Henry Lewis Reginald De Koven.
When individuality is allied to talent the world stands ready to recognize, applaud and recompense. But the welding process is not to be accomplished without faithful and constant effort. The results approximate genius so closely that the division between it and mere talent is more theoretical than absolute. All this applies to Henry L. R. De Koven, the composer, who is one of the younger, and, at the same time, one of the most successful of American musicians. Comic operas there are and comic operas there will be, but in most instances the end of their vogue marks also the end of their existence. In the case of Robin Hood, The Highwayman, and other of Mr. De Koven’s works, it is otherwise. Those named and others bid fair to remain popular beyond the limits of this generation. The composer was born at Littleton, Connecticut, April 5, 1861, his father being a clergyman. At first educated in public schools, he later went abroad, and was graduated from Oxford, England, in 1880. Like other successful composers, he gave indications of his love of music at an early age, and, during his college course, fostered his special gifts by constant study. After graduating, he studied still further under masters at Stuttgart, Florence, Paris and Vienna. On returning to this country he acted as musical critic on various publications coincidently with his work as a composer. Apart from his many operas he has written a number of songs. In 1884 he married Anna Farwell.
Maurice Grau.
Maurice Grau, who for many years was prominently identified with the exploiting of grand opera in this country, was born in Brünn, Austria, in 1849, and came to New York with his parents at the age of fifteen. He graduated from the Free Academy, New York, in 1867, attended the Columbia law school and later was for two years an employee of a law firm. Mr. Grau, however, was gifted with foresight. He saw that the citizens of this country, on recovering from the stress and strain of the Civil war, would not only be possessed of money with which to gratify their artistic instincts, but that these same instincts would come into active being. In other words, in his own way, Mr. Grau had faith in the recuperative powers of the United States. In 1872, therefore, he became manager for Aimée, the opera bouffe prima donna, and was also the manager of Rubenstein, pianist; Clara Louise Kellogg company, Salvini and other foreign musical and dramatic stars. Finally he became a member of the firm of Abbey, Schoeffel & Grau. Sarah Bernhardt, Patti, Henry Irving, Coquelin, Jane Hading, Maunet-Sully and Mlle. Rejane were exploited by the firm. Until 1902 he was managing director of the Maurice Grau opera company and lessee of the Metropolitan opera house, New York, in which capacity he annually produced for some years standard grand operas, the casts of which included the most famous singers of the present generation. He furthermore has acted as managing director of the Royal opera house, Covent Garden. On 1903 Mr. Grau severed his connection with the Metropolitan opera house, much to the regret of those to whose musical taste he had so successfully catered.
Victor Herbert.
The secret of success, as far as those who cater to public amusement is concerned, is the placing of one’s fingers upon the pulse of the public and shape one’s methods and manners in accordance with the knowledge so obtained. Victor Herbert, the composer, has so shaped his career, and, while his work is more or less identified with the lighter forms of comic opera, he nevertheless has exhibited unmistakable musical genius. Mr. Herbert was born in Dublin, Ireland, February 1, 1859, and is the grandson of Samuel Lever, the author of Handy Andy, and other Irish novels. He began to study music in Germany when but seven years of age, and took lessons from a number of masters. While yet a boy, he was appointed the principal ‘celloist of the court orchestra in Stuttgart. After more study and a prolonged tour in Europe, he came to this country as ‘cello soloist of the Metropolitan opera house orchestra in New York. During his career of almost uninterrupted professional successes, he has been connected with the Thomas, Seidl and other orchestras in the capacities of ‘celloist and director. He has also been bandmaster of the Twenty-second Regiment of the national guard of the state of New York, and, in 1898, was made conductor of the Pittsburg (Pennsylvania) orchestra. Among the many comic operas which he has written are The Wizard of the Nile, The Viceroy and The Idol’s Eye. He is also the author of a number of orchestral compositions. In 1886 he married Theresa Foerester, a prima donna.
Leonora Jackson.
Of the many American girls who have made riches and reputations as violinists, none is better known to the musical world of this country and abroad than Leonora Jackson. Still a girl as far as years go, she has acquired a reputation as a virtuoso that usually comes to one in the sere and yellow times of life. She was born in Boston, February 20, 1879. After an education received in Chicago public schools, during which time she studied her favorite instrument, she went abroad and became a pupil in the Royal school of music, Berlin. While still a child, she made her début in Europe and scored an instantaneous success. She has appeared in concerts with Paderewski, Patti and other famous singers and musicians and has added to her reputation by scores of performances before musical societies in America and on the continent. Audiences of the Boston symphony orchestra concerts know her well. During the season of 1900 and 1901 she gave one hundred and sixty concerts in the United States, securing for herself in this connection a national reputation. Queen Victoria decorated her as a recognition of her talents. Miss Jackson has also appeared before the German empress and many other notables of Europe.