobile phones and the unauthorised use of photographic, T Members of the audience with hearing other mobile devices (including SMS text recording or video equipment is not aids should set them to the ‘T’ position messaging and Internet browsing) permitted in the auditorium call 01803 762059 or visit www.riverford.co.uk/FTBF14 ank you *Free vegbox on your 3rd delivery when you place a regular vegbox order. New customers only. Programme © 2014 | Published by St David’s Players | www.stdavidsplayers.co.uk Programme design and typesetting by D Saint | [email protected] Print services arranged by Backstage Supplies Ltd.
    [Show full text]
  • Trial by Jury [Operetta, in One Act; Text by Gilbert. First Produced at The
    Trial by Jury [Operetta, in one act; text by Gilbert. First produced at the Royalty Theatre, London, March 25, 1875.] PERSONAGES. Learned Judge. Plaintiff. Defendant. Counsel for the Plaintiff. Usher. Foreman of the Jury. Associate. First Bridesmaid. [Barristers, attorneys, journeymen, and bridesmaids.] The scene is laid in a London Court of Justice; time, the nineteenth century. The little operetta, "Trial by Jury," was the first result of the successful collaboration of Gilbert and Sullivan, though it gave little hint of the extraordinary excellence as well as popularity of the long list which followed it. "The words and music were written and all the rehearsals completed within three weeks, and all London went to see it," says Sullivan's biographer. It was produced March 25, 1875, and had quite a run, Frederick Sullivan, Sir Arthur's brother, appearing in the rôle of the judge and contributing much to its success. The story is a satire upon the English courts, the incident being a breach of promise case. Edwin is sued by Angelina. The usher impresses upon the jury its duty to divest itself of prejudice in one breath, and in the next seeks to prejudice it against the defendant by most violent denunciations of him. When Edwin enters he is at once requested by the jury to "dread our damages." He tells them how he became "the lovesick boy" first of one and then of another. The jurymen in chorus, while admitting that they were fickle when young, declare that they are now respectable and have no sympathy with him. The judge enters, and after informing the audience how he came to the bench, announces he is ready to try the breach of promise case.
    [Show full text]