Reviewed by: The Yeomen of the Guard. Full Score. by W. S. Gilbert and Arthur Sullivan, and: The Yeomen of the Guard. Vocal Score. by W. S. Gilbert and Arthur Sullivan, and: Iolanthe. Full Score. by W. S. Gilbert and Arthur Sullivan James Brooks Kuykendall W. S. Gilbert and Arthur Sullivan. The Yeomen of the Guard. Full Score. Edited by Colin Jagger, with David Russell Hulme. Oxford: Oxford University Press, 2016. [Contents, p. iii; preface, p. v–vii; sources, p. vii–x; editorial method, p. xi–204xv; critical commentary (with appendices), p. xvi–xxxv; dramatis personae & orchestra, p. xxxvi; score, p. 1–407; musical appendices, p. 408–20. ISBN 978-0-19-341313-9. $95.] W. S. Gilbert and Arthur Sullivan. The Yeomen of the Guard. Vocal Score. Edited by Colin Jagger. Oxford: Oxford University Press, 2016. [Contents, p. v; introd., p. iv; textual notes, p. v–vi; dramatis personae, p. vi; score, p. 1–204; appendices, p. 205–9; index of vocal ranges and dialogue, p. 210. ISBN 978-0-19-338920-5. $23.50.] W. S. Gilbert and Arthur Sullivan. Iolanthe. Full score. Edited by Gerald Hendrie, with Dinah Barsham, and Helga J. Perry. (The Operas, 6.) 3 volumes. New York: The Broude Trust, 2017. [Part A, overture and act I: publisher's pref., p. vii; acknowledgments, p. ix–x; contents, p. xi–xii; editorial policies, p. xv–xix; sigla, p. xxi; dramatis personae & instruments, p. xxiv; score, p. 1–331. Part B, act II: contents, p. vii–viii; editorial policies, p. xi–xv; sigla, p. 331xxvii; score, p. 1–194. Part C, commentary: contents, p. vii–viii; introduction, p. 1–17; libretto, p. 21–62; critical apparatus, p. 65–157; musical appendices, p. 161–90; literary appendices, p. 193–211; bibliography, p. 215–17. ISBN 0-8540-3006-X. $350 (inclusive of all three parts).] Looking back, what was the most significant work for the English (or even English-language) musical stage of the nineteenth century? Of the titles that come to my mind, the bulk if not the whole of the short list would be from among the collaborations of William S. Gilbert and Arthur Sullivan. These fourteen works are remarkably varied, although there is an unfortunate tendency not only in popular culture but in music history textbooks to pigeonhole their oeuvre, regarding the pieces as little more than a string of clever words spat out over innocuous accompaniments. The patter songs may be among the most memorable—and certainly the most easily and frequently parodied—aspects of the Savoy operas, but they have only contributed to the too-easy dismissal of the lot. For more than a century now there has been a steady stream of publications about the G&S canon, but the librettist [End Page 334] has been somewhat better served than the composer. It is easier to write about words than about music. Moreover, Gilbert's texts have been more readily available—not only with a number of early authorized editions, but particularly from serious attempts at a scholarly edition. While Reginald Allen's The First Night Gilbert and Sullivan: Containing Complete Librettos of the Fourteen Operas, Exactly as Presented at Their Premiere Performances, together with Facsimiles of the First-Night Programmes (New York: Heritage Press, 1958) is not quite what it claims to be, it at least made the enthusiast aware of variants in the quasi-sacred texts. Allen tried to establish the text as originally performed, relying with too much confidence on the reading of the libretto distributed (as far as he could determine) at the premiere of each show. Starting in the 1980s, Ian Bradley employed a much more thoroughgoing approach, appearing most recently in his The Complete Annotated Gilbert & Sullivan (20th Anniversary Edition [New York: Oxford University Press, 2016]). Bradley looked well beyond the published librettos and subsequent authorized editions, scrutinizing the preproduction copies submitted for license from the Lord Chamberlain's office, as well as the early promptbooks and Gilbert's sketches and drafts extant now at the British Library. Even so, Bradley did not consult musical sources, and thus has no substantiation for annotations such as "In early performances Elsie had a longer solo here" (p...