CHAMBER -MUSIC IN MELBOURNE 1877–1901: A HISTORY OF PERFORMANCE AND DISSEMINATION Peggy Jane Lais Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy June, 2009 Faculty of Music, The University of Melbourne ii Abstract This thesis examines the history of the performance and dissemination of chamber music in Melbourne during the period 1877 to 1901. It explores the role and development of chamber music in concerts held by Melbourne’s leading musical societies and public subscription series, and various concerts featuring local and touring performers. Discussion is placed within an international context and the thesis asks whether local musicians were influenced by contemporary developments in Europe and if so, was the primary influence English or German? The bulk of the thesis explores the history of some of Melbourne’s musical societies and public concerts and focuses in particular on the repertoire that was performed, methods of program construction, the perceived ‘educational’ value of chamber music and performances within educational institutions. It demonstrates that performances of chamber music flourished during Melbourne’s economic boom of the 1880s, and that although performances declined during the following depression of the 1890s, standards of performance had improved, audiences were better educated and informed about chamber music, and Melbourne was relatively quick to introduce contemporary chamber repertoire. The first chamber works by local musicians and composers were also composed and performed in Melbourne during this period. The availability of competent musicians was a significant factor and played a role in determining the type of repertoire that was performed. With large numbers of competent pianists and string players, and very few wind players, present in Melbourne during this period, for example, the repertory tended to focus on works for piano and/or strings. The contribution of local and international performers, particularly English and German-born and/or trained instrumentalists, is also considered. English and German musicians not only had an impact on the shaping of the repertory, but also influenced the way that concerts were organized. These influences, however, often overlapped and were not always clearly defined. iii Declaration This is to certify that (i) this thesis comprises only my original work towards the PhD except where indicated (ii) due acknowledgement has been made in the text to all other material used (iii) the thesis is less than 100,000 words in length, exclusive of tables, maps, bibliographies and appendices Signature: _____________________________________________ Name in Full: ___________________________________________ Date: _________________________________________________ iv Acknowledgements I would like to thank my supervisors, Kerry Murphy and Jennifer Hill, whose energy, feedback and support, particularly during the early phases of candidature, gave me the confidence to see this project through. I am also indebted to Suzanne Cole who spent numerous hours helping me construct the ‘Chamber-Music Concerts in Pre-Federation Melbourne Database.’ Without her assistance the database would not have been possible. Numerous others have assisted me during the research phase of this project. These include Dr Barbara Wiermann (Hochschule für Musik und Theater, ‘Felix Mendelssohn Bartholdy’ Bibliothek, Leipzig) and Dr Thomas Synofzik (Robert Schumann Haus, Zwickau), who helped me locate valuable sources of information in Germany. Christina Bashford and Alan Bartley, who provided useful information about concerts in London. Jan Stockigt, Jin Bong and Johanna Selleck, who shared their insights and knowledge about other musicians and concerts in Melbourne, and the musicology staff and students at the Faculty of Music, University of Melbourne, who were always supportive and willing to assist in numerous large and small ways. I would also like to thank my family and friends, who continued to encourage me and believe in me through the tough times, and who patiently endured my enthusiasm for this topic. v Table of Contents List of Figures vi List of Tables vii List of Abbreviations viii Introduction 1 Chapter 1: Background 17 Chapter 2: Musical Societies and Chamber Music 28 Chapter 3: Chamber Music in Public Concerts 73 Chapter 4: Musically Educating the Public 113 Chapter 5: Repertoire and Program Construction 139 Chapter 6: The Influence of English and German Musicians 185 Conclusion 213 Bibliography 221 Appendix 1: 232 Appendix 2: 238 vi List of Figures Figure 1: 45 th Program for the Musical Society of Victoria 61 Figure 2: Nicholson and Ascherberg’s Matinée on 2 September 1876 84 Figure 3: Program for Allan’s 4 th Chamber-Music Concert on 28 July 1897 98 Figure 4: Chamber-Music Concerts occurring in each Month of the Year 101 Figure 5: Chamber-Music Concerts by Societies occurring in each Month of the Year 101 Figure 6: Public Chamber-Music Concerts occurring in each Month of the Year 102 Figure 7: Program for Louis Pabst’s 4 th Historical Concert in 1887 124 Figure 8: Number and types of Works performed 140 Figure 9: Number of Chamber Works for 2 to 8 Performers 140 Figure 10: Number of Chamber Works per Genre 142 Figure 11: Number of Instrumental Solos per Instrument 142 Figure 12: Program for Charles and Lady Hallés’ 5 th Concert in their 1891 Season 150 Figure 13: The celebrated violist J.B. Zerbini 191 Figure 14: Herr August Wilhelmj 196 vii List of Tables Table 1: Possible Premier Performances by the Musical Association 46 Table 2: Founding Professional Members of the Musical Artists’ Society of Victoria 50 Table 3: Possible Premier Performances by the Musical Artists’ Society and the Musical Artists’ and Organists’ Society 58 Table 4: Possible Premier Performances by the Melbourner Deutsche Liedertafel 64 Table 5: Touring Musicians and Companies that performed Chamber Music 76 Table 6: Grand Vocal and Instrumental Concert at the Town Hall 30 September 1876 79 Table 7: Public Chamber-Music Concert Series by Resident Musicians and Institutions 86 Table 8: Directors of the Melbourne Popular Concerts 92 Table 9: Number of Chamber Works for 2 to 8 Players 94 Table 10: Chamber-Music Performances by Arabella Goddard in Melbourne 1873–1874 105 Table 11: Lectures delivered in Chamber-Music Programs 1877–1892 128 Table 12: Characteristics of Miscellaneous and Homogenous Concerts 145 Table 13: Standard Program for the Monday Popular Concerts 1 151 Table 14: Standard Program for the Monday Popular Concerts 2 151 Table 15: Melbourne Popular Concert at the Masonic Hall on 1 July 1891 152 Table 16: Allan’s Chamber-Music Concert at the Athenæum on 8 June 1898 152 Table 17: The Leipzig Conservatorium’s Hauptprüfung on 21 February 1890 160 Table 18: The most-performed Composers across all Genres in Melbourne 1861–1901 163 Table 19: The most-performed Composers of Chamber Works in Melbourne 1861–1901 163 Table 20: The most-performed Chamber Works at the London Popular Concerts 164 Table 21: The most-performed Chamber Works in Melbourne 1861–1901 171 Table 22: Performances of Chamber Works by Resident Composers 181 viii List of Abbreviations ALLAN Allan and Co.’s Classical Chamber-Music Concerts BOSTON Boston Mendelssohn Quintette Club CLAUS Concerts featuring Jenny Claus GODDARD Concerts featuring Arabella Goddard GRIF Miss Griffiths’ Chamber-Music Concerts GUEN Concerts directed by T.H. Guenett HALLE Charles and Lady Hallés’ Concerts HISTORICAL Louis Pabst’s Historical Concerts HORSLEY Charles Horsley’s Classical Chamber-Music Concerts MAOS Musical Artists’ and Organists’ Society of Victoria MAS Musical Artists’ Society of Victoria MAV Musical Association of Victoria MDL Melbourner Deutsche Liedertafel MISC Miscellaneous Concerts (Not part of an official series) MPC Melbourne Popular Concerts MSV Musical Society of Victoria PABST Concerts directed by Louis Pabst PATTI Carlotta Patti Company PLC Presbyterian Ladies’ College REMENYI Concerts featuring Eduard Reményi RISV Louis Pabst’s Risvegliato Concerts SCHOOL School of Music Subscription Concerts VQS Victorian Quartet Society WILH Concerts featuring August Wilhelmj WILK Miss Wilkinson’s Chamber-Music Concerts 1 Introduction Many of us once resident in London have, time after time, passed such buildings as the Tower of London, the British Museum, and the National Gallery without ever entering them. If it were possible how gladly should we now avail ourselves of such opportunity. By a combination of circumstances we, in Australia, though thousands of miles away from the great centres of art, have at our very doors what may be correctly termed PERFECT PERFORMANCES of the chamber music of the greatest masters. 1 Chamber music was widely performed in Melbourne during the second half of the nineteenth century, particularly during the twenty-five years leading up to the Federation of Australia in 1901. There is much evidence to suggest that performances of chamber music were not only frequent but were also generally of a high standard, functioning as a staple in many concerts, and often fulfilling the demand for instrumental repertoire in the absence of permanent professional orchestral concerts. The performance and dissemination of high-art chamber music in Melbourne during the nineteenth century, however, is a topic that has received little attention from scholars of Australian music. While there has been research carried out on related topics such as Melbourne’s first orchestral concerts, opera, and amateur