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An Historical Survey of the Establishment of an Orchestral Tradition in Christchurch to 1939

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An Historical Survey of the Establishment of an Orchestral Tradition in Christchurch to 1939 AN HISTORICAL SURVEY OF THE ESTABLISHMENT OF AN ORCHESTRAL TRADITION IN CHRISTCHURCH TO 1939 A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Music in the University of Canterbury by Philip Jane University of Canterbury 2009 ii Abstract This dissertation is the first study devoted solely to the history of an orchestral tradition in Christchurch. Within a timeframe stretching from the beginning of the local settlement to the establishment of the first “national” orchestra in 1939, it provides detailed portrayals of all facets of amateur and professional orchestral activity. This includes the histories of all orchestral bodies, their membership, a chronology of concerts, repertoire, programme structure and critical reception. This dissertation explains the advance of orchestral tradition that is at times tentative and at times bold, until it is securely entrenched as a mainstream musical activity in Christchurch. A preliminary narration, which begins in 1857, ends in 1906 with the International Exhibition. This is then discussed as a landmark event for orchestral music in Christchurch. A series of case studies for the period of 1908 to 1939, covers each of the five major orchestral groups that flourished in this period. The case studies also include the footprints of development, the “incidental” music performed by the cinema orchestras, and the “studio only” performances of many broadcasting groups. The role played by minor orchestral groups as an “alternative” music culture is included, along with the impact of orchestras associated with visiting opera companies. The final section is a detailed analysis of the repertoire and programme construction, and a discussion of the people who played an influential role in the development of an orchestral tradition. Numerous tables and illustrations are provided. A number of appendices are also attached: a chronology of orchestral concerts in Christchurch; some significant orchestra personnel lists; an extensive set of source readings discussing the formation of a permanent orchestra; a chronology of orchestral activity for a selection of Christchurch musicians; a timeline of visiting opera companies, and a selection of concert programmes. iii Acknowledgements First I would like to thank my supervisor, Brian Pritchard, who has guided me through this dissertation at all of its stages. His expertise and understanding of Christchurch music history has proven invaluable. However, I have appreciated even more his firm guidance with regard to producing flowing and elegant writing style, along with an economy of words that still provides clear and unambiguous communication. I have also had valued input from Jonathan Le Coq (University of Canterbury), as well as Janice Stockigt (University of Melbourne) during her period as a Visiting Canterbury Fellow in 2007. As a professional librarian, I am very aware of the assistance I received from staff at a number of institutions, particularly; National Archives of New Zealand (Te Rua Mahara o te Kāwanatanga) and Alexander Turnbull Library (both in Wellington); Radio New Zealand Sound Archives (Ngā Taonga Kōrero); Canterbury Museum; and the University of Canterbury Library (all in Christchurch). I have enjoyed and appreciated the wholehearted support given to me in my research by my family, but, above all, I am heavily indebted to my wife, Catherine. She has been a constant sympathetic listener; has provided me with a superb online database to manage my data; and has been a very critical proof-reader. Without her support this dissertation would not have been produced. I am back now! I must also acknowledge that any mistakes or omissions in this work are my own. iv Preface In the south Pacific Ocean, nearly 2,000 kilometres to the south-east of Australia, a country that consists of three main islands underwent Polynesian settlement from about 1300 onwards. This country is now known as New Zealand. The first documented contact with New Zealand by Europeans was in 1642, when the Dutch explorer Abel Tasman visited and named it Staten Landt. Dutch map-makers changed the name in the following year to Nova Zeelandia. The next European contact was in 1769 when the three islands were claimed for England by the explorer James Cook, who also anglicised the name to New Zealand. After this the number of Europeans coming to New Zealand, initially mainly sealers, whalers and missionaries, increased. The New Zealand Company was formed in London in 1837, ushering in an intense period of colonisation with settlements established in quick succession in Auckland, Wellington (both 1840), New Plymouth (1841), and Nelson (1842). The southern settlement of Dunedin was founded in 1848 by the Scottish Otago Association, who were members of the Free Church of Scotland, while yet another colonising society based in England, the Canterbury Association, then founded a settlement at Christchurch in 1850. This city was an attempt to create an idealised English society centred around the Church of England. British rule had been established in 1839 under William Hobson when New Zealand became a dependency of New South Wales, and in 1840 a treaty with the indigenous people, Maori, was signed at Waitangi. However, relations were not always smooth between settlers and Maori, particularly over land ownership, and sporadic confrontations took place. These land wars were mainly throughout the North Island in the Taranaki and Waikato regions, and served as a vivid reminder of the difficulties faced when transplanting one culture into another. The British response ensured a large military presence in the country, often with their accompanying bands. New Zealand is a long and narrow country, extending over 1,750 kilometres from north to south, and has a land area of 270,534 square kilometres; somewhat larger than the combined area of England, Scotland and Wales. The physical nature of the country, mountainous and heavily forested, ensured that settlements were developed in isolation, with early movement between main centres only possible by coastal shipping. In 1862 v the first telegraph service was begun between Christchurch and its port of Lyttelton. In 1863 a regular coach service began between Timaru and Christchurch, and the first public train line in New Zealand was opened, from Christchurch to the outlying Ferrymead. It was also the year that the first theatre in Christchurch opened, the Canterbury Music Hall. In 1879 the main trunk railway from Christchurch to the southern-most city of Invercargill was completed, but northwards it was not until 1945 that Christchurch was connected through to Picton, thus completing a train service the length of the South Island. Early settlers did not have an easy life as housing, transport, and all associated infrastructure had to be established. The country was essentially agricultural, with crops and stock, but the discovery of gold and other valuable minerals resulted in a huge influx of men bent on making their fortune. In addition, the immigration polices in the 1870s under the Premier Julius Vogel, flooded the country with nearly 300,000 immigrants. These were intended to provide labour for railway and road construction and had been offered free or assisted passage. The effect of this upon the society being formed is indicated by the census of 1871 that shows only 65% of the European population was literate. Despite the presence of settlers from other cultures, including French, Scandinavian, Chinese, and Dalmatians, the overwhelmingly predominant influence on the formation of New Zealand society was that of the English, the Scots and the Irish. Consequently, their cultures were also the main influence upon music development in New Zealand. However, German immigrants played a particularly influential role in the establishment of instrumental music. As a developing colonial society, there were no established forms of musical entertainment. Rather, such entertainments began haphazardly through the efforts of those with any musical skill, and were bolstered by an increasing number of visits from th individuals and groups from Australia. The long-term presence in Auckland of the 58 th Regiment and the 65 Regiment in Wellington provided military bands, but this hindered the development of any local instrumental musical endeavour. Choral societies were the first form of local musical organisation, early examples being the Auckland Choral Society (1855); Lyttelton Choral Society (1852); and the Canterbury Vocal Union (1860). Any form of orchestral activity only appeared much later. In the four main centres the first orchestral societies established were in Christchurch (1871); Wellington (1882); Dunedin (around 1883), and Auckland (1889). vi Private music teachers were active, especially in the four main centres, but often music teaching was only one part of an overall income, as the demand from the local population did not sustain full-time teaching. Only in 1891 was a professional association for music teachers formed in Christchurch. Music tuition was also introduced into the universities, the earliest courses being in Auckland (1889) under Carl Schmidt, and in Christchurch (1891) under George Tendall. Christchurch provides other early examples of musical development; choral scholarships were offered at the first church in Christchurch, St. Michael and All Angels (1863); a military band was formed by the Canterbury Yeomanry Cavalry (1868); the first national brass band competition was held in Christchurch (1880); and a choir school was opened at the Christchurch Cathedral (1881). Indeed, Christchurch often laid claim to be the most musical city in New Zealand, although this was a claim which was echoed throughout New Zealand by many other cities. Such claims were based upon fierce parochial pride and a general ignorance of musical development and standards in other centres. With the possible exception of choral music, there is no strong evidence to support this claim for Christchurch, and, as one of the four main centres, Christchurch had a pattern of musical development probably very similar, at least in general terms, to Dunedin, Auckland and Wellington.
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