The sun. [volume] (New York [N.Y.]) 1916-1920, 1918-10-06
Attains Philosophy
of Life in Realizing
Dream Of Youth
and Never Regrets
Dropping Law -

OF Tie cathedral choir ana Il teacher OF
singing.
He found out, however, that he wanted
to make music, not teach it. so in 1900
he venturcd again to New York. After
he had spent his money he slept in Rry-
ant Park and did many other things
which he said were too uncomfortable to
talk about He could sympathize with
Wagner. who, in debt, bought himself
fur coat in Karlsruhe and said, when re-
proved by his creditors, that owing money
didn't necessarily keep a man warm.
Until nine years ago Mr.. Breil was Oc-
cupied with various musical odd jobs and
later wrote music for moving pictures.
He said he hadn't much pride in this, and
some of the things he did nobody ever
heard of and he hoped nobody ever would.
"The Climax" His First Chance.
His first chance of any account was
when he was engaged to write the incl
dental music for Edward Lockes play,
"The Climax" He looked up in telling
this with half humorous, half crucitied
smile, much in Howells's manner when he
tells how he was chosen rs an editor of
the atlantic, more for his merits as Il
proof reader than for anything else, and
adds that each man must eat his humble
pie with what grace he can.
.'The reason" Mr. Breil said, "that they
got me TO write this music was because
they didn't have enough money to hire
Ei"ior Herbert for the job
But putting all that aside and the fact
that others had tried their hands and
their efforts were not accepted, Mr.. Brell
wrote four songs, among them one which
is still remembered, "The Song of the
Soul
This gained him a hearing at least with
the publishers of music. But still it was
not a reputation. And as publishers have
to excess that very natural human trait,
the desire to put their money on a sure
thing. the results were not too encourage
Inc.
Later on he wrote the music for some
moving pictures, particularly Sarah Bern
hardt's "Queen Elizabeth" then for "The
Birth of Nation and other plays. This
work took him to California and it was
there in the winter of 1915 that he found
himself with the great desire to write
mother opern. BY this time he had
great knowledge of musical form but
lacked that dash and courage which sup
Piled words and music for "Orando, the
Bogus Duke
At that time he knew only one thing:
he had to write music. He would be
pleased if people liked his music and
managers produced it, and he would like
10 get some money out of it; but even If
he starved he had to write another opera.
Where Libretto Originated.
One morning, in search of a libretto. he
met his friend Jacques Bryne, scenario
writer. Bryne, one fancies without ex-
actly knowing, is something of Leon
Berthelini, a person who could step down
or up, as fortune indicated. with equal
callantry of bearing. As it is, Breil
SAYS, he has sung in opera, played in
Shakcspearian roles and written moving
picture plays. TO n person of his ex-
pericnce supplying the book for one act
opera was as nothing.
After a few false starts, such as sup
plying a war play, which was too elabo-
rate, he gave the anxious composer the
story for THE Legend This much may
be told of il there are four characters
and the scene is laid in a mythical Mus
covite country.
Just as soon as he got the story Mr..
Brel set to work in Los Angeles at writ
ing his opera. He would rise about s
and be at work long before 10 of a morn
ing, stopping for the day at in the after
noon. He commenced on December l,
1916, and on March 10, 1917, finished it
off.
Some Californians became interested
and they decided to have company pre-