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THE EFFECTS of the EARTHQUAKES on the CLASSICAL MUSIC LIFE of CHRISTCHURCH, September 2010 – May 2013

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THE EFFECTS OF THE EARTHQUAKES ON THE CLASSICAL MUSIC LIFE OF CHRISTCHURCH, September 2010 – May 2013 Andrew Moore Student No. 63984601 Senior Supervisor: Elaine Dobson Assoc. Supervisor: Dr Jonathan Le Cocq A thesis submitted in fulfilment of the requirements for a Master of Arts School of Music, University of Canterbury, Christchurch, New Zealand. May, 2013 TABLE OF CONTENTS Vol. 1 Page Abstract i Acknowledgements ii-v Illustrations vi-ix Abbreviations x-xii Introduction 1 Chapter 1 The Earthquakes 16 1.1 The Loss of Performance Venues 22 1.2 Alternative Venues 27 1.3 The Financial Effects 35 1.4 The Personal Effects 37 Chapter 2 The Orchestral Scene 39 2.1 Professional Orchestras 39 2.2 Amateur Orchestras 47 2.3 Training Orchestras 54 2.4 Music in Schools 57 Chapter 3 The Choral Scene 78 3.1 Christchurch City Choir 78 3.2 Cathedral Choirs – Anglican and Roman Catholic 82 3.3 Chamber Choirs 89 3.4 Community Choirs 93 3.5 The Positive Effects: New Choirs 96 Chapter 4 Opera in Christchurch 100 4.1 Administrative and Organisational Changes 101 4.2 The Earthquake of 4 September, 2010 102 4.3 The Earthquake of 22 February, 2011 104 4.4 Merger with NBR New Zealand Opera 109 4.5 The Future 113 Chapter 5 Ballet in Christchurch 116 5.1 Royal New Zealand Ballet (RNZB) 117 5.2 The Local Ballet Scene 121 5.3 Student Numbers 127 5.4 Losses Sustained 130 5.5 Ballet Performances since the Earthquakes 132 Chapter 6 Chamber Music 137 6.1 The National Scene: Chamber Music New Zealand 138 6.2 The New Purple Forbidden City Orchestra of Beijing 146 6.3 Chamber Music in Christchurch 147 6.4 The International Akaroa Music Festival 150 6.5 New Zealand International Cello Festival and 153 Competition Chapter 7 Brass Bands 156 Chapter 8 Music at the University of Canterbury 166 8.1 The Direct Effects of the Earthquakes on the School 166 of Music 8.1.1 Performance Venues for School of Music Students 172 8.2 Organisational Changes: Not Directly Earthquake- 176 Related 8.3 Student Issues 188 8.4 The Effects of the Earthquakes on Staff and Students 193 Chapter 9 Independent Music Academies 197 9.1 The Pettman Junior Academy 197 9.2 New Zealand Suzuki Institute Academy 201 9.3 Christchurch International School of Music 206 Chapter 10 Registered Music Teachers 208 10.1 Itinerant Teachers of Music, Working in Schools 208 10.2 Private Music Teachers 217 10.3 The Effects of the Earthquakes on the Work of 226 Music Teachers Chapter 11 Trinity College, London 235 Chapter 12 Related Musical Activities 246 12.1 Music Therapy: Its Use in Addressing the Needs of 246 Individuals in Society 12.2 The Champion Centre for Children with Severe 248 Disabilities 12.3 Mini Music 255 12.4 Gap Fillers 258 Chapter 13 Music Inspired by the Earthquakes 263 13.1 Vocal Music 263 13.2 Music for Brass Instruments 265 13.3 Orchestral Music 267 13.4 Other Earthquake-Related Compositions 273 13.5 Compositions for Special Occasions 278 Chapter 14 The Effects of Political Decisions on the Recovery of 282 Music In Christchurch 14.1 Problems Arising from the Revision of the Building 283 Standards 14.2 Governmental Decisions that are Likely to Affect the 287 Revival of Music in Christchurch 14.2.1 The Town Hall 288 14.2.2 Limitation on Allowances for Tertiary Study 292 Conclusion 295 Table of Cancelled Concerts 312 Bibliography 314 Appendices Vol. 2 Vol. 2: Appendices Appendices Cover Sheet Table of Appendices Appendix A Representation to, and Approval from University of Canterbury Human Ethics Committee Appendix B Information ad Questionnaire for Participants Support Services available to Participants Appendix C Consent Forms Appendix D Permission from Christchurch Press and Timaru Herald to use photographs Appendix E Summary Transcripts of interviews Appendix F E-mailed responses to questions Appendix G Road Map of Christchurch, showing where musical organisations have moved to as the result of earthquake damage Appendix H Aurora Centre: Templates used to assess rental charges Appendix I Transcript of review of NZSO concert performance of Die Walküre Appendix J Promotional Brochures and Concert Programmes Appendix K NZQA: Guidelines for Registration of Private Teaching Establishments Appendix L University of Canterbury School of Music Appendix M Pettman Academy: List of Tutors, and Newspaper cutting regarding the Academy’s break with the University of Canterbury Appendix N Music composed to commemorate the earthquakes Music Scores Appendix O Recordings of music composed: CD (No. 1) Track 1: Patrick Shepherd, Elegy for a Fallen City Performed by Jubilate Singers Track 2: Reuben Derrick, Remains A soundscape Tracks 3-9: Elaine Dobson, Extraordinary Facades A work for the University of Canterbury Gamelan I Facade 1 UC Gamelan Banyu Gunung Salju II Resonance 1 Gender Rambat – Wendy Wethey, Christopher Wethey Gender Wayang - Ewen Glasgow, Lucan Scott, Jordan Ryan-Pears, Sam Waite III Facade 2 UC Gamelan Banyu Gunung Salju IV Resonance 2 Tuba – Michael Cwach Reyong – Harikoa Bronsdaughter-George, Elaine Dobson, Stuart McKay, Sundharsan Sivaramakrishnadas V Facade 3 UC Gamelan Banyu Gunung Salju VI Resonance 3 Gongs – Harikoa Bronsdaughter-George VII Facade 4 UC Gamelan Banyu Gunung Salju C D (No. 2) Patrick Shepherd, Earthquake Symphony: First Movement, The Fallen Cathedrals Appendix P Chisnallwood Intermediate School: Music Report 2012 Appendix Q Newspaper extracts relevant to this thesis Town Hall Cathedrals Arts Centre, CSO Theatre Royal U of C School of Music School Issues General i ABSTRACT As part of the Canterbury Earthquake Digital Archive, this thesis documents the effects of the earthquakes on the musical life of Christchurch. It concentrates, primarily, on the classical music scene. The thesis examines the difficulties experienced by musical organisations, individual musicians, and teachers as they sought to bring music to the broken city, together with the measures that were necessary in order to overcome those difficulties. It examines how those organisations have worked to re-establish themselves in their particular musical fields. It charts the progress made, to date, along the path to recovery and offers suggestions regarding precautionary measures which, if instituted, could reduce the after-effects of a future disaster. Recognising that not all of the difficulties encountered were directly related to the earthquakes, this thesis also examines the effects on music and musicians, of decision making associated with the recovery effort. The thesis also demonstrates how a destructive event can provide the inspiration for creativity. It recognises the importance of music in maintaining a sense of normality for people, whether they realise it or not, as well as its influences in providing emotional relief in times of stress. Hopefully, it may become a useful guide to which other cities that may be faced with some natural disaster, could refer. ii ACKNOWLEDGEMENTS I wish to acknowledge the contribution of the representatives of the many organisations researched in this thesis. Without their generous assistance and co- operation the thesis could never have been undertaken. To all those who have granted interviews, and provided the information upon which the thesis is based, I wish to extend my grateful thanks. Their experiences over the two and a half years since the September 2010, earthquake have, at times, been painful, and to have to re-visit those experiences in order to give a complete picture of how the earthquakes have affected their lives has not been easy. I respect their confidences and appreciate the trust that they have placed in me. Orchestral: Christine Hainstock (NZSO) Gretchen La Roche (CSO) Paul Russell (Garden City Symphony Orchestra) Anthony Ferner (Risingholme Orchestra) Luke Di Somma, Katrina Finch and Joanne Vergeer (Christchurch Youth Orchestra) Elaine Dobson (U. of C. Gamelan) Sue Bealing (Resonance Ensemble) Schools: Rachael Hawkey (St Bede’s College) Malcolm Long (Cathedral Grammar School) Judith Bell (Chisnallwood Intermediate School Jane Herman and Areposeta Timu (Aranui High School) Carolyn Pritchard (Westburn School) Sean Whitaker (Christchurch School of Music) Delwyn McKenzie (Shirley District Music School Robert Tait (Outreach Services) Choirs: Jennifer Sutherland (Christchurch City Choir) Brian Law and Jeremy Woodside (ChristChurch Cathedral Choir) Don Whelan (Choir of Cathedral of the Blessed Sacrament) Grant Hutchinson (Jubilate Singers) iii Rosemary Allison (Cecilian Singers) Christopher Graham and Helen Buxton (South Brighton Choral Society) Alice Bates and Charles Levings (Christchurch Youth Choir) Opera: Donald Trott ONZM (NBR New Zealand Opera) Kate Burtt (Southern Opera) Ballet: Amanda Skoog and Meredith Dooley (Royal NZ Ballet) Lorraine Peters, QSM, and Marion Champ (Southern Ballet) Taisia Missevich (Canterbury Ballet) Brass Bands: John Thorne (Woolston Brass) Michael Cwach (Addington Brass) Chamber Music: Euan Murdoch and Jody Keehan (Chamber Music NZ) Christopher Marshall (Christopher’s Classics) U. of C. SoM. Professor Robert Constable Assoc. Prof. Roger Buckton Prof. Michael Endres Elaine Dobson David Sell Nicholas Collins Rachel Standring David O’Bierne Independent Wolfgang Kraemer (Pettman Junior Academy) Academies: Lois McCallum (Suzuki Institute) Registered Marnie Barrell Music Ian Bolton Teachers: Philippa Brocklehurst Jean Cumming Jane Doig Alison Hansen Gerald Oliver iv Fiona Oudshoorn Fiona Pears Judy Utting Examiners: Catherine France (Trinity College, London) Music Related Julie Wylie (Music Specialist, Champion Centre) Activities: Megan Spragg and Jessica Lim (Music Therapists) Catherine White (Mini Music) Jenny Setchell Ryan Renolds (Gap Fillers Programme) Ian Biddick (Retailer of Music al Supplies) Composers: Dwayne Bloomfield (Composer of 7.1, a work for brass band) Robert (Bob) Gaudin (Composer of the Earthquake Symphony) and his mother, Julie Delwyn McKenzie (Composer of orchestral piece Beauty for Ashes) Julie Wylie (Composer of the Earthquake Safety Song) John Emeleus (Composer of choral work To the Voice of Music) Patrick Shepherd (Composer of choral work Elegy for a Fallen City, and also of his own Earthquake Symphony) Elaine Dobson (Composer of Extraordinary Facades; Christchurch 2011 for the U.
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