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Anglican Church Music in Canterbury 1850-1900

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Anglican Church Music in Canterbury 1850-1900 ANGLICAN CHURCH MUSIC IN CANTERBURY 1850 - 1900 A Thesis presented in partial fulfilment of the ~equiipI1entsCL for the Degree of Master of Arts (and Honours) in History and Literature of Music by c. P. Bornet University of Canterbury 1973 i. TABLE OF CONTENTS List of Plates iii., Acknowledgements vii" Preface viii" Prelude - the Godley Period 1850 - 1856 1~ PART I 1. Early attempts at choirs - Avonside, Christ's College, Rangiora, Lyttelton, 1857 - 1860 9 2. The New Era - St. Michael's, St. Luke's, Lyttelton, 1863 - 1865 33 56 L¼-. The Choral Breakthrough - St. John's 1865 - 1869 73 PART II 1. Parker at St. John's 1869 - 1872 88 2. The Seventies: 108 ii. PART II 1. Parker at St. John's 1869 - 1872 88 2. The 'Seventies: 108 Prelude 108 Formation 1870 - 1873 112 Maturit~ 1874 - 1877 135 Disintegration 1877 - 1879 167 PART -III Diocesan Feeling in the Depres2ion - Cathedral, D.C.A. ~ 1880 - 1900 180 Appendixes A. Music Lists of the Association 207 B. Preface to the Tune Book of the New Zea!~g_Hymn~l 210 Q. New Zealand Church News on the New Zealand Hi~~! 212 D. "A simple chant service" by Robert Parker 217 Bibliography 221 iii. LIST OF PLATES after Plate page no. 1. Temporary Church, Christchurch, sketch by A.C.Barker, dated 27 September, 1854. This later became the central nave of old St Michael's, 1861 - 1871 CML 6 2. Temporary Church, Christchurch, interior, ,y A.C.Barker, dated 27 September, 1854. The Bevington organ came out in January, 1851 in the Castle Eden with Thomas , Jackson. CML 6 3. Lyttelton in 1853. Painting by E. Norman 7 4. First Lyttelton Church, Architect, B.W.Mountfort. Sketch by J.E. Fitzgerald, one of a set presented to J.R.Godley, 1 January, 1853 CML 7 5. Papanui Church, by A.C.Barker, dated 9 December, 1852 17 6. Rangiora Church, interior, 1864 17 7. Holy Trinity, Lyttelton, Architect, George Mallinson, c.1870 CML 26 8. Old St. Michael's, Christchurch, with Bevington organ at west end by A.C.Barker 45 iv. 9. Old St. Michael's, showing chancel and prayer desks, by A.C.Barker CML 45 10. St. Luke's, c.1864, taken from the site of the present Town Hall, by A.C.Barker CML 45 11. St. Pater's, Riccarton, interior, dated 12 May, 1871, by A.C.Barker CML 45 12. Lyttelton Church Choir advertise­ ment, in Lyttelton Times, 30 April, 1864 50 13. ~w Zealand Hymnal: title page 60 14. Tune Book for the New Zealand Himnal: title page. 60 15. St. John's, Latimer Square, Architect, Maxwell Bury, c.187Q CML 80 16. St. John's, Latimer Square, interior, c.1870 CML 80 17. Choir of St. John's, Latimer Square, c. 1870 106 18. St. Mary's, Merivale, drawings by Robert·Speechly, 1864 CML 121 19. Detail of Plate 18. 121 20. St. Stephen's, Christ Church, New Brunswick, Architect, E.S.Medley, 1863-1864, photo by George L. Hersey 130 v. 21. St. Michael's, Christchurch, Architect, C.W.Crisp, c. 1873, by A.C.Barker CML 130 22. St. Michael's, interior, temporary chancel, c.1873, by A.C.Barker CML 130 23. Riccarton Church, showing new stone chancel mated to the old wooden building, c. 1880 155 24. Riccarton Church, interior, c. 1880, Hill organ installed 1879; the stalls for surpliced choir men and boys are elevated, those below being presumably for women members 155 25. St. John's, Latimer Square, choir in the 1890s, by E.Wheeler 156 26. _Philipst0wn Church, Architect, B.W.Mountfort, c. 1890s 156 27. Cathedral organ (Hill and Sons) in north transept, c. 1900 183 28. Some members of the first Cathedral Choir; A.J.Merton in back row, 4th from left (with beard) 183 29. Cathedral Choir in 1889; Rev. Walter Dunkley, precentor, in centre by E.Wheeler 183 30. Timaru Church Choir in the 1890s, by A. Fisher South Canterbury Historical Society 198 vi. 31. Riccarton Choir in 1886 199 32. Riccarton Choir in the 1890s 199 ABBREVIATIONS C.M. Church Mag~zine C.Q. Qgurch Quart~~l~ Paper o.s. Qanterbur~_Standard L.T. !!~ttelton Ti~ NZON New Zea~nd Caurch News P. Press ATL Alexander TurnbullLibrary CML Canterbury Museum Library CPL Canterbury Public Library CUL Canterbury University Lib:t-ary NOTE Throughout the text the abbreviations s. and St. are used according to their orginal usage by high and low churchmen of the period. vii. ACKNOWLEDGEMENTS I wish to thank si~cerely all who have helped me in the preparation of this ~hesis. In particular I am most grateful to Mr John Cottrell of Church House for freedom to rummage in the diocesan archive room, and to Mr John Wilson of the Canterbury Museum £or most of A.C.Barker's photo­ graphs and the inventories of the early schools; to Mr Robert Lamb of the Canterbury Public Library and Dr Davia Macmillan who shed light on some interesting side topics, and to the Alexander Turnbull Library for biograp~icral details on Robert Parker and Mary Brittan. Thanks are also due to R.C.Charteris, John Curnow, Librarian of St. John's College, Auckland, A.R.Wards and the clergy of local parishes for lending pertinent material. But special acknowledgement must go to my supervisor, Dr B.W.Pritchard, for his unfailing encouragement and most helpful criticism. Often he rekindled the flame when it was in danger of going out. viii. PREFACE S~Jakint· to members of the Lyttelton Colonists' Society in 1851, John Robert Godley outlined the fortunes of the Canterbury Association, both in London where it originated, and in New Zealand. It had, he noted, followed a pattern typical of many other groups whose idealistic aims were insufficient to keep the formal body from collapse. And although his remarks were concerned specifically with political and economic development, they are so pertinent to the history of local Anglican choirs over the first half century of settlement that they merit quoting in full. Amateur organisations, often admirably conducted at first, under pressure of that enthusiasm which gives rise to great under­ takings, almost invariably tend to fall off rapidly. The enterprise which at first presented only abstractions becomes compli­ cated with obstacles, difficulties and discontents. Then follow weariness and neglect on the part of those who conduct it and the affair comes to be more and more left to the exclusive management of the paid' officials, whose nominal funcyions are strictly subordinated and who have in fact the pecuniary interest which it was the principle of the Association to be free from. Thus Godley saw the initial dreams of vision- aries forged into a semi-realised state, only to wither as the realities of the true situation gradually dawned. Excitement wanes and despair takes over unt:i;l a·new idea ~(§i&es:'libe people's imagination and the cycle begins an~w. Only too . often it is the partially fulfilled state that emerges as the climax. In the earliest years of settlement congre- ix. gational singing was dominant and the choir, made up largely of childrtn, had little independent work: they existed solely to provide a strong lead for those in the pews. Their training took place as a normal part of school activities while for the adults, practices were arranged as evening classes. Music was therefore of the simplest nature, and on the ordinary Sunday, psalms and hymns were generally deemed sufficient. During Godley's own time the choral service reflected the demo­ cratic life of the a~ill young community where music was seen as a necessary recreation and not merely as an enjoyable pastime relegated to odd free moments, an innocent luxury indulged in by the well-to-do. After 1853 however, the informal spirit submerged as current theories of moral improvement assumed increasing weight. A quality of earnestness began which characterised the whole development of church music in Canterbury. Above all, it made foretgn~th~ activity of those singing groups of the Godley period. Some of the earlier ideals remained for a time it is true, notably in efforts to improve the congregation's response, but with increased emphasis laid on the choir, the rise of a separate body was inevitable. Ironically enough, the end product was little difterlnt from that which they had discarded and many were the occasions when the cathedral would have a full choral service with the nave empty. Thus in a history of local church music, the outline presented by Godley begins not in 1851 but towards the end of the first decade. The three periods are clearly defined: x. 1. 1857 - 1869. Choirs grow and establish themselves as an alternative to weak congregational singing. 2. 1869 - 1878. Years of prosperity and success, when choirs emerge victorious over the congregations. ;. 18?9 onwards. Decline of the choirs brought on by the dominance of the cathedral. Such a scheme based entirely on internal organisation has the merit of simplicity. It is also largely artificial. When we admit the controlling factors of all three periods were the growth of experience and population, we are pointing to an external relationship between church choirs and the outside world: the changing political, economic and social factors cannot be left out. The pattern is therefore more complicated as other cycles become superimposed on the original threefold division. It was noted that a new seriousness accompanied the formation of the choirs. We should not wholly deride this much maligned feature of Victoriana for the new determination made for progress.
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