Sullivan and Henry Fothergill Chorley's The Masque at Kenilworth (1864), John Francis Barnett's Ancient Mariner (1867) and Frederic Hymen Cowen's The Rose Maiden (1870) and Harold (1895). Similar trends can be seen in operas such as George Alexander Macfarren's Robin Hood (1860), Sullivan's Ivanhoe (1891) and in the operas of Arthur Goring Thomas, which included Esmeralda (1883) and Nadeshda (1885). The works of Handel, Mendelssohn and Spohr continued to be a major part of the British musical repertoire but there was an increasing emphasis on religious drama. The Italian-born Sir Michael Costa's Eli (1855) and Naaman (1864) set the pace for the later development in the works of Sullivan, including The Martyr of Antioch (1880) The Light of the World (1873), and The Golden Legend (1886), John Liptrot Hatton's Hezekiah (1877), Joseph Barnby's Rebekah (1870), William Cusins's Gideon (1871), Alfred R. Gaul's The Holy City (1882), Charles Gounod's Redemption (1882) and Mors et Vita (1885) (produced expressly for the British public), and Sir John Stainer's The Crucifixion (1887). Arguably the last of the great English Victorian composers to emerge was Edward Elgar (1857–1934), who during the 1890s produced his Caractacus and King Olaf cantatas, the Enigma Variations in 1899, and the revolutionary Dream of Gerontius in 1900. Late nineteenth-century foundations Between 1880 and 1887 the London Guildhall School of Music was established. The Royal College of Music, originating in a training school under Arthur Sullivan, was founded (1882–83) under Sir George Grove. The Queen's Hall Promenade Concerts, led by Sir Henry Wood were founded in 1895. A member of teaching staff at the RCM from 1884 and director from 1894 until his death was Sir Hubert Parry (1848–1918), who used it as a platform for creativity and a reformation of British music. His own works included the cantatas Prometheus Unbound (1880) and King Saul (1894), and four symphonies, among them the English (1889). His great contemporary was the Irish-born Sir Charles Villiers Stanford (1852–1924), who was professor of composition at the RCM from 1883; conductor of The Bach Choir from 1886 to 1902; was professor of music at Cambridge from 1887 and conductor of the Leeds Philharmonic Society (1897–1909), and of the Leeds Festival (1901 to 1910). These figures had a profound effect on a generation of composers that included Gustav Holst and Ralph Vaughan Williams. National or pastoral school A notable feature of the late 19th century and early