Evening star. [volume] (Washington, D.C.) 1854-1972, 1892-10-29

THE WAY He WORKS IN COLLABORATION WITH
MR. sNIrH-wRITISG THE SCORE AND THE
LIBRErro-Hrs EARLY EFFoRrs-sru DYING
MUSICAL kFFkcTs.
When the opera of Robin Hood" was pre-
sented il was discovered that a new school OF
musical work had developed in this country.
Its melody was pleasing, its concerted numbers
were good and the entire musical score be-
trayed the continuous and consistent work Of Q
man thoroughly in earnest. The book, too,
was in harmony with the music, and the story
moved along easily and gracefully from begin
ming to end. That operawas the work OF
Messrs. de Koven and Smith, and when 1t was
understood tina. these two gentlemen would
still further collaborate it was predicted that
they would even surpass the excellent work put
forth in robin Hood" 1.-The Fencing Mas
ter" which has met with such a pronounced
success at Aibaughs this week, is an evidence
that the prediction referred to has been fully
verified.
Mr. DE EovEs's FIRST WORK.
In order to ascertain just how libretsists and
musicians went to work to write an opera a
STAR representative had a pleasant talk with
Mr.. de Koyen, and in answer to some questions
on the subject he said substantially as follows:
"1 m glad you like the Fencing Master, and
1 am gratiied that it has been SO favorably re-
ceiyed in Washington, for it encourages me to
go on and seek to do even better things. You
must know that the Fencing Master is the
third OF series of operas, the first being
Robin Hood and the second The Knicker-
bockers.' The latter was written for the Bos-
tonians and was delivered to them within the
time agreed upon. Theo expected to produce
it last spring, but the business with Robin
Hood has been so great that they didn't see
any reason to take 1t from the public so long as
it's popularity lasted. So The Knickerbockers'
has never been sung. / think when you hear it
you will like 1t and will See that the work in it
is IN advance upon that In Robin Hood
Il have strived to improve with each COM
position and have endeavored to show an earn
estness Of purpose in all my work. I believe
this has been recognized by the best critics,
and the American people are now willing to ac-
cept the work of an American composer il 1t is
good without first waiting for the stamp of
European approval"
''Did You study here or abroad?" asked The
STAR man.
Most Of my education was acquired in Eu-
rope" said Mr. de Koven. "In fact only
studied the piano in this country. l had an
idea that wanted to be pianist. but my father
objected to that. and to please him went into
business. had studied at oxford and had re-
ceived the most Of my musical education at
Stuttgart and Paris. When went into business
thought would give up my music save as an
accomplishment, but l loved the art and l
couldn t keep away from ii. Instead Of return
ing to my first love, the piano, however,
turned my attention to composition. wrote
some songs that became popular, and wrote
an opera. Y6u never heard it, and I'm glad
you didn't. ! wrote other alleged operas, and,
at length, produced The Begnm,' which John
McCauli made good deal of money out Of but
didn't. Then l went over to Europe again
and studied some more, particularly under
Genes in Vienna, who was Of great service to
me.
"When I came back wrote Don Quixote'
FOR the Bostonians, and although IL had fair
share Of popularity it was never what it ought
to have been made. Well, the subject was an
old one and II had been treated unsteady and
In literary way in every language. Then l
associated myself with Mr.. Harry Smith and
we wrote the three operas that have referred
to as a series together"
HOW THEY coLlABoRArE
How do you gentlemen divide your work
do you write the score first and then does Mr..
Smith write the book was asked.
"No, that isn't the way we work" said Mr.. de
koven. I'VE are both earnest in our desire to
produce perfect work, or one as nearly per-
feet as we can make it. Neither Of US is
ashamed to receive criticism from the other,
In fact we discuss each others work in the
freest possible way. First we get together and
decide upon what might call locale for the
proposed opera; that Is, where it
shall be located. The decision of
this will determine the character of
the music. for try to observe the nationality
of the characters in the score of the opefa.
The locale being settled we then discuss the
Action-whether it shall be continuous or
whether there shall be lapse of time between
the acts. Next comes the cast OF characters
and the plot, and then the arrangement of the
climaxes and songs. Then we go our different
ways and work. When we have finished por-
ton OF the opera, say an act or an important
scene, We Talk it over again and, as say, each
gets the other S views on his work. Now, do
n OF write an act straight through from begin
ming to end, but the melody or strain that
comes to me first is first completed.
Now, in the Fencing Master the
finale Of the second act WAS the first number in
that act that l completed, and then l worked
backward through the act. l mention that
simply as an Illustration. When our work ia
finished We endeavor to present a rounded and
completed opera, both in book and score, and
in the two operas which have made popular
successes-'Robin Hood and The Fencing
Master-I think we have succeeded"
THE MYSTERY OF MUSICAL EFFECTS.
When it was suggested that the melodious-
ness Of robin Hood" is hardly retained in the
Fencing Master" Mr.. de Koven said that in
the latter opera he had endeavored to make the
music more in perfect harmony with the action
of the piece and had sought less to present a
series of tuneful melodies. In this he had fol-
lowed the advanced school Of music. Il don't
know but that there is a peculiar set Of sensory
nerves that are impacted by certain musical
sounds and that it is this impact that causes the
thrill that one feels under certain circum-
stances. You have felt it and so
has every sensitive person. Now / be-
lieve the man who can determine
exactly the tones that effect this feeling will
have made q great advance in musical art.
That must be the electrical current that reaches
into the human frame, and gives as a satsfac-
ton inside from the sense of hearing. Now in
an opera like the Fencing Master, put upon
the stage it is with all the resources Of
scenery, costumes and stage effects, the senses
Of sight and hearing are appealed to, and in
certain passages, whore the music is worked up
TO a climax, as in the finale to the second act,
there is a thrill of satisfaction felt by the
listener. But there are instruments
and tones that cause this feeling when
the accessories Of stage representation
are absent. friend of mine told me
that in Arabia he went to hear one OF the ma
tive musicians play upon q curious kind Of in
strument that had a wonderful effect upon him.
At first the tone appeared harsh and forbid
ding, but finally he became impressed that
there was a something that arrested his atten-
ton and held it, notwithstanding the fact that
his ear rebelled against an apparent discord.
This feeling grew upon him, and he felt that
electric thrill that We have been talking about.