Organ Building in New Zealand 1895-1930: A Documentation of Cultural Context Contents and Conclusions to Parts II & III
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ORGAN BUILDING IN NEW ZEALAND 1895 - 1930: A DOCUMENTATION OF CULTURAL CONTEXT PART II AESTHETIC BACKGROUND IN NEW ZEALAND
CONTENTS
CHAPTER PAGE 1. Two Case Studies: W. H. Jude and H. R. Haweis . . . . . . . . . . . . 111 W. H. Jude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 H. R. Haweis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 2. Cultural Developments in New Zealand . . . . . . . . . . . . . . . . . . 123 3. Aesthetic Worship in New Zealand . . . . . . . . . . . . . . . . . . . . . . 133 The Aesthetic Worship Environment . . . . . . . . . . . . . . . . . 133 (1) Gothic Architecture . . . . . . . . . . . . . . . . . . . . . . . . . 138 (2) Light and Colour . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 (3) Gesamtkunstwerk . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 4. Denominational Developments in New Zealand . . . . . . . . . . . . 151 Catholic Worship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151 Anglican Worship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155 Methodist Worship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159 Presbyterian Worship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166 (1) The Introduction of Instrumental Music . . . . . . . . . . 178 (2) Documents relating to Presbyterian Worship and the Introduction of Instrumental Music . . . . . . . . . . 198 Baptist Worship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 Congregationalist Worship . . . . . . . . . . . . . . . . . . . . . . . . . 209 Transcendentalist Worship . . . . . . . . . . . . . . . . . . . . . . . . . 209 5. The Role of the Clergy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213 The Role of the Clergy in Aesthetic Worship . . . . . . . . . . . 213 The Role of the Clergy in Organ Building . . . . . . . . . . . . . 221 6. The Role of the Choir . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229 The Position of the Choir in Aesthetic Worship . . . . . . . . . 232 The Role of the Choir in Aesthetic Worship . . . . . . . . . . . . 238 Other Activities of the Choir . . . . . . . . . . . . . . . . . . . . . . . 242 The Role of the Choir in Organ Building . . . . . . . . . . . . . . 246 7. The Role of the Organ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257 The Role of the Organ in Aesthetic Culture . . . . . . . . . . . . 257 The Role of the Organ in Aesthetic Worship . . . . . . . . . . . 258 8. The Role of the Organist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275 The Role of the Organist in Aesthetic Culture . . . . . . . . . . 275 The Role of the Organist in Aesthetic Worship . . . . . . . . . . 277 The Impact of the Pipe Organ on the Organist . . . . . . . . . . 282 Organists' Salaries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289 The Role of the Organist in Organ Building . . . . . . . . . . . . 290 Some Important Organists . . . . . . . . . . . . . . . . . . . . . . . . . 293 (1) Thomas Tallis Trimnell (1827-1897) . . . . . . . . . . . . . 293 (2) Robert Parker (1847-1936) . . . . . . . . . . . . . . . . . . . . . 294 (3) Jesse Timson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298 (4) John Maughan Barnett (1867-1938) . . . . . . . . . . . . . . 301 (5) John Christopher Bradshaw (1876-1950) . . . . . . . . . . 320 (6) William Herbert Jude . . . . . . . . . . . . . . . . . . . . . . . . 324 (7) Alfred Hollins (1865-1942) . . . . . . . . . . . . . . . . . . . . 324 (8) Edwin Henry Lemare (1866-1934) . . . . . . . . . . . . . . . 324 9. The Role of the Church Committee . . . . . . . . . . . . . . . . . . . . . . 329 Contracts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331 Fund Raising . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335 10. The Role of the Philanthropist . . . . . . . . . . . . . . . . . . . . . . . . . . 341 New Zealand Philanthropists . . . . . . . . . . . . . . . . . . . . . . . 341 Andrew Carnegie (1835-1919) . . . . . . . . . . . . . . . . . . . . . . . 349 Carnegie Donations to Organ Funds in New Zealand . . . . 363 11. The Role of the Press . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365 The Role of the Press in Aesthetic Culture . . . . . . . . . . . . . 365 The Role of the Press in Aesthetic Worship . . . . . . . . . . . . 368 The Role of the Press in Organ Building . . . . . . . . . . . . . . . 372 CONCLUSION TO PART II 377
CONCLUSION TO PART II
The aesthetic awareness apparent in New Zealand by the 1890s facilitated the reception of popular forms of transcendentalism. Secular and religious sources pertaining to choirs and organs demonstrate such perceptions of music and organs, particularly in the confusion of aesthetics with morality and spirituality. The features of Protestant aesthetic worship described in part I are much in evidence in New Zealand, such as the extensive adoption of the worship platform, choirs, organs, professional organists, Gothic architecture, coloured windows and stencilled designs, and the decline of preaching. The Catholics continued their reinforcement of classicist directives, and the Anglicans their Catholic-minded compromise. Although Methodists emphasised the significance of the choir in their writings, and Presbyterians the transcendence of music, the adoption of aesthetic worship and pipe organs in New Zealand became uniform and widespread throughout both Protestant and transcendentalist groups. Clergy, choirs, organists and committees within each denomination, as well as external elements such as philanthropists and the media, actively promoted transcendental ideals, aesthetic worship and pipe organs. The late nineteenth-century organ lent itself to integration into aesthetic worship. Commonly reported features of organs, such as appearance, sound, action and touch, were primarily related not to musical contexts (such as the instrument's suitablity for the performance of standard organ repertoire), but to other aspects of aesthetic worship and its cultural contexts. Thus the visual aspects of the organ were not related to its construction but to elements of the aesthetic worship interior; the selection of aesthetic ranks, like the choice of Gothic features, stencilled designs and colours, was unsystematic and diverse; stop jambs were angled and composition pedals added to facilitate aesthetic effects; consoles were detached, not for organists to hear themselves better, but so they might be more closely related to the choir; and the touch of the keys was related to the piano.
ORGAN BUILDING IN NEW ZEALAND 1895 - 1930: A DOCUMENTATION OF CULTURAL CONTEXT
PART III
TECHNOLOGICAL CONTEXTS
CONTENTS
CHAPTER PAGE PART III TECHNOLOGICAL CONTEXTS 1. Economics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383 Economics to 1895 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384 Economics 1895-1915 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386 Economics 1915-1924 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391 Economics 1925-1929 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391 2. The Impact of the First World War . . . . . . . . . . . . . . . . . . . . . . . 393 War Memorial Organs . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400 3. Transport . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405 Rail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405 Sea . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406 4. Training of Organ Builders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409 Amateurism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410 Trade Suppliers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415 Pioneering Spirit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416 5. Suppliers to the Trade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417 Complete Organs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418 Hydraulic Engines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419 Electric Blowers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425 Metal Pipes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427 Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435 Sundries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436 August Laukhuff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439 6. Customs and Shipping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443 Shipping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443 Customs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444 CONCLUSION TO PART III 447
CONCLUSION TO PART III
The continual development of aesthetic awareness during the recession of the 1880s and early 1890s led from 1895 to an expansion of cultural expression, resulting in a demand for pipe organs; the continual development of industrialisation from 1850 led to the expansion of cheap information, transport, freight, and materials, resulting in the ready availability of first-class pipe organ materials. Such was the demand for organs and the availability of materials and information, that those who took advantage of the situation did not require a first-class professional training to do so. The situation was further encouraged by the protection of trade tariffs, and the increasing availability of reliable water and electricity supplies. With the advent of labour and inflationary problems due to the War, most organ builders were unable to continue as before, and those who did faced increased competition from overseas interests. |