AustLit

The history of this 5 act musical drama is littered with controversy, legal action and bitterness. There are in fact three alternative versions, and although is is difficult to assess which one of these is the definitive (or superior) version, the story behind the creation of each of The Two Worlds does at least make for fascinating reading.

According to A. H. Kornweibel in Apollo and the Pioneers (q.v.) the situation arose through conflict between the two original creators, composer Joseph Summers Ph.D., and a literary-minded Roman Catholic priest, Father James Duff. Kornweibel notes, too, that the incidents hold a place in early Western Australian history not only for its oddity, but also for the unique nature of the litigation that arose from them. Dr Summers, who moved to Western Australia from Melbourne in early 1897 (Age 15 January 1897, p6), had previously established a high profile reputation as a conductor, composer and music director. Not long after settling in Perth, Summers met Father Duff, who had by then already begun working on a dramatic adaptation of Milton's novels Paradise Lost and Paradise Gained. Duff subsequently commissioned Summers to write music for the drama with a view to staging it for public performance in November 1900. Summers, in his memoirs, claims that he wrote thirty-four pieces of music for the work, although there was talk that only twenty-seven were to be used. Rehearsals were undertaken, and according to Summers there was also a private performance held in October at the Bishop's Palace before a 'distinguished audience.'

Kornweibel records that the collaboration was far from harmonious and before too long complaints, accusations, claims and arguments flew back and forth (p93). Before the proposed production could go ahead as scheduled, Father Duff pulled out of the collaboration and engaged local musician/music director Reginald D'Arcy-Irvine, to complete the score. Duff then began advertising that his "original dramatic oratorio in five acts," with special new scenery and music was to be produced at the Theatre Royal (Perth) on 10 November 1900. The score was said to be orchestrated by well-known composer/music director, David Cope, and the entire production was to be conducted under the baton of the D'Arcy-Irvine. In a counter-strike, Dr Summers began advertising that the premiere of his own production of The Two Worlds would be held on 7 November at Queen's Hall, three days prior to his adversary's production. A legal injunction was sought by Duff, leading to a court case the following March in which issues concerning the ownership of the music, copyright and the misleading of the public became the major points of contention. In the mean-time Summers was forced to cancel his production while Duff's version went ahead as scheduled on 10 November. The enmity between Summers and the Duff camp continued to spill into the public arena through a series of letters written by Summers and Duff's director, Harry Fitzmaurice. Summers' letter of 19 November sees him argue that the majority of the music for the Duff production was his. The songs mentioned are: 'High Matter' (prologue), 'Victorious King,' 'Glory to the Most High,' 'Hail, Holy Light,' 'Hail Earth's New King,' 'Open Ye Everlasting Gates,' 'Hallelujah,' 'Victory and Triumph,' 'Great are thy Works' and 'Holy, Holy, Holy. He also insisted that as several of these numbers were repeated in the production, the score was more his than D'Arcy-Irvine's (10).

Fitzmaurice's reply to Summer's accusations begged to differ, stating that while seven of the songs were Summers, the last two were in fact D'Arcy-Irvine's, and that 'Open Ye Everlasting Gates' had been completed by D'Arcy-Irvine because Summers failed to complete the composition. Several other songs apparently had to be scored using Summers vocal lines because he refused to hand over the instrumental parts (2). Summers eventually won the legal case, although conditions relating to full disclosure were made by the presiding judge. He then took the offensive, claiming damages against Duff, and seeking to ensure that the priest did not use his music for a planned Eastern states production. This case was brought to trial in August 1901, but neither party established a clear-cut win.

With regard to the Duff / D'Arcy-Irvine production, the West Australian provides a quite in-depth critique of the libretto and its relationship with the original text. In this respect the critic indicates that Duff's input was 'beyond ordinary criticism. With excellent taste and not a little constructive skill, Father Duff has used almost the insissima verba of Milton.' The review goes on to note that Duff, without abandoning the words of the original - 'only doing so to a very slight extent' - has succeeded in presenting a consecutive and readily intelligible narrative" (12 Nov. 1900, p5). Reginald D'Arcy-Irvine's responsibility as composer is said to have included 25 songs, with an additional six being the work of Dr Summers. He also conducted an orchestra of 14 local musicians. Although Kornweibel's account claims that the orchestrations were undertaken by David Cope, no record of his involvement in the 1900 production has been located in the West Australian.

The musical numbers written by D'Arcy-Irvine included two (only) arias, 'Satan's Lullaby' (sung by Harry Fitzmaurice) and 'Just are thy Ways' (soprano version by Hilda Harman and baritone version by Mr Hudson); a wedding hymn, 'Hail, God's Daughter' (Hudson) and the songs, 'Ye Birds' (quartette), 'Holy Lord God of Sabbath,' and 'Glory to the Father' (Barfield).