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Meaning, Value and Social Process in the South African History of Handel's Messiah

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Meaning, Value and Social Process in the South African History of Handel's Messiah THE ESTABLISHMENT OF A MUSICAL TRADmON: MEANING, VALUE AND SOCIAL PROCESS IN THE SOUTH AFRICAN HISTORY OF HANDEL'S MESSIAH Submitted in fulfilment ofthe requirements for the degree of Doctor ofPhilosophy, in the Graduate Programme in Music, University ofKwaZulu-Natal, Durban, South Africa. CHRISTOPHER COCKBURN December 2008 DECLARATION I declare that this dissertation is my own unaided work. All citations, references and borrowed ideas have been duly acknowledged. It is . being submitted for the degree of Doctor of Philosophyin the Faculty of Humanities, Development and Social Science, University of KwaZulu­ Natal, Durban, South Africa. None of the present work has been submitted previously for any degree or examination in any other University. 15 December 2008 111 ABSTRACT Handel's Messiah occupies a unique position in the musical life ofSouth Africa. No item from the canon of 'classical' European choral music has been performed more often, over a longer period oftime, and in a wider range ofsocial contexts. This thesis seeks to answer two broad and interrelated questions: what were the social processes which brought this situation about; and how were perceptions ofMessiah's meaning affected by its performance in social contexts markedly different from those ofits origins? I concentrate on the two South African choral traditions for which Messiah has been central- those ofthe 'English' and 'African' communities - and on the period from the first documented performance ofany item from Messiah until the emergence ofa pattern ofannual performances, which I take as a significant indicator ofthe historical moment at which the music could be regarded as firmly established in its new context. The history ofMessiah's performance and reception in South Africa is traced using previous research on South African musical history and my own archival research and interviews. Following the broad outline of 'depth hermeneutics' proposed by John Thompson, I regard performances ofMessiah as symbolic forms in structured contexts, and I interpret them through an analysis ofrelevant aspects ofJennens's libretto and Handel's music, ofthe discourse that surrounded the performances (where examples ofthis have survived), and ofthe social contexts and processes in which the performances were embedded. In examining the interactions ofthese different aspects, I draw on a variety oftheoretical and methodological strands within musicology, cultural studies, and South African historical research. The cultural value accorded to Messiah emerges as a central theme. As a form of symbolic capital highly valued by dominant groups (the 'establishment') in the relevant South African contexts, it became an indicator of 'legitimate' identity and therefore ofstatus. For both the English settlers and the emerging African elite (the primary agents in the establishment ofMessiah in South Africa), it could represent the cultures in relation to which they defined themselves, towards which they aspired and within which they sought recognition: respectively, those ofthe metropole and of 'Western Christian civilization'. In political terms, this had the potential both to reinforce existing patterns ofdomination and to challenge them. Examples are given ofthe ways in which, at different moments in its South African history, Messiah was mobilized to support or to subvert an established political order, as a result ofthe specific meanings that it was understood to convey. v Acknowledgements Everyone who has expressed interest in this thesis, discussed aspects ofit, and given support, encouragement or practical assistance to me in a multitude ofdifferent forms (some not directly related to the thesis) has made an important contribution to it, perhaps more so than some might realize. To acknowledge all ofthem as they deserve would require another chapter, ifnot another thesis . Since the basis oftheir assistance has been that I should finally complete the thesis , I hope they will forgive me for not attempting to name them all individually, but that they will know that their contributions have been greatly valued. Professor Chris Ballantine has been, in the best sense ofthe word, a care-ful supervisor. I have never walked away from a discussion with him without having gained a deeper insight, a clearer perspective, or renewed enthusiasm and motivation to continue. His knowledge, experience, patience, and understanding have been immensely valuable. I have especially appreciated the quality ofenabling support which he provided, and perhaps above all, his awareness ofthe 'bigger pictures' within which my material and the research process itselfare located, and from which they derive their meaning. Specific aspects ofmy intellectual debt to his work are mentioned in Chapter 1. I would also like to acknowledge Professor Christine Lucia's willingess to discuss aspects ofthis research in its early stages, which helped considerably in determining the direction it finally took. I have continued to appreciate the encouragement and interest in the project which she has expressed from time to time . I have been grateful for Professor Emily Akuno's steady support and understanding in helping me to clear some space on my schedule for the completion ofthe final stages. A large number ofpeople kindly agreed to be interviewed for this research. I greatly appreciated the generosity with which they received me, the time they were willing to give to discussing my questions, and the unique perspective contributed by each one. Since this thesis represents only one part ofwhat turned out to be a larger research project, they do not all appear here, but I hope their valuable insights will be included in future work. I also record thanks here for the assistance provided by funds from the National Research Foundation, Rhodes University and the University ofKwaZulu-Natal. Colleagues, friends and family have in many and various ways had to accommodate the thesis over a long period oftime, and I thank them for their patience and kindness. The impact ofthe thesis on the lives ofthose closest to me has ofcourse been greatest. The final word ofthanks therefore goes to Karin, who may now be able to enjoy a holiday that is not also an opportunity to track down another piece ofdata or write about the pieces already gathered. vii CONTENTS Acknowledgements vii CHAPTER 1: INTRODUCTION 1 Origins and scope ···..·································· ··· 1 Theoretical and methodological locations 5 Process andform ·· ································16 Matters ofreference 20 PART 1: THE 'ENGLISH' MESSIAH 1. 23 CHAPTER 2: FIRST POSITION - HALLELUJAH FOR CAPE TOWN 23 A long wait 23 Unravelling history: what happened in 1830? 25 Unravelling meaning: 'Hallelujah' as status (and) symbol 30 CHAPTER 3: 'AND EVERYWHERE THE BRITISH WENT, "MESSIAH" WAS SURE TO GO' - EXCERPTS, 1845-1863 38 Cape Town: occasionsfor fundraising 38 Grahamstown: tasteful transformations 44 Durban: joining the chorus 50 Port Elizabeth: not to be left behind 54 Summary 57 CHAPTER 4: THE FIRST COMPLETE PERFORMANCES 59 Cape Town, 1863: the talk ofthe town 59 Pietermaritzburg, 1864: a nick on time's tally 70 PART 2: THE 'ENGLISH' MESSIAH 2 80 CHAPTER 5: FURTHER PERFORMANCES IN THE 'BIG FIVE' 80 Pietermaritzburg and Durban 80 Grahamstown 84 Cape Town 86 Port Elizabeth 89 CHAPTER 6: EASTERN CAPE EXPANSION 92 Queenstown 92 King William's Town 96 East London 98 CHAPTER 7: MOVING NORTH 102 Bloemfontein 102 Kimberley 105 Pretoria 108 Johannesburg 112 IX CHAPTER 8: THE ANNUAL PERFORMANCE PHENOMENON 114 Pietermaritzburg 114 Johannesburg 117 CHAPTER 9: THE IMPERIAL ' M ESSIAH' 126 PART 3: THE 'AFRICAN' MESSIAH 1 · 141 CHAPTER 10: EASTERN CAPE BEGINNINGS 141 Grahamstown, 1863: A tonic sol-fa triumph 141 A new agency: Peter Masiza 147 The missionary institutions and the emergence ofan African elite 149 CHAPTER 11: INTO THE TOWNSHIPS 162 The Abantu-Batho Musical Association 162 Eisteddfods, competitions andfestivals 168 CHAPTER 12: 'WE HAYE MADE SOME PROGRESS' - THE FIRST COMPLETE PERFORMANCE 173 PART 4: THE 'AFRICAN' MESSIAH 2 182 CHAPTER 13: A BRIEF ORCHESTRAL INTRODUCTION - JOSEPH TRAUNECK AND LUCAS MAKHEMA 182 CHAPTER 14: THE 'TOWNSHIP' MESSIAH - KHABI MNGOMA 191 A pro/con-fusion ofvoices at Orlando 192 'Starting a tradition' in Soweto 205 CHAPTER 15: THE 'TOWN' MESSIAH - THE JOHANNESBURG AFRICAN MUSIC SOCIETy 214 CHAPTER 16: THE IONIANS TAKE THE LEAD 230 CHAPTER 17: CONCLUDING 236 A first story: 'England' into 'Africa ' 236 A second story: 'Africa' into 'England ' 240 Ending the stories 243 Connecting stories 244 REFERENCES 249 Archival sources 249 Interviews 250 Historical Newspaper and Periodical Sources 250 Bibliography 257 x CHAPTER 1: Introduction Origins and scope My first memory ofHandel's Messiah is surprisingly clear and specific. Its visual component consists ofthe stage ofthe City Hall in Pietermaritzburg, and focuses particularly on the wooden tiers leading up to the towering carved woodwork and golden pipes ofthe organ, on which are arrayed (in black and white costume) the members ofthe Pietermaritzburg Philharmonic Society. It is an impressive sight, particularly for a small boy seeing it for the first time, and my sense ofthe importance ofthis event is only heightened by the packed hall. It is therefore with a certain sense ofpride that I pick out amongst the singers several people that I know, including (in the front row ofthe altos) my mother. Perhaps that personal connection accounts for the aural component ofmy memory: not the overture, nor
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