in that condition and in relation to their keyed instruments it seems that the usual group is the most satisfactory that has been devised.
It is obvious that the Suite as an art-form is far more elementary and inexpansive than the Sonata. In fact it attained its maturity long before the complete development of the latter form; and not a little of the interest which attaches to it is derived from that and collateral facts. It was the first instrumental form in which several movements were combined into a complete whole. It was the first in which the ecclesiastical influences which had been so powerful in all high-class music were completely supplanted by a secular type of equally high artistic value. Lastly, it was the highest representative instrumental form of the contrapuntal period, as the Sonata is the highest of the harmonic period. It was brought to perfection when the modern sonata was still in its infancy, and before those ideas of key and of the relations of harmonies which lie at the root of sonata-form had become tangible realities to men's minds. In some respects the complete plan has the aspect of formalism and rigidity. The uniformity of key is sometimes taken exception to, and the sameness of structural principle in each movement is also undoubtedly somewhat of a drawback; but it must be remembered that the form is a representative product of a peculiar artistic period, and devised for a particular keyed instrument, and for minds as yet unaccustomed to the varied elaboration of the sonata. The results are remarkable and valuable in a high degree; and though this may be chiefly owing to the exceptional powers of the composers who made use of the form, it is possible that as a pattern for the combination of small pieces it may still be worthy of regard. In fact the combination of short lyrical movements such as are characteristic of modern times has strong points of analogy with it. Moreover, since it is obviously possible to introduce modifications of some of the details which were too rigid in the early scheme without destroying the general principles of the form, it seems that genuine and valuable musical results may still be obtained by grafting characteristics of modern treatment and expression upon the old stock. There already exist several experiments of this kind by modern composers of mark; and the Suites for orchestra, piano-forte, cello, or violin, by Lachner, Raff, Bargiel, St. Saëns, Tschaikowsky, Ries, and Cowen, are not by any means among their least successful efforts.
SULLIVAN, Arthur Seymour, was born in London, May 13, 1842. His father was a bandmaster, and chief professor of the clarinet at Kneller Hall; he was thus born amongst music. His first systematic instruction was received from the Rev. Thomas Helmore, Master of the Children of the Chapel Royal, which he entered April 12, 1854, and left on the change of his voice, June 22, 1857. 'His voice was very sweet,' says Mr. Helmore, 'and his style of singing far more sympathetic than that of most boys.' While at the Chapel Royal he wrote many anthems and small pieces. One of them, 'O Israel,' a 'sacred song,' was published by Novellos in 1855. In 1856 the Mendelssohn Scholarship was brought into active existence, and in July of that year Sullivan was elected the first scholar. Without leaving the Chapel Royal he began to study at the Royal Academy of Music under Goss and Sterndale Bennett, and remained there till his departure for Leipzig in the autumn of 1858. An overture 'of considerable merit' is [1]mentioned at this time as having been played at one of the private concerts of the Academy. At Leipzig he entered the Conservatorium under Plaidy, Hauptmann, Richter, Julius Rietz, and Moscheles, and remained there in company with Walter Bache, John F. Barnett, Franklin Taylor, and Carl Rosa, till the end of 1861. He then returned to London, bringing with him his music to Shakspeare's 'Tempest,' which was produced at the Crystal Palace, April 5, 1862, and repeated on the 12th of the same month, and several times since.
This beautiful composition made a great sensation in musical circles and launched him into London musical society. Two very graceful pianoforte pieces, entitled 'Thoughts,' were among his earliest publications. The arrival of the Princess of Wales in March 1863, produced a song, 'Bride from the North,' and a Procession March and Trio in E♭; and a song entitled 'I heard the 'Nightingale' was published April 28 of the same year. But his next work of importance was a cantata called 'Kenilworth,' words by the late H. F. Chorley, written for the Birmingham Festival of 1864, and produced there. It contains a very fine duet, for soprano and tenor, to Shakspeare's words, 'On such a night as this,' which is far too good to be forgotten. His music to the ballet of 'L'Ile enchantée' was produced at Covent Garden, May 16, 1864.
At this date he lost much time over an opera called 'The Sapphire Necklace,' also by Mr. Chorley; the undramatic character of the libretto of which prevented its representation. The overture has been frequently heard at the Crystal Palace and elsewhere, and the music has been used up in other works. In March 1866 Mr. Sullivan produced a Symphony in E at the Crystal Palace, which has been often played subsequently, there and at the Philharmonic, etc. In the same year he had the misfortune to lose his father, to whom he was fondly attached, and he uttered his grief in an overture entitled 'In Memoriam,' which was produced (Oct. 30) at the Norwich Festival of that year. A concerto for Cello and orchestra was played by Piatti at the Crystal Palace on Nov. 24. This was followed by an overture, 'Marmion,' commissioned by the Philharmonic Society, and produced by them June 3, 1867. In the autumn of that year he accompanied his friend the Editor of this Dictionary to Vienna, in search of the Schubert MSS., which have since become so well known. At the same time his symphony was played at the Gewandhaus at Leipzig. In 1869 he composed
- ↑ Athenæum, July 24. 1858.
