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(詳細はArthur Sullivan has fluctuated markedly in the 150 years since he came to prominence. At first, critics regarded him as a potentially great composer of serious masterpieces. When Sullivan made a series of popular successes in comic operas with the librettist W.S. Gilbert, Victorian critics generally praised the operettas but reproached Sullivan for not writing solemn choral works instead. Immediately after Sullivan's death, his reputation was attacked by critics who condemned him for not taking part in what they conceived of as an "English musical renaissance". By the latter part of the 20th century, Sullivan's music was being critically reassessed, beginning with the first book devoted to a study of his music, ''The Music of Arthur Sullivan'' by Gervase Hughes (1960). ==Early career== When the young Arthur Sullivan returned to England after his studies in Leipzig, critics were struck by his potential as a composer. His incidental music to ''The Tempest'' received an acclaimed premiere at the Crystal Palace on 5 April 1862. The ''Athenaeum'' wrote: His ''Irish Symphony'' of 1866 won similarly enthusiastic praise: But as Arthur Jacobs notes, "The first rapturous outburst of enthusiasm for Sullivan as an orchestral composer did not last." A comment that may be taken as typical of those that would follow the composer throughout his career was that "Sullivan's unquestionable talent should make him doubly careful not to mistake popular applause for artistic appreciation."〔Jacobs, p. 49〕 Sullivan was also occasionally cited for a lack of diligence. For instance, of his early oratorio, ''The Prodigal Son'', his teacher, John Goss, wrote: 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Critical reputation of Arthur Sullivan」の詳細全文を読む スポンサード リンク
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