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The Tempest (Sullivan)
''The Tempest'' incidental music, Op. 1, is a set of movements for Shakespeare's play composed by Arthur Sullivan in 1861 and expanded in 1862. This was Sullivan's first major composition, and its success quickly brought him to the attention of the musical establishment in England.
==Background and first performances==
Sullivan wrote his incidental music to Shakespeare's play as his graduation piece while a conservatory student at Leipzig. Felix Mendelssohn was much admired by the tutors at the Leipzig Conservatory, and Sullivan's music, following the pattern of Mendelssohn's famous score for ''A Midsummer Night's Dream'', was chosen for inclusion in the Conservatory’s end-of-year concert at the Leipzig Gewandhaus on 6 April 1861, while Sullivan was still eighteen years old. At that concert, six items from the score were played, conducted by the composer: "Introduction", "Ariel’s Song", "Entr’acte", "Grotesque Dance", "Entr’acte and Epilogue", "Dance of Nymphs and Reapers".〔Shepherd, Marc. ("The Tempest, incidental music (1861)", ) ''A Gilbert and Sullivan Discography'' (2005)〕
After Sullivan's return to England, early in 1862, music critic Henry F. Chorley hosted a private performance of ''The Tempest'' in his home, where George Grove, at that time Secretary to the Crystal Palace, heard the piece. Grove was sufficiently impressed to arrange for a performance the work by the unknown composer at the Crystal Palace, where it was taken up by August Manns, conductor of the Crystal Palace concerts.〔''See'' Preface to the score of ''The Masque at Kenilworth'' by Robin Gordon-Powell, Archivist & Music Librarian of the Sir Arthur Sullivan Society, published by The Amber Ring in 2002〕
Sullivan revised and extended the music to twelve movements, which were given in full at a concert on 5 April 1862 at the Crystal Palace, with a linking narration written by Chorley and spoken by Arthur Matthison. The solo singers were May Banks and Robertina Henderson. The work was an immediate success, with five numbers being encored. The score was favourably reviewed by ''The Times'' and even more favourably by ''The Athenaeum'', which was the publication for which Chorley was critic. So great was the success of the concert that it was repeated the following week, and Sullivan's reputation as an extremely promising composer was made overnight.〔
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