| Show How a Great Musical Composer Composes Snn Francisco Chronicle Although Sir Arthur Seymour Sulll tan Is now In life liriselxlli year Ills energy has not one whit abated Ills first composition the muslo In Shake BpearoK Tempest WIM tompowil ua far back as I860 nnd Ills first opera wan produced thirty years ana Jo the for tlllt or isle raN genius Air Arthur Sullivan Sul-livan has added an Infinite capacity for unceasing hard work There Is hardly any phase of musical compo sltlon which ho has not treated and beautified nod the fruit of his wonderful wonder-ful versatility Is to be found In oratorio ora-torio hymns songs nnd cantatas nell n-ell aa In the cerpoPUlar Clllbcrt Sullvan operas vhlcn have been such a source of Innocent merriment and perpetual delleht to hundreds of thousands on both sides of the Atlantic Atlan-tic Sir Arthur was the younger son ot Thomas Sullivan a clover Irishman who from sr to 18M occupied fite position po-sition of bandmaster OtC the illlltarj college Sandhur Ihllo his mother wn descended from on old italian fatal und the Italian blood In his seine may pcrbapJ smile < an nn explina lion 10 thnke who nre cutmus In gnro tlun of h0idlty fr the almost un Ingllsh s Io ar fly of hliMiinmr which IA I one of air Atthllre mast salient chetr erlstUn wlillo hu him added 1 In It u very Knsllh < nr llltli dogged deter mlnatlon anti persist urn n quality sohich has hon romarkaM played In the way In I whloh he Ions don his bt work under the grett lImell tie as n great Part or his mot mete Illou and mot humorous light operas were composed And oichrstratcd In the midst of Illness and In the Intervals of great physical polo i Young Arthur Huimnns practical training In orrhrelrsoI Juallrs began Hr early for there uric Idly nny Instruments t In his Cnther hand nt Iandhllrrt which he did nol learn to play with facility dir Sullivan wan happy fn the belief unit his younger Aoe irussrsAed mre muul nblllty III Ihough he tould have hud no noetollun oC the ltomlrnt dltlnctlou IIhloh hIA Pon was destined to 111111111 At thc age nr II nothing would satisfy the embryo em-bryo musician but that hU father should get him Into the choir nt the Chapel Royal In JffiG the Mendelsohn scholarship wan liutltutcd the ertt II lle chorister came out at the head of the i list It may he I of Interim to men lion that Sir Joseph Darnby was one of the candidates lie left England at IS to study In elpele The success vhlch attended The Tempest music when It was pro laced at the Crystal Palace concert on the composers leturn to Ixindon In ISO I was Immediate nail emphatic und among those who cam to hear It performed formed on the second occislon soar Charles Dickens I nrn afraid I have never had time 10 wait for inspiration Sir Vrthui mile 10 a ondon strand Ant ervleu er It one waited for the right mood or for things to ooour to one one would I should Imagine do little cr nothing nl 0111 cannot say that anything ever oc I cure to me until I have tin paper aclu ally In front nf me I dont use the piano In eomposillollthnt nUld limit I me fertility I can adult tliH much li igard to the Inspirational theory that In netual work a phne does sometimes times come Into oneshea 1 hlh one feels bound to put In and It will happen hap-pen uf course that one day work come easily while another day It Is I mol difficult Then taking the subject n step further Sir Arthur lull particular tress upon one point of considerable Interval nx It li I n dlstlnKUlihlng feature or his method of work The stet thing I hale to deride upon said Sir Arthur Is I the rhythm and I decide on that before I conic 10 the irmvii of melody The notes must rom afterward Take for Instance the song from The flkndnA The Hun hoae j toys aie all aUnze with ever living glory You will tee that as Cur liS rhythm Is I concerned quite apart rom the unlimited possibilities of met oily there are a good many different nays of treating those lard You see no out or the Alx methods were con monl1lueo and I11Y first nhu aloayA Ito Ito + I-to gt ns much orlginatlll aK possible nut ot the rhthm unit then I upproh the qutlon or malady oflentnrd ot course Mr Arthur continued the melody may always come before meter with other composers but It Is I not f 0 with me If I feel that I cannot get the accents right In any other stay I mark out the meter In dots and dashes mill nol until I have quire rattled on the rhythm do proceed to actual notatloL A piece of music which will only take two mlnutea In actual perform once < quick time may necessitate flOur or no das hard work In the mere manual labor of orchestration apart Tom the original conu sltlon Th literary man tarn avoid manual labor Ina number of wnye but you cannot dictate musical notations to a sec tary taryWhen When the ketch Is I completed shlch means riling rewriting and alterations of even kind the work 1s I drawl out In aocnll1 skeleton score that Is I with all the vocal part and rests for symphonies etc complete but without a note or nONmlnnllnolll or Instrumental work of any kind although al-though I have nil that In my mho Then the voice parts ale written nut by the copyist nnd the rehearsals begin be-gin the composer or In his absence the accompanist or the theater s nmp Ing the nooompallitnent It Is I not un fit the mule has been thorough learned and the rehearsals Oil the ilnge with notion business and so oilare well advanced that I begin the work of orchestration When thaI Is I finished the hand parts are copied Iwo or three rehear sofa of the OFChestra ore held l then orchestra and Tolnes without any stage burl ness or talon and finally throe or four full r lieiirsals of the comrIln work on thmeteor lire enough to prepare the work for presentation to the public > onwhlle the full scar 1m been taken nml from It I on Accompaniment to the Voice part has been redued for the piano this work has recently Ion i undertaken by Sir Arthurs seem tary Wilfrid Randall himself a con looser ot numerou ueessrul operettas and cantatas wo that the words and lnuIlbnt Is I to say the music far the piano and the route part are ready for the public by the time the piece is I produced l nut the rapidity wllh which Sir Ir thuc Sullivan wades fs Indeed surprl Ing when one recollects the poser originality and beauty or the suit Ills first t ones Contrabandlta was comlJOJ scored and rehearsed with In Ixtn dogs from the lime he re celved the libretto The overture to Jolanlhe w es commenced at 9 p 1 m and finished at T a m the next morning That 10 The Yeomen of the Ouardthe I opera which In I now running an are vival In London was cormxsc < und scored In twelve hour while the epl logue to The Golden Legend which Cur illgnlty breadth and power as n Well known critic onco stated stain out from Among any 01 hit choral exam pies WII composed and scored wllhln twentvfour hours Apart train the creative part of the work such man uul dexterity la I Indeed almost Inorl1 life hieKir Sir Arthur says that although The Mikado and Pinafore would probably receive the popular vote The Yeomen of the auaid was his own ta orlte work In light opera bemuse the story told Is I of more sustolned and dramatic Interest And afforded him better app or tunlty rr more sentimental nail serious work Amusing stories me related of the rage which Pinafore created every wheie although curiously enough It went very Howl at first The rage extended to America and In n newe paper of fit time there Is n notice to tho effect thaI In one city alone IM 000 harrel organ were hUIII l I o play l nothing hut I llnnlo What never Well harpy ever became n catchphrase catch-phrase nt the mot tearful type On r dlxtrncteel editor found himself cum pelled to forbid the use of the rhtt e by his staff on pain ot Instant distills sal It oeci rred tw ntr times Inn In-n many articles > estrrdai > s cdltlo no sorrow fully said to them on one oc caslon Never It me are It used again What never wan the whet ly I unanimous question Well hard Y ever replied the wretched man |
