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The couple arrive in
Salerno in scene four, where Lucifer reappears disguised as Friar Angelo, a doctor of the medical school. Despite the opposition of the Prince, who now declares that he intended to do no more than test her constancy, Elsie persists in her resolve to die for him. Lucifer plans to
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In the second scene, Prince Henry finds shelter in the cottage of one of his vassals, Ursula, whose daughter, Elsie, moved by great compassion for him upon learning the cure for his illness, offers herself in sacrifice, despite her mother's misgivings. Elsie hopes that by giving her life for Henry,
611:
In the twentieth century, the work's popularity declined, though occasional performances continued to be given, among them some at Leeds (1904), Cardiff (1907), London (1911, 1921, 1926 and 1927), Norwich (1911), and
Belfast (1927). Many amateur performances were also given in the first decades of
290:
have told him that the only cure is the blood of a maiden who shall, of her own free will, consent to die for his sake. Viewing this as unlikely, he gives way to despair and allows
Lucifer, disguised as a travelling physician, to administer alcohol to him in such measure that he is deprived of his
314:
In the fifth scene, a forester brings the news to an anxious Ursula that her daughter is not dead. Miraculously healed, Prince Henry marries Elsie and is restored to his rightful place. The final scene finds Henry and Elsie on the evening of their wedding day. An epilogue provides the moral and
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How can we describe the scene which followed the last note of the cantata? Let the reader imagine an audience rising to its multitudinous feet in thundering approval; a chorus either cheering with heart and soul or raining down flowers upon the lucky composer; and an orchestra coming out of its
112:
had its premiere at Leeds Town Hall. By 1886, Sullivan was serving as the Leeds
Festival's musical director for the third time, and the Festival Committee had commissioned him to compose a new choral work. In January 1886, having settled on his subject, but having tried and failed to arrange a
302:
Scene three has Elsie and Henry travelling to
Salerno, although Henry is disturbed by the fate that awaits Elsie. They pass a band of pilgrims, which is joined by a friar who is really Lucifer in disguise. Lucifer gloats over Elsie's fate, and Elsie and Henry find comfort in each other.
54:. At least 17 performances of the cantata were given in Britain during the first year after its premiere in October 1886, and during Sullivan's lifetime it was widely considered his greatest and most successful work of serious music. Indeed, outside of the comic operas with
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602:‚ with the key indeterminate ... The Victorian soppiness of the story remains a barrier. Elsie's prayer‚ for example‚ is glutinous in its sentiment.... One can readily understand why after the Victorians' early enthusiasm the piece ran into total neglect.
77:
Numerous amateur choral societies performed the work, and at one point the composer declared a moratorium on its performance, fearing that it was becoming over-exposed. After
Sullivan's death there was a steady decline in the frequency of performances of
61:
A few days after the first performance, Gilbert wrote to
Sullivan, "I congratulate you heartily on the success of the Cantata which appears from all accounts to be the biggest thing you've done." In May 1888, there was a performance of the work at the
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dismissed
Longfellow's poem as insipid but praised the music, calling it "a work which, if not of genius in the strict sense of the word, is at least likely to survive till our long-expected English
152:, when Sullivan was a student there, and he now escorted the older composer to functions given in his honour. During this visit, Liszt's music was heard in London, including his sacred cantata,
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conducted a centenary performance of the work in 1986, in the same building as the premiere, the newly restored Leeds
Victoria Hall. Separate performances were given in 2000 in Edinburgh and
187:, the work was presented on a grand scale, with 325 voices and 120 orchestra players. In addition to the usual orchestra instruments, Sullivan augmented the woodwind section with piccolos,
191:, bass clarinet and contrabassoon, cornets in addition to trumpets, and included prominent parts for bells, harp and organ. The festival was held 13–16 October 1886, and the premiere of
987:, 10 July 1907, p. 6; 16 January 1911, p. 11; 27 October 1911, p. 9; 8 December 1911, p. 5; 7 September 1921, p. 6; 1 March 1926, p. 12; 20 January 1927, p. 10; and 28 October 1927, p. 5
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Scene one depicts Prince Henry of
Hoheneck at his Castle of Vautsberg on the Rhine being tempted by Lucifer. Henry has been stricken with a strange malady, and the famous physicians of
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to broadcast it, having reminded them that he was "the only living musician who had daily contact with Sir Arthur Sullivan as an accompanist". In 1985 there was a performance at the
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habitual calm to wax fervid in demonstration. Never was a more heartfelt ovation. Ovation! nay, it was a greater triumph, one such as acclaimed the successful soldiers of Rome.
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and his spirits of the air try to tear down the cross from the spire, only to be chased away by the ringing of the bells. This failure foreshadows Lucifer's ultimate defeat.
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explains that Prince Henry's malady was cured by love. Elsie's devotion is compared to the course of a mountain brook that cools and fertilises the arid plain.
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311:. He draws Elsie into an inner chamber, but at the last minute, Henry breaks down the door and rescues her from the "doctor" and eternal damnation.
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alone clocking up more performances. Certainly the opening is most striking‚ quite unlike what one would expect of the composer of
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never lost his admiration for the work and included part of it in his silver jubilee concert in 1936, alongside the premiere of
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Gordon-Powell, p. 21; later performances sometimes employed even larger forces. See Gordon-Powell, pp. 24 and 37, and
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90:. In recent decades, however, there has been a significant revival of interest in Sullivan's compositions, including
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82:, in common with all of his serious compositions, and the arrival of a new generation of composers, beginning with
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the century. As late as the 1926–27 season, there were six performances of the piece by British choral societies.
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It is astonishing to discover that for a decade or so after it first appeared in 1886‚ this oratorio … overtook
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over-mounted it." Nevertheless, Elgar "always spoke with great feeling and respect for Sullivan, and admired
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took place on Saturday, 16 October 1886; its success with audiences and critics alike was immediate.
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58:, this cantata was widely regarded as Sullivan's most successful large-scale composition.
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688:. A remastered recording was released on CD by Dutton Laboratories (number CDLX 7025).
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649:. Another was given at the Longfellow Festival in 2011. Another was given in 2013 near
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881:, Novello and Company, London, 1886, accessed at IMSLP website on 28 October 2012
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in May 1942 to celebrate the centenary of Sullivan's birth. He prevailed on the
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operettas: first you hear unaccompanied chimes that anticipate the opening of
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74:, Sir Arthur ... You ought to write a grand opera – you would do it so well."
70:. She sent for Sullivan after the performance and said, "At last I have heard
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GLC Queen Elizabeth Hall, 24 February 1985 programme "Sir Arthur Sullivan's
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played in the second half of the concert, was not to Sullivan's advantage.
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was more cautious, praising the music but suggesting that comparison with
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drawing large audiences in London and New York, Sullivan began composing
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Hyperion released the first professional recording of the work in 2001.
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1060:", Sir Arthur Sullivan Society Magazine No. 100, Summer 2019, pp. 13–15
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appears on the scene." A later writer commented that the judgment of
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Drink, drink, and thy soul shall sink – Lucifer, Henry and Chorus
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position in society and power as a ruler, and becomes an outcast.
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1071:"Prize-winning cantatas give Longfellow festival a rousing start"
202:
Sullivan and soloists at the premiere of the 1886 Leeds Festival
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653:, England. A large-scale performance was given in 2019 by the
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made a 78-rpm recording of the soprano piece from the score,
148:
visited London. Sullivan had met Liszt many years earlier in
592:‚ leading almost at once into storm music that owes much to
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was shrewd, "for Sullivan's serious music lasted only until
323:
102:
Sullivan had been associated with the prestigious triennial
1077:, MaineToday Media, Inc., 28 February 2011; Padillo, Paul.
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Come with me, this Way – Lucifer, Henry, Elsie and Chorus
307:
claim Elsie's soul for his own rather than let it rise to
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was recorded in full in 2001, Edward Greenfield wrote in
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Site includes information about the background and score
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The Prince and Elsie – illustration to Longfellow's poem
1714:
Musical settings of poems by Henry Wadsworth Longfellow
1079:"Sullivan's Glorious Golden Legend: A Rare Performance"
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as the second most popular oratorio in Britain‚ with
334:
Nocte surgentes (Hasten, hasten) – Lucifer and Chorus
1200:
Sir Arthur Sullivan. His Life, Letters & Diaries
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Wood insisted on mounting a complete performance of
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The night is calm and cloudless – Elsie and Chorus
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856:"Worcester's Music Festival: Sullivan's Cantata,
668:In August 1928, the Australian dramatic soprano
16:1886 canata by Arthur Sullivan and Joseph Bennet
1294:Information about the cantata and musical score
561:
491:
412:Prince Henry enters – Henry, Lucifer and Elsie
1327:
46:, based on the 1851 poem of the same name by
8:
1160:Arthur Sullivan – A Victorian Musician
1143:. Retford, UK: Sir Arthur Sullivan Society.
388:Onward and onward – Elsie, Henry and Chorus
378:My life is little – Elsie, Henry and Chorus
1546:People associated with Gilbert and Sullivan
1519:International Gilbert and Sullivan Festival
369:Who was it said 'Amen'? – Ursula and Elsie
350:Behold it here – Lucifer, Henry and Chorus
347:All hail, Prince Henry – Lucifer and Henry
267:The Prologue depicts a storm raging around
140:Only weeks before Sullivan began composing
1514:Cultural influence of Gilbert and Sullivan
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1320:
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1240:"On Descriptive Music: As Illustrated by
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1050:
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684:conducted the orchestra and chorus of the
156:. Liszt had, in 1874, set the prologue of
1276:International Music Score Library Project
1198:Sullivan, Herbert; Newman Flower (1927).
996:Turnbull, Stephen. "A Legend Too Many?",
391:Here am I too – Lucifer, Elsie and Chorus
1536:List of compositions by Arthur Sullivan
1290:at The Gilbert and Sullivan Discography
1250:, 198 (12 August 1893) pp. 357–62.
699:
431:Who is it coming? – Ursula and Forester
418:Weep not, my friends – Elsie and Henry
299:. Elsie and Henry set out for Salerno.
50:. The piece premiered at the triennial
1299:Annotated version of Longfellow's poem
959:Elgar's daughter, Carice Elgar-Blake,
434:Virgin, who lovest the poor – Ursula
162:Die Glocken des Strassburger Münsters
7:
998:Sir Arthur Sullivan Society Magazine
450:In life's delight – Henry and Elsie
372:I heard Him call – Elsie and Ursula
363:Slowly, slowly up the wall – Ursula
1678:
1263:at the Gilbert and Sullivan Archive
1164:. Oxford: Oxford University Press.
1092:"The Golden Legend nr Wallingford"
14:
1000:, No. 115, Summer 2024, pp. 19–21
715:Sullivan's diary for 8 May 1888,
607:Later performances and recordings
485:After the first performance, The
117:to prepare the libretto based on
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1551:Works about Gilbert and Sullivan
808:The Musical Review, XXXVI (1975)
804:"Longfellow, Liszt and Sullivan"
460:God sent His messenger, the rain
375:My Redeemer and my Lord – Elsie
366:Evening Hymn – Chorus and Henry
1108:Notes from Hyperion's recording
1081:. SharkonArts, 27 February 2011
444:We are alone – Henry and Elsie
207:Characters and original singers
823:Young, p. 221; Burton, Nigel.
812:Deutsche Sullivan Gesellschaft
1:
1219:. London: J M Dent and Sons.
1139:Gordon-Powell, Robin (2012).
1124:The Gilbert and Sullivan Book
409:My guests approach – Lucifer
1724:The Devil in classical music
1141:Sullivan's The Golden Legend
655:Nuremberg Symphony Orchestra
481:Sir Arthur Sullivan, c. 1886
447:Dear Elsie – Henry and Elsie
1704:Cantatas by Arthur Sullivan
1272:The Golden Legend (cantata)
831:, 1 October 1986 pp. 554–57
132:Page from a proof score of
113:libretto himself, he asked
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1524:W. S. Gilbert bibliography
1494:D'Oyly Carte Opera Company
975:, Awards Issue, 2001, p. 6
866:, September 26, 1900, p. 6
814:, accessed 25 October 2012
295:she will become closer to
154:The Legend of St Elisabeth
48:Henry Wadsworth Longfellow
25:Early vocal score, c. 1889
1663:
1349:
1075:The Portland Press Herald
1056:Parry, William. "Review:
793:Jacobs (1984), pp. 232–33
415:O pure in heart – Chorus
941:, 18 October 1886, p. 8
937:"Leeds Music Festival",
924:"Leeds Music Festival",
911:"Leeds Music Festival",
890:Gordon-Powell, pp. 19–20
136:signed by Sullivan, 1886
1719:Fiction about the Devil
1451:The Yeomen of the Guard
1409:The Pirates of Penzance
1304:Musicweb discussion of
1281:2001 Hyperion Recording
1179:Jacobs, Arthur (1994).
1156:Jacobs, Arthur (1984).
1069:See Hyde, Christopher.
1022:, 6 October 1938, p. 10
928:, 18 October 1886, p. 5
926:The Manchester Guardian
915:, 17 October 1886, p. 6
833:(subscription required)
825:"100 Years of a Legend"
510:The Manchester Guardian
344:I cannot sleep – Henry
144:in the spring of 1886,
1122:Baily, Leslie (1956).
1009:Baily, p. 292 footnote
802:Silverman, Richard S.
604:
496:
482:
394:It is the sea – Henry
283:
203:
137:
26:
1586:The Sapphire Necklace
1215:Young, Percy (1971).
1031:Jacobs (1994), p. 371
860:, Admirably Executed"
643:Sir Charles Mackerras
480:
281:
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184:The Martyr of Antioch
131:
109:The Martyr of Antioch
24:
1509:Bridget D'Oyly Carte
1364:Richard D'Oyly Carte
1343:Gilbert and Sullivan
740:Gordon-Powell, p. 11
639:Queen Elizabeth Hall
104:Leeds Music Festival
52:Leeds Music Festival
1504:Rupert D'Oyly Carte
1217:Sir Arthur Sullivan
1202:. London: Cassell.
1183:. London: Methuen.
1126:. London: Cassell.
269:Strasburg Cathedral
254:Robert Watkin-Mills
252:A Forester, bass –
1642:The Rose of Persia
1594:The Contrabandista
1090:Clements, Andrew.
1018:"Sir Henry Wood",
875:Sullivan, Arthur.
864:The New York Times
659:Meistersingerhalle
483:
473:Critical reception
284:
228:Janet Monach Patey
204:
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27:
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1561:Performing groups
1306:The Golden Legend
1287:The Golden Legend
1261:The Golden Legend
1242:The Golden Legend
1058:The Golden Legend
1042:The Golden Legend
878:The Golden Legend
858:The Golden Legend
829:The Musical Times
754:, 1 February 1886
686:Royal Opera House
674:The Night is Calm
631:The Golden Legend
623:Serenade to Music
551:The Golden Legend
544:The Golden Legend
505:The Golden Legend
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193:The Golden Legend
175:The Golden Legend
158:The Golden Legend
142:The Golden Legend
134:The Golden Legend
123:The Golden Legend
92:The Golden Legend
80:The Golden Legend
72:The Golden Legend
64:Royal Albert Hall
42:with libretto by
31:The Golden Legend
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1634:The Beauty Stone
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1683:WikiProject
1618:Haddon Hall
1578:Cox and Box
1556:Adaptations
1541:Grim's Dyke
1499:Helen Carte
1489:Savoy opera
665:, Germany.
651:Wallingford
647:Aberystwyth
641:in London.
515:Mendelssohn
218:Emma Albani
189:cor anglais
146:Franz Liszt
34:is an 1886
1698:Categories
1653:(1901) w/
1437:The Mikado
1190:0413683907
1171:0193154439
1116:References
680:(D 1516).
489:reported:
170:The Mikado
119:Longfellow
98:Background
1444:Ruddigore
1225:639898760
1208:251268137
1149:805704900
1132:254534938
1020:The Times
985:The Times
939:The Times
663:Nuremberg
536:The Times
532:Beethoven
527:The Times
242:Lucifer,
224:contralto
179:Camberley
1673:Category
1423:Iolanthe
1416:Patience
1267:Libretto
571:Handel's
520:St. Paul
329:Prologue
263:Synopsis
222:Ursula,
1610:Ivanhoe
1602:The Zoo
1482:Related
1381:Thespis
1238:W.H.T.
657:at the
584:Puccini
580:G&S
575:Messiah
540:Elgar's
439:Scene 6
426:Scene 5
404:Scene 4
383:Scene 3
358:Scene 2
339:Scene 1
288:Salerno
273:Lucifer
214:soprano
212:Elsie,
150:Leipzig
36:cantata
1655:German
1645:(1899)
1637:(1898)
1629:(1894)
1621:(1892)
1613:(1891)
1605:(1875)
1597:(1867)
1589:(1867)
1581:(1866)
1373:Operas
1223:
1206:
1187:
1168:
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961:quoted
900:quoted
730:passim
717:quoted
676:, for
594:Wagner
566:Elijah
464:
309:Heaven
297:Christ
258:Chorus
695:Notes
549:When
234:tenor
167:With
1221:OCLC
1204:OCLC
1185:ISBN
1166:ISBN
1145:OCLC
1128:OCLC
244:bass
678:HMV
635:BBC
620:'s
596:'s
586:'s
546:."
517:'s
507:."
271:as
160:as
38:by
1700::
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1073:.
1049:^
1044:".
862:,
827:,
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768:^
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626:.
559::
246:–
236:–
226:–
216:–
125:.
94:.
1335:e
1328:t
1321:v
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522:,
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