| Contents |
Robertson's wand ; German Reed's pious retreat ; A historic meeting ; Question and answer ; Problem -- Birth of W.S. Gilbert ; Held for ransom ; A father who took after his son? ; Schooling ; Legal studies and military recreations ; A bored clerk and a windfall ; "A matter-of-fact young man" -- Birth of a composer ; Did Sullivan have Jewish blood? ; His father's son ; "Cradled, like Moses, among the reeds" ; A chorister at the Chapel Royal ; First compositions ; The Mendelssohn scholarship ; Leipzig ; Music and muses ; "L. G. D." ; "The Tempest" ; A Sabbatarian ; England and Potboiling -- Gilbert and English Bohemia ; Salad days and ballad days on Fun ; Words and pictures ; Debut in the theatre ; Marriage -- Sullivan meets Grove ; The triumph at Crystal Palace ; Chorley, Dickens and Paris ; Rossini ; Homage to royalty ; Songs ; Ireland and a symphony ; A hapless opera ; A cantata for Birmingham ; A love affair ; Death of his father ; "In memoriam" ; A groping talent -- The Bab ballads ; A philosophy of topsy-turvydom ; Cruelty and sentimentality ; Fairies and mortals ; The cradle of the Savoy librettos ; "I am a doggerel bard" ; Gilbert's fiction ; His burlesque ; The reign of paronomasia ; Hollingshead vs. Reed ; Newly discovered prototype of "The Pirates of Penzance" ; The path to reality ; A house divided against itself -- Crowned and uncrowned laureates ; The beginnings of modern English comic opera ; "Cox and box" ; "The contrabandista" ; An organist with a choir of "Bobbies" ; Schubert discoveries in Vienna ; Farewell to the piano ; Mme. Schumann ; "The prodigal son" ; "On shore and sea" ; Ave, Gilbert; Vale, Burnand -- "Thespis; or, the gods grown old" ; Foreshadowings ; An unpublished score ; Hollingshead lets go ; The dark lady of Sullivan's sonnets -- Sullivan's "Light of the world" ; Hymns and a problematic versatility ; Gilbert and the censors ; Gladstone and a self-parody ; The morality of God almighty ; The public of the theatre -- "Trial by jury" ; Words and music ; New treatment of the chorus ; The lyrical autobiography ; Gilbert and Clay's "Princess Toto" -- Doctor Sullivan ; National training school ; Death of Frederic Sullivan ; "The Lost Chord" ; Sullivan in Alice's Wonderland ; Gilbert at war on two fronts -- A comedy opera company ; Richard D'Oyly Carte ; "The sorcerer" and new problems ; "How English and how pure" ; Libretto and setting ; The patter song ; George Grossmith and Rutland Barrington ; The origin of a formula ; Lewis Carroll on a rampage -- The ancestry of "H.M.S. Pinafore" ; Mr. Carroll objects to profanity ; A double advance ; Troubled waters ; United States to the rescue -- The "H.M.S. Pinafore" rage ; Gilbert and Sullivan in America ; International copyright and piracy ; The unborn "Robbers" ; An operetta in the making -- "The Pirates of Penzance" ; A quasi folk-song for America ; Editorial routine -- "Patience" ; The dandies of the early eighteen eighties ; Oscar Wilde ; Religion into aesthetics ; Missed opportunities ; Gilbert as aesthete ; A permanent home for the Gilbert and Sullivan operettas ; Innovations of the savoy ; Sullivan travels -- Mrs. Sullivan dies ; "Iolanthe" ; An altered libretto ; A lost fortune ; Electricity ; And morals -- Sir Arthur ; Knightly admonitions ; "Princess Ida" ; Sullivan fires the first shot ; A letter to Bret Harte ; First reconciliation -- "The Mikado" ; Wilde is avenged ; The keystone of the series ; Copyright muddles and a master ruse ; Sullivan again in the United States ; "The Golden Legend" ; Retrospect and review -- "Ruggidore" ; And misunderstandings ; Gilbert on the warpath ; Peace restored between France and England ; The breach between Gilbert and Sullivan widens ; A neglected score ; Barrington deserts, with a Gilbertian failure ; Side dishes -- "The Yeoman of the Guard" ; Sullivan kicks against the pricks ; A new pathos ; The collaborators' favorite -- New break; new reconciliation ; Grossmith secedes ; Unrest in the company ; An opera without principals ; "The Gondoliers" ; Democracy in Barataria ; The virtual end -- A threadbare carpet ; Gilbert forces Sullivan's hand ; "Ivanhoe" ; Interregnum ; New collaborations ; Reginald de Koven meets his masters ; Mark time -- Reconciliation, limited ; "Utopia, limited" ; The court of St. James's and St. James's Hall ; Gilbert and Carr's "His Excellency -- Makeshifts and "The Grand Duke" ; "A played out humorist" and a composer run dry ; End of an English deal ; Last curtain -- Sullivan's last operettas ; Final travels ; A lonely death -- Sullivan as a composer of church music ; Wagner and Mozart ; Significance to English music ; His development ; Morals and aesthetics ; The magnet and the silver churn -- A dubious knight ; "Playwright" and "dramatist" ; "Gilbert's non-musical plays in prose and verse ; Shaw, Galsworthy, Barrie ; The tyrant of the theatre ; Theory of comic acting ; As a producer -- A romantic death ; A living paradox ; The logical and anti-logician ; The "life force" in Gilbert ; "The young lady in the dress circle" ; Chits and termagants ; The Gilbertian conflict ; Italics mine -- The Savoy public and the Savoy pattern ; The "Gilbert and SUllivan Neurosis" ; Methods ; The comic opera theories of E.T.A. Hoffmann ; Predecessors ; "The Beggar's Opera" ; Shakespeare ; Brome ; A modern Aristophanes? ; The "English Offenbach" and the solemn fallacy ; Cocotte-ism and coquetry ; The Sullivan score ; Gilbert or Sullivan? ; Dissonance and resolution -- A Gilbert Miscellany. |
