New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-03-04

ton of Mr.. Reginald De hoNeh, re-
modelled the play in the form Of opera,
condensing its plot and characters to
the more simple essentials appropriate
to operate production"
And Mr.. De Koven adds:
81 have often been asked the ques-
ton why have never before now writ
ten a work in the larger operate form,
and my answer has always been that
was waiting until l could find a
really good book. For an opera libretto
that successfully meets the require
ments Of a lyric work of this class,
which is primarily for and of the
stage, in the way of dramatic interest,
development and climax, a poetic
knowledge of the possibilities and limi-
tations Of the English language when
sung, and those visual and picturesque
qualities in the story which alone can
make the unreal conditions of opera
per Sc either plausible or Ineligible,
is about as rare as the proverbial
white crow-as many gifted composers
have found to their cost.
"AH these requirements are, | think,
fulfilled in the really charming libretto
which Mr.. MacKaye has written in
The Canterbury Pilgrims which came
to me unsought, as it were. As mem
Der of committee for choosing plays
to be used in settlement work on the
East Side, my wife read Mr.. MacKaye's
earlier play Of the same name, and
told me she thought it contained excel
lent operate material. Agreeing with
her, ] went to Mr.. MacKaye and sug-
gested the idea to him. He agreed
with me, and soon afterward, early in
1914, we set 10 work. To adapt a play
Of over 1900 words for operate pur-
poses by merely cutting it was mani
testify impossible. Entire reconstruc-
ton, both in structure and language,
was necessary, and this Mr.. MacKaye
has so successfully accomplished that
in my judgment his libretto, as an
artistic whole, is far superior TO his
earlier play.
81 took the first act with me when
went abroad in March, 1914, the three
other acts being sent afterward, and
the entire opera, begun October 10,
1914. was finished on December p, 1915,
during which time l lived at Vevey,
Switzerland, amid and yet far FROM
wars and rumors Of wars.
"As to my part Of the work, the
characters Of Mr.. MacKaye's story
whose essentially old English atmos-
phere appealed to me strongly from
the first. naturally suggested Verbs
rFalstaf' as model in sense. But
Verdi abjured the lett motif, or motto
theme. and | had always felt that
Wagner theory, applied in some form
was the true basis Of construction for
all musico-dramatic works. Yet again
it always seemed to me that, save in
the hands Of q consummatc master
the lett motif, pushed to its logical
development. was only too apt to be-
come tircsomc, obscure and ineffective
So, after much consideration, / be-
thought me- Of the very effective way
in which Massenet in 'Manon' had used
a limited number Of what might he
called recurrcnt themes such as the
one which accompanies Dcs Grieux-
and made up my mind TO try what could
be done along these simpler and more
plastic lines.
$50, without attempting 20 describe
pictorically in music swords, tarn-
helms or dragons, or to weave music
into an intricate contrapuntal web,
have in 'Thc Canterbury Pilgrims,
while following closely the spirit and
meaning Of Mr. MacKayc's poetic text
attributed q number OF saliently me
lode themes 20 the characters, Incl
dents, sentiments and oven material
objects Of the story, and when these
recur I'm or are suggested by the text
the attrbuiiye themes recur with them
70 chat, as ! hope, they may be readily
recognizable By che un'cchnical opera
goer and aid him in following the
story and action.
Gust word in regard TO the Eng