V
But most convincing of all in the testimony relating to the outcome of the eventful evening’s proceedings, was the decision of the Metropolitan Board of Directors, announced a few days after the première, to commission Taylor to write a second opera to be produced within two years from the date of his operatic debut.
Some idea of the public interest aroused through this promise of a second opera from Deems Taylor’s pen was reflected in the large amount of space devoted to the project by the daily papers. For several months after the announcement there was interested speculation both in musical circles and in the newspapers over the choice of his libretto. It was not until late in the Fall that Mr. Taylor, in a column interview, gave out the news that had been awaited with such lively anticipation; his manner of acquainting the world with his selection was thoroughly characteristic.
The opera was to be based on an American novel, the identity of which at that time, remained a mystery. But Mr. Taylor’s practical collaborator—his librettist—was to be none other than himself!
“I have found,” the composer related to a reporter for the Associated Press, “the most charming and compatible, the most accomplished and erudite of collaborators. We get along splendidly together. It is true that I fuss and say crude things to this collaborator, sometimes, but it is all taken in good grace.”
This same interview revealed another phase of the Taylor character, too significant to be overlooked in any discussion that pretends to reveal the man.
He declared that his new opera would be a product of the great city; that he had no tolerance for the widely exploited quiet of the country generally believed to be indispensable to those engaged in creative endeavor.
“I tried the country,” he confided to his interviewer, “and it is too noisy. There are katydids, tree-toads, crickets, week-end guests and mosquitoes; all terrible noise-makers. Besides, New York is the only place I can be alone. In New York visitors stay ten minutes. In the country they stay ten days.”
As to the nature of the new opera the composer described it as tragic-comic; half phantasy and half realism. “It has overtones of romance and nuances of practical life,” he said. “The emotions are typically American.”
When the new owners of the weekly periodical, “Musical America,” in search of an outstanding figure in the field of musical literature, one who would merit a sympathetic response from the musical public, selected Taylor for the post of editor-in-chief, they did no more than to reflect the high esteem that he had won for himself. The manner in which he took over the responsibility, as revealed in his declaration of intentions, in the issue of August 27th, 1927, was thoroughly characteristic of the man. Here he disclosed rare editorial acumen in a frank statement, analyzing minutely the qualities which the average American music-lover would seek in a journal, and promising that his program as director of the enterprise would adequately satisfy those needs.
And so it becomes apparent that Deems Taylor the man is quite as important as Deems Taylor the composer. No record of his achievements in the latter capacity is complete without mention of the sterling qualities that he built within his own character. The chronicler of his history finds no evidence on this point more startling nor convincing than the happy, friendly relationshipwhich exists between him and his publisher. Here indeed is a miracle, as witness the biographies of scores of the great composers of all times and observe the bickerings and transactions of distrust which have marked their dealings with the men who gave out their music to the world.