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Protection of Author's Copyright THE UNIVERSITY LIBRARY PROTECTION OF AUTHOR ’S COPYRIGHT This copy has been supplied by the Library of the University of Otago on the understanding that the following conditions will be observed: 1. To comply with s56 of the Copyright Act 1994 [NZ], this thesis copy must only be used for the purposes of research or private study. 2. The author's permission must be obtained before any material in the thesis is reproduced, unless such reproduction falls within the fair dealing guidelines of the Copyright Act 1994. Due acknowledgement must be made to the author in any citation. 3. No further copies may be made without the permission of the Librarian of the University of Otago. August 2010 RAFFAELLO SQUARISE (1856-1945): THE COLONIAL CAREER OF AN ITALIAN MAESTRO David Murray Volume I A thesis submitted for the degree of Doctor of Philosophy at the University of Otago, Dunedin, New Zealand. April 2005 Raffaello Squarise 1856-1945 COURTESY OF GEORGE GRIFFITHS Abstract This work examines the life of Raffaello Squarise (1856-1945), an Italian maestro who was a leading musician in the city of Dunedin, New Zealand, from 1889 until his retirement in 1933. Squarise worked as a professional in a predominantly amateur musical environment, and this thesis demonstrates his widely-felt presence and discernible influence in Dunedin’s cultural life, through his activities as a violinist, teacher, conductor, and composer. Furthermore, it illustrates the nature of the active musical culture in Dunedin, through Squarise’s participation in established local practices and the contrast provided by the ‘otherness’ of his Italian ethnicity. The thesis shows that a two-way adaptive process took place between Squarise and the Dunedin community, as each engaged with the unfamiliar culture of the other. The success of Squarise’s musical career in the antipodes, it is argued, was based upon his willingness to adapt to the cultural, intellectual, and musical environment of his adopted home. The method used in this study is that of interpretative biography: it conveys the experience of the individual while emphasizing context through the subject’s interaction with his environment. The sources of the research are mainly archival, and include Squarise’s personal papers, newspapers, the archives of local music organizations, and music ephemera. These are augmented by interviews undertaken with some of the few people (nearly sixty years since his death) who knew Squarise. The thesis is a study of the public more than the private man, but the sources are extensive enough to provide a thorough representation of Squarise’s professional activities. ii Preface I am grateful for the support given by many individuals and institutions over the course of this project. I am particularly indebted to my primary supervisor, Associate Professor Sue Court (Department of Music), who introduced me to Squarise and provided the original inspiration for this study. Her thoroughness and insightful comments have been immensely helpful, and her warm encouragement has relieved many a doubting moment. My supervisor in the Department of History, Dr Mark Seymour, has likewise played a major role, and his skills in focusing, editing, and directing this work have been invaluable. I am also grateful to my former supervisor, Dr John Stenhouse, who added much vision to this project in its formative stages. Among other scholars and musicians, I warmly thank George Griffiths for sharing my enthusiasm, and for his generous practical support. I am also grateful to David Dell, Peter Downes, John Drummond, Alistair Gilkison, Neil Hall (Royal Dunedin Male Choir), the late Ashley Heenan, Dianne James, Sergio Merlo, Michael McConnell (St Joseph’s Cathedral Choir), Jill Palmer, Margaret Phillips, Adrienne Simpson, and the late Jane Thomson. For researching several points on my behalf in Australia and Italy, I would like to thank Bruce Garner, Graham Jaunay, Jean Main, and Bianca Ottone. Thanks also to Tui Bevin, for proof-reading this work. The staffs at the libraries and institutions I have dealt with have been superb. I owe a great debt to those at the Hocken Library and to members of the reference staff at the University of Otago Library. I received great help at the New Zealand Room of the Dunedin Public Library and I am also grateful to the staffs of the Otago Settlers’ Museum, the Alexander Turnbull Library, National Library of New Zealand, Archives New Zealand, National Library of Australia, State Library of Victoria, State Library of South Australia, National Archives Australia, and the Biblioteca Civica Bertoliana (Vicenza). My deep thanks to members of the Squarise family, for allowing my intrusion into their personal world. I would particularly like to thank Raffaello’s great-nephew, Alessio Squarise, and his god-daughter, Joan Lye. It was a privilege to interview two iii former pupils of Squarise, Bill Hayward and the late Dora Leslie. I also owe much gratitude to the families of Squarise’s pupils and contemporaries, particularly Elizabeth Acland, Glenys Arthur, John Craven, Noeline Cys, Valmai Morrison, Glenda Mumme, Edward Newman, Geoffrey Orr, Roy Vannini, Edith Wicks, and Judy Williams. Finally, an enormous thank-you to my family and friends (especially flatmates!) who have put up with a great deal, and only sometimes shared the fun. I would particularly like to mention my fellow-students in the Department of Music, my colleagues in the Southern Sinfonia, and everyone at Opoho Presbyterian Church. To all who have supported me through this peculiar and rewarding journey of the past four years – thank you. David Murray iv Contents Volume One: Abstract ii Preface iii List of Contents v List of Illustrations vi List of Tables and Graphs viii List of Abbreviations ix Introduction 1 Chapter 1: The Foreigner, 1856-89 10 Chapter 2: The Stranger, 1889-90 42 Chapter 3: The Settler, 1890-8 68 Chapter 4: The Teacher, 1898-1904 117 Chapter 5: The Maestro, 1904-12 143 Chapter 6: The Patriot, 1912-19 176 Chapter 7: The Patriarch, 1919-45 196 Conclusion 222 Bibliography 230 Appendices A: List of the known compositions of Raffaello Squarise 244 B: Transcriptions of some biographical material relating to 247 Raffaello Squarise C: Programme for the complimentary concert tendered to 258 Raffaello Squarise on his retirement, 26 July 1933 D: List of the office-bearers and performing members of the 264 Dunedin Philharmonic Society, 1904-32 E: List of soloists who performed at Dunedin Philharmonic 276 Society subscription concerts, 1904-32 F: List of office-bearers of the Institute of Registered Music 279 Teachers of New Zealand, Otago Branch, 1905-2005 Volume Two: G: Extant compositions of Raffaello Squarise (2005) 285 v Illustrations Frontispiece: Raffaello Squarise 1.1: Raffaello’s mother (or stepmother) and father. 1.2: Francesco Canneti 1.3: Squarise’s violin 1.4: Raffaello Squarise, circa 1885 1.5: Squarise with Faustino Ziliani, circa 1885 1.6: The interior of the Theatre Royal after rebuilding 1.7: ‘The New Rotunda, Torrens Dam, Adelaide’ 1.8: Cover of The Adelaide Arcade Grand Polka 1.9: Camille Squarise in 1889 2.1: Main entrance of the New Zealand and South Seas Exhibition 2.2: A view of the Exhibition buildings from Maitland Street 2.3: Scene of the Exhibition’s opening ceremony, 26 November 1889 2.4: New Zealand and South Seas Exhibition Orchestra 2.5: Advertisement for the Exhibition’s Grand Band Contest 2.6: Raffaello Squarise, circa 1890 3.1: The Temperance Hall, later known as the Choral Hall 3.2: Cover of the second programme in the Squarise-Barmeyer series of chamber concerts, 20 March 1891 3.3: Right Revd Dr Patrick Moran 3.4: Revd Fr Patrick Lynch 3.5: Cover of The Dresden Popular Musical Album, 1892 3.6: Cover of the programme for the Dunedin Gesang-Verein’s performance of Rossini’s Stabat Mater, 19 September 1892 3.7: The Garrison Hall, Dowling Street 3.8: Founding members of the Dunedin Liedertafel, 1886 3.9: Cover of the programme for a Dunedin Liedertafel Smoke Concert, 26 April 1893 3.10: Advertisement for the opening night of Fabian 3.11: Caricature of Squarise by Fred Rayner 3.12: Cover of the Apollo Music Album, 1895 3.13: ‘Signor S——e’, verse from The Triad, October 1895 vi 3.14: Advertisement for the Citizens’ Band’s Grand Operatic Carnival, February 1896 3.15: The Dunedin Citizens’ Band, circa 1905 4.1: Raffaello Squarise in the late 1890s 4.2: Arthur James Barth 4.3: First Conference of Professional Musicians of the Dominion, Wellington, 1908 4.4: Conference of New Zealand Musicians, Auckland, 1909 4.5: May Donaldson 4.6: Margaret Sale 4.7: Mary Woods 4.8: Amy Coughtrey 4.9: Jack Wallace 4.10: Ngaio Garland 4.11: Reg Suttonn 5.1: Caricature of Squarise by Stuart Reid, 1906 5.2: The musical judges at the Timaru band contest, 1902 5.3: Cover of the programme for the inaugural concert of the Dunedin Philharmonic Society, 16 September 1904. 5.4: His Majesty’s Theatre, Crawford Street 6.1: 52 Tennyson Street, Dunedin 6.2: Another view of 52 Tennyson Street 6.3: Advertisement announcing that the Dresden Piano Co. has changed its name 6.4: ‘Now! Where’s that Bally Kaiser?’ Caricatures by Ernest Thompson, 1915 6.5: Burns Hall, Burlington Street 6.6: The Lyceum, Dowling Street 6.7: ‘Dunedin’s Chief Musical Asset’ 6.8: Caricatures of Squarise and Paget Gale by Ernest Thompson, 1915 7.1: Raffaello Squarise, circa 1925 7.2: Music Committee for the New Zealand and South Seas Exhibition, 1925-6 7.3: Some citizens who were connected with the Exhibition of 1889-90 7.4: Raffaello and Camille
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