LAST MODIFIED Monday 22 April 2024 9:38

Frederick William Horncastle

Dr GRAEME SKINNER (University of Sydney)


To cite this:

Graeme Skinner (University of Sydney), "Frederick William Horncastle", Australharmony (an online resource toward the early history of music in colonial Australia):; accessed 18 June 2024

HORNCASTLE, Frederick William (Frederick William HORNCASTLE; F. W. HORNCASTLE)

Musician, professor of music, tenor vocalist, organist, lecturer and writer on music, historian of Irish music, composer

Born London, England, 30 June 1795; baptised St. George, Hanover Square, 3 July 1795; son of William HORNCASTLE and Mary SQUIBB
Married Marianne DANGERFIELD, St. George's Hanover Square, London, June 1818 (bond signed 19 June 1818)
Arrived Adelaide, SA, 23 January 1847 (per David Malcolm, from London and Plymouth)
Arrived Sydney, NSW, 2 July 1847 (per Joseph Albino, from Adelaide, 21 June)
Died Botany Bay, NSW, 21 January 1850 (TROVE tagged by Australharmony) (NLA persistent identifier)


Frederick William Horncastle was active in London and provinces from the late 1810s until the mid 1840s as an organist, pianist, tenor vocalist in concerts and oratorio, musical journalist, editor, and composer.

With his innovative "Irish entertainments", he visited the United States in the second half of 1845, but had returned to London by the middle of 1846. In October that same year he sailed for Australia, as one of the few paying cabin passengers on board the emigrant ship David Malcolm, and arrived in Adelaide, SA, in January 1847.

As well as presenting the first of his popular entertainments, he advertised copies of his Music of Ireland for sale, offered his services as a teacher and piano tuner, and was engaged by George Coppin to sing between the pieces at the New Queen's Theatre.

He sailed on to Sydney, arriving early in July, and began a series of lectures and entertainments at the School of Arts, at the seventh of which, in mid-September, he was assisted by local singer James Waller, who was to remain a close associate.

In April 1848 he advertised:

to his personal friends that, in consequence of repeated accidents, losses, and vexations, he has become a confirmed invalid - he therefore cannot continue his usual entertainments, but will attempt one he calls justly INVALID MUSIC.

Having, nevertheless, by May, "materially renovated his health by a residence in the country", he was able to continue his activities for a while; he toured to Goulburn, and in July to Maitland with Abraham and Eliza Emanuel as co-artists.

As first noted by TROVE user Archivist1788, Horncastle was admitted to Tarban Creek Lunatic Asylum on 14 August 1848.

Released finally on 29 December 1849, he was given accommodation by Waller at his Sir Joseph Banks Hotel at Botany Bay, where he died, less than a 4 weeks later, on 21 January 1850.

His younger brother Henry Horncastle (Mr. H. Horncastle) was also active from the early 1840s onwards, as an operatic and theatrical vocalist and actor in London. He also visited the United States professionally.



Theatrical bass vocalist and actor (never visited Australia)

Born London, England, 27 January 1801; son of William HORNCASTLE and Mary SQUIBB (younger brother of the above)
Died West Malvern, England, 6 May 1869

"DEATHS", The morning advertiser [London] (22 May 1869), 8

On the 6th inst., at West Malvern, James Henry Horncastle, late vocalist and actor, of the Theatres Royal Drury Lane and Covent Garden, in his 68th year.

In the 1840s, often appeared as "Mr. H. Horncastle"; listed as a principal vocalist in the first seasons of Balfe's The bride of Venice (1844), and Wallace's Maritana (1845).

On Henry, see also Katherine K. Preston, Opera on the road: traveling opera troupes in the United States, 1825-60 (Urbana and Chicago: University of Illinois Press, 2001), 267 (PREVIEW)


30 May 1795, born London, England; baptised St. George, Hanover Square, 3 July 1795

Baptisms, St. George, Hanover Square, July 1795; register 1788-1805; City of Westminster Archives Centre (PAYWALL)

[July 1795] [3.] Frederick William S. of William & Mary Horncastle / [born] May 30


"THEATRICAL JOURNAL", The European magazine and London review (July 1814), 46 (DIGITISED)

Messrs. Incledon, Sinclair, Clermont, Master Williams, and Mr. Horncastle, are on a musical tour through the North of England and Scotland. Mr. Clermont will recite, and Mr. Horncastle will play the piano.

ASSOCIATIONS: Charles Incledon (vocalist)

19 June 1818, marriage bond between Frederick William Horncastle and Marianne Dangerfield

Marriage bonds, London Diocese, 1818; London Metropolitan Archives (PAYWALL)

LONDON DIOCESE, 19th June 1818
Appeared personally Frederick William Horncastle of the parish of Saint George Hanover Square . . .
bachelor aged twenty one years and upwards and intendeth of marry with
Marianne Dangerfield of the same parish a spinster also aged twenty one years and upwards and that he knoweth of no impediment . . .

James Stuart, Historical memoirs of the city of Armagh . . . (Newry: Alexander Wilkinson, 1819), 548 foot note (DIGITISED)

. . . Many of the anthems which are performed in the cathedral are selected from Handel's works, for which the present organist, Mr. F. W. Horncastle, as well as his predecessors, doctors Jones and Clarke, and Mr. Langdon, seem to have entertained a strong and well-founded predilection . . .

ASSOCIATIONS: St. Patrick's cathedral (Armagh, Church of Ireland)

[Advertisement], Dublin Weekly Register (29 April 1820), 1 (PAYWALL)

PIANO-FORTE . . . Divertimento, in which are introduced the Airs of Jessie O'Dumblane, and Duncan Grey, by F. W. Horncastle, - 3 0 . . .

"SKETCH OF MUSIC IN LONDON", The quarterly musical magazine and review 5 (1823), 265 (DIGITISED)

. . . A young professor (we believe from the neighbourhood of Bath) a Mr. Phillips, is also rising into notice; and the corps of glee singers, in private concerts especially, enjoys a most useful acquisition in Mr. Horncastle, a tenor - who possesses a philosophical as well as a scientific understanding of his profession . . .

"REVIEW OF MUSIC", The harmonicon (June 1824), 115 (DIGITISED)

DIVERTIMENTO ECOSSAIS, for the PIANO-FORTE with accompaniment, ad lib., in which the favourite air "My love is but a lassie yet," is arranged as a Rondo. By T. A. RAWLINGS (Gow and Son, Regent St.)

DIVERTIMENTO for the PIANO-FORTE, in which are introduced the admired Scotch airs, "Jessie o'Dumblaine," with variations, and "Duncan Grey," as a Rondo, by F. W. HORNCASTLE. (Chappell and Co., New Bond-Street, and Power, Dublin.)

WE are glad again to see the Scotish melodies brought forward. Some years ago every thing musical had a Caledonian tinge: this gave way to the Hibernian, and no air was tolerated that was not of Irish origin. Rossini has put them both out of fashion, and what is next to appear uppermost on the wheel, remains doubtful; something must be found out, and that soon, for the great Italian composer seems exhausted, and ought to lie fallow for half a dozen years. The Divertisement of Mr. Rawlings is animating to hear, and easy to perform; the "Scotch snap," as Dr. Burney terms it, in the first air, is well contrasted by the smooth and equal notes in the second, and the whole being short, is calculated to please. Mr. Horncastle's Divertimento is more difficult and ambitious than the former. It contains some good passages, and shews talent, but betrays a want of experience in writing, and some oversights that should be corrected before more impressions are taken from the plates. It was judicious to choose airs in different measures, for a change of time is a great relief to the ear, and is as necessary, to save the mind from being fatigued, as modulation, or change of key.

"HORNCASTLE", in A dictionary of musicians from the earliest ages to the present time . . . vol. 1 (London: For Sainsbury and Co., 1824), 376 (DIGITISED)

HORNCASTLE, an English tenor singer, eminent as a performer in glees. He is said to possess a philosophical, as well as a scientific, understanding of his profession.

[Various mentions], The theatrical observer (5 October 1825 to 24 June 1826) (DIGITISED)

"STATE OF MUSIC IN LONDON", The quarterly musical magazine and review 9 (1827), 63, 65 (DIGITISED)

[63] . . . Mr. Bishop's regular troops consisted of the principal English vocalists of the theatres, with Miss Farrar, Madame Cornega, Mr. Horncastle, and Mr. E. Taylor; occasional assistance was given by the Italians, who were indeed only Signora Toso and Signor Zuchelli, and these but for very few nights . . . [64] . . . We have often heard it stated by experienced persons, that the oratorios have been the most flourishing nursery of English singers, from the diversity and the exercise they offer, and from the introduction to the most numerous and extended audiences. Hence we expect to find fresh aspirants every season, as well as the gradual advancement of those whose first efforts have obtained them a place and standing. Hence too we may notice that Miss Love, the Misses Cawse and Miss Farrar, whose natural endowments, aptitude, and industry, promise so much, are in this state [65] of gradual progression and encouragement. Mr. Horncastle alone seconded Mr. Braham this year, and he unquestionably bids fairest to become the successor to the honours of the first tenor at the classical concerts of the country, wherever there shall be an opening. His voice improves in volume, and his style both in polish, force, and effect . . .

ASSOCIATIONS: Henry Bishop (conductor, composer); Mary and Harriet Cawse (vocalists); John Braham (vocalist)

"THE CATCH CLUB", The apollonicon reviewer (1832), 3 (DIGITISED)

It will be interesting to the Lovers of English Music to know, that His Royal Highness the Duke of Cumberland, has given a Prize of Twenty Guineas for the best Catch this Season; to be contended for by the Honorary Members of the Club. The day of decision was Tuesday, 19th June, when the two best Catches were so balanced in votes, that after being thrice tried over, and votes still being equal for each, the Club decided upon awarding another Prize of the same value, leaving to His Royal Highness, the choice for his Prize. This extremely liberal and flattering kindness on the part of the Members, has created some sensation. The fortunate candidates are Mr. T. Cooke, and Mr. Horncastle.

"VOCAL", The apollonicon reviewer (1832), 11 (DIGITISED)

"Mrs. Wagtail's Evening Party" - Comic Round, for four Voices - Sung at the Noblemen and Gentlemen's Catch Club. - Music by T. W. Horncastle [sic]. - Hawes.

The party in this round consist of a Visitor, Miss Wagtail, a Whist player, and an Old Maid; all of whom are interestingly comic in their way, and at the same time, a melody is given to each part. The tout ensemble are perfect, and must enliven any Soirée, at which it may be sung. Mr. Horncastle appears happy in this style of composition.

ASSOCIATIONS: The Noblemen and Gentlemen's Catch Club ("The Catch Club")


Singing . . . Horncastle, 37, Upper Norton-st.

"New Music", The olio; or, Museum of entertainment (6 July 1833), 328 (DIGITISED)

The Passions. Goulding and D'Almaine, Soho-square, London.

The passions are delineated in six songs; each with a descriptive poem and graphic illustration; the poetry by Mr. J. Lunn - the music by G. F. Stansbury, T. Cooke, J. Parry, W. F. Horncastle [sic], J. C. Clifton, and E. Taylor - the illustrations by Robert J. Hamerton. -
This musical and poetic bijou is dedicated to H. R. H. the Duke of Sussex; patron and president of the Melodists' Club, by whose auspices it has appeared before the public; but not till Mr. Lunn had been twice defeated in his original purpose, which is tritely explained by an interesting preface. By the introduction, the author states that he has chosen the "Cardinal Passions" as the bases of his theme, the first of which is "Love Reason's tyrant, Passion's king," & c.

The second "Hate" -
"Behold! behold! behold!
Within yon dusky temple's gate,
By furies raised, sits scowling Hate," &c.

The third "Joy" -
"A shout, a welkin-rending shout!
Let each friend of mirth breathe out,
"See hilarious Joy advancing," &c.

The fourth "Grief," -
"Hark! the swelling gale,
A thrilling, plaintive wail
Wafts from beneath yon spreading cypress
Where pallid Grief her languid form hath laid," &c.

The fifth "Hope" -
"The choicest boon of Heaven," &c.

The sixth "Despair" -
"See, from his cave of direst gloom,
Which smiles ne'er cheer nor orbs illume,
The hell-born monster, fell Despair," &c.

The songs which succeed the poems are very spiritedly and poetically written. The lithographic illustrations appropriate and vigorous. The musical compositions are such as do honour to the names and members of the Melodists' Club. For ourselves, we have not met with a more elegant and acceptable gift of song and melody than expressed in these combinations of the "Passions," which we heartily recommend to our friends and the public.

ASSOCIATIONS: Thomas Cooke (composer); John Parry (composer)

"MUSIC . . . ", The athenaeum (1 March 1834), 169 (DIGITISED)

Vocal Society. The fourth Concert of this Society fell short of its predecessors, in the matter of performers. Neither Mrs. Bishop, Miss C. Novello, nor Braham, making their appearance . . . The greater part of the selected music consisted of well known glees, madrigals, Italian songs, &c., in which Miss Woodyatt, Miss George, Mr. Bennett, (to our thinking, one of the soundest of English singers,) Messrs. Horncastle, Broadhurst, Bellamy, Sale, and King, took part . . .

Societa Armonica. Had the music, performed at the first Concert of this Society, on Thursday evening, been as well executed, as it was judiciously selected, we should have enjoyed a great treat indeed - a more promising programme we have not looked at for a long time. But such was not the case, the band in the first instance, was almost coarsely loud in the acceptance, and not always steady. Mr. Horncastle is singularly ineffective, though we owe him our thanks for bringing forward Handel's "There the brisk spark."

ASSOCIATIONS: Anna Bishop (vocalist); Clara Novello (vocalist)

"MUSIC . . . NEW PUBLICATIONS", The athenaeum (1 March 1834), 169 (DIGITISED)

The Passions - Love, Hate, Joy, Grief, Hope, Despair. The music by Stansbury, Cooke, Parry, Horncastle, Clifton, and E. Taylor. The poetry by J. Lunn, Esq. This is the work of the members of the Melodists' Club. Every passion has a print as well as a composer to itself. Messrs. Stansbury and Parry have been the least unsuccessful.

"REVIEW OF MUSIC", The musical world (24 June 1836), 27 (DIGITISED)

Melodies of many Nations, selected and arranged to English words, original, and translated from the French, Italian, Russian, German, &c. of eminent Writers, by Frederick Wm. Horncastle. Book II. No. 7. CRAMER.

"Pearls and Diamonds, or Love's Conceit," is the title of the present number of this series; the poetry by R. Flecknoe, 1653. The melody an imitation of the old English style by the Editor. The best compliment we can pay Mr. Horncastle is, that we think he has succeeded in his object; with the exception that some of his harmonies have a more modern complexion than will be found in the schools he has professed to imitate; nevertheless these are judicious, and good of their kind. We are reminded both of Jackson and Arne, particularly in the major movement at page 3. The song is a very pretty one, and we can fancy some powdered fair one of the 17th century, with her lappets trembling at the execution of the several divisions and cadences.

"THE MADRIGAL SOCIETY", The Sydney Monitor [NSW, Australia] (22 February 1837), 4 

The old-fashioned tastes of the Madrigalians seem to generate corresponding habits. Their season begins when the days shorten and the leaves fall, and when the fireside is again welcome. Resolutely they re-assemble in October, although not "a creature in the town;" and, in utter defiance of all the decrees of fashion, their meeting on Thursday was a numerous one. We preserve the incognito of certain members well-known in fashionable circles; but the reputation of the President will not suffer by our announcing his presence; neither will the professional character of Messrs. Vaughan, E. Taylor, Turle, Turrail, Horncastle, King, and Francis, be damaged by a similar disclosure regarding them. The, following pieces were performed -
CHORAL, " How still and peaceful" - Dr. TYE.
MADRIGAL, "Delay breeds danger" - GIOVENELLI.
------ "With wreaths of roses" - COBBOLD.
ANTHEM, "I will sing of thy power" - Dr. GREENE.
MADRIGAL, "To Cynthia fair" - L. MEREZEO [Marenzio]
------ "Lady, your eye" - WEELKES.
------ "Oft have I viewed" - WILBYE.
------ "The white delightful swan" - O. VECCHI.
------ "Now each creature" - FARMER.
------ "Every bush now ringeth" - CAVENDISH.
This short list contained as much variety of matter as could be well compressed into a similar number of compositions for voices - from the deep solemnity of Tye to the sprightly jollity of Weelkes. Several of the Madrigals were new even to veteran members of the Society, so exhaustless is the mine of musical wealth of the age of Elizabeth. At the head of all, whether native or foreign, Wilbye's fine Madrigal must be placed - a composition as pregnant with learning as it is rich in melody and expression. It is due to the memory of this great writer, for such he may be truly called, that his compositions (which were exclusively Madrigals), should be scored and published. Few of them, and those not the best, are within the reach of his countrymen. - Spectator, October 1836.

The royal kalendar and court and city register for England, Scotland, Ireland, and the colonies, for the year 1840 (London: Suttaby & Co., [1840]), 123 

QUEEN'S HOUSEHOLD . . . Gentlemen of the Chapels Royal.
Jonathan Neild, William Knyvett, Tho. Vaughan, J. B. Sale, William Hawes, Thomas Welch, Charles Evans, William Salmon, Richard Clark, John Roberts, John W. Hobbs, Henry Goulden, Orl. Bradbury, F. W. Horncastle, O. Hawkins, Henry Wilde, - esqrs.
N.B. Five Clergymen and eight Gentlemen wait monthly.
, Sir George Smart, knt., and J. B. Sale, esq.
Composers, Sir G. Smart, William Knyvett. Violist, G. T. Anderson.
Lutenist, Mr. Charles Evans.

ASSOCIATIONS: William Knyvett (vocalist); John Bernard Sale (vocalist, organist); George Smart (organist)

NOTE: Though Horncastle was engaged at the chapels royal as early as December 1831 (Bucholz 2006), and was elsewhere billed as belonging to the chapel in 1832, his name does not appear in any official published list of the gentlemen prior to 1839; as of January 2019, the earliest list I have seen that includes Horncastle is that of the 1840 Royal kalendar, the latest 1854 [sic]

The names are evidently listed in order of admission; see also 1845: 

See also 1854: 

"Music Abroad and at Home", The foreign quarterly review (April 1840), 214 

"Evening," a Canzonet. The melody from a German song by Prince Albert, arranged to English words by F. W. Horncastle, Esq., of her Majesty's Chapel Royal. This Canzonet is full of melody, and has been most prettily and judiciously arranged. One of the prettiest serenades which has appeared for many years is "Vieni al Bosco, Notturno," due voci soprani, composta da F. W. Horncastle, Esq., and published by Mills, of Bond Street.

"Music Abroad and at Home", The foreign quarterly review (July 1840), 464 

The Coro Marcia, from Pacini's Opera, I Cavaliera di Valenza, one of his most effective pieces of that style, has been arranged by Mr. Horncastle as a duet. It is brilliant, easy, and adapted for two players of moderate proficiency. The same composer has likewise produced a third divertimento (Melange Militaire) for the piano forte, consisting of a march, waltz, and polonaise, this will be an established favourite among the moderate class of players.

"Music Abroad and at Home" and "REVIEW OF NEW MUSIC", The foreign quarterly review 26 (1840-41), 465, 469-70 

AMERICA. Many of the best English singers are here receiving that patronage which a British public have refused to bestow . . . The next novelty at the Park Theatre will be Mozart s Don Juan, the characters being filled by De Begnis, Seguin and his wife, Giubilei, Miss Poole, W. H. Williams, and [? Henry] Horncastle . . . 

[469] . . . VOCAL - Italian . . . No. 3. Recit. "A te O Signore," ed Aria "Re del Cielo," composed for Miss Masson by Frederick W. Horncastle . . . No. 3. - Is a fine expressive composition in the Mozart school of writing, full of exquisite expression, finely conducted modulation, and passages adapted to the voice and style of the first contralto singer in England . . .

VOCAL - English . . . No. 6. "The Dawn of the Spring." Song. Frederick W. Horncastle.
No. 7. "The Gossamer." Cavatina. Ditto. No. 8. "The Merry Mill." Song. W. Glover.
No. 9. "The Four Travellers." Third Comic Round. Frederick W. Horncastle . . .
No. 6. - Is an elegant song, with a pure style of poetical feeling pervading it; the usual characteristic of this composer's musical ideas.
No. 7. - A fairy cavatina, somewhat more ambitious, but certain of popularity when well known. It is for a soprano voice.
No. 8. - Is a pleasing little song. The melody is well adapted to the sentiment of the poetry.
No. 9. - Is a proof, if any were wanting, that the talent of catch and glee writing still remains in all its vigour, under every circumstance of depression that any branch of musical composition can suffer.
Mr. Horncastle's last round, "Music in London," we thought could not be matched for its ludicrous effect; but in the "Four Travellers," he has introduced an ad libitum coughing and sneezing accompaniment that no four singers, we venture to say, [470] can steadily sing it through without themselves giving way to the most irrepressible cacchinations . . .

. . . In the press, a New Treatise on English and Italian Singing, with Observations upon all the essential parts of the Vocal Art. By Mr. Horncastle, of her Majesty's Chapel Royal. The well known taste, judgment, and experience of this professor will render such a work invaluable to both instructor and pupil.

"Music Hall, Store Street", The literary gazette and journal of the belles lettres . . . (14 January 1843), 27 (DIGITISED)

We spent two hours here very delightfully on Thursday evening, listening to Mr. Horncastle's entertainment on the national music of Ireland, with vocal and instrumental illustrations. He was assisted by the Misses Williams and Miss Leroy (harp), and by Mr. Williams (piano), and Mr. O'Hannigan (union-pipes). The former ladies are charming ballad-singers; we would only entreat Miss Martha to articulate distinctly, and she would be perfect. Mr. O'Hannigan, is blind, but this affliction is no hinderance to his playing and execution; we never heard the pipes so admirably handled. The plan Mr. Horncastle has adopted is that of Wilson, descriptive and anecdotical, but entering more at large into the peculiarities of the national melody. The rural songs, and the songs of occupation, the quern, the ploughboy and chorus, &c., were our favourites. We must not, however, omit to mention among such, a song in Irish, by Mr. H., and chorus the Misses W. But, indeed, selection is superfluous when all were excellent. Numerous encores testified the gratification of the audience. Mr. Horncastle promises original songs from the labours of the Dublin Society, translating ancient Mss. Judging from Thursday evening, no one could do them more justice; and a treat may be anticipated.

"National Music of Scotland and Ireland", The literary gazette and journal of the belles lettres . . . (21 January 1843), 42 (DIGITISED)

This class of entertainment, at the Music Hall, Store Street, is extending in all directions, and increasing in popular favour. We have, as noticed in former Nos., Russell with his noble English songs, Wilson with his native ballads, and lately Horncastle, assisted by others, with the national music of Ireland. We now only wait for a Welsh bard to complete the illustrations of the united national melodies. Nothing can be more pleasant to the lovers of simple strains, and they are numerous, than the two or three hours passed at any one of these entertainments. There are two on our list for notice this week; first, Mr. Wilson, on Monday evening, who charmed us for the fiftieth time with a host of the unrivalled ballads of Scotland; but having recorded our admiration nearly as many times, we have nothing left to say, but that increase of appetite doth grow with what it feeds on. Our second visit was to the second soirée, Irish, of Mr. Horncastle, on Thursday; when, in addition to a multitude of Moore's songs and ballads, the remarkable Caoine, or Funeral-cry, was sung with good effect; Mr. Horncastle and Miss M. Williams giving the solo parts. The melodies, sung with native words, are assuredly the most attractive; the Fairy-chant, for instance, is very beautiful, although consisting but of four words.

[Advertisement], The literary gazette and journal of the belles lettres . . . (11 March 1843), 158 (DIGITISED)

will RECOMMENCE at the MUSIC HALL, Store Street, on THURSDAY EVENING NEXT, March 16th. -
The first performance will consist of the Primitive and Rural Music - Songs of Occupation - Songs in Irish, with Burthens, &c.
Vocal Performers; Miss A. Williams, Miss M. Williams, and Mr. Horncastle. Harp - Miss Le Roy. Pianoforte, Mr. Williams . . .

"Illustrations of the Music of Ireland", The literary gazette and journal of the belles lettres . . . (27 May 1843), 356 (DIGITISED)

On Tuesday evening Mr. Horncastle renewed his entertainments to illustrate the ancient music of Ireland at the Queen's Concert-Rooms, Hanover Square, to a full auditory, and under distinguished patronage. He was assisted by several eminent instrumental and vocal performers; in one or two instances in a style not connected with the immediate object of his design, but rather as divertissements, for the sake of variety, of which we cannot say we approve. The national purpose, if wrought out with characteristic feeling and fidelity, ought to be more than attractive enough for a London season. Wilson's Scottish Evenings are models in this way worthy of all imitation, and deservedly and triumphantly successful . . .

"Musical entertainments", The literary gazette and journal of the belles lettres . . . (23 December 1843), 837 (DIGITISED)

The distinguished success which has hitherto attended the novelty of national and musical entertainments, introduced by Mr. Wilson (who has been presenting them with unprecedented éclat in the provinces, and especially in Edinburgh, where their merit could be best understood and tested), led to several performances of a similar kind last season, which were more or less deserving of public approbation. We allude particularly to Mr. Horncastle's Irish and Mr. H. Russell's English songs. And the present year seems to promise still more varied and extended efforts of the same kind . . .

ASSOCIATIONS: Henry Russell (vocalist, songwriter)


. . . Horncastle's entertainments, on the Music of Ireland, are rather too diffuse in their plan; and though they open a wide field for illustration, their literature is defective, from the want of coherence in the design and some strong and common centre of attraction. The nice work of dovetailing lecture and song so as to occupy two hours with full justice and effect to each, is rarely well performed. Mr. Horncastle seems to have depended mainly on a considerable stock of national music, much of it derived from peculiar sources, which by means of his assistants, Miss Porter, Miss Cobitt, and Miss Le Roy, he is able to serve up in considerable variety. Not to lose opportunities for his music, he frequently curtails his reading to such a degree that but for the form's sake we could wish it wholly omitted. Could he borrow some of Wilson's literary tact, and lend in return some of his more ample means of illustration, the lectures of both would be improved. With a voice of limited power and peculiar quality, which must ever prevent him from taking a high rank as a solo-singer, Mr. Horncastle deservedly possesses the reputation of being one of the best musicians extant among the vocal profession. His taste and skill in arranging parts were very agreeably shown in the three-part harmony which represents the chorus or burden to songs of the Trades in Ireland . . .

"CARLETON'S TRAITS AND STORIES - NEW EDITION", The Dublin university magazine (September 1844), 275 (DIGITISED)

. . . We observe with great satisfaction that Mr. Horncastle is about to publish his collection, as harmonised for these exceedingly agreeable performances, including those wildly-beautiful caoines, or dirges, which he deserves so much credit for rescuing from their supposed barbarism and presenting to the public in their true character of sweet and thrilling pathos. The mention of these subjects revives our own grief for a noble spirit recently called away - the father of Irish music - ardent, courageous Edward Bunting. He has left his task accomplished . . .

"NEW VOCAL MUSIC", The athenauem (8 March 1845), 251 (DIGITISED)

The Music of Ireland, as performed in Mr. Horncastle's Irish Entertainments, &c., in 3 Parts. -
We must further transcribe from the title-page of this collection, that it comprises "Bardic and Connaught Caoines, Songs, Fairy Chants and Songs, Rural Ballads, Songs of Occupation, Marches, Jigs," &c., in order that the reader may rightly understand the nature of its contents. As the collection had reference to a popular entertainment, the reader will not expect either such care in research or arrangement, as would give the work any distinguished value, antiquarian or artistic. Some of the less familiar melodies have been already published in Mr. Bunting's earlier collections, unfairly thrust out of sight, by the more popular publication of Mr. Moore and Sir John Stevenson. In one of these, "Burn's March," a harp tune, much of its individuality is disguised by the vocal harmonies attached to one of the most eccentric figures belonging to ancient Irish instrumental composition. Another "To the Battle Men of Erin," a superb tune in the heroic style, is better adapted for a part song than a solo. But Mr. Horncastle's arrangement is awkward, and we cannot approve the wholesale transfer of the words written for Mr. Bunting's collection, without a syllable to point out the obligation. Then we wish to know whether the insipid rondo to which the editor has set the beautiful "Forester's Lament," by an original Irish lyrist heard so seldom - is authentic or a confection. If the former, it furnishes another proof that "there is nothing new under the sun" - since the French intervals and the French style, which we had supposed to be peculiar to the Opéra Comique and M. Auber, are both clearly indicated in it. We must also question "The Weaver's Song," on two counts: first, because the tune has almost a literal identity with the well known "'Twas within a mile of Edinborough Town" - secondly, because it would puzzle St. Senanus or St. Grellan to tell what business Barry Cornwall's fanciful words have in an "Irish Entertainment." Then there is a grace introduced in the second verse of "The Yellow Horse," here printed with poor William Spencer's words "Too late I staid" (see ante, Bunting's collection) so entirely savouring of the Haymarket and its signori, that, slight though it be, we must animadvert on its appearance in what, if it is to have any value at all, should be a national publication. The words to "The Lament of Ormond," have been affixed to the wild old air without the slightest regard to rhythm. This is another grave fault. There is hardly any melody whatsoever, be it as eccentric in its forms and in its accentuation as the Moorish Zorzico itself, which is not capable of treatment in English. Of this Mr. Moore has given us some signal examples in his lyrics; to go no further than his delicious song, "In the mid hour of night, when stars are weeping, I fly," where a most untractable rhythm is so smoothed and melodized as to become absolutely easy and welcome to the ear. Allowing for these blemishes and others of the kind, Mr. Horncastle has got together some curiosities and choice tunes. Horace's first Ode, set by a hedge-schoolmaster, has a crazy sentimentality about it truly ridiculous - a sort of Hibernian quid pro quo for the solemnity of the "Nominativo hic" of Carissimi. Then "My Lodging is Uncertain" - own cousin to "The Girl I left behind me," is a capital tune: new to us. Lastly, Mr. Horncastle has given us one melody "Shule Arun," which, for melancholy pathos, is almost equal to the better known "Savourneen Deelish." We have never met it before in print, though it has been long a familiar friend of ours. On the whole, taken for what it is worth, this publication deserves examination.

ASSOCIATIONS: See here for Edward Bunting's, and Thomas Moore and John Stevenson's and their contents Musical sources

"Miscellaneous", The musical world (13 March 1845), 128 (DIGITISED)

MR. HORNCASTLE is delivering Lectures on British Melody, ancient and modern, with great success, at Islington. Mr. Horncastle has lately given Lectures on English and Irish Melody at Liverpool, Manchester, and Ashton under Lyne, with the most gratifying results.

"BRISTOL", The musical world (8 May 1845), 219 (DIGITISED)

Mr. Horncastle's lectures reflect credit not only on himself but on the committee, who appear desirous of showing the variety of instruction and entertainment which may be calculated on by the establishment of the Athenaeum. The lectures were given on the mornings of Thursday, Monday, Wednesday, and Friday, and repeated on the evenings of each day. Mr. Horncastle introduced his subject by some remarks on the origin of melody - the primitive and rural music of Ireland - the musical tone of the Irish mind - their fondness for song - the peculiarities of Irish melody - the resemblance of some of them to those of Eastern nations - and the method taken to preserve the melodies of Ireland without notation. Each department was illustrated either by songs or glees, by Miss Cubitt, Miss Porter, and Mr. Horncastle. Miss Le Roy performed on the harp. Mr. Horncastle, both in his exemplifications and his lectures, exhibited perfect acquaintance with his subject. Felix Farley's Bristol Journal.

MR. F. W. HORNCATSLE'S MUSICAL ENTERTAINMENTS", The Anglo American: a journal of literature, news, politics . . . (8 September 1845), 500 (DIGITISED)

Mr. Horncastle gave the first of a series of Vocal entertainments at the New York Society Library, on Wednesday evening last. It consisted of a lecture, interspersed with songs, on the vocal music of Ireland, and the subject was handled by him in a very masterly manner. This gentleman is more than merely a vocalist. He is a man of research, of feeling, and expression, and his songs which are charming illustrations of his text, are both captivating in themselves, and given in the style of a master in the vocal art. The vocalism of the Irish school does not require a very extensive compass, but a clearness, smoothness, and eveness of intonation are absolutely indispensable, and those qualities he possesses in a very eminent degree. Besides these, he has the property of accompanying himself on the Pianoforte in a way that we have never heard equalled except by Mr. Horn, and his skill in this matter greatly enhances the beauty of the performance . . .

"Miscellaneous", The musical world [London] (2 October 1845), 479 (DIGITISED)

Mr. F. W. HORNCASTLE (gentleman of Her Majesty's Chapel Royal) has been giving his Irish entertainments with great success in the New World. His late visits to Newport and Providence have been highly remunerative. The Newport Press, and the Daily Transcript, (Providence paper) speak very highly of him.

"LECTURES ON MUSIC", The morning advertiser [London] (31 July 1846), 3 (DIGITISED)

Mr. F. W. Horncastle delivered the first of a series of lectures, on Wednesday evening, on English melody, in the London Mechanics' Institution, Southampton-buildings, Chancery-lane, which was most numerously and respectably attended. It is needless to observe upon the great improvement which lectures such as these must ultimately confer on those for whose benefit they are intended; and while we hail with pleasure their introduction into so many literary and scientific institutions, we cannot conceal the extreme gratification it afforded us on this occasion in witnessing so numerous and so attentive an audience. Mr. Horncastle acquitted himself a lecturer with great credit; his delivery, though perhaps little too rapid, was, nevertheless, clear and audible, and in elucidating subject certainly interesting in itself to all who heard him. He introduced with considerable tact, and told with great humour, several anecdotes, which tended to amuse well as to instruct. The lecture was illustrated by that most popular of all practices - a song of the particular period on which he dwelt, or the ballad poetry to which he called the attention of his audience; and in this he was most ably assisted by Miss Thornton and Miss Cubit, who sang the songs appropriated to each, not only with great scientific skill, but peculiar pathos and sweetness. Much credit is due to Mr. Horncastle for introducing the ballad poetry of England to public notice, by so amusing and, at the same time, so peculiarly instructive, a method as that of a lecture, when the manners of the period of which he treats, and the music that charmed the generations that have gone before us, are rendered familiar to all by the course which he has thus adopted. The lecture of last evening was opened by an introduction, in which the lecturer described, with graphic powers of no ordinary description, the ancient customs of "Merrie England," - the practice adopted in partaking of the "Wassail Bowl," - the merry gatherings of young men and maidens, to greet the approach of a May morn, and to welcome it with joyous and merry greetings, with the innocent, though sometimes boisterous, ceremonies around the May-pole. These are topics which could not fail to produce a deep and impressive interest, for however rare the practices alluded to have now become, particularly in large and crowded cities, there are none of us who can fail to remember the days when such scenes took place, amid the wild and joyous merriment of the young, and the sober, but, nevertheless, decided approbation of those who had themselves been similarly employed in the morn of life. Mr. Horncastle then dwelt on the minstrels and ballad-singers of the olden time, and, as we have already observed, was ably assisted by the young ladies, who sang with so much taste and judgment the lays of the mountain, the counties, and the peasant. The hunting songs were given with great effect. The ballads of England not possess that wild and melancholy plaintiveness which characterise the wayward but sad music of the sister isle; nor are they sweet, either in melody or composition, as those of Scotland but they are, nevertheless - we take it correct - living representations of the manners and habits of those by whom they were cherished. The second part of the lecture contains a dissertation on the music of England in the time of Elizabeth, and most instructive exposition of Henry Law's [Lawes's] ballad-operas, in which the lecturer humorously, but truly, caricatured that absurd practice, which exists now in other days, of crying up every description of music which is wedded to a "foreign language." The song of "Mad Tom' was given by Mr. Horncastle with great effect, and "The Lowly Suit," in which he was accompanied by the two ladies with singular sweetness. A curious old song, called "The Hunt is up," finished the evening's performance; but we are glad to perceive that Mr. Horncastle has announced his intention of giving a second lecture in continuation of the same subject, on Wednesday next.

The royal kalendar and court and city register for England, Scotland, Ireland, and the colonies, for the year 1847 (London: R. & A. Suttaby, [1847]), 149 (DIGITISED)

QUEEN'S HOUSEHOLD . . . Gentlemen of the Chapels Royal.
William Knyvett, J. B. Sale, Thomas Welch, Charles Evans, William Salmon, Richard Clark, John Roberts, John W. Hobbs, Orl. Bradbury, F. W. Horncastle, O. Hawkins, Henry Wilde, Thom. Francis, esqrs.
N.B. Five Clergymen and eight Gentlemen wait monthly.
Organists, Sir George Smart, knt., and J. B. Sale, esq.
Composers, Sir G. Smart, William Knyvett. Violist, G. T. Anderson . . .

10 and 13 October 1847, departed London and Plymouth, passenger on the David Malcolm

Australia (1847-1850)

Adelaide, SA (23 January to 21 June 1847)

23 January 1847, arrived Adelaide, SA

"SHIPPING INTELLIGENCE. ARRIVED", South Australian Register (27 January 1847), 3

Saturday, Jan. 23 - The barque David Malcolm, 538 tons, J. W. Smith, master, from London and Plymouth. Passengers . . . Mr. and Mrs. Scott, and two children, Mr. Price, Rev. W. Vansittart, Mr. James Scott Young, and Mr. F. H. Horncastle, and S. Hodgkinson, surgeon superintendent, in the cabin; . . . [list of assisted emigrants]

[News], South Australian Register (27 January 1847), 3

We perceive by our advertising columns that Mr. Horncastle, principal tenor of the Queen's Chapel Royal, and lately arrived in the David Malcolm, intends favouring our colony with his performance of Irish Melodies. He has, we hear, performed in England, Scotland, Ireland, and America, and given great satisfaction to numerous highly respectable audiences.

[Advertisement], South Australian Register (27 January 1847), 1

(Principal Tenor of Her Majesty's Chapel Royal)
most respectfully informs the ladies and gentlemen of Adelaide, he has engaged the New Queens Theatre, for one night only, Friday evening, January 29th, 1847, upon which occasion he will give his Recollections of Ireland, illustrated by anecdote and the most ancient and modern Irish Melodies.
Mr. Horncastle in soliciting patronage and support, most respectfully informs the public he has had the honour of giving his entertainments in all parts of England, Ireland, Scotland, and America, before the most distinguished personages with marked approbation and success, having just arrived per David Malcolm, he trusts the report of liberality that induced him to visit Adelaide will be realised to him upon the present occasion.
Doors open at half-past seven. The entertainments will commence at 8 o'clock precisely.
Dress boxes 4s, pit, 2s.

ASSOCIATIONS: New Queen's Theatre (Adelaide venue); George Coppin (actor, manager)

"LOCAL INTELLIGENCE", South Australian Register (27 January 1847), 3

We perceive by our advertising columns that Mr. Horncastle, principal tenor of the Queen's Chapel Royal, and lately arrived in the David Malcolm, intends favouring our colony with his performance of Irish Melodies. He has, we hear, performed in England, Scotland, Ireland, and America, and given great satisfaction to numerous highly respectable audiences.

29 January 1847, concert, New Queen's Theatre, Adelaide

"LOCAL INTELLIGENCE", South Australian Register (30 January 1847), 2

Yesterday evening, Mr. Horncastle, a gentleman of considerable talent and celebrity, who arrived here in the David Malcolm entertained most of the elite of Adelaide, at the New Queen's Theatre, with a series of vocal music, selected as being peculiarly characteristic of the subjects on which it was composed, and of those who devoted their talents to the composition. The Irish melodies claimed his first attention, as being, in his estimation, the finest extant. Some very pertinent observations on the climate, scenery, ancient chieftains; and bards of Ireland, including the modern but highly gifted Moore, were followed by an ancient song of the Irish Blacksmith, truly descriptive of the swarthy but happy son of Vulcan, busy at his anvil. The May-day song of the ancient Irish Druids was particularly interesting. A selection from English naval songs, Dibdin's "Tom Bowling," and a jovial Free Traders' ditty, were sung in a masterly style, and convinced the hearers of the intimate connection which exists between sound and sense. Want of space prevents us from particularising each song; but we cannot omit to notice the gratification which "Polly put the kettle on," in connection with the Malibran anecdote, and Bishop's comic song, which was rapturously applauded and encored, gave to all present; and to observe that Mr. Horncastle's talents cannot fail to meet with support in any country where the charms of music are properly appreciated. His Excellency, with his suite, was present on the occasion; and the boxes were filled with nearly all the of[fi]cers of his Government, and their ladies. We cannot but hope that Mr. Horncastle's arrival amongst us will facilitate the introduction of those rational amusements which, proverbially engrossed, as we are, in the acquirement of wealth, will be found the best relief from concomitant toils. If we may be allowed to criticise the recitatives, Mr. Horncastle was perhaps rather too verbose; but the harmonies soon made us forget any little prosy defects; and with the performance, as a whole, we were highly delighted.

ASSOCIATIONS: Frederick Robe (governor); Maria Malibran (1808-1836, vocalist active in England); for the anecdote, see Memoirs and letters of Madame Malibran by the countess Merlin . . . vol. 2 (Philadelphia: Carey and Hart, 1840), 63-65 (DIGITISED)

"Local News", South Australian (2 February 1847), 5 

On Friday night, Mr. Horncastle gave a lecture in the Theatre, on aboriginal Irish melodies, with a number of specimens in the original Erse, with a piano accompaniment, intermixed, for the sake of variety, with English songs, among which we may mention "Tom Bowling" as most splendidly executed. Some of the Erse songs, such as "The Smith," and others descriptive of the several trades, were beautiful and characteristic. The song entitled the "Piper and the Fairy," was a piece of unequalled beauty; the last verse was literally a minor gem. The performances were highly appreciated by a numerous and fashionable audience, including his Excellency the Lieutenant Governor and suite. We perceive that Mr. Horncastle has been engaged for a short time by Mr. Coppin, and that there is an excellent bill of fare for Thursday night, under the patronage of the Freemasons.

MUSIC: Poor Tom, or The sailor's epitaph [Tom Bowling] (Charles Dibdin, in The oddities); "Bishop's comic song" = The widow of Estramadura (from Cortez)

[Advertisement], South Australian Register (3 February 1847), 1

MR. HORNCASTLE has a few copies left of this unique work, which was published by subscription, and may be obtained from the Editor, in three numbers, at 10s 6d each, or in six parts, at 5s 6d each.
The rarity and novelty of the work would make it a most agreeable present from any lady or gentleman to a musical friend.
All communications addressed to Mr. F. W. Horncastle, at Mr. Robinson's, "Freemasons' Tavern," will be attended to; and the Professor's terms for instruction in Singing and the Pianoforte may be known at the same place of residence.

"LOCAL INTELLIGENCE", South Australian Register (3 February 1847), 3

Mr F. W. Horncastle, Principal Tenor of the Queen's Chapel, London, who is now delighting the Adeladians with his vocal harmony, some time ago turned his attention to the aboriginal music of Ireland; and after a residence of nine years in that country edited a pleasing and popular work entitled "Music of Ireland." The spirited Editor has obtained (for an Englishman) a surprising mastery over the Celtic language, and although it is usually only a very large and influential assemblage of musical amateurs, that can properly appreciate such a literary work, and personal exertions, Mr. Horncastle has given entertainments practically illustrative of both, throughout England, Ireland, and America - and intends, we understand, to visit Melbourne and Sydney, after the expiration of his present engagement with Mr. Coppin.

4 February 1847 for 12 nights, New Queen's Theatre, Adelaide

[Advertisement], South Australian Register (3 February 1847), 1

Under Masonic Patronage - upon which occasion the centre of the Dress Boxes for the Brothers of the Craft and their Families. MR. COPPIN, anxious to gratify his patrons by securing all available talent, is happy to announce he has entered into an engagement with Professor Horncastle, for twelve nights only, who will make his first appearance on Thursday evening, Feb. 4th, 1847.
The entertainments will commence with the domestic drama (from the French), entitled FALSE ACCUSATION, OR THE DAUGHTER RESTORED.
Song - "Let Masons' Fame Resound," Mr. Horncastle.
To be followed by "Mrs. Caudle's Curtain Lectures, No. 8."
Song - "Tom Bowling," Mr. Horncastle.
After which, for the first time in this province, the novel entertainment of A LADIES' CLUB, Mrs. Coppin in the Chair.
Song - "Widow of Estramadura," Mr. Horncastle.
To conclude with (for the first time) the petite comedy, translated from the French, of THE YOUNG KING.

"QUEEN'S THEATRE", South Australian Gazette and Colonial Register (6 February 1847), 2-3 

The active enterprising Manager of this establishment was, on Thursday night, patronised by his brother Freemasons, and most efficiently so - the boxes were literally crammed and the pit quite full. A large number of the brothers appeared in Masonic costumes, which added much to the gaiety of the scene. We believe that it was decidedly the best night since the opening. Of the performance we can speak in unqualified terms - it was really excellent . . . [3] . . . Mr. Horncastle was loudly applauded in the three song with which he amused us, though we confess that we thought "Tom Bowling" would have been better if divested of some of the graces with which he adorned it. The character of the song is so beautifully simple that it is spoiled by a roulade . . .

"LOCAL INTELLIGENCE", South Australian Register (6 February 1847), 2 

. . . Mr. Horncastle, himself a Freemason, appeared in the dress of the craft, and sang a Masonic song, to the tune of "God Save the Queen." We think a better choice might have been made. We are accustomed to regard me National Anthem with feelings akin to veneration. The tune and the words inspire every heart, but the former has an effect almost vulgar when coupled with strange words. Besides, the masons like the tune in all its loyalty - like to join in the concluding chorus, and then to give masonic honours to their beloved Sovereign, who is the daughter and the wife of freemasons. As it was, they rose during the song, in respect to, we presume, the tune, but the honours, of course, were omitted. No scope was given for Mr. Horncastle's taste or style; but two other songs in the course of the night were better calculated to draw them forth, "Tom Bowling," and "The Widow Of Estramadura" were received with loud applause . . .

[Advertisement], South Australian (5 February 1847), 3 

New Queen's Theatre.
Seconal appearance of Mr. Horncastle, who is engaged for twelve nights only - First night of Othello Travestie.
ON Saturday evening, the entertainments will commence with the romantic drama in two acts, entitled THE DUMB GIRL OF GENOA, OR THE MOUNTAIN DEVIL.
Song - "Scots wha hae wi' Wallace Bled," Mr. Horncastle.
Song - Mrs. Douglas.
Song - "The Sea, the Sea," Mr. Horncastle.
To be followed by the domestic drama (from the French) entitled FALSE ACCUSATION, OR THE DAUGHTER RESTORED.
Song (in character) - "The Holy Friar," Mr. Horncastle.
To conclude with the celebrated burlesque burletta, tragical tragedy, and most extravagant extravaganza, entitled OTHELLO TRAVESTIE.

ASSOCIATIONS: Ellen Selina Douglass (vocalist)

MUSIC: Scots wha hae wi' Wallace bled (tune: Hey tutti taiti, see also in Guy Mannering as sung by Braham); The sea (Neukomm); "The holy friar" = I am a friar of orders grey ("arr. by" Henry Russell)

"LOCAL INTELLIGENCE", South Australian Register (10 February 1847), 2 

On Monday evening [8 February] Mr. Coppin produced at the New Queen's Theatre, the long-promised spectacle Timour the Tartar, which had been several weeks in preparation. The performance had scarcely commenced when it was too evident that the actors were not by any means perfect in their parts . . . although the Manager's disappointment and mortification were increased from the unavoidable absence of Mr. Horncastle, who had been thrown out of a gig the day before and broken his collar bone . . .

[Advertisement], South Australian Register (6 February 1847), 1 

LOST OR MISLAID. A CHEQUE on the Bank of Australasia for £5, in favour of Mr. Horncastle or bearer.
Whoever has found the same, and will deliver it at this office, shall be rewarded.
Ten Shillings Reward.

"PROFESSOR F. W. HORNCASTLE'S NATIONAL WORK 'THE MUSIC OF IRELAND'", South Australian Gazette and Colonial Register (6 February 1847), 2 

This beautiful and valuable work, consisting of all kinds of Aboriginal Music - Keens (that is), Funeral Cries, Pathetic Ballads, Comic Songs, Song of Trade, Songs of Occupation, Rural Songs, Spinning Wheel Songs, Songs of the Druids, Songs of Battle, Fairy Songs, Marches and Dances. Tunes of different kinds, indigenous to Ancient Ireland. Many years of research and much labor nave been bestowed upon this work; and the entertainments given by Mr. Horncastle through England, America, and Ireland, have established this publication in public favor beyond all precedent. As a truly national work, none can exceed it in scope, variety, and completeness; it is a rich mine of musical ore, the proper working of which will be attained when every amateur, who can sing simple melodies, and accompany them on the piano-forte, can find time to repeat them over in the quiet of the parlour or drawing-room, where the mind can become sufficiently imbued with the exquisite simplicity of those melodies of the Emerald Isle.

18, 20, 25, and 27 February 1847, New Queen's Theatre

[Advertisement], Adelaide Observer (20 February 1847), 8 

THIS EVENING (Saturday), the entertainments will commence with the petite comedy, entitled THE BATH ROAD; or, a Match in the Dark.
To be followed by the comedy of MATTEO FALCONE; or, the Brigand and his Son.
After which, Mr. Horncastle's RECOLLECTIONS OF SCOTLAND.
To conclude with FORTUNE'S FROLIC; or, the Rough Man turned Lord.
In preparation, the romantic, drama of THE FORTY THIEVES, and the farces of THE YOUNG WIDOW AND THE WATERMAN.

"NEW QUEEN'S THEATRE", South Australian Gazette and Colonial Register (20 February 1847), 2 

The entertainments since our last notice have been varied and attractive. Bumper houses having rewarded the manager's exertions. Our country friends made the most of the opportunity afforded them during the Show, by visiting the theatre every night . . . Mr. Horncastle is rapidly gaining ground in public favor; on Thursday evening he gave his Recollections of Scotland, which far exceeds his Irish entertainments. It is to be repeated this evening, and we make no doubt will attract a numerous audience. On Thursday next the manager will be honored by the patronage of the District Officers of the ancient Older of Odd Fellows - an announcement in itself sufficient to cram the theatre . . .

[Advertisement], South Australian (23 February 1847), 6 

New Queen's Theatre.
Under the immediate patronage of the Past and Present District Officers of the Independent Order of Odd Fellows, M. U. . . .
THURSDAY EVENING. Feb. 25, 1847 . . .
Odd Fellows' song, Mr. Horncastle . . .
Hornpipe, Mr. Myers.
Favorite song - Mrs. Oliffe.
Character song, Mr. Horncastle . . .
Song - Mr. Horncastle . . .

ASSOCIATIONS: Abraham Myers (theatrical dancer); Harriet Oliffe (vocalist, actor)

[Advertisement], South Australian Register (27 February 1847), 1 

THIS EVENING (Saturday) the entertainments will commence with the celebrated drama of the CHARCOAL BURNER; or, the Dropping Well of Knaresborough.
In the course of the evening, Mr. Horncastle will sing five English songs.
Favourite song - Mrs. Oliffe.
To be followed by an entirely new ballet of action, by Mr. Douglas, entitled the MAID OF THE MILL; or, the Freaks of Lovers.
To conclude with, for the first time here, the laughable farce of the YOUNG WIDOW.
In the course of the piece, the original duett, by Mr. and Mrs. Coppin.
In preparation, the farce of the Waterman.

ASSOCIATIONS: James Augustus Douglass (actor, dancer)

4 and 6 March 1847, New Queen's Theatre

[Advertisement], South Australian (2 March 1847), 3 

New Queen's Theatre.
Under the immediate patronage of the Gentlemen of the Adelaide Bar.
Thursday evening, March 4, these entertainments will commence with a petite comedy in two acts, called LOVE, LAW, AND PHYSIC.
Song, "Sweet Vale of Avoca" - Mr. Horncastle.
Dance - Mr. Myers.
Song - Mr. Horncastle . . .
Song - Mr. Horncastle.
Favorite song - Mrs. Oliffe.
Mr. Coppin will then introduce his legal version of BILLY BARLOW.
Song - Mr. Horncastle.
To conclude with the farce of THE LOTTERY TICKET, OR THE LAWYER AND HIS CLERK . . .

[Advertisement], Adelaide Observer (6 March 1847), 8 

First appearance of Mr, Macdonald, the celebrated singer, from the Royal Victoria Theatre, Sydney. - First appearance of Mr. C. Maudaunt. -
Last night but two of Mr. Horncastle's engagement.
THIS EVENING, March 6, 1847, the entertainments will commence with the popular melodrama, called the MANIAC MOTHER, or Mabel's Curse . . .
To be followed by the musical farce, entitled THE WATERMAN . . .

ASSOCIATIONS: Alexander McDonald (vocalist)

MUSIC: Sweet vale of Avoca = The meeting of the waters (Moore and Stevenson)

17 March 1847, concert, Freemasons' Tavern, Adelaide

[Advertisement], South Australian Register (13 March 1847), 1

Of Mr. Horncastle's Dress Concert, Great Room, Freemason's Tavern,
WEDNESDAY , March 17th. (N. B. - St. Patrick's Day.)
1. Duett - Two performers on the Piano Forte, Mrs. Murray and Mr. Horncastle. Overture to Zauberflote - Mozart.
2. Song - Mr. Horncastle, "Sweet Vale of Avoca." Irish Air.
3. Original Air with Variations for the Flute - Mr. H. J. Witton. - Nicholson.
4. Duett - Mrs. Murray and Mr. Horncastle, "Dunque io Son." - Rossini.
5. Song - Mr. H. J. Witton, "Heki's Address." - H. J. Witton.
6. Song - Mrs. Murray, "Oh wearily, wearily." An Irish Spinning Girl's Song, - from Mr. Horncastle's Collection Irish Music.
7. Trio - Mrs. Murray, Mr. H. J. Witton, and Mr. Horncastle, "Hark! 'tis the Indian Drum." - Bishop.
8. Parodial Version of the Incantation Scene in Der Freyschutz, translated from the German of Herr Peegoto Des Teufil [sic], by a well known amateur in Adelaide. The singing, gong accompaniment, and piano forte, all by Mr. Horncastle. Von Weber.
1. Overture - Two performers on the piano forte, Mrs. Murray and Mr. Horncastle, accompanied on the flute, by Mr. H. J. Witton. Figaro - Mozart.
2. Observations on Irish Music, Anecdote, Legend, and Dialogue, Song, "Maurice Connor and the Fairy Lady" - Mrs. Murray and Mr. Horncastle. - From Mr. Horncastle's Collection Irish Music.
3. Duett - Mr. H. J. Witton and Mr Horncastle, the New Zealand Chieftains' Battle Song, (Heki and Kawita). - H. J. Witton.
4. Comic Song - Mr Horncastle, "Widow of Estramadura." - Bishop.
5. Song and Chorus - "Thy welcome O'Leary," Mrs. Murray. From Mr. Horncastle's Collection Irish Music.
6. Rollicking Song - "George Brabay," sung in the Irish language by Mr. Horncastle, who will translate the same into English previous to singing it. - Irish Air.
7. Song - Mr. Horncastle, "Shule Arun," with remarks on its style. - From Mr. Horncastle's Collection Irish Music.
8. "St. Patrick's Day in the Morning." - Irish Air.
N.B. - No money taken at the Doors.
Tickets 5s, to be had at Mr. Dehane's Printing Office; Mr. Horncastle, Adelaide Baths; and of Mr. Robinson, "Freemasons' Tavern."

ASSOCIATIONS (Adelaide): Georgiana Murray (pianist, vocalist); Henry James Witton (vocalist, composer, flautist); "a well known amateur in Adelaide", perhaps Eliezer Levi Montefiore

ASSOCIATIONS (New Zealand): Hone Heke and Te Ruki Kawiti (Maori chiefs); neither the words nor music of Witton's song and duet are known to survive

MUSIC: St. Patrick's day in the morning (traditional)

"Local News", South Australian (19 March 1847), 5 

We are happy to report that Mr. Horncastle's concert, on Wednesday, was tolerably successful. Mr. Horncastle was in good voice and tune, and his efforts elicited much applause. Mrs. Murray gave him very effective assistance, having fully sustained her previous high reputation. Mr. Witton appeared to be nervous and "out of sorts," and we shall only wish him better luck next time. We recognised some Scotch airs in the Irish melodies. Can it be that the Irish have borrowed from the Scotch, or "vice versa?" We should like to hear from Mr. Horncastle a regular lecture on the origin of the various popular airs in the three kingdoms.

ASSOCIATIONS: Andrew Murray (editor, South Australian, not related to Georgiana Murray's husband, also Andrew)

[News], South Australian Register (20 March 1847), 2 

On Wednesday night Mr. Horncastle gave a concert in the large room at the Freemasons' Tavern, assisted by Mrs. Murray and Mr. Witton, hardly perhaps a sufficient number of performers to maintain the interest through an entire evening . . . Less we should think than a hundred persons were in the room which would accommodate five times the number, and they had of course a cold and scattered appearance. An untuned tin kettle thing of a piano forte perched on some loose ricketty planks (a pretty sounding board), a fifth or sixth-rate flute, and an old tin tray (called by courtesy a gong) were the instruments used on the occasion. Mr. Horncastle sang a few songs in tolerable style, and told some prosy stories. He sang some gibberish too which was advertised as Irish, but which a Milesian friend assures us (for we know nothing of the matter) might have been as justly christened Turkish. Mrs. Murray played in her usual style in which rapid execution forms the principal feature, and sang with somewhat less than her ordinary spirit. She seemed, we thought, a little disappointed, and perhaps the same feeling extended to Mr. Witton, who was anything but at his ease. We think the previous arrangements must have been rather carelessly made. There was an evident want of preparation about the whole. The Italian duet went off perhaps more successfully than any other piece, and the incantation scene from Der Freischutz excited some applause - but the finale, St. Patrick's Day in the Morning was an awful failure. Its beautiful air could hardly save it from being laughed at. We must say in justice however that we have little right to complain of mismanagement at these exhibitions. They will never be much improved, nor can can we expect it, till those whose means enable them to do so, make it more a point to resemble Macenas rather than Ralph Nickleby or Arthur Gride.

ASSOCIATIONS: John Stephens (editor)

"MR. HORNCASTLE'S CONCERT", South Australian Gazette and Colonial Register (20 March 1847), 2 

It is rather a singular fact that Adelaide, possessing more real musical talent in private society than is to be found in most of the colonies, should be so chary of its patronage to music vhen it appears in a professional form. In a long-established settlement, where a second or third generation has taken the place of the first, and can of course hold the associations of their progenitors as it were only as traditionary, we could understand this; but among persons possessing the advantages of education and society in the mother country, such indifference to the associations of which music forms one of the strongest links, is scarcely comprehensible. Yet, so it is ; there have been few concerts in Adelaide which have more than paid their expenses, if they have even done that. Aware of this, perhaps, Mr. Horncastle did not certainly run into any unnecessary extravagance of expenditure in this his first "experimental concert." He was right, and we doubt not that his audience were altogether as well pleased as they have been upon any previous occasion. For ourselves, we confess our obligations to him for a treat which has not fallen to our lot these ten years. The resuscitation of such music as that of Weber's delicious scena - "Through the Forest," sung as it was on this occasion, would have ensured our warmest gratitude, had not the indignation with which we sat through the parody following very nearly extinguished it. Had there been the slightest sparkle of wit to have redeemed the prostitution, it might have been forgiven; but with the admiration - almost reverence - we feel for Weber and his school, the attempt to make their compositions the vehicle of travestie appears a kind of sacrilege. An Italian duet was also a new feature in a concert here; our old stage favorite "Dunque io son," was the one selected, affording scope for the executional powers of Mrs. Murray, which were never heard to greater advantage, supported (as they never have been before) by a second upon whom she could implicitly rely. With regard to Mr. Witton's Battle Songs, we think that artist is guilty of the greatest injustice to his own productions when he attempts to sing them himself, being unfortunately destitute of the physical requisites for embodying conceptions of no trifling merit. In the duet particularly, his own voice was scarcely heard, whilst that of Mr. Horncastle and the spirited accompaniment of Mrs Murray, sufficiently manifested the musical talent of the composer. The Irish songs from Mr Horncastle's collection were well chosen, and well sung; we were much pleased with that of "Maurice Connor," notwithstanding the invidious whispers of an angry Scot near us, that the Fairy Lady's Invitation was only a crippled version of "Auld Rob Morris." But if we durst venture a hint to Mr Horncastle, in would be to ride his Irish hobby a little more mercifully. We fear that be will find but few here to sympathise in his enthusiasm, or to appreciate the trouble and research which it has cost him. The region of imagination - legendary or otherwise - is not New Holland; to rear a few Chateaux en Espagne is its utmost venture, and even these are more generally founded under the ground than upon it.
M. S.


SIR - There is a well known adage that "all public performers are fair game for the Critics." This is true; and, therefore, when any unfair game is made of any person of talent, it is due to that person and to the public that it should be noticed and reprobated. In the critique on my Concert, I observe only one remark that is worth a moment's notice. It is that which states I used "'gibberish,' calling it Irish," and that a Milesian friend said it might as well be christened Turkish as Irish. This, being a decided libel upon my veracity and knowledge, both as a musician and an illustrator of Irish melodies, to the collection and publishing of which I have devoted many years, I consider it right to disappoint ignorance and impertinence of its prey. A residence of nine years in Ireland gave me the first insight into the character, manners, and language of the Irish people. I studied them, and, subsequently, the poetry of the Irish songs, under an old Irish scholar, and have given my entertainments in Dublin for eighteen successive nights, and received the thanks of the Royal Irish Academy for my exertions in behalf of the Music, Poetry, and Literature of the country.

Since that time, I have, at great loss of time, labor, and money, established these entertainments in Philadelphia, Boston, New York, Baltimore, Washington, Providence - in America; the Russel, the Western Institution, the Mechanics' Institution, Chancery Lane, London; and at Manchester, Liverpool, Brighton, Leamington, and many other places through out England. The accidents, losses, crosses, and personal anxiety such various wanderings must include, have sorely tried my temper, purse, health, and memory. Even since I came to Adelaide, I have met with three accidents, which would have prevented any one but myself from doing any public duty; I have been thrown from my horse, and twice (the same day) out of a gig, which has caused an inflammation in the chest, and much impaired my voice both for speaking or singing, but it cannot exactly turn my remembrance of the most favorite language I have ever studied into "gibberish." Mr. Stephens's Milesian friend (as it was Saint Patrick's Eve) very likely had taken "a drop of the cratur," and become somewhat oblivious of his mother tongue; or, being born in Munster, had that brogue, and not the Connaught pronunciation, which I use. Whether or not, I now insert the two songs, "George Brabazon,"and the song of "The Hostess." Not having type for Irish letters, I give the pronunciation in English letters, that my Irish friends may learn I did not degrade their ancient tongue by any "gibberish" of my own:

A Yorsay Brabason go mairee two Salackslaun
Grar gae dinroy ash, ar linniv ish eveuycail . . . 

1. Earee da e, vanitee ish Suaca gruim anderwally.
Toire a guunee canideie . . .

In conclusion, I have only to say how much I feel indebted to the Editors of the "South Australian" and the "Gazette" for their courtesy and impartial observations; and we need never fear to find in their Journals, libellous and vulgar abuse to strangers who may exercise any art or profession, or any low malice aimed at the reputation of persons "out of Court," and, therefore, apparently unable to defend themselves.
I remain,
Your very obedient servant,
F. W. H.

"PROFESSOR F. W. HORNCASTLE'S 'MUSIC OF IRELAND'", South Australian Gazette and Colonial Register (3 April 1847), 2 

This is a collection of the "Aboriginal Melodies of Ireland" - some as old as the times of the Druids. Others are Songs of Tr[???], Fairy Tunes, Funeral Cries, or "Caiones," they are called; with some Rural Ballads, Marches, Jigs, &c.; in short, a complete Repertory of National Music. Mr. Horncastle, we believe, is the first musician who has taken up this subject in a spirit of true Celtic feeling - every [3] one of the songs being literally translated from the Celtic, and each being therefore a rescript of the original poets and musicians mentioned, whereas Moore, in his beautiful Collection, rather transfuses the felicitous thoughts of his own poetic vein of imagery, and has wedded some delightful music to immortal verse. Many of Moore's songs, too, are decidedly political, therefore to some are distasteful. This error Mr. Horncastle has avoided; there are no political or religious allusions to offend any party or class of society. Whether we consider the pathos of such airs as "My Lodging is uncertain," "Too late I stayed," "Paistheen Fion," Shule arum" - the vivacious spirit of "The Ploughboy," Ballinderry," "Thy Welcome, O'Leary," and "The Liquor of Life" - together with the funereal sombre tint of musical coloring heard in such strains as "The Bardic Caione," "the Connaught Caione," or "The Lament of Ormond," we must look upon this as the most complete set of Irish melodies extant. Mr. Horncastle has very wisely left the accompaniments either for harp or piano as he found them. They are all easy of execution, and within the grasp of every moderate performer; while the Songs and Harmonized Airs are in admirable keeping for the best parts of each voice. A few pieces for the piano alone are scattered here and there through the work, such as "The Herrs Concert," the Marches of Brian Boro Fingall, "Ohistrum," and some most characteristic Dance tunes. The "Fire Dance" and "Chorus Jig," the "Humours of Knocktopher," and the Strutting of the Peacock. The lovers of Irish music in Adelaide will be enabled to partake of this rich musical treat, as there are some complete sets of the Subscription Copies for sale at Mr. Neales's Auction Mart. The mode of publication is by parts - three at 10s 6d, forming the volume, or six numbers at 3s 6d. making up the same. As this work is not to be had in any other way, we trust the opportunity will not be lost by all who love the "Divine Art," and especially when it is considered that the labor of years has been expended in their collection and exhibition, in nearly all the principal towns and cities in England, Ireland, and America. In the list of subscribers are her Majesty, Prince Albert, and nearly all the Royal Family.

[Advertisement], South Australian Register (7 April 1847), 7

Tuning Piano Fortes, Lessons, &c.
MR. HORNCASTLE will be happy to fill up his leisure time while in Adelaide, for one week, by tuning, grand, upright, or square piano fortes; supplying wires, &c.
Applications for the above, or singing or piano forte lessons, he will have much pleasure in attending to immediately.
N.B. - Four complete sets of Mr H.'s Music of Ireland still for sale, price £1 11s 6d.
Royal Adelaide Baths, Rundle-street, 6th April, 1847.

6 April 1847, Georgiana Murray's concert

"MRS. MURRAY'S CONCERT", South Australian (9 April 1847), 3 

On Tuesday evening, Mrs. Murray gave another Concert of Vocal and Instrumental Music. She was assisted by Messrs. Bennett, Horncastle, Ewens, Mitchell, Harward, Yems, Hornabrook, Richards, father and son, and Smith; but we regretted much to perceive the miserable attendance, not more than fifty persons being present. This was the more marked, as on the preceding evening 300 persons had assembled in the same room to witness the exhibition by Messrs. Hall and Plush, of a series of dissolving views. We are afraid that musical taste is at a low ebb in the colony. The small attendance, however, had little effect in damping the spirits and efforts of the performers, who exerted themselves to the utmost. Without intending to be invidious, we may mention, in particular, Mrs. Murray's songs - The glee, "Breath of the Briar," and the overtures, "Fra Diavolo," and "Guillaume Tell," as having been admirably performed. The Cockney catch, "Ah! how Sophia," by Messrs. Ewens, Mitchell, and Harward, was sung with much spirit, and deservedly encored.

ASSOCIATIONS: George Bennett (musician); William Ewens (vocalist); Thomas Harward (vocalist); James Yems (vocalist); John Hornabrook (vocalist)

"CONCERT AND BALL", South Australian Gazette and Colonial Register (10 April 1847), 2 

We beg to call attention to the announcement of the Concert and Ball, at Mr. Joshua's, on Friday evening, got up at Mr. Horncastle's expense, for the amusement of the mercantile and trading portion of the community - his Farewell Benefit. The losses, disappointments, and some severe accidents the Professor has met with since his arrival amongst us, give him an especial claim upon the sympathy of his friends. Comic songs, recitations, and a few leaden jokes will commence the evening's amusements. Mr. Jacobs will be Master of the Ceremonies, and Mr. Lee's excellent quadrille band will be in attendance. The best refreshments are to be had at Mr. Joshua's establishment, and the weather holding fair, we trust that the profits of this entertainment will enable the BENEFICIARE to accomplish the desired purpose.

ASSOCIATIONS: John Lewis Jacobs (master of ceremonies); Philip Lee (violinist)

"RESIDENT MAGISTRATE'S COURT. Wednesday, 21st April. HORNCASTLE V. COPPIN", South Australian (23 April 1847), 3 

For £1 8s., for two night's singing at the Queen's Theatre.
Mr. Coppin, who appeared to be prompted by Mr. James, said he had several grounds of defence.
First, he denied having engaged plaintiff at two guineas per week.
Secondly, the agreement was a weekly one for a month; and the plaintiff's part of it not having been performed, he could not claim for a portion.
Thirdly, by the rules of the theatre, the plaintiff having refused to perform a character assigned to him, had forfeited his agreement and salary.
The agreement was produced by plaintiff, but it did not help him. He was bound by it to perform and sing during one month, for three evenings in each week, at a weekly salary of two pounds; and meanwhile, not to sing at any concert held in any other place than the theatre.
Mr. Horncastle said that he had been prevented attending on one night by a fall from a gig, and he presumed that such an accident was a sufficient excuse.
His Worship - That was no fault of Mr. Coppin's.
There is no clause in the agreement referring to illness. You cannot bring an action on an agreement unless you can show that you have fully performed your part of it. If you had presented yourself, and offered to sing - if your services had been declined, and you had afterwards applied for your salary, and had been refused, you would have a ground of action.
Mr. Hornecastle - Who can help illness? A barrister in this court might have undertaken to conduct a cause, and by a similar mischance have been obliged to break his promise.
The Magistrate - Then, he could not claim his fees.
Mr. Horncastle - Oh, it's no matter to him, he'd have had 'em in advance. (Laughter).
The Magistrate - Ah, you should have done the same - then you would not have had to come to court for them. (Much laughter.)
Mr. Horncastle - Do you consider that the law, sir?
The Magistrate - Certainly.
Mr. Horncastle - (Hastily retiring from the court), Very well, sir.
Verdict for the defendant.

"RESIDENT MAGISTRATE'S COURT. Wednesday, 21st April, 1847. HORNCASTLE v. COPPIN", Adelaide Observer (24 April 1847), 6-7 

Action to recover £1 8s, being a balance due by defendant for two nights' singing at the Queen's Theatre.
Defendant pleaded - 1st. That he did not engage the plain-[7]-tiff at a salary of two guineas per week, as alleged;
2dly, That the plaintiff was engaged by the month at a salary payable weekly - he having to perform three nights in the week; and,
3dly, That according to the rules of the Theatre he should play in any character, during the nights of his engagement, which he had not done.
Plaintiff said the agreement was in writing, and that he had never engaged to play, it being out of his line.
His Worship asked the plaintiff for that agreement, when he answered that he had not brought it with him, nor had he served a notice upon Mr Coppin to produce the counter part, saying he did not consider it necessary.
His Worship observed it was the very thing he should produce, and at the plaintiff's request postponed the case until he should go for it.
After some other cases had been disposed of, Mr. Horncastle returned with the agreement, and his Worship after perusing it, observed that he had engaged to sing three nights in each week for £2 per week, and the defendant had alleged that he had not fulfilled his contract. It remained with him to shew that he had done so.
Plaintiff said that upon one occasion he had been thrown out of a gig and got seriously hurt, and was thereby unable to sing.
His Worship - That was not Mr. Coppin's fault. If you neglected to perform any night during your engagement, you broke your agreement; and are not in a position to recover. Whenever there is an agreement, and the plaintiff seeks to recover under it, his first step is to shew that he has fulfilled it.
Plaintiff - Is that the law, your Worship[?]
His Worship - Most assuredly.
Dismissed accordingly.

Sydney, NSW (2 July 1847 to 21 January 1850)

"SHIPPING INTELLIGENCE", The Sydney Morning Herald (3 July 1847), 2

July 2. - Joseph Albino, schooner, 141 tons, Captain Finness, from Adelaide the 21st June. Passengers - Messrs. J. S. Barnett, Newenham Oliver, Harvey, Lee, Broughton, G. Jarvis, W. Davies, T. Parker, George Home, Samuel Stocks, F. Garden, McLeod, T. Williams, and William Horncastle.

SEE ALSO: Unassisted Immigrants Index (1842-1855); according to the passenger manifest, Horncastle was one of 3 steerage passengers; State Archives of NSW; series 13278, inward passenger lists, 1847

16 July 1847, lecture concert, Mechanics' School of Arts (postponed from 12 July)

[Advertisement], The Sydney Morning Herald (12 July 1847), 1

MR. F. W. HORNCASTLE will deliver, with illustrations and miscellaneous songs by the Messrs. Howson, a Lecture on Irish Music, at the Sydney School of Arts Theatre, Monday Evening, July 12. Tickets, 1s. each, by mistake advertised in the Atlas, at 2s. 6d, each.

ASSOCIATIONS: Frank Howson (vocalist); John Howson (vocalist); Mechanics' School of Arts (Sydney venue)

[2 advertisements], The Sydney Morning Herald (16 July 1847), 1 

MR. HORNCASTLE'S ENTERTAINMENT OF ABORIGINAL IRISH MUSIC. MESSRS. F. and J. HOWSON beg most respectfully to inform the public, that they had promised Mr. Horncastle their gratuitous services for Monday evening last; but as the entertainment was postponed, the Messrs. H. stipulated with Mr. Horncastle that they would sing on any evening they were disengaged. Mr. Horncastle, however, has advertised an entertainment to take place this evening, and had not in any way consulted the Messrs. H. upon the subject, tbey therefore, to prevent any public disappointment, as far as they are concerned, beg to state that they cannot possibly be present this evening, owing to a prior engagement.

MR. HORNCASTLE regrets that he is compelled to inform those parties who have so kindly taken tickets for this evening, as also those who intend patronising him, that in consequence of some unknown extraordinary circumstance, he at the eleventh hour has learnt that the Messrs. Howson decline singing for him.
Mr. Horncastle confidently trusts his entertainment this evening, without the assistance of Messrs. Howson, will afford his audience every satisfaction.

"LECTURE ON MUSIC. To the Editors", Bell's Life in Sydney (17 July 1847), 3

GENTLEMEN, - The very generous feeling you have ever manifested towards the Musical Profession, induces me to trouble you with a few remarks upon an advertisement in this morning's Herald, signed by the Messrs. Howson. It is a fact easily established that Messrs. F. and J. Howson voluntarily offered to assist Mr. Horncastle at his Musical Entertainment this evening, at the School of Arts: so well was the matter understood, and their kindness appreciated, that Mr. Horncastle spoke of it to every person to whom he has been introduced, and had actually arranged his plans accordingly. By a misinterpretation of Mr. Horncastle's instructions, a paragraph and an advertisement appeared in last Monday morning's Herald, intimating that the Lecture would take place on that evening, although bills announcing this evening as the correct one, were posted in every part of Sydney, publicly notifying the appearance of Messrs. Howsons. - Last evening, at six o'clock, a gentleman informed Mr. Horncastle that the Messrs. Howsons declined singing for him, and intended to insert an advertisement in the paper to that effect, stating they had promised to sing on the Monday evening.

Now, if these gentlemen had understood they were to sing on the Monday evening, why did they not intimate the same to Mr. Horncastle, and not allow their names to be blazoned about, or, as the least point of courtesy, inform him of their intention, previous to the Thursday evening.

However, Mr. Horncastle will prove a host in himself - he is decidedly a first-rate musician, and will rank as such in New South Wales. The gentlemen who have so generously withdrawn their assistance, are not unacquainted with his talent. He has come among us a stranger, and unfriended, and withal a very clever man, and those friends who have rallied about him, did consider the Messrs. Howsons would have manifested towards him that spirit of liberality and generous feeling which they have constantly experienced in New South Wales.
I am, Sir,
Your obedient servant.
Sydney, July 16, 1847.

"LECTURE ON IRISH MUSIC", The Australian (17 July 1847), 3 

Mr. F. W. Horncastle's Lecture on Irish Music, came off last night, at the School of Arts, and was most numerously attended. In the course of the evening Mr. Horncastle sang "The Meeting of the Waters" and "Tom Bowling", which were most rapturously encored. He also gave a history of ancient Irish Music, which elicited great applause from the audience. Mr. H. is a most clever lecturer, and we hope his next lecture will meet with well-merited support.

"MR. HORNCASTLE'S LECTURE ON MUSIC. [Letter] To the Editors of . . .", Bell's Life in Sydney (24 July 1847), 3

GENTLEMEN, - I am induced by your general kindness towards us upon all occasions, to request the favour of being allowed, through the medium of your valuable paper, to make some remarks upon the assertions contained in a letter signed "Ajax," which appeared in your last number, which assertions are evidently intended to prejudice my brother and myself with the "Sydney public." "Ajax" asserts that "It is a fact easily established (?) that Messrs. F. and J. Howson voluntarily offered to assist Mr. Horncastle at his musical entertainments this (Friday) evening.

I will at once proceed to state the whole of my correspondence with Mr. Horncastle, upon the subject of his first lecture; and shall leave you, gentlemen, to determine how far the assertions of "Ajax" are likely to succeed in their very evident intention. -

The first evening I met Mr. Horncastle (Wednesday, July 7,) he REQUESTED my brother and myself to render him some assistance in giving a lecture upon music, which request we readily complied with; but at that time Mr. H. had not made any arrangements when or where it was to take place: - The following morning Mr. Horncastle called on me at the Theatre, and I accompanied him to the School of Arts, where the necessary arrangements were entered into, that the first lecture should take place on the following Monday evening. Mr. H. and myself then called upon my brother, and informed him of the arrangements that had been made; when it was concluded that he and I should sing two pieces each, between the parts of Mr. Horncastle's Lecture, and that we would decide upon the pieces we would sing, the list of which Mr. Horncastle promised to send for on the following morning. I heard nothing more of Mr. Horncastle until I accidentally met him in company with Mr. A. Emanuel, in George-street, on Saturday morning, when he stated that he was apprehensive he had not given sufficient publicity to the fact of the Lecture taking place on Monday, and that he, therefore, intended to postpone it; and he also stated that he was about making enquiries whether the Citizens' Fancy Ball would take place on Monday, the 19th of July, and if not, he would postpone it to that evening. I naturally expected that Mr. Horncastle would immediately make known to me the result of his enquiries but was disappointed therein. I was obliged to leave Sydney on Sunday, and did not return until Tuesday afternoon, when, to my surprise, I found the announcement of Mr. Horncastle's Lecture for the Friday evening. I immediately called upon my brother, who informed me that he could not find Mr. Horncastle, nor had he heard of him since my meeting with him on the previous Saturday.

Under those circumstances, and having made arrangements for some time previously to leave Sydney on Friday morning, and at the same time being uncertain whether we should return in time for the entertainment, we were compelled (to prevent any disappointment) to insert the advertisement which appeared in last Friday's Herald.

Such, Gentlemen, is a clear statement of the facts connected with Mr. Horncastle's Lecture; and I am at a loss to conceive how "Ajax" can possibly reconcile his assertions with the foregoing incontrovertible statement. We could not prevent our "names being blazoned about," inasmuch as we were not able to find Mr. Horncastle, to inform him how we were situated on the Friday, or our want of courtesy should not have been complained of - though at the same time, we are of opinion, that if Mr. Horncastle considered our gratuitous services necessary to the success of his undertaking, some little courtesy might have been evinced towards us in the placards in which our names were "blazoned about," as well as making us aware of the fact of the postponement, &c.

That Mr. Horncastle would prove "a host in himself," we were fully aware of; for Mr. Horncastle will remember the remark I made to him, in the presence of several of his friends, the first evening I met him, "that I thought he required no assistance whatever at his Lectures." I fully concur with "Ajax," that "he is decidedly a first-rate musician, and will rank as such in New South Wales," or anywhere else: proving at the same time that we are not unacquainted with his talent.

The latter part of "Ajax's" letter infers that we were actuated in withholding our services from Mr. Horncastle, by motives which we confidently assert are altogether contrary to our feelings, or general practice; and I trust that time and circumstances will prove to "Ajax," that he is mistaken for once. It is our wish and hope that Mr. Horncastle will share a portion of "that liberality and generous feeling we have constantly experienced in New South Wales," and which we proudly and gratefully acknowledge.
I remain, Gentlemen,
Your obedient and obliged servant,
FRANK HOWSON, for Self and Brother.

ASSOCIATIONS: Abraham Emanuel (musician)

23 July 1847, lecture concert, Mechanics' School of Arts

[Advertisement], The Sydney Morning Herald (22 July 1847), 1 

MR. HORNCASTLE'S second lecture upon Vocal Music will take place at the Sydney School of Arts, on Friday evening next, July 23rd, in which will be introduced a variety of English, Scotch, Italian, and German songs, with a few of Moore's favourite Irish Melodies.
This time, and henceforward, these lectures will commence at half-past seven, precisely, instead of eight, and conclude at half-past nine o'clock.
Admittance, 1s. each.

"MR. HORNCASTLE'S SECOND LECTURE", The Australian (22 July 1847), 3 

We are requested to call attention to the Second Musical Lecture of this gentleman, which takes place to-morrow evening, at half past seven, at the School of Arts. From the strong impressions of delight conveyed by Mr. Horncastle to his former auditory, and from the glowing commendations we have heard from parties well qualified to pronounce an opinion as to the excellence of Mr. H.'s entertainment, we anticipate a great gathering of those who delight in the concord of sweet sounds.

"SCHOOL OF ARTS LECTURE", The Australian (24 July 1847), 3 

Last night, shortly after seven o'clock, the Theatre of this establishment overflowed in every part; - a compact crowd of anxious visitors having congregated, betimes, to secure places for the hearing of Mr. Horncastle's second Musical Lecture. The cheering aspect of the houses, and the cordial warmth of his reception, must have been peculiarly gratifying to the Stranger's heart, demonstrating, as they most unequivocally did, that true merit lacks no extraneous bolstering, and, that, to the taste and discrimination of a Sydney public, Mr. Horncastle may safely confide the unaided exhibition of talents so superior as those with which he has been blest. Without entering upon any elaborate criticisms, we shall simply observe, that throughout the varied round of his entertainment (enlivened as it was with a rich variety of anecdotes as piquant in themselves as admirable in their delivery), Mr. Horncastle fully established his reputation as a Vocalist of the highest order. His are no more automaton recitations - no spiritless wailings of harmonies unfelt. Whether in the plaintive or the playful, in the impassioned or the burlesque, he is alike felicitous; there is no flagging - no somniferous monotony. The soul of the vocalist is poured into his art, which sparkles with life, animation, tone, and brilliancy. The applause so justly commanded, proceeded less from the hands than from the enraptured hearts of his auditors, who seemed to lose the man in the artist. We cannot even recapitulate the numerous Arias to which Mr. Horncastle gave such delightful vitality, but a German drinking song, Drimindhu - The burlesque of Cinderella - and, The Widow of Estremadura, struck us well deserving of the loud and rapturous applause they universally elicited. We hail Mr. Horncastle's appearance in Sydney with much satisfaction, and feel convinced he is destined to become the leading Star of our Musical World.

"MUSIC", Heads of the people: an illustrated journal of literature, whims, and oddities (31 July 1847), 124 

Mr. Horncastle’s lecture at the School of Arts was well attended last evening. He is decidedly a good Musician, and a pleasing and scientific singer; but we recommend him to shorten the duration of his lecture by omitting a portion of his recitations; at present they are too long and tedious. We understand that Mr. Horncastle has obtained from the Colonial Secretary, the necessary document to protect him from informations for taking money at the doors.

"To the Editor of the . . .", Weekly dispatch (31 July 1847), 35 

SIR, - I make no apology for troubling you with this letter, more especially as you will perceive it may serve to introduce to the public the most talented vocalist that has hitherto visited New South Wales.

I allude to Mr. Horncastle, who made his first appearance before a crowded audience at the School of Arts, on Friday, the 16th instant, and whose second Lecture took place on the 23rd instant.

The name of Horncastle has long resounded in the ears of British professionals and amateurs; these have long known them as vocalists of la premiere caste Anglaise, and as amusing and talented travellers. Mr. J. W. Horncastle [sic], the subject of these remarks - has with great perseverence not only visited every nook and corner of Ireland, but has initiated himself so correctly into the methods of the Beautiful Isle, that his Lectures upon Irish Music convey a knowledge of Irish manners and Irish truths.

As a vocalist and as a musician he most certainly stands unrivalled in New South Wales. He possesses a flexibility of voice which, while it amazes the hearers, leaves an extraordinary pleasing feeling - a sensation of je ne sais quoi, and when singing the most difficult passages, his ease and facility of execution confirm his talent. That his voice has been more flexible and stronger may be easily imagined when we know he has lived half a century and more. He displays no decided preference either for sentimental or comic music; he is equally au fait at both, as was manifested by the pleasure rapturously evinced by his audience on Friday evening.

Little doubt can be entertained of Mr. Horncastle's success in New South Wales. Patrons and admirers will always rally round a talented man, more especially when they become acquainted with his unassuming manners, his desire to please and meet the general views, as is really the case with Mr. H. Such public kindness will be fully appreciated, and will no doubt urge our friend to emulation. He may, perhaps, bring forth a few compositions.

I am, Sir,
Your obedient servant,
Sydney, July 26th, 1847.

[Advertisement], The Sydney Morning Herald (26 July 1847), 1 

MR. HORNCASTLE will be happy to give lessons in singing, to ladies or musical families.
Application for his terms to Messrs. Kern and Mader, booksellers, Hunter-street; or Mr. Grocott, Music Warehouse, George-street.

ASSOCIATIONS: Charles Kern and Frederick Mader (book and music sellers); James Turner Grocott (music seller)

[Advertisement], The Australian (3 August 1847), 2 

WHEREAS, some miserable and grovelling schemer has propagated a report calculated to injure me in the estimation of my friends and the public, being to the effect that I had laid an information against Mr. Horncastle, or the School of Arts, for taking money at the door of that establishment. A report which I, most solemnly, declarer is utterly unfounded, in proof of which I state, on the authority of Mr. Hill and Mr. Horncastle, that they are not aware that any information has actually been laid.
I hereby offer a reward of £5 to any one who will give me such information as may lead to the detection of the paltry slanderer, who has dared to publish such a pitiful falsehood.
Royal Victoria Theatre,
August 2, 1847.

ASSOCIATIONS: Samuel Prout Hill (sectertary, Mechanics's School of Arts); John Gordon Griffiths (properietor), Royal Victoria Theatre (Sydney venue)

"MR. HORNCASTLE'S LECTURES. To the Editors of . . . ", Bell's Life in Sydney and Sporting Reviewer (7 August 1947), 3 

GENTLEMEN, - Seeing, among the various advertisements in this week's Herald, one headed "MR. HORNCASTLE'S LECTURES," and signed by J. G. GRIFFITHS, offering a reward of £5 to any person who will inform him of the party's name who originally reported that he was about to file an information either against Mr. Horncastle, or against the Committee of the School of Arts, for taking money at the door, I beg to say a few words upon the subject.

I certainly am a friend of Mr. Horncastle, but am no less a one of Mr. Griffiths; in fact, I admire and feel proud in the society of all talented men, and among these I most assuredly enumerate Mr. Griffiths, the Manager of the Victoria Theatre.

A report was not only current, but much believed, that Mr. Griffiths actually was, or was to have been the informer (as above spoken of), his name was handled about with very little mercy, and among the many who spoke of him "not in terms polite," I acknowledge to have been one, but I regret having done so, and feel assured that every one else will entertain the same sentiment when they are informed that Mr. Griffiths is wholly guiltless of so foul a charge. I have found that the report was false, and feel great pleasure in stating that I verily believe Mr. Griffiths to be a straightforward, jolly good fellow, incapable of acting dishonorably, and well entitled to the good opinion and patronage of the public.

That the false report has emanated from the great desire of a certain gentleman to hear himself speak, is beyond a doubt; but it becomes a matter of serious concern when a man's reputation is vituperated, especially when that man's livelihood is depending upon the caprice of a public. The name of Informer is quite sufficient to stir up the disgust of all of us; and such an epithet, I am convinced, can never be attached to the name of the Manager of the Sydney Theatre.

I may also state that no information has been filed, either against Mr. Horncastle, or against the Secretary of the School of Arts.
I am, Gentlemen,

6 August 1847, lecture concert, Mechanics' School of Arts

[Advertisement], The Sydney Morning Herald (3 August 1847), 1 

MR. HORNCASTLE intends giving his fourth Musical Lecture on Friday evening next, at the Sydney School of Arts.
Tickets, one shilling each, to be had of Mr. Hill, Secretary.
Commence at half-past seven.

August 1847, masonic concert, Saracen's Head Inn

[Advertisement], The Sydney Morning Herald (11 August 1847), 1 

CONCERT. A CONCERT will be held at the "Australian Grand Lodge Rooms" of the Independent Order of Odd Fellows, adjoining the Saracen's Head Inn, Sussex street, This Evening, August 11 . . .
In Consequence of the severe indisposition of a gentleman who was to have sung on the occasion,
MR. HORNCASTLE has been engaged at a very short notice, and will sing the following songs:
"Ye Tormentors," from Cinderella,
"Maurice Connor" . . .
Concert to commence at eight o'clock precisely.
Leader - Brother Gibbs
Conductor - Brother Deane
T. F. McDONELL, Secretary.
Sussex-street, August 10.

ASSOCIATIONS: John Gibbs (leader, violin); John Philip Deane (conductor)

MUSIC: Ye tormentors (Rossini, from La Cenerentola, as adapted by Rophino Lacy in Cinderlla)

"CONCERT", The Australian (14 August 1847), 3 

On Wednesday last a Concert was held in the Australian Grand Lodge Hall of the Independent Order of Odd Fellows, and was numerously and respectably attended . . . A gentleman amateur, who, could not attend through indisposition, had his place filled by a professional, in the person of Mr. Horncastle, who favoured the company with three of his happy songs . . .

"MUSICAL LECTURE", The Sydney Morning Herald (13 August 1847), 3 

During the session of the Legislative Council we have neither time nor space to give that attention to the lectures which are delivered at this time of the year, and which, as they now form a recognised mode of instruction and amusement for a large number of our fellow-citizens ought to be noticed more prominently in our columns than they have been. We cannot, however, omit to notice the musical lectures which are in course of delivery by Mr. Horncastle, who has recently arrived in the colony, and which are spoken of most highly by all who have had the pleasure to hear them. Mr. Horncastle illustrates his lectures with numerous songs, which his fine tenor voice enables him to sing in a masterly manner, and with great taste and feeling. His lectures are always well attended by a highly respectable audience, who are loud in their expressions of admiration.

27 August 1847, lecture, Mechanics' School of Arts

[Advertisement], The Sydney Morning Herald (26 August 1847), 1 

Mr. Horncastle having somewhat recovered from his indisposition, intends giving another Musical Lecture, next Friday evening, at seven.
Admission one shilling, as before.

"COLONIAL GLEANINGS", South Australian Register [Adelaide, SA] (11 September 1847), 4 

Mr. Horncastle has been very well received in Sydney, and his musical talents seem likely to be befter rewarded than they were in Adelaide.

17 September 1847, musical entertainment, Mechanics' School of Arts

[Advertisement], The Sydney Morning Herald (13 September 1847), 2 

NOTICE. - To the Musical World.
Mr. HORNCASTLE will deliver his seventh Musical Entertainment, at the Sydney School of Arts, on Friday next, the 17th instant.
Admission one shilling; commence at 7 o'clock.

[Advertisement], The Sydney Morning Herald (15 September 1847), 1

his Entertainment for next FRIDAY EVENING, is happy to state that on that occasion he has the promise of the efficient assistance of
With this advantage Mr. Horncastle hopes to be enabled to vary "THE ILLUSTRATIONS."
Commence at half-past seven. Admission one shilling.

ASSOCIATIONS: James Waller (vocalist)

29 September 1847, John Philip Deane's concert, Royal Victoria Theatre

[Advertisement], The Sydney Morning Herald (29 September 1847), 1 

Who have signified their intention of attending,
MR. DEANE begs to inform his friends and the public, that . . .
his Concert of Vocal and Instrumental Music will take place at the Royal Victoria Theatre,
Mr. Deane will be assisted by Madame Carandini, Miss Deane, Mrs. Ximenes, Messrs. F. and J. Howson,
Mr. Horncastle, Messrs. J. and E. Deane, Messrs. Guerin, Walton, Friedlander, Strong, Wilson,
and by the kind permission of Colonel Deapard, the splendid
Leader, Mr. Gibbs ; Conductor, Mr. Deane.
PROGRAMME. PART I . . . 6. Buffo Song - The Widow of Estramadura - Bishop - Mr. Horncastle . . .
9. Grand Duet - "Pronta io son," from the Opera of Don Pasquale - Donizetti - Madame Carandini and Mr. Horncastle . . .
PART II . . . 9. Grand Scena - Cinderella - John Parry - Mr. Horncastle . . .

"MR. DEANE'S CONCERT", Sydney Chronicle (30 September 1847), 3

We feel pleasure in congratulating Mr. Deane upon having succeeded in getting up one of the most brilliant affairs of this kind it has been our lot to witness in the Australian metropolis. The Victoria Theatre was yesterday evening literally crowded with the elite of Sydney, and the performance was quite worthy of the attendance. Our space will not allow us to notice the excellencies of the different pieces on the programe [sic]. The audience seemed pleased with every one of them. We were peculiarly delighted with Mr. F. Howson's " Heart bowed down," and "Rosseau's Dream" by the Masters Deane. Mr. Horncastle in " Pronta io son," and Mr. J. Deane's violin solo drew numerous and repeated plaudits from the audience.

"CONCERT", The Australian (1 October 1847), 3 

On Wednesday Evening, Mr. Deane's Concert attracted a full and fashionable audience, the Governor and most of our elite being present . . . Mr. F. Howson made his first appearance since his late accident and was loudly acknowledged; but the lion of the evening was evidently Mr. Horncastle, whose bow was greeted with a tumult of applause. His admirable delivery of the Widow of Estramadura enforced a loud and hearty encore; and the spirit with which (ably assisted by Mrs. Carandini) he poured forth the humorous strains of Don Pasquall, marked the gifted professor as well as the accomplished musician . . .

"MR. DEANE'S CONCERT", Bell's Life in Sydney and Sporting Reviewer (2 October 1847), 2 

The very select and judicious programme issued by Mr. Deane attracted an unusually numerous and distinguished audience to the Victoria Theatre, on Wednesday evening. The dress circles presented a brilliant array of beauty and fashion, while every other part of the house was crowded to excess. About half-past eight his Excellency Sir Charles Fitz Roy and party entered the Governor's box, the Band playing the National Anthem, and the assembly rising en masse . . . The comic powers of Mr. HORNCASTLE were brought out in "The Widow of Estramadura" and "The Ballad from Cinderella;" but we think a more choice selection might have been made for the display of this gentleman's acquirements . . .

[News], Heads of the people: an illustrated journal of literature, whims, and oddities (2 October 1847), 

Mr. Deane's concert on Wednesday night was numerously and fashionably attended. His Excellency, who was present, appeared to enjoy the treat. The lady vocalists were in excellent tune, and Mr. Horncastle gave proofs of his musical powers, which called down rapturous applause. The whole went off well, and we trust Mr. Deane went a-head in the affair.

ASSOCIATIONS: Maria Carandini (vocalist)

[Advertisement], The Sydney Morning Herald (5 October 1847), 1 

MR. HORNCASTLE begs to inform his friends and the public, that he is permanently residing at Mr. Sparkes, (Royal Hotel, George-street), during his stay in Sydney, and that to fill up his many vacant hours, will be happy to give any lady or gentleman single lessons, either in singing (Italian and English) or elocution.
Terms, five shillings per lesson, and the party must have the goodness to come to him, on account of his being lame and not able to travel about much.

13 October 1847, musical entertainment

[Advertisement], The Sydney Morning Herald (8 October 1847), 1 

MR. HORNCASTLE intends giving another Musical Entertainment, on Friday Evening, October 15th.
He is endeavouring to obtain other assistance. Hour and admission as before.

[Advertisement], The Sydney Morning Herald (11 October 1847), 1 

MR. HORNCASTLE'S Musical Entertainment will take place on WEDNESDAY next, the 13th instant, instead of Friday, the 15th and at the SALOON of the ROYAL HOTEL instead of the School of Arts, that place being engaged by Mr. Bellingham for a Concert, of which Mr. Horncastle was not aware till his own announcement had been made.
Tickets, one shilling each, to be had of Mr. Sparks and Mr. Horncastle only.
Commence at half-past seven.

ASSOCIATIONS: Francis Bellingham (concert presenter)

22 October 1847, farewell concert

[Advertisement], The Sydney Morning Herald (18 October 1847), 1 

MR. HORNCASTLE will give his farewell Entertainment next Friday Evening, 22nd instant, at the saloon of the Royal Hotel. Admission and hour as before.

ASSOCIATIONS: Royal Hotel (Sydney venue)

27 October 1847, Julius Imberg's concert

[Advertisement], The Australian (22 October 1847), 2 

MONSIEUR IMBERG will be assisted by Madame Carandini, Mrs. Ximenes, Mr. F. Howson, Mr. J. Howson, and Mr. Horncastle.

ASSOCIATIONS: Julius Imberg (pianist); Ann Ximenes (vocalist)

[Advertisement], The Sydney Morning Herald (1 November 1847), 185

MR. HORNCASTLE wishes to dispose of some Manuscripts, and printed Music Manuscripts, chiefly of his own composition; also literary articles written to suit popular taste.
The music combines Purcell, Handel, Arne, Loder, Rossini, Callcot, &c, Glees, Catches, Duetts, and Scenas.
Royal Hotel, Friday, October 17.

17 November 1847, entertainment, saloon, Royal Hotel

[Advertisement], The Sydney Morning Herald (16 November 1847), 1 

MR. HORNCASTLE begs to inform his kind friends, that he purposes giving another and certainly his last Musical Entertainment, in the Saloon, Royal Hotel, Wednesday Evening, November 17.
Tickets 1s., at the Saloon. Commence at Eight.

[Advertisement], The Sydney Morning Herald (24 November 1847), 1 

NOTICE. - To the Inhabitants of Bathurst, and its district: Musical Entertainment.
Mr. F. W. HORNCASTLE, Gentleman of the Chapel Royal, begs to inform the Gentry and Inhabitants as above, that he intends giving a Musical Entertainment, consisting of Miscellaneous songs in English, Irish, Italian, German, &c., interspersed with Anecdotes, on Monday evening, the 29th instant, at the principal Hotel, to commence at 7 o'clock.
Tickets to be had at the Rooms, 5s. each.

"GO A-HEAD-HEADS", Heads of the people: an illustrated journal of literature, whims, and oddities (27 November 1847), 32 

The good people of Bathurst are preparing for the forthcoming season with their usual show of activity. Mr. F. W. Horncastle gives a musical entertainment on the evening of the 29th instant, at one of the principal hotels in that town.

[Advertisement], The Sydney Morning Herald (20 January 1848), 3 

MR. HORNCASTLE will be happy to resume his teaching by the single lesson - 3s. 6d.
Address to him, at Mr. H. Jones's, tailor. Hunter-street.

4 and 9 February 1848, entertainments, saloon, Royal Hotel

[Advertisement], The Sydney Morning Herald (2 February 1848), 3 

MR. HORNCASTLE will give a VOCAL ENTERTAINMENT at the Saloon of the Royal Hotel, on Friday, the 4th February.
Admission - Two Shillings. Commence at eight o'oiock.

[Advertisement], The Sydney Morning Herald (7 February 1848), 3 

MR. HORNCASTLE will give a Vocal Entertainment on Wednesday next, the 9th instant, at the Saloon of the Royal Hotel, when he will introduce several English, Italian, and German Songs, that he has never yet sung before the Sydney public.
Commence at Eight o'clock. Admission - One Shilling.

23 February 1848, entertainment, Mechanics' School of Arts

[Advertisement], The Sydney Morning Herald (19 February 1848), 1 

MR. HORNCASTLE, in order to diversify the character of his entertainments, purposes on this occasion to introduce selections from the Works of the great Masters in sacred composition, in addition to the Melange, with the nature of which his kind patrons are familiar.
Admission One Shilling. Commence at eight o'clock.

28 February 1848, and week following, concerts at Goulburn

[Advertisement], The Sydney Morning Herald (21 February 1848), 1 

MR. F. W. HORNCASTLE, Gentleman of the Chapel Royal,
having for the last six months given his vocal entertainments in Sydney to crowded and fashionable audiences with the most flattering approbation, and wishing to take a provincial tour through the colony before his departure for Europe, thereby giving the principal portion of the musical population of New South Wales an opportunity of hearing them, begs to inform the inhabitants as above, that he will give one of his vocal entertainments in Goulburn, on Monday, the 28th instant, and during the Race week, namely, the 7th, 8th, and 9th of March next, on each evening he will also give one, to every entertainment the songs will be varied.
Tickets of admission, 5s. each; to be had of Mr. Mendelson, Goulburn Hotel, where the entertainments will take place.
Commence at 8 o'clock.

[Advertisement], The Sydney Morning Herald (27 March 1848), 3 

he will publish by Subscription. Price 5s.
Names will be received by the publisher, Mr. Ford; and those who advance the money (as want of funds compels the publication) will receive two copies.
Publisher, Mr. Ford, Bookseller, George-street; and Mr. Horncastle, (Mr. Lancaster's,) Clarence-street.

ASSOCIATIONS: William Ford (publisher)

17 and 20 April 1848, "invalid music", Mechanics' School of Arts

[Advertisement], The Sydney Morning Herald (12 April 1848), 1 

MR. HORNCASTLE begs to state to his personal friends that, in consequence of repeated accidents, losses, and vexations, he has become a confirmed invalid -
he therefore cannot continue his usual entertainments, but will attempt one he calls justly
"INVALID MUSIC," - besides some comic pieces, he will sing The Nervous man,
"When a Man's a little bit poorly;" I seek my pillow; The Nancy; The old Man he was mad, &c., &c.
The public kindness is respectfully requested towards him on these occasions.
Admission, one shilling. Commences as usual. School of Arts.

[Advertisement], The Sydney Morning Herald (15 April 1848), 1 

MR. HORNCASTLE will give his Invalid Entertainments next week, (the dates were omitted in former advertisements.)
The nights will be MONDAY, the 17th, and THURSDAY, the 20th, at the School of Arts, as before.

4, 10, 18, and 25 May 1848, Mechanics' School of Arts

[Advertisement], The Sydney Morning Herald (4 May 1848), 1

MR. F. W. HORNCASTLE respectfully informs his patrons and friends that having materially renovated his health by a residence in the country, and feeling more competent than he has hitherto been to appear before them in his professional capacity, will give his next entertainment on Thursday Evening, May 4, in the Theatre of the School of Arts, and has been honoured by an intimation of the intention of several influential families to be present on that occasion, Mr. H. hopes the subjoined programme will present sufficient novelty and interest to procure for him the patronage he solicits.
PART 1. - 1. "I seek my pillow;" 2. "The Nancy;"
3. "She's mine;" 4. "Bonnie wee Wife;"
5. "A Little;" 6. "Kerry Caione, or Widow's Lament;"
7. "Blue Beard, a Comic Romantic Ballad."
PART 2 - 1. "If a tear should repose," from Benedict, last Opera;
2. "Largo al Factotum;" [Rossini] 3. "The Nervous Man."
4. "Like the Fetter'd Bird;"
5. "In this Old Chair my Father sat," from Balfe's New Opera, published in December last, entitled "The Maid of Honour;"
6. "Shule Aroon;" 7. "Cinderella."
Between the Parts an extemporaneous Fugue on the Pianoforte.
The Entertainment will commence at eight o'clock precisely.
Tickets One Shilling each, may be had of Messrs. W. and T. Ford, George-street; Mr. A. Emanuel, Music Saloon, Hunter-street; Mr. Aldis, George-street;
Mr. Mountcastle, Hatter, Market-street; and Mr. S. P. Hill, at the School of Arts.

ASSOCIATIONS: William Henry Aldis (musical amateur, tobacconist); Benjamin Such Mountcastle (musical amateur, hatter)

MUSIC: If a tear should repose (Benedict, from The brides of Venice); The nervous man (music by Jonathan Blewitt, words by John Francis); In this old chair my father sat (Balfe, from The maid of honour);

[Advertisement], The Sydney Morning Herald (8 May 1848), 1 

highly flattered by the kind attendance and polite attention of the many ladies and gentlemen who were present at his last entertainment, and finding that many who did intend patronising him on that occasion were unable to obtain admission, he is induced to announce that his next entertainment will take place on the evening of Wednesday, the 10th of May, at the School of Arts.
The following is the programme:
PART I. - 1. "Tom Bowling." 2. When I Beheld.
3. "The Widow of Estramadura." 4. "Ora Drimandru." Irishman's Cow.
5. Charming Woman. 6. The Old Arm Chair. 7. Blue Beard.
PART II. - "Oh smile as thou wert wont." 2. "Jack the Jolly Ploughboy."
3. Peace of the Valley. 4. What is the Spell?
5. The Hostess' Song. 6. "Is there a heart" - Braham.
7. Finale "Frieschutz parody on the Incantation Scene."
Doors open at seven o'clock; the entertainment will commence at half-past seven precisely.
Tickets - One Shilling each - may be had of Messrs. W. and F. Ford; Mr. A. Emanuel, Hunter-street; Mr. Aldis, George-street ; Mr. Mountcastle, Hatter, Market street; and Mr. S. P. Hill, Secretary, School of Arts.

MUSIC: What is the spell? (Rooke, from Amilie, or The love test); Is there a heart that never loved (Braham, from The devil's bridge)

"NEWS OF THE WEEK", Bell's Life in Sydney and Sporting Reviewer (13 May 1848), 2 

. . . Mr. Horncastle gave a musical entertainment at the School of Arts on Wednesday evening, which was attended by a most fashionable auditory . . .

[Advertisement], The Sydney Morning Herald (15 May 1848), 5 

MR. HORNCASTLE'S ENTERTAINMENT, School of Arts, Thursday Evening, May 18th.
THE marked success which has attended his two last Entertainments, induces Mr. Horncastle respectfully to state, that (with the view of hindering a recurrence of the annoyance many parties have experienced in being unable to obtain seats in consequence of the Hall being so crowded) no money will be taken at the doors, and only so many tickets issued that all who purchase them may be comfortably seated.
Mr. H. deems it advisable to state that the management of the Entertainments has been undertaken by Mr. Waller, and requests that all communications relative thereto may be addressed to him, at the Sir Joseph Banks' Hotel, Botany Bay.
Tickets, (one shilling each, may be had of Messrs. W. and F. Ford, George-street; Mr. Aldis, George-street Mr Moffitt, Pitt-street; Mr. A. Emanuel, Music Saloon, Hunter-street; Mr. Mountcastle, hatter, Market-street; and of Mr. S P. Hill, secretary, School of Arts.
First Part. - 1. "Drinking Song," (from Der Freischutz). 2. "Flow on thou Shining River."
3. "The Death of Nelson." 4. "A Governess Wanted."
5. "The Nervous Family." 6. "Il Saragona." 7. "King John and the Abbot of Canterbury."
Second Part. - 1. "Kathleen Mavourneen." 2. "Charming Woman."
3. "Maurice Connor." 4. "Molly Bawn." 5. "No Joy without its Neighbour Sorrow." 6. "What is the Spell."
7. "Blue Beard."
Doors open at seven o'clock; commence at half-past seven precisely.

MUSIC: Flow on thou shining river (Moore and Stevenson); The death of Nelson (Braham); Wanted a governess (Parry); Kathleen Mavourneen (Crouch)

[Advertisement], The Sydney Morning Herald (22 May 1848), 1 

MR. HORNCASTLE begs to apologise to his friends and patrons for having announced that his next entertainment would take place on Wednesday 24th instant, forgetting it was the Queen's birth-day, and therefore a holiday. He now respectfully announces that his next entertainment will take place on Thursday, 25th instant.
Mr. Horncastle, much gratified to find that his efforts to please have been successful beyond his most sanguine hopes, wishes if possible to keep pace with the kind intentions of his patrons, and with this view has selected the following pieces to form the next programme.
Part 1. - 1. Ancient ballad "King John." 2. "The Jewish Maiden's Lament."
3. "I am a Friar of Orders Grey." 4. "A Little." 5. Weber's "Mermaid's Song."
6."The Picture Song." 7. Grand comical historical scene, "Fair Rosamond."
Part 2. - 1. "The Meeting of the Waters." 2. "Is there a Heart that never loved."
3. "Kathleen Mavourneen." 4. "We won't go Home 'till Morning."
5. "Der Weisung," a German song. 6. "The Bonnie wee Wife."
7. By desire - the parody on the incantation scene in Der Freischutz.
Tickets one shilling each, may be had of Messrs. W. and F. Ford, George-street; Mr. Aldis, George-street ; Mr. A. Emanuel, Hunter-street; Mr. Moffitt, Pitt-street; Mr. Mountcastle, Market-Street; and of Mr. S. P. Hill, at the School of Arts.
Doors open at seven, commence at half-past seven o'clock.

31 May, 8, (14 cancelled), 21, and 28 June 1848, entertainments

[Advertisement], The Sydney Morning Herald (31 May 1848), 1 

Part 1. 1. We won't go Home 'till Morning. 2. Black-eyed Susan.
3. Love among the Roses. 4. The Friar of Orders grey.
5. Drinking song in Der Freischutz. 6. Death of Nelson.
7. Fayre Rosamond.
Part 2. 1. What is the Spell. 2. Is there a Heart that never loved.
3. When a Man's a little bit Poorly. 4. Largo Al Factotum.
5. The Jewish Maiden's Lament. 6. The Oak.
7. Blue Beard.
NB - No money will be taken at the doors.
Tickets, One Shilling each may be had of Messrs. W. and F. Ford, George-street; Mr. Aldis, George-street; Mr. Emanuel, Hunter-street; Mr. Moffitt, Pitt-street; Mr. Mouncastle, Market-street, and of Mr. Hill, at the School of Arts.
Doors open at 7 - commence at half-past 7 precisely.
Vivat Regina!

MUSIC: Sweet William's farewell to Black-Eyed Susan (words by John Gay)

"TO THE LOVERS OF HARMONY", The Sydney Daily Advertiser (1 June 1848), 2 

We felt much gratified last evening in attending Mr. Horncastle's Concert at the School of Arts. We have not time or space on this occasion to do justice to this gentleman's high talents; his singing forcibly reminds us of old Jock Incledon - especially in that famed song, "Black-eyed Susan." Mr. Horncastle in this song, although without any accompaniment, charmed his audience exceedingly. We were happy to see the house crowded to excess. His anecdotes were remarkably pleasing, and new, and we recommend our friends to devote one evening in the week to this rational and pleasing entertainment. The concerts take place every Wednesday.

[Advertisement], The Sydney Morning Herald (8 June 1848), 1 

SCHOOL OF ARTS, This Evening, Thursday, June 8th.
1st Part - 1. "Fly not Yet;" 2, "Isabel;"
3. "Maid of Judah;" 4. "Major Long Bow;"
5. "Non Piu Andrai [Mozart];" 6. "Those Evening Bells;"
7. "Sprig of Shillaly."
2nd Part - 1. "My Boyhood's Home;" 2. "The Light Guitar;"
3. "The Old English Gentleman;" 4. "Hurrah for the Bonnets of Blue;"
5. "Wapping Old Stairs;" 6. "Through the Forest;"
7. "The Groves of Blarney."
Doors open at 7 - Commence at half-past seven . . .

MUSIC: The maid of Judah (words by Charles Sloman); Those evening bells (Moore and Stevenson); The light guitar (Barnett); Hurrah for the bonnets of blue (Lee); Wapping old stairs (Percy); The groves of Blarney (to the same tune as The last rose of summer)

[Advertisement], The Sydney Morning Herald (14 June 1848), 1 

Mr. HORNCASTLE begs respectfully to state that in consequence of a violent cold and hoarseness, he will be unable to give the entertainment announced to take place this evening.

[Advertisement], The Sydney Morning Herald (20 June 1848), 1 

MR. HORNCASTLE'S next entertainment will be held at the above Rooms on WEDNESDAY next, the 21st instant.
Part I. - 1. When the War-cry. 2. O Lord, have mercy.
3. Rataplan [Donizetti]. 4. Fra le Angoica.
5. George Brabazon. 6. What is the Spell?
7. Meet me in the Willow Glen.
Part II. - 1. In a Vessel. 2. The Dead shall arise.
3. Come dwell with me. 4. In this old chair.
5. Spread thy light wings. 6. O, give me but my Arab steed.
7. The Nervous Family . . .

MUSIC: Meet me in the willow glen (Lee); The dead shall arise (music by W. H. West; see copy in an Emanuel family album, Sydney Living Museums); Come dwell with me (Lee); Spread thy light wings (Malibran); Oh give me but my Arab steed (Hodson)

[Advertisement], The Sydney Morning Herald (26 June 1848), 1 

MR. HORNCASTLE'S Entertainment,
School of Arts, on Wednesday Evening, 28th instant.
1. Varra, aria Italiano. 2. Spread thy light Wings.
3. Jenny Lind's Rataplan. 4. Farewell to the Mountain.
5. The Bonnie Lass. 6. The May Pole. 7. Cinderella Parody.
1. Verichein Vogelein, German. 2. The Dead shall arise.
3. Old Noah. 4. Women. 6. Carnival of Venice.
6. Aria Legere. 7. My Arab Steed . . .

MUSIC: Farewell to the mountain (Barnett)

5 and 19 July 1848, entertainments

[Advertisement], The Sydney Morning Herald (3 July 1848), 1 

MR. HORNCASTLE'S Entertainment, School of Arts, Next Wednesday, the 5th intant.
1. The Flower of Ellerslie. 2. Woman. 3, Beauty, Wit, and Gold.
4. My Fatherland. 5. Cherry-ripe.
6. Where is the Rover. 7. Farewell to the Mountain.
1. Come live me. 2. The May Pole.
3. Let us haste to Kelvin Grove. 4. Friar of Orders Grey.
5. Advice to Youth. 6. Rhine, thou art Queen of Waters.
7. The Old English GENTLEMAN . . .

MUSIC: Cherry ripe (C. E. Horn); Where is the rover (Lee); Let us haste to Kelvin Grove (from Guy Mannering);

[Advertisement], The Sydney Morning Herald (17 July 1848), 3 

MR. HORNCASTLE wishes to inform his kind patrons that on WEDNESDAY NEXT, the 19th instant, he will repeat one of his vocal Irish Entertainments of Aboriginal Music, being at the particular request of several families of distinction.
PART I. - 1. "Irish Mother's Lament." 2. "Wonderful Tune."
3. "Legend of Knockarafter." 4. "Meeting of the Waters."
5. "Baaltcaran." 6. "Advice to Youth." 7. "George Barbazon."
PART II. - 1. "They may Rail." 2. Hugarmurfein."
3. "Smith's Song." 4. "Kerry Keen." 5. "Cow's Lament."
6. "Liquor of Life." 7. "Irish Knight's Proposal" . . .

24, 25, 26, and 27 July 1848, Maitland, NSW

"MR. HORNCASTLE'S ENTERTAINMENTS", The Maitland Mercury and Hunter River General Advertiser (22 July 1848), 2 

In another column our readers will see an advertisement that Mr. F. W. Horncastle intends giving two vocal entertainments in Maitland, the first evening comprising aboriginal Irish songs, with illustrative legends, and the second English, French, Italian, German, and Irish songs, with amusing anecdotes. Mr. Horncastle's success in Sydney, where he has given several similar entertainments at different times, is a guarantee that he offers a rich treat to the lovers of song and music around Maitland. Both Mr. Horncastle's present entertainments are to be given at the Northumberland Hotel, the first on Monday evening next, and the second on Tuesday evening.

[Advertisement], The Maitland Mercury and Hunter River General Advertiser (22 July 1848), 1 

MR. F. W. HORNCASTLE, Gentleman of the Chapel Royal, having for the last nine months given his Entertainments in Sydney, with the most unbounded success and universal satisfaction, to overflowing audiences, begs most respectfully to inform the gentry and inhabitants as above, that he will give two of his
ENTERTAINMENTS on MONDAY and TUESDAY NEXT, the 24th and 25th instant, at Mr. Yeomans's, "Northumberland Hotel."
The first will consist of Aboriginal Irish Songs, varied with old Legends relating to the country.
The second will consist in a variety of styles, of English, French, Italian, German, and Irish Songs, with amusing Anecdotes.
Mr. H. trusts he will receive that patronage which has been so generously bestowed on him since his arrival in the colony.
Tickets 2s. each; to be had of the proprietor where the Entertainments will take place. Commence at Seven o'clock

[Advertisement], The Maitland Mercury and Hunter River General Advertiser (26 July 1848), 3 

Mr. Horncastle's Entertainments.
MR. HORNCASTLE will have the honor of giving an
THIS EVENING, WEDNESDAY, July 26, at the Amateur Theatre,
at thp rear of the old "Albion Inn." West Maitland;
and a SECOND ENTERTAINMENT, with different Songs, &c.,
TOMORROW EVENING, THURSDAY, at the same place.
Doors to open each Evening at Seven o'clock, and the Entertainments to commence at Half-past Seven.
Tickets, 2s.; to be obtained of Mr. Horncastle, at the "Northumberland Hotel."

"MR. HORNCASTLE'S LECTURE", The Maitland Mercury and Hunter River General Advertiser (26 July 1848), 3 

Mr. Horncastle gave a vocal and musical entertainment last night at the Amateur Theatre in the rear of the "Fitzroy." It was advertised to have taken place at Mr. Yeomans's, but owing to the house not being licensed for music, it could not be held there. We only arrived towards the conclusion of the entertainment, and we must allow that we were highly satisfied with Mr. H.'s performances. He is a highly talented vocalist, and an excellent pianiste. During our stay he gave two songs, one of which was an Anglo German one, and was well garnished with anecdotes of a humourous nature. His travestie of the incantation scene in Der Frieschutz was inimitable. As we hear that Mr. Horncastle intends giving another entertainment this and tomorrow evening at the same locale the public will have an opportunity of witnessing his really talented performances.

"MR. HORNCASTLE'S ENTERTAINMENTS", The Maitland Mercury (29 July 1848), 2

On Wednesday evening Mr. Horncastle gave a second vocal entertainment at the Maitland Amateur Theatre. Although the audience was more numerous than on the first night, it was still thin, the cold windy night possibly preventing ladies from attending, while two electioneering meetings offered more exciting attraction for the gentlemen. Mr. Horncastle has evidently been a very fine singer, and although his voice appears now to be somewhat injured, he is still one of the best vocal musicians we have heard in the colony. Some of the more simple of the songs he gave were sung exceedingly well, and in the duets his performance was very fine. The anecdotes and legends recited by Mr. H. between the songs were given with great gusto and effect, particularly the humourous portions. Mr. Horncastle was assisted occasionally by Mr. and Mrs. Emanuel, and Mr. Williams. Mrs. Emanuel sung two duets with Mr. Horncastle, and gave one song alone; her voice is powerful, and her execution good, but she is fond of embellishments, and we preferred her performance in the duets. Mr. Emanuel is a very good pianiste, although we preferred Mr. Horncastle's touch for sweetness. Mr. Williams sung two duets with Mr. Horncastle, which went off very well, although Mr. Williams appeared to feel nervous, and did not give full effect to his voice. On Thursday evening Mr. Horncastle gave a third vocal entertainment, assisted by Mr. and Mrs. Emanuel. The songs and duets, which were different from those given on previous occasions, were sung well, and met with much applause; and Mr. Horncastle's comic powers as a reciter were again fully appreciated.

ASSOCIATIONS: Abraham and Eliza Emanuel (vocalist, pianist)

See also, "INNS AND TAVERNS OF THE NORTH", The Scone Advocate (21 August 1936), 5 

Northumberland Hotel, High-street, West Maitland, 24th July, 1848.
F. W. Horncastle, Gentleman of the Chapel Royal, having for the past nine months given his entertainments in Sydney, with the most unbounded success and universal satisfaction to overflowing audiences, begs most respectfully to inform the gentry and inhabitants, that he will give two of his entertainments on Monday and Tuesday, July 24 and 26, at Mr. Yeoman's Northumberland Hotel.
The first will consist of aboriginal Irish songs, varied with old legends relating to the country.
The second will consist of a variety of styles, English, French, Irish, Italian and German songs, with amusing anecdotes. Ticket, 2/-.

"MULTUM IN PARVO", The sporting times [Sydney, NSW] (5 August 1848), 

Mr. Horncastle has been doing the "Musical" in Maitland. On Wednesday and Thursday week he had two vocal entertainments, where he elicited much applause by his songs and duets, varied with interesting legends and anecdotes, which he relates in a quaint pleasing manner.

Tarban Creek Asylum, Gladesville; photo: Frederick Manning, 2012, flikcr

Tarban Creek Asylum, Gladesville; buildings designed by Mortimer Lewis, 1836-38; photo: Frederick Manning, 2012, flikcr (detail) (DIGITISED)

14 August 1848, admission, Tarban Creek Asylum

Quarterly return of Patients received into the Lunatic Asylum, at Tarban Creek, from 1st July to 30th September, 1848; CS 49/10759, 3 October 1848; State Records Authority of NSW, Returns and Reports 1845-55, 4/7654 fols. 269-70; NRS 4946 (PAYWALL)

[No.] 8 / F. W. Horncastle / [age] 54 / [pauper] / [admitted] 14 [August 1848] / Melancholia, Hallucination / . . .

"News of the Day", The Sydney Daily Advertiser (7 September 1848), 2 

We are happy to announce that, our highly talented musical friend, Mr. Horncastle, who has been labouring under temporary derangement, at the Asylum Tarban Creek, is fast recovering, and will no doubt soon again be able to contribute to public amusement.

29 December 1849, release, Tarban Creek Asylum

Annual Return of [ ? ] Lunatics treated gratuitously at the Lunatic Asylum, Tarban Forest, from the 1st January to 31st December 1849; State Records Authority of NSW, Tarban Creek and Parramatta Asylums, Returns and Reports 1845-55, NRS 4946 (PAYWALL)

F. W. Horncastle / Jan. 1 / Dec. 29 / [no of days.] 363

Sir Joseph Banks Hotel, Botany Bay, c. 1855 (G. F. Angus)

Sir Joseph Banks Hotel, Botany Bay, c. 1855, drawing by G. F. Angas; National Library of Australia (DIGITISED)

ASSOCIATIONS: George French Angas (artist)

21 January 1850, death, Botany Bay Hotel; buried Camperdown Cemetery

Register of coroner's inquests, NSW, 1850; State Records Authority of NSW, NRS 343 (PAYWALL)

[No.] 5207 / Sydney / 22 [January] / Frederick Wm. Horncastle / [cause] Visitation of God

At Camperdown Cemetery, his birth year was recorded as 1786 [sic]

"DEATHS", The Sydney Morning Herald (23 January 1850), 3

At the Sir Joseph Banks Hotel, Botany, on Monday, the 21st instant, after a few days' illness, Mr. Frederick W. Horncastle, Gentleman of Her Majesty's Chapel Royal, and well known to this community as an accomplished vocalist and musician.

"SUDDEN DEATH", The Sydney Morning Herald (23 January 1850), 2

Mr. Frederick William Horncastle, whose interesting lectures upon music must be remembered by many of our readers, was on Monday found dead on the floor of his bedroom at the Sir Joseph Banks Hotel, Botany, where he was at the time residing. An inquest was held upon the body yesterday, and an opinion having been expressed by Dr. Tierney that death had been occasioned by the rupture of a blood vessel, a verdict of death from natural causes was returned.

After 1850

"MANCHESTER CATHEDRAL", The Manchester courier and Lancashire general advertiser [England] (22 May 1852), 7

At the Cathedral, tomorrow, Sanctus, by F. W. Horncastle;
Chant for the Psalms, Gooch; Jubilate (Jackson) 24th Psalm, New Version;
also Anthem from Handel's Messiah, "But thou didst not leave." Solo and chorus, "Lift up your heads."

The royal kalendar, and court and city register for England, Scotland, Ireland, and the colonies, for the year 1854 (London: R. & A. Stuttaby, [1854]), 149 (DIGITISED)

QUEEN'S HOUSEHOLD . . . Gentlemen of the Chapels Royal. William Knyvett, J. B. Sale, William Salmon, Richard Clark, John Roberts, John W. Hobbs, Orl. Bradbury, F. W. Horncastle . . .

Published works

Musical and other journalism

"F. W. H.", "ON THE ACQUIREMENT OF A PERFECT TASTE IN MUSIC", The quarterly musical magazine and review 3 (1821), 34-36 (DIGITISED)

"F. W. H.", "TO THE EDITOR", The quarterly musical magazine and review (1823), 28-35 (DIGITISED)

"F. W. H.", "TO THE EDITOR", The quarterly musical magazine and review (1823), 152-58 (DIGITISED)

"F. W. H.", "FROM MUSICAL SCRAP-BOOKS. TO THE EDITOR", The harmonicon (1823), 129 (DIGITISED)

"F. W. H.", "TO THE EDITOR. ORIENTAL MUSIC CONSIDERED", The quarterly musical magazine and review 7 (1825), 456-63 (DIGITISED)

"F. W. H.", "ORIENTAL MUSIC", The quarterly musical magazine and review 9 (1827), 27-36 (DIGITISED)

"F. W. H.", "PLAGIARISM. TO THE EDITOR", The quarterly musical magazine and review 9 (1827), 156-60 (DIGITISED)

"F. W. H.", "TO THE EDITOR [SCHOOL OF COMPOSITION]", The quarterly musical magazine and review (1827), 304-07 (DIGITISED)

"F. W. H.", "ORIENTAL, MUSIC. ON THE MUSIC OF THE ARABIANS . . . TO THE EDITOR", The quarterly musical magazine and review 9 (1827), 308-22 (DIGITISED)

"THINGS IN NAME AND REALITY BY F. W. HORNCASTLE", Bell's Life in Sydney (9 October 1847), 3 (DIGITISED)

Musical editions

The music of Ireland, as performed in Mr. Horncastle's Irish entertainments in which are introduced the bardic & Connaught caoines, songs, fairy chant & songs, rural ballads, songs of occupation, marches, jigs &c., harmonized & arranged with an accompaniment for the harp or piano forte, by Fredk. Wm. Horncastle, Gentleman of Her Majesty's Chapel's Royal (London: Horncastle, 1844) [3 volumes; 6 parts] 


Volume 1, parts 1 and 2 (pages 1-29):

The Quern tune (2)
The fisherman's song and chorus (6)
May day song (9)
The rejected lover (11)
The fairies invitation [1] (12)
The fairies invitation [2] (11)
Leitrim's green fields (15)
Dance (18)
The bardic Caoine (19)
Fin McCoul's march (22)
The spinning girl's song (23)
Horace's first ode (26)
My lodging is uncertain (29)

Volume 2, parts 3 and 4 (30-64):

The jolly ploughboy (31)
O'Brien's march (33) The weavers song (34)
Dance (to the weaver's song) (39)
Too late I staid (40)
The fairy chant (43)
The lament of Ormond (47)
Paistheen fion (52)
Burn's march (56)
Ollistrum's march (60)
The boatman's song (61)

Volume 3, parts 5 abd 6) (65-109):

Dance (to The boatman's song) (65)
Jig (to The boatman's song) (65)
The humours of Knocktopher (66)
Sound the eagle's whistle (67)
The fairies lullaby (71)
Ballinderry and Cronan (75)
The Connaught caoine (78)
The liquor of life (81)
The forester's song (85)
The wren boy's song (90)
Shule arun (95)
Brian Boroimhe's march (98)
Thy welcome O'Leary (99)
To the battle men of Erin (104)
The hen's concert (109
The peacock (109)

NOTE: For an edited transcription of the melodies only, see Fleischmann 1998

[Advertisement], The publishers' circular and booksellers' record (15 October 1844), 300 (DIGITISED)

THE MUSIC OF IRELAND, as performed in Mr. Horncastle's Irish Entertainments; consisting of the Bardic and Connaught Caoines, Fairy Chants and Songs, Rural Ballads, Songs of Occupation, Marches, Jigs, &c. Harmonized and arranged by F. W. HORNCASTLE, Gentleman of Her Majesty's Chapel Royal. Part I. The Work to be completed in Three Parts, 25s. to Subscribers; single Parts, 10s. 6d. each. Published by the Editor, 37, Upper Norton Street; to be had at all Music-sellers and Booksellers.


Musical works

For full list of extant editions in public collections, see "Frederick William Horncastle" [author], Worldcat (LIST OF RECORDS)

I care not, fortune (London, 1829)

Song, "I care not, fortune", composed for The harmonicon by Frederick William Horncastle, the words from Thomson's Castle of indolence, in The harmonicon (1829), 202-03 (DIGITISED)

Notturnino A thought at twilight (London, 1832)

Notturnino A thought at twilight for the piano-forte, in The harmonicon (1832), part 2, 145 (DIGITISED)

Marcia funebre (London, 1841)

Marcia funebre, in The harmonist: a collection of classical and popular music, vol 2 (London: Limbird, 1841), 353 (DIGITISED)

Marcia funebre composed by F. W. Horncastle, in The musical standard (19 September 1874), 180-81 (DIGITISED)

The maypole (Philadelphia, USA, 1845)

Selected songs from the popular musical entertainments of English melody by Professor Frederick W. Horncastle, principal tenor of Queen Victoria's Chapel Royal, in six numbers, 1. The maypole (Philadeplhia: George Willig, [1845]) (DIGITISED)

Spring the sweet spring (Philadelphia, USA, 1845)

Selected songs from the popular musical entertainments of English melody by Professor Frederick W. Horncastle, principal tenor of Queen Victoria's Chapel Royal, in six numbers, 2. Spring the sweet spring (Philadeplhia: George Willig, [1845]) (DIGITISED)

By the side of the fairy lake (Philadelphia, USA, 1845)

By the side of the fairy lake, barcarolle, written & composed by Fred'k W. Horncastle (Philadelphia: A. Fiot, [1845]) (DIGITISED)

The men of old (Philadelphia, USA, 1845)

The men of old, ballad, composed by Fred. W. Horncastle (Philadelphia: A. Fiot, [1845]) (DIGITISED)

Buddelow (USA, 1846)

Buddelow, an American song, in Godey's magazine and lady's book 32 (March 1846), 187 (DIGITISED)

The infant's prayer (USA, 1846)

The infant's prayer, in Godey's magazine and lady's book 33 (1846), 89 (DIGITISED)

Bibliography and resources

Mooney 1845 and 1853

Thomas Mooney, A history of Ireland, from its first settlement to the present time . . . interspersed with a great number of Irish melodies (Boston: The author, 1845), 236 

I append one more attestation to the same general purpose [demonstrating the beauties of Irish melody] from an English musician, the leader of her majesty's sacred choir. I extract it from the London Sun of October 18, 1844.

"Mr. Horncastle, of the Queen's Chapel Royal, has published a volume entitled the 'Music of Ireland' [ a collection of beautiful, perhaps matchless melodies. The service which the composer has rendered to music, and even to ethnology, by the preservation and publication of those exquisite relics of ancient science and refinement, is enhanced by his judicious as well as reverential abstinence from attempts at improving perfection. In this respect, he stands very much above his predecessor in the same field, Sir John Stevenson; for he at once admits that the old music of Ireland, as it is found, is not the wild effusion of a rude and simple people, but is the production of a school in a high degree methodized, skilful, and cultivated. The Irish keine, according to Mr. Horncastle, is a noble and most expressive piece of music. These keines serve as examples of the most beautiful harmonic composition, and prove, beyond a doubt, that music in those early ages was in the highest state of cultivation. Yet to this day, the humblest of the people are the only depositaries of these great works. There is a close affinity existing between the poetry of the Latins and that of the Irish. The first ode of Horace is perfectly adapted as written for the Irish melody of 'I am asleep, and don't waken me.' It may be worth asking. Did Horace know and use the Irish tune?"

Thomas Mooney, A history of Ireland, from its first settlement to the present time . . . interspersed with a great number of Irish melodies . . . vol. 1 (Boston: Patrick Donahoe, 1853), frontmatter 25, 236 (DIGITISED)

[From the Boston Pilot of November 15, 1845.]


We record to-day the most extraordinary meeting, connected with Ireland, that ever took place in Boston, which was held on Monday evening at the Odeon, Franklin Street, a building capable of holding several thousand persons, to receive Mr. Mooney's new work on the History and Music of Ireland. The building is a vast theatre, consisting of pit, boxes, and three galleries, every part of which was crowded to its uttermost capacity, by the flower of the Irish citizens of this place, including all the clergy of the district, and very many distinguished American citizens . . .

Although the doors were opened at six o'clock, yet, for an hour previously, Federal Street was crowded with people waiting for admission, and several thousands went away unable to enter.

A concert of the music in Mr. Mooney's book was then produced, which far surpassed, in melody and execution, any musical entertainment we ever witnessed. The music, selected by Mr. Mooney from the minstrels of Ireland, is undoubtedly the very finest we ever heard, and its execution, by Mr. Michael Mooney, Mrs. Franklin, Mr. Horncastle, Mr. Garcia, Mr. Shaw, Mr. McGaughey, Miss Walsh, and Master O'Keefe, was truly delightful, and won from the audience the most rapturous applause. The house was brilliantly lighted; the rich and deep intonation of the organ, when pealing forth the melodious airs of old Ireland, filled our hearts with joy; and the sight and sounds of the harp, the Harp of Erin, surrounded as it was that night by men who are prepared to peril all to emancipate her, called up the memories of Tara and Clontarf, and caused many a noble heart in that building to pant for the freedom of that unhappy land . . . (DIGITISED)

I append one more attestation . . . [As above]

Conran 1850

Michael Conran, The national music of Ireland, containing the history of the Irish bards, the national melodies, the harp, and other musical instruments of Erin . . . second edition (London: John Johnson, 1850), 268-69 footnote (DIGITISED)

. . . In 1845, Mr. Horncastle published a "collection" of our melodies; in the preface to which he says, that "many of the old authors, from the tenth to the sixteenth century, speak in the highest terms of the Music of Ireland; and as it is well known that the ancient melodies of a country serve as illustrations of the civilization, temperament, and character of the people, we must conclude, independently of all other evidences, that the ancient Irish were a highly civilized people." This gentleman (of Her Majesty’s chapel royal) further observes, that "their caoines, or funeral cries, alone serve as examples of the most beautiful harmonic compositions, and prove beyond a doubt that music in those early ages was in the highest state of cultivation." The caoine formed the prin-[269]-cipal musical portion of the burial rites in early times, and we have little means of testing its effects, but when the pathetic melody of it is duly harmonized, the ensemble is effective and touching. Some of the "hedge schoolmasters" of Ireland adapted the whole of Horace's Latin Odes to those ancient Irish melodies. To the melody "Ta me mo Chodladh," "I am asleep," the first Ode was applied thus:

"Maecenas atavis edite regibus
Ta me mo Choladh," &c.

The eerie-comic song of "Barney Brallaghan" is also paraphrased, the first stanza of which thus begins:-

"Erat turbida nox / Hora secunda mane," &c.

Brown 1897

James Duff Brown, British musical biography: a dictionary of musical artists, authors, and composers born in Britain and its colonies (London: S. S. Stratton, 1897), 208 (DIGITISED)

Horncastle, Frederick William, Irish composer and organist of the present century, who flourished about 1810-50. He was organist of Armagh Cathedral, 1816-23, and afterwards a Gentleman of the Chapel Royal. He composed a great number of pieces for the pf., with songs, glees, comic rounds, etc. He compiled "The Music of Ireland; as performed at Mr. Horncastle's Irish Entertainments," London, 1844, 3 parts, etc.

Horncastle, John Henry, author of "The Whole Art of Singing at Sight," London, 1829.

Bumpus 1900

John S. Bumpus, "Irish church composers and the Irish cathedrals, part 2", Proceedings of the Musical Association 26 (1899-1900), (115-159), 121 (PAYWALL)

As I shall not again have occasion to refer to Armagh I will sum up the remaining organists in a few words. The Cathedral was very well restored by the elder Cottingham, during the primacy of Archbishop Beresford. Frederick William Horncastle, who was organist from 1816 until his dismissal in 1823, afterwards became one of the Gentlemen of the Chapel Royal, S. James's. A Sanctus and Kyrie of his composition were inserted in a collection published in periodical numbers by William Hawes, of S. Paul's and the Chapel Royal, between 1829 and 1836. He compiled "The Music of Ireland" in 1844, and wrote a number of pianoforte pieces, glees, songs, and comic rounds and catches. One of the last-named, "Mrs. Wagtail's Evening Party," used to create great merriment at the Adelphi Glee Club, which, established in 1833, under the presidency of Enoch Hawkins, one of the lay vicars of Westminster (an alto of surpassing sweetness), used to hold its meetings at the London Coffee House on Ludgate Hill. Robert Turle, a younger brother of the distinguished organist of Westminster, succeeded Horncastle at Armagh . . .

West 1921

John E. West, Cathedral organists past and present: a record of the succession of organists of the cathedrals, chapels royal, and principal collegiate churches of the United Kingdom (London: Novello and Company, 1921), 2 (DIGITISED)

FREDERICK WILLIAM HORNCASTLE 1816-1823. Born in London, 1790(?). Chorister in the Chapel Royal. Organist successively of Stamford Hill Chapel, Berkeley Chapel, London, and Armagh Cathedral. Dismissed in 1823. Appointed a Gentleman of the Chapel Royal, 1826 [sic]. Died 1850. Composer of a Mass, Glees, Songs, Pianoforte pieces, &c. In 1828 Horncastle collaborated with T. Cooke, Stansbury, Parry, Clifton, and Taylor, in a work entitled "The Passions" for the Melodists' Club.

Shaw 1991

Watkins Shaw, The succession of organists of the Chapel Royal and the cathedrals of England and Wales from c. 1538: also of the organists of the collegiate churches of Westminster and Windsor, certain academic choral foundations, and the cathedrals of Armagh and Dublin (Oxford: Clarendon Press, 1991), 405

Fleischmann et al. 1998

Aloys Fleischmann, Mícheál Ó Súilleabháin, and Paul McGettrick (eds), Sources of Irish traditional music, c.1600-1855 (original edition, Garland, 1998; reprint New York and London: Routledge; Taylor & Francis, 2016), 2 volumes (PREVIEW)

Rohr 2001

Deborah Rohr, The careers of British musicians, 1750-1850: a profession of artisans (Cambridge: Cambridge University Press, 2001), 77-79, 142 (PREVIEW)

Bucholz 2006

"The Chapel Royal: gentlemen", in R. O. Bucholz (ed.) Office-holders in Modern Britain: volume 11 (revised), court officers, 1660-1837 (London, 2006), 279-87; in British history online (ONLINE)

. . . 1831 / 25 Dec. / Horncastle, F. W. . . .

Love 2018

Timothy M. Love, "Irish nationalism, print culture and the Spirit of the nation", Nineteenth-century music review 15/2 (August 2018), (189-208), 207-208 (PAYWALL)

Frederick William Horncastle 1816–1822", Past organists, St. Patrick's Cathedral, Armagh, website (as at January 2019) (ONLINE)

Born London, 1790?, died 1850. Horncastle was a chorister of the Chapel Royal, London, and then organist of Stamford Hill Chapel and Berkeley Chapel, London. He was appointed organist of Armagh in 1816. Evidence suggests that he became a little careless in his attitude to his duties, absenting himself frequently to make excursions to Warrenpoint and Rostrevor. These absences together with Horncastle's unwillingness to take part in weekly choral concerts in the Music Hall led to a dispute with Richard Allott. Further problems of the same nature led to a visitation held by the Archbishop in November 1822, purely to conduct a disciplinary hearing. Subsequently certificates of expulsion bearing the Primate's seal were fixed to Horncastle's residence and the Chapter Room door at the cathedral:

"Therefore We, John George, Archbishop aforesaid and Visitor of said College of Vicars and Organist, on account of the turbulence, contention, insolence and contumacy of said Frederick William Horncastle do pronounce and decree that the said Frederick William Horncastle be removed from his said office of Organist and Master of the Choiristers [sic] and that the licence or Patent heretofore granted to him be revoked, cancelled and declared null and void, the peace and good order of said College of Vicars in said Cathedral so requiring."

His expulsion from his post is unique at Armagh. The correspondence, charges, dismissal etc. are preserved in a collection of letters in the Public Record Office of Northern Ireland.

Horncastle returned to London and became a gentleman of the Chapel Royal in 1826 [sic]. He was composer of a mass, glees, songs, pianoforte pieces, etc. In 1828 Horncastle collaborated with T. Cooke, Stansbury, Parry, Clifton and Taylor in a work entitled "The Passions" for the Melodists' Club.

A Mr. Garbett officiated as organist during the interval between Horncastle’s expulsion and [Robert] Turle's appointment.

Frederick William Horncastle, Find a grave 

© Graeme Skinner 2014 - 2024