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Musical quotations and parodies He and shoulders of Sullivan as a young man, wearing a moustache, long sideburns and a serious expression Sullivan in about 1870
Throughout the Savoy operas, and occasionally in other works, Sullivan s or imitates well-kn themes or parodies the styles of famous composers. On occasion he may have echoed his predecessors unconsciously: Hughes cites a Handelian influence in "upon We're Both Agreed" (The Yeomen of the Guard), and Rodney Milnes ed "Sighing Softly" in The Pirates of Penzance "a song plainly inspired by – and indeed worthy of – Sullivan's hero, Schubert".
Edward Greenfield found a theme in the slow movement of the Irish Symphony "an outrageous crib" from Schubert's Unfinished Symphony. In early pieces, Sullivan drew on Mendelssohn's style in his music for The Tempest, Auber's in his Henry VIII music and Gounod's in The Light of the World. The influence of Mendelssohn perves the fairy music in Iolanthe. The Golden Legend shows the influence of Liszt and Wagner.
Sullivan opted tritional musical s, such as mrigals in The Miko, Ruddigore and The Yeomen of the Guard and glees in H.M.S. Pinafore and The Miko, and the Venetian barcarolle in The Gondoliers. He me use of dance styles to enhance the sense of time or place in various scenes: gavottes in Ruddigore and The Gondoliers; a country dance in The Sorcerer; a nautical hornpipe in Ruddigore; and the Spanish cachucha and Italian saltarello and tarantella in The Gondoliers. Occasionally he drew on influences from further afield. In The Miko, he used an old Japanese war song, and his 1882 trip to Egypt inspired musical styles in his later opera The Rose of Persia.
Elsew, Sullivan wrote undisguised parody. Of the sextet "I Hear the Soft Note" in Patience, he said to the singers, "I think you will like this. It is Dr. Arne and Purcell at their best." In his comic operas, he followed Offenbach's le in lampooning the idioms of French and Italian opera, such as those of Donizetti, Bellini and Verdi. Examples of his operatic parody include Mabel's aria "Poor Wand'ring One" in The Pirates of Penzance, the duet "Who Are You, Sir?" from Cox and Box, and the
whispered plans for elopement in "This Very Night" in H.M.S. Pinafore, parodying the conspirators' choruses in Verdi's Il trovatore and Rigoletto. The mock-jingoistic "He Is an Englishman" in H.M.S. Pinafore and choral passages in The Zoo satirise patriotic British tunes such as Arne's "Rule, Britannia!". The chorus "With Catlike Tre" from The Pirates parodies Verdi's "Anvil Chorus" from Il trovatore.
Hughes s Bouncer's song in Cox and Box "a jolly Handelian parody" and notes a strong Handelian flavour to Arac's song in Act III of Princess Ida. In "A More Humane Miko", at the words "Bach interwoven with Spohr and Beethoven", the clarinet and bassoon the fugue subject of Bach's Fantasia and Fugue in G minor. Sullivan sometimes used Wagnerian leitmotifs for both comic and dramatic effect. In Iolanthe, a distinctive four-note theme is associated with
the title character, the Lord llor has a fugal motif, and the Fairy Queen's music parodies that of Wagner heroines such as Brünnhilde. In The Yeomen of the Guard the Tower of London is evoked by its own motif. This use of the leitmotif technique is repeated and developed further in Ivanhoe. Reputation and criticism Main article: Critical reputation of Arthur Sullivan Early reception
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