St. Patrick's Dominican College Teschemakers

New Zealand Tablet, Volume LI, Issue 43, 15 October 1924, Page 22

St. Patrick's Dominican College Teschemakers

This College, conducted by the Dominican Sisters, is delightfully situated in the sunny district of Oamaru, not far from the ever * rolling billows of the Southern Ocean. The advantages of such a situation together with those derived from the spacious recreation grounds which surround the school, are no doubt largely accountable for the proverbial good health of the students. The object of the Institution is to give to pupils a thorough Christian education and to help them to develop gracious manners and womanly characters —"Sound minds in sound bodies." ........ . # .... t The course of instruction includes every useful and ornamental branch of education. Pupils are prepared for the various Public

Examinations (including Matriculation and Teachers' C) of the Dominion; and for the Royal Academy and Trinity College Examinations in Music, while a full Commercial Course has been provided to meet modern requirements. Those desirous to excel in Art Needlework, Painting, Dressmaking or Cooking are given every facility to do so. Parents would do well to consider St.. Patrick's Dominican College, Teschemakers, when about to select an ideal school for their daughters. Prospectus will be sent on application to THE. MOTHER SUPERIOR, St. Patrick's Dominican College, TESCHEMAKERS.

he might have starved had it not been for his friends, who obtained for him a few pupils,—by this means he was able to earn enough to provide himself with the bare necessities of life. During the next six years he wrote his first Mass; a comic opera; and his first quartet for stringed instruments. For a time he studied under the great teacher, Nicolo Porpora, blacking his boots, etc., and serving as his valet, in payment. However his ability soon became known and he secured wealthy patrons who provided him with means to continue his work. One of these—Count Morzin —of Bohemia had a fine orchestra and while conducting this in 1759, Haydn wrote his first symphony. Two years later Haydn became assistant choir master at the country seat of Prince Esterhazy, an enthusiastic amateur, who,struck with the merit and originality of a new symphony of Haydn's,—retained the composer in his private service; subsequently giving him the appointment of Chapel master, a post which he continued to hold till the death of the Prince in 1790. During his tenure of office Haydn composed a large number of symphonies, operas, Masses, concertos, and other instrumental and vocal works. Haydn's operas like those of Handel are now swallowed in oblivion, though he wrote over twenty-five works for the stage. Prince Estcrhazy was known as "The Magnificent" and some idea of the elegance of the court in which Haydn spent much of his active life may be gained from the fact that the Prince's own court costume was embroidered with genuine diamonds. The favorite instrument of the Prince was the Viola di bordone, and Haydn was obliged to furnish new pieces for this instrument all the time. After the Prince died Haydn went to London to conduct some concerts. There he was received with enormous enthusiasm and Oxford University conferred the degree of "Musical Doctor" upon him. He returned to Vienna but went back to London in 1794 meeting with even greater success; there he heard the Oratorio Music of Handel, which inspired him later to write his famous Oratorio, "The Creation," which he composed in 1798 at the age of 66. The fame of "The Creation" which was produced in Vienna soon spread through Europe; in England it has long been second only to the "Messiah" in popular favor. During his two visits to London Haydn composed the group known as the "London Symphonies" twelve in number which rank amongst the finest of his orchestral works. Thomson's well known poem furnished the subject for Haydn's next Oratorio "The Seasons" which was completed in 1801. This was Haydn's last important work. Haydn established the Sonata form on a permanent basis. Many tenative efforts toward a new method of musical structure, based on an organised contrast of themes and keys had been made. Haydn organised this material and welded it into the sonata form of which he composed forty-four. He built upon the popular songs and dances of his native land, which in the matter of structure belong to the same order of art, as symphonies and sonatas! And how this kind of music could be made on a grander scale was what Haydn wanted to discover. Haydn owed much to Emanuel —the greatest clavier player, teacher, and accompanist of his day. Of him Haydn said: "Those who know me well must be aware that I owe very much to Emanuel Bach, whose works I understand and have thoroughly studied." No two musicians, small or great, were ever better disposed towards each other than were Haydn and Mozart. They frequently met and it is not saying too much that they truly loved each other. It was Mozart who, recognising his brother composer as his foster-father in music, called him. by tho fond title of "Papa. Haydn," which sticks to him yet. We, also, though for other reasons may well call him "Papa." He was the "father of instrumental music,"-he created the modern forms, of instrumental music: —Sonata, symphony, string-quartet, etc.; he individualised the instruments of the orchestra, and gave them independence.'So "Papa" Haydn he was and "Papa" he remains.

Haydn, in like manner, showed his fondness for Mozart in many ways; on one occasion he exclaimed, "If I could instil into the soul of every lover of music, the admiration I have for Mozart's matchless works, all countries would seek to be possessed of so great a. treasure. Let Prague keep him, ah! and well reward him. Mozart is incomparable. Forgive me if I get excited when speaking of him, I am so fond of him!" When Haydn was musical director to Count Morzin in 1759 or 1760, he received a salary of £2O a year. Nevertheless he felt this meagre income sufficient to warrant his marrying the daughter, of a wigmaker, named Koller. . His wife's maiden name was Maria Anna Koller: She was three years older than Haydn, and is described as a veritable "Xantippi," heartless, unsociable, quarrelsome, and extravagant, who made things hot for her husband all the rest of their married life. Oarpani says she was "not pretty nor yet ugly." Her manners "were immaculate, but she had a wooden head and when she had fixed on a caprice there was no way to change it." She used his manuscripts as curl-papers, and underlays for pastry, and even told him, when he was in London that she had seen "such <a nice widow's residence, should he die" and asked him to send her the money to buy it. Haydn, however, survived her nine years. He bought the house she had coveted "and now" he wrote in 1806, "it is I who am living in it—as a widower." Haydn's last years were a constant struggle with the infirmities of age; and when his presence was specially desired at a performance of "The Creation" in 1808, he had to be carried in an armchair to his place in the concert hall. At the words "And there was light" he was completely overcome and became more and more agitated as the performance went on, and at last had to be carried out. People of the highest rank crowded round to take leave of him and Beethoven, who had been for a short time his pupil, fervently stooped and kissed his forehead. When the French entered Vienna in 1809, Haydn is said to have died of excitement, and probably, old ago during a bombardment of the Austrian capital. He was buried in Vienna. His instrumental works number nearly 700 including 125 symphonies and 50 sonatas and pieces for the piano. His vocal works include his oratorios, 13 operas, 14 Masses, 30 motests — the famous "Seven Last Words from the Cross," which is frequently given to this day. In conclusion it is evident that in all the factors which go toward making «i musical compositionform, rhythm, melody, color, harmony— not only has original and impressive thoughts to express, 'but also has the power and "finesse" to express these in a beautiful and distinguished manner. Permeating all his music too is that atmosphere of clarity and simplicity which is the very breath of life for the student. In' Haydn and Moazrt we reach the pure spring of our modern music —developing into the river of nineteenth century romanticism has often been sullied by extravagant and sensational contributions. (To be continued )