The St. Louis Republic. [volume] (St. Louis, Mo.) 1888-1919, 1902-03-09

Fully eight years" he answered. Eight
years ago VI. Paderewski had tasted TIE
sweets of triumph as an interpreter OF the
music CT others. As a pianist he had been
| the rage OF Paris. had crossed the Channel
and conquered England. and had further
extended his conquest to America BEFORE
that had thought of writing an opera" he
continued. 1T was then. however. that
began. ! was not proficient In verse. though
/ believed I could write the music. so 1
asked my friend Alfred NossiS TO write The
music for me. He knew the novel Of Man.
ru." and he suggested that the subject De
taken from that"
Was it his suggestion that the chief
theme should be the racial instinct instead
of tine love for n woman | asked.
NO. that was mine" \ psychologist
would have been interested in the err"hnSis
which the composer placed on this. II was
significant that a descendant OF Poles should
have been so earnest to let 1: be known
that he had discovered and evolved this
stirring theme.
But that was Tot made so strong at
first" he continued. 1t was not develop ii
in TIE opera as it was first written. Mr.
NossiX worked upon Aianru' and ] worked
upon IL in the times when i was not upon
tour. and il was about six years ago that
We had it finished. Then we took it to D-e>-
den and had il tried"
The composer paused a moment. But IL
would not 10. ne Slhu SlpNlN- 4 ~
why. 1T was pronounced good music re
replied. but It would not do for the stage
1t was not dramatic. Ii was then In tWo
acts. and two acts suggest the intermeL@o
so much" he paused again. And ! do not
think that the intermezzo as any place IN
opera.
$50 We had to make IL in three acts. OF
course that required much writing. Then
We tried it and We found that the first act
would not do. 1t was not dramatic. 80 We
had to change that. The mother was not
in that act at first and We introduced the
mother. Tha strengthened IL much. but
of course IL was necessary 10 change all
the music"
That must have simplifed matters" 1
Interrupted.
Yes. but there was much more TO be
done he continued. We then found that
the second act would not do. II was not
strong enough with the first act IA 1t was.
So I worked a long time on the second act
and wrote that again. 1t was then that 1
first introduced the violin on the stage and
made prominent in the work the music
which drew Manru back to his gypsy peo-
pie.
Then found that ! must change more.
because the third act did not suit" and NJ
PadeIewski paused again. perhaps ii was
good, but It was not dramatic. Tn concert
on the stage was not then In this act-the
climax where the orchestra and the chorus
carry the air. which was played on the vio-
lin In the second act. And this was the
striking thing"
There was a knock AT the door and NJ.
Paderewski stopped
Madame" said the valet SUCCESSFULLY.
'In a moment" said the composer in
French. His Train of thought had been in
terruotee-
There was one striking thing" 1 ven
tured.
Yes he continued. The one striking
as / thought. in the opera was the
fact that II was the music of his people
that affected Manru. II was not the love
for the woman. She tried to make MIN
leave his wife. but he would not do so for
her. But the music of his people touched
him and reached his heart"
NJ. Paderewski was leaning forward in MS
chair. There was JUS the suggestion OF a
dreamy light in his eyes. the wrinkles had
gene out of his brow. and there was a
touch OF color in his usually colorless face.
He was talking Of something that wal dear
to him.
The soul OF a gypsy must respond TO
music he said. Music Is part Of the life
of a Sypsy. He sings as a child. He plays
sl~ avs and anything. He knows not u note