Los Angeles herald. [microfilm reel] (Los Angeles [Calif.]) 1900-1911, 1909-07-13
Musical

Ny HE authorities of the Royal opera
house in Berlin last week accepted
II for production a grand opera in
three acts entitled "Poia," the libretto
of which Is by Randolph Hartley and
the music by Arthur Nevin. Both the
composer and librettist are Americans;
the opera is upon an American Indian
subject, and the work Is the first
American composition of its kind that
has ever been accepted by court the
alter in Europe.
The story of the opera concerns
legendary character named POia, who
in order to win the love of girl of
his tribe made a hazardous journey to
the home of the Sun God, and, because
of his bravery and devotion, was chosen
by the gods to be their prophet upon
earth. The legend upon which the lib
retto is founded is really the Christ
story of the Indians of the northwest
1t differs from similar legends pos
sessed by all races chiefly in the fact
that human love is the inspiration that
leads the hero. to spiritual perfection.
The action takes place at period long
before the arrival of white men in
America and the characters are all
Indians and personages of Indian
mythology. Mr. Hartley has, it is said
followed as closely as was possible in
the dramatic form the original Indian
legends, which were gathered and
translated by Walter McClintock, a
young American ethnOlogist who has
made a speciality os Indian folklore. Mr.
Nevins score is based upon original
Indian themes which he himself oh
tanned at first hand from the Indians
of the northwest. The work, as an op-
era, is, however, constructed upon the
accepted lines of modern music drama
The first production of "Poia" at the
Berlin opera will occur next season.
Harrison Gray Fiske, in the editorial
column of the Dramatic Mirror, writes
of the opera and its authors as FOL
lows:
THE acceptance of the Randolph
Hartley and Arthur NeVin's grand
opera 'Poia by the Royal opera house
of Berlin marks a very important step
forward in regard to the recognition
of American art abroad.
Never before has a serious opera by
Americans been accepted by euro
pean court theater.
"That a native librettist and COM
poser have been forced by conditions at
home to go abroad for hearing is a
matter over which Americans have no
reason to be proud, but since they were
Obliged to carry their Goals to New
CASTLE it is gratifying to know that
their work has won, merely through Its
acceptance by the authorities of the
Berlin royal opera, the highest recog-
milton in the world of operate art.
This means that the libretto first
passed muster under the readers, the
stage director and the director general
and that the music gained the approba-
ton of such authorities as Humper-
dinck and Muck, who are among the
examiners at the Berlin opera.
"There is likely to be little favor
shown in such examinations at the
kaiser's own opera house, and the work
Of the two Americans had to stand
comparison with the work of the fore
most European librettists and compos-
ers of the time.
Both Mr.. Hartley and Mr.. Nevin are
men of ability, and though compare
lively young in years. have served long
apprenticeships in their chosen fields.
The fact of the acceptance of the work
by the distinguished authorities of the
royal opera almost insures its artistic
success, and places the hallmark of
artistic efficiency upon the librettist
and composer.
I'm this case, as in so many other
cases. native opportunity was neg
lected. It is understood that 'Poia' was
submitted to the authorities of the
Metropolitan opera house, New York
and declined.
when will America display and en-
force original judgment in such mat
ters?'
There was recently organized in Los
Angeles, San Francisco and Seattle
"centers" of the Americans Music So
ciety at whose head stands that in
defatigable champion of American mu-
sic and musicians-Arthur Farwell.
This society has as its aim one of the
most important and difficult tasks ever
assumed by any organization, says the
Pacific Coast Music Review. 1t Is the
difficulty of the fulfllment of the plans
of this society that lends the greatest
zest to it's promoters. 1t is easy enough
to promulgate ideas acceptable to the
public at large and to be successful
when everyone you meet gladly offers
you assistance. But it is not so easy
to launch and supervise a movement
that by it's very nature arouses preju-
Ciices opposition and skepticism among
the majority of the people you desire
to enlist among it's missionaries. When,
a number of years ago, Mr.. Farwell be-
gan his famous movement of the Wa
Wah Press in Newton Center, Mass
n movement especially organized for
the purpose of giving American COM
posers an opportunity to have their
works puDDSneu-OnlS very SllIdlt
percentage of those who read or heard
about this movement gave it any seri-
GUS thought and even those who We're
heart and soul with Mr.. Farwell and
his work looked upon the new move
nlent more as a beautiful dream than
a practical enterprise.
MIR. Farwell's desire to encourage the
publication of the works of American
composers arose from a set purpose to
find a means by which it is possible to
establish a distinctly American school
of composition. Mr.. Farwell, like all
the Americans, believes it to be pos
sible that there is no reason why an
American school of composition may
not be as firmly established upon the
musical annals of the world as a Ger
man, French, italian, Russian and
other national schools of music. Mr..
Farwell believes that the Indian, being
the only typical native of this CONT
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