THIS PAGE LAST MODIFIED Monday 19 January 2026 11:19
Johnson brothers of Sydney
Dr GRAEME SKINNER (University of Sydney)
THIS PAGE IS ALWAYS UNDER CONSTRUCTION
To cite this:
Graeme Skinner (University of Sydney),
"Johnson brothers of Sydney",
Australharmony (an online resource toward the early history of music in colonial Australia):
https://sydney.edu.au/paradisec/australharmony/johnson-brothers.php; accessed 22 January 2026
JOHNSON FAMILY OF LONDON AND SYDNEY
JOHNSON, Richard (senior) (Richard JOHNSON; Mr. JOHNSON)
? Musical amateur, ? amateur musician, clock and watchmaker
Born London, England, 24 November 1775; baptised St. George in the East, 8 December 1775; son of James JOHNSON and Anna Maria COLE
Married Elizabeth PHILLIPS (d. 1861), St. Saviour, Southwark, England, 25 December 1800
Arrived Sydney, NSW, 17 December 1833 (free per Layton, from London, 15 August, aged "59")
Died West Maitland, NSW, 28 February 1844, "aged 69"
https://trove.nla.gov.au/search?l-publictag=Richard+Johnson+1775-1844 (TROVE tagged by Australharmony)
JOHNSON, James (James JOHNSON; J. JOHNSON; Mr. JOHNSON)
Musician, organist, conductor, teacher of music, vocal class instructor lecturer on music, composer
Born London, England, 1803; baptised St. Mary Woolnoth, London, 4 May 1803; son of Richard JOHNSON and Elizabeth PHILLIPS
Married [1] Eleanor (Ellen) BYRNE (d. NSW, 1847), All Hallows Barking by the Tower, London, England, 25 June 1825
Arrived Sydney, NSW, 1 January 1836 (unassisted emigrant per Salacia, from London, 6 August 1835)
Married [2] Elizabeth KERBY (1825-1877), St. Mark's church, Darling Point, Sydney, NSW, 17 May 1851
Died Sydney, NSW, 13 April 1860, aged "57"
https://trove.nla.gov.au/search?l-publictag=James+Johnson+1803-1860 (TROVE tagged by Australharmony)
JOHNSON, William Jonathan (William Jonathan JOHNSON; Mr. W. J. JOHNSON)
Musician, organist, conductor, teacher of music, organ builder, music retailer and publisher, composer
Born London, England, 9 May 1811, baptised St. Mary Islington, 7 June 1811; son of Richard JOHNSON and Elizabeth PHILLIPS
Arrived Sydney, NSW, 1 January 1836 (unassisted emigrant per Salacia, from London, 6 August 1835)
Married Eliza Harris TOMPSON (1817-1879), St. Matthew's church (CoE), Windsor, NSW, 21 July 1838
Died Erskineville, NSW, 3 October 1866, aged 55
https://trove.nla.gov.au/search?l-publictag=W+J+Johnson+d1866 (TROVE tagged by Australharmony)
https://nla.gov.au/nla.party-983172 (NLA persistent identifier)
JOHNSON, Robert (Robert Ebenezer JOHNSON; R. E. JOHNSON; the honorable Robert JOHNSON, M.L.C.)
Musical amateur, amateur musician, solicitor, member of parliament
Born London, England, 27 December 1812; baptised St. Mary, Islington, 7 February 1813; son of Richard JOHNSON and Elizabeth PHILLIPS
Arrived Sydney, NSW, 12 June 1834 (per Bristol, from London, 6 February)
Married Elizabeth BYRNE (1810-1891), St. James, Sydney, NSW, 30 October 1834
Died Double Bay, NSW, 6 November 1866
https://trove.nla.gov.au/search?l-publictag=Robert+Johnson+1812-1866 (TROVE tagged by Australharmony)
https://nla.gov.au/nla.party-1466450 (NLA persistent identifier)
JOHNSON, Richard (junior) (Richard JOHNSON, junior; Mr. R. JOHNSON, junior)
Musical amateur, amateur musician, member of the Cecilian Society, solicitor
Born London, England, 17 April 1818; baptised St. Matthew, Bethnal Green, 10 May 1818; son of Richard JOHNSON and Elizabeth PHILLIPS
Arrived Sydney, NSW, 17 December 1833 (free per Layton, from London, 15 August, aged "16")
Married Jane Francis MORRIS (d. 1885), Sydney, NSW, 1847
Died St. Leonards, NSW, 31 January 1880
https://trove.nla.gov.au/search?l-publictag=Richard+Johnson+1818-1880 (TROVE tagged by Australharmony)
Summary:
Richard Johnson, a London watchmaker and jeweller, and his youngest son, also Richard, arrived in Sydney on the Layton in December 1833. Another son Robert, a solicitor's clerk, followed in 1834, and two other sons, the musicians James and William Jonathan, arrived in Sydney on the Salacia on New Year's Day 1836.
Though also described in an arrival report as a "silversmith", James appears to have worked mainly as a musician, as organist of St. James's church, member of the Cecilian Society, founder of the Sydney Choral Society, and was also later involved with the Sydney Vocal Harmonic Society. Barnett Levey listed a Johnson (otherwise unidentified) among his musicians at the Theatre Royal in March 1837.
"Just Arrived from London", on first advertising his services in Sydney in February 1836, William stated that he had "been for a considerable length of time employed in the Manufacture and Tuning of Piano-fortes". By February 1838 (or perhaps considerably earlier), James and William were joint organist of St. James's church, and while James continued in the role, by April 1843 (when he was "instructing the Parochial School Children in Sacred music") William was organist of Christ Church. In July 1843 William was advertising as a "pianoforte-maker" in Hunter-street, and by November 1844 had completed building an organ for St. Andrew's temporary church. William continued to work as a piano and organ builder and tuner for the rest of the 1840s and into the 1850s. He was trading from his "Pianoforte Manufactory, 314 Pitt-Street", by December 1849, continuing at this address until August 1854, when the premises were renumbered as 57 Pitt-street. In addition to his other services, by February 1853 he was also advertising as "Johnson and Co., Music Publishers", after he published his own The Chusan polka on 27 August 1852. Numerous copies of his prints of works by local and European composers survive. However, no copies are known to survive of the 11 advertised issues of his music periodical, The Sydney harmonicon, which ran from December 1855 to March 1856, including new works by many local composers. His own Te Deum and Jubilate, issued in print just two months before his death, were his last publications. His widow and children carried on the business under the same style and at the same address until July 1867, when the whole stock was auctioned. A sixth edition of Johnson's piano arrangement of Nearer to Thee (originally issued in 1864) was advertised as late as November 1868.
According to the 1931 obituary of William's son, Frederick Henry Johnson, the Johnson brothers were grand-nephews of the first colonial chaplain Richard Johnson (1753-1827).
Documentation:
London, England (to 1835):
Baptisms, St. George in the East, London, 1775; register 1729-1812, page 63; London Metropolitan Archives, P93/GEO/003
https://www.ancestry.com.au/search/collections/1624/records/3030827 (PAYWALL)
[1775 December] 8 / Richard, son of James Johnson, Watch M'r, by Anna Maria, Pen St., 15 [days old]
ASSOCIATIONS: James Johnson (d. 1817), of All Hallows, Lombard Street, London, and Anna Maria Cole (d. 1815) married at St. Paul, Shadwell, on 12 January 1768
Marriages, St. Saviour, Southwark, 1800; register 1793-1802, page 636; London Metropolitan Archives, P92/SAV/3045/01
https://www.ancestry.com.au/search/collections/1623/records/2494106 (PAYWALL)
No. 1276 / Richard Johnson of this parish batchelor and Elizabeth Phillips also of this parish spinster
were married in this church by banns this [25 December 1800] . . .
Baptisms, St. Mary Woolnoth and Woolchurch, London, 1803; England, select baptisms
https://www.ancestry.com.au/search/collections/9841/records/87777225 (PAYWALL)
4 May 1803 / James son of / Richard and Elizabeth / Johnson
Baptisms, St. Mary Islington, 1811; register 1752-1812, folio 42; London Metropolitan Archives, P83/MRY1/1170
https://www.ancestry.com.au/search/collections/1624/records/2990525 (PAYWALL)
Johnson / William Jonathan, son of Richard & Elizabeth, born May 9 - bapt. 7 [June 1811]
Baptisms solemnized in the parish of Islington in the county of Middlesex in the year 1813; register 1831-61, page 4; London Metropolitan Archives, P83/MRY1/1171
https://www.ancestry.com.au/search/collections/1558/records/5012255 (PAYWALL)
No. 31 / [1813] Feb'y 7th / [born] Dec'r 27th 1812 / Robert Ebenezer son of / Richard [and] Elizabeth / Johnson / Lower Terrace / Watchmaker . . .
Baptisms solemnized in the parish of St. Matthew Bethnal Green in the county of Middlesex in the year 1818; register 1813-19, page 168; London Metropolitan Archives, P72/MTW/016
https://www.ancestry.com.au/search/collections/1558/records/1730414 (PAYWALL)
No. 1340 / [1818] May 20 / Born 17 April 1818 / Richard [son of] / Richard & Elizabeth / Johnson / George St. / Weaver . . .
Marriages solemnized in the parish of All Hallows Barking in the City of London in the year 1825; register 1813-28, page 152; London Metropolitan Archives, P69/ALH1/A/03/004
https://www.ancestry.com.au/search/collections/1623/records/22032797 (PAYWALL)
No. 455 / James Johnson of this parish bachelor and Eleanor Byrne of this parish spinster
were married in this church by banns this [25 June 1835] . . .
Sydney, NSW (from 1833):
Report of ship Layton, from London, 15 August 1833, arrived in Sydney, 17 December 1833; State Records Authority of NSW
https://www.ancestry.com.au/search/collections/1210/records/2202414 (PAYWALL)
Male Emigrants . . . Richard Johnson / 59 / London / Watchmaker
Richard Johnson Jun. / 16 / [London] / - / . . .
Benjamin Pitt Griffin / 49 / England / Surveyor
ASSOCIATIONS:
Benjamin Pitt Griffin (musical amateur);
see also: [Advertisement], The Colonist [Sydney, NSW] (12 March 1835), 8
http://nla.gov.au/nla.news-article31716287
IN CONSEQUENCE of several conflicting statements which have appeared in different papers respecting the conduct and usage of the passengers by the ship Layton,
it appears necessary that a correct account should be laid before the public.
The heads of several families, who were passengers by the said ship therefore propose publishing by subscription,
a correct journal from the time of her leaving London to her anrrival in Sydney.
It is conjectured the price of each copy will not exceed one Shilling.
Subscribers' names will be received at the Monitor Office, and at Mr. Johnson's, Watchmaker, George-street, opposite Bridge-street.
Signed, BENJAMIN PITT GRIFFIN. RICHARD JOHNSON.
See, A few copies of letters, and some remarks upon sundry documents on the subject of female emigration by the superintendent of the Layton emigrant ship (Sydney: Printed by William Jones, 1836)
https://trove.nla.gov.au/work/21687615/version/26049888
http://nla.gov.au/nla.obj-601917180 (DIGITISED)
[News], The Sydney Gazette and New South Wales Advertiser (29 March 1834), 2
http://nla.gov.au/nla.news-article2215745
The remaining two new houses opposite the site of the old Lumber Yard, are now occupied and about to be opened for public patronage, the one by a Mr. Johnson, a chronometer and watchmaker, and the other by Messrs. Dunsdon and Blythe, who intend opening all the advantages of general Restaurateur's.
[Advertisement], The Sydney Monitor (9 July 1834), 3
http://nla.gov.au/nla.news-article32146670
JOHNSON, Chronometer, Watch and Clock Maker,
GEORGE-STREET, OPPOSITE BRIDGE-STREET.
R. JOHNSON returns his thanks to his Friends and the Public generally, for the very liberal encouragement he has experienced since commencing the above business,
and solicits the continuance of the same . . .
"Cornhill, London, August 10th, 1833"
"I hereby certify that RICHARD JOHNSON is one of the best workmen in London, in the finishing, completing, making, and manufacturing of Chronometers and Watches.
He is also a practical Escapement-maker, which is the finest and most delicate department in the manufacture of Chronometers, &c.
Also, that there is no department in the above manufactures that he is not competent to undertake,
either in repairing the same, or making. I also certify that I have for years continued to employ him,
and that he served his Apprenticeship to learn the said business, to a Member of the Clockmakers' Company, of the City of London, incorporated by Charter."
"(Signed) R. WEBSTER.
"Witness.- JAMES COTTON."
"29 Duke-street, St. James's. Aug, 12, 1833.
"TO MR. R. JOHNSON.
"DEAR SIR - I hear that you are leaving this Town for Sydney, in New South Wales, with intention to follow your trade as a Watchmaker;
and from what I know of your abilities, (having been under your tuition myself,) I should say that you are thoroughly acquainted with the business,
and can undertake the repairs of Chrononmeters, and every other sort of Watch and Clock.
Wishing you and your family every success, I am, &c.
"(Signed) CALEB ELISHA,
"Watchmaker to His late Royal Highness the Duke of York and the Duchess of Cumberland."
"London, Aug. 13, 1833." . . .
Report of the ship Bristol, from London, 6 February 1834, arrived Sydney, 12 June 1834; State Records Authority of NSW
https://www.ancestry.com.au/search/collections/1210/records/2203149 (PAYWALL)
Steerage . . . Mr. Robert Johnson . . .
"MARRIED", The Sydney Gazette and New South Wales Advertiser (26 July 1834), 3
http://nla.gov.au/nla.news-article2216700
Yesterday by license at St. James's Church by Rev. R HILL, Mr. PARKER, druggist, of King-street, to ELIZABETH, daughter of Mr. R. JOHNSON, watchmaker, of George-street.
ASSOCIATIONS: Elizabeth Johnson (1809-1860, Mrs. Josiah Parker, daughter)
[Advertisement], The Sydney Gazette and New South Wales Advertiser (2 May 1835), 3
http://nla.gov.au/nla.news-article2198024
Theatre Royal, Sydney.
THE LESSEES respectfully inform the Patrons of the Drama, and the Public in general,
that the Theatre will open on Monday Evening, May 4th, 1835 . . .
The Lessees are highly gratified in informing the public,
that they have succeeded in engaging all the first Musical Talent in Sydney to form their Orchestra, which consists of the following gentlemen, viz. -
Leader of the Band - Mr. CLARKE;
Violins - Messrs. SPYER, JOHNSON, DYER, and SCOTT;
Principal Flute - Mr. STUBBS; Violincello and Grand Piano Forte - Mr. CAVENDISH . . .
- MR. JOSEPH SIMMONS
ASSOCIATIONS: Mr. Clarke (leader, violin); Lawrence Joseph Spyer (violin); Benjamin Bissell Dyer (violin); Mr. Scott (violin); Thomas Stubbs (flute); William Joseph Cavendish (cello, piano); Joseph Simmons (actor, manager); Theatre Royal (Sydney venue); was this otherwise unidentified violinist, Johnson, perhaps Richard senior, or Richard junior?
Arrival in Sydney of James and William Jonathan Johnson (1 January 1836):
Report of ship Salacia, from London, 6 August 1835, arrived Sydney, 1 January 1836; State Records Authority of NSW
https://www.ancestry.com.au/search/collections/1210/records/4267709 (PAYWALL)
Mr. James Johnson / England / Silversmith // Mrs. Johnson
Mr. William Johnson . . .
"ARRIVALS", The Sydney Monitor (2 January 1836), 2
http://nla.gov.au/nla.news-article32150435
Yesterday the brig Salacia, Captain Mann, from London, August 6, Cargo merchandise. Passengers Mr. James Johnson, jeweller, Mrs. Johnson, Mr. Wm. Johnson . . .
[Advertisement], The Sydney Herald (11 January 1836), 3
http://nla.gov.au/nla.news-article28654587
MR. W. JOHNSON, Professor of Music
And Tuner of Organs and Piano-Fortes, (JUST ARRIVED FROM LONDON,)
BEGS to offer his services to the Public, and having been for a considerable length of time employed in the Manufacture and Tuning of Piano-fortes,
he flatters himself he will be found an acquisition to those Ladies and Gentlemen who need a person thoroughly understanding the business in all its branches.
From the great experience he has had in tuning, and the flattering encomiums he has received from the leading men in the Musical Profession,
he ventures to hope that, at least, a part of the kind patronage of the residents of this Colony may be bestowed upon him,
and at the same time assures them, that no effort, of which he is capable, shall be wanting on his part to secure their favors.
Mr. J. having several engagements at Parramatta, begs to announce that he intends to visit that Town, on Monday, the 11th Instant,
and to proceed thence to Windsor, Richmond, Penrith, and Liverpool, and will be happy to attend to any with which he may there be favoured.
All Orders left at the Red Cow, Parramatta; King's Arms, Windsor; - - - Richmond; Jackson's Inn, Penrith; and Mr. Hoskings, Liverpool, will meet with due attention.
N. B - Piano-fortes and Organs Tuned and attended to by the year.
George-street, Sydney, Next door to the Commercial Bank,
9th January, 1836.
16 February 1836, Theatre Royal, Sydney, first appearance of the actor, Mr. Johnson, in The miller and his men
IDENTIFICATION: Whether or Johnson of the theatre can be identified with one or other of the recently-arrived musical Johnson brothers remains uncertain
[Advertisement], The Sydney Gazette and New South Wales Advertiser (16 February 1836), 3
http://nla.gov.au/nla.news-article2202785
Theatre Royal, SYDNEY.
THIS EVENING, TUESDAY, FEB. 16, 1836,
THE Performance will commence with the Petite Comedy in 3 Acts, called PAUL PRY . . .
After which, the Comic Duet, "One Day while Working at my Plough," By Mrs. Taylor and Mr. Simmons.
The whole to conclude with the celebrated Melo-Drama in two Acts, called the
Miller & his Men (With all the original Glees & Choruses.)
Grindoff (the Miller) - Mr. Grove
Count Friburg - Mr. Simes
Lothair - Mr. Knowles
Kelmar - Mr. Peat
Karl - Mr. Buckingham
Riber - Mr. Lee
Golotz - Mr. Lane
Zengra - Mr. Johnson
Ravena - Mrs. Downes
Claudine - Mrs. Jones
The Piece ends with the Conflagration of the Mill and Destruction of the Haunt of the Banditti.
ASSOCIATIONS: Maria Taylor (vocalist, actor); Joseph Simmons (vocalist, actor); Daniel Parsons Grove (actor); Thomas Simes (actor); Conrad Knowles (actor); Clement Peat (actor); George Buckingham (actor); John Herman Selwyn Lee (actor); Mr. Lane (actor); Mrs. Downes (actor); Harriet Jones (actor)
PIECE: The miller and his men (Pocock); see music by Bishop
[Advertisement], The Sydney Monitor (17 February 1836), 3
http://nla.gov.au/nla.news-article32150756
Theatre Royal, Sydney . . . on THURSDAY EVENING, February 18th
the performance will commence with, for the first time these two years, Shakspear's admired Tragedy of HAMLET . . .
Osrick - Mr. Johnson . . .
[News], The Sydney Gazette and New South Wales Advertiser (20 February 1836), 2
http://nla.gov.au/nla.news-article2202835
We are glad to see the countenance of Mr. Johnson wreathed in smiles on the boards of the Sydney Theatre, he being a considerable acquisition, and possessing a fund of comic humour. The name, itself, smacks of the drama.
[News], The Sydney Gazette and New South Wales Advertiser (15 March 1836), 3
http://nla.gov.au/nla.news-article2203246
We are given to understand that Mr. Johnson, son of Mr. Johnson, Watch and Clock Maker, George-street, has undertaken to preside at the Pianoforte, on the evening of the joint Concert of Mrs. Chester and Mrs. Taylor.
ASSOCIATIONS: Marian Maria Chester (vocalist, actor); Maria Taylor (vocalist, actor)
"CONCERT", The Sydney Monitor (19 March 1836), 2
http://nla.gov.au/nla.news-article32150969
On Wednesday evening, Mrs. Chester's and Mrs. Taylor's concert took place. Notwithstanding the stormy afternoon about 200 persons assembled. Mrs. Chester did not sing with that taste which usually characterises her; Mrs. Taylor, on the contrary, never appeared to more advantage, her song of Sunshine o'er the Brook was well sung and rapturously encored. Mr. Wallace did not appear to exert himself so much as he did for his own benefit; still his violin playing was of a very superior description. A Mr. Johnson made his first appearance in public as a pianoforte player; from the manner in which he accompanied the different songs, he appeared to be an expert performer. The band of the 4th regiment appear to have had a deal of practice during their absence from Sydney; the manner in which they performed the overtures was highly creditable.
ASSOCIATIONS: William Vincent Wallace (musician); Band of the 4th Regiment (military)
[Advertisement], The Sydney Gazette and New South Wales Advertiser (23 June 1836), 3
http://nla.gov.au/nla.news-article2205034
At a Meeting of the Committee of St. James's Sunday Schools,
held June 20, 1836, IT WAS RESOLVED. THAT the Committee and Teachers cannot let the opportunity which this,
their first Meeting since the lamented death of their President, the Rev. Richard Hill, affords them,
pass without testifying the very deep feelings of sorrow, which that event has created in their minds,
and without paying the only tribute in their power to the worth of one who in an especial manner watched over,
and guided the Schooling with which they are connected . . .
By order of the committee, J. JOHNSON, Secretary.
ASSOCIATIONS: Richard Hill (cleric); St. James's church (Sydney)
"EVENING SERVICE AT ST. JAMES'S", The Sydney Monitor (17 August 1836), 2
http://nla.gov.au/nla.news-article32152003
The congregation at St. James's in an evening increases. Either Mr. Yates or the Bishop preaches, and the discourse, together with the fine tones of the organ render the service a pleasing and edifying one. The choice of VOLUNTARIES by Mr. Johnson is good, and he plays them with taste and feeling. St. James's organ is in volume equal to St. Paul's, and in sweetness to that at the Magdalene. The trumpet stop, in contrast, has a fine powerful effect. Mr. Johnson plays the psalm tunes loud enough to tempt the people to join in them, as when the organ is played in an under key, the congregation, through modesty leaves all the singing to the Choristers. This is bad; for of all music, vocal or instrumental, none equals in sublimity, the voices of a thousand persons singing the praises of God accompanied by a powerful organ well played. The tweedle-dums of a common Concert, are vain and trilling compared with it; yet people will pay money for a Concert, despising superior music in a Church; This arises as much from want of musical taste, as of devotion.
ASSOCIATIONS: Edward Smith Hall (editor, Monitor); William Yate (cleric); William Grant Broughton (bishop); St. Paul's cathedral (London)
[News], The Sydney Monitor (12 October 1836), 2
http://nla.gov.au/nla.news-article32152458
Mr. Johnson, who is assisting Mr. Deane in his concert, is by some supposed to be Mr. Johnson the organist of St. James's. We understand this is not the case.
ASSOCIATIONS: John Philip Deane (musician)
[Advertisement], The Sydney Herald (5 January 1837), 3
http://nla.gov.au/nla.news-article28653062
MR. W. J. JOHNSON, Professor of Music, And Tuner of Organs and Piano-Fortes,
BEGS to offer his sincere thanks to the Ladies and Gentlemen of New South Wales who have so kindly patronised him since his arrival here,
and hopes to secure a continuance of their favors, by adhering to that line of conduct which has met the approbation of many of the most respectable inhabitants of the Colony.
In consequence of his increasing connexion in Sydney, Mr. J. finds it will be impossible for him to give Lessons out of Town,
but will make arrangements for visiting periodically all the principal Towns in the Colony, for the purpose of Tuning, &c.
He will thus be enabled to attend to his Sydney business with greater punctuality,
and at the same time insures to those who reside at a distance, having their instruments regularly tuned.
Mr. J. begs to intimate, that as he thoroughly understands the construction and manufacture of Organs and Piano-fortes,
and having all the necessary materials for repairing them, those who intrust him with their Instruments for that purpose,
may rely upon their being put in complete order in a workman-like manner.
George street, Next the Commercial Bank, January 1, 1837.
"To the Editor of . . .", The Sydney Monitor (31 March 1837), 3
http://nla.gov.au/nla.news-article32155419
SIR - I respectfully beg that you will in your journal contradict - "That I have leased the Theatre to any one."
But that, from the great sums I have expended for its re opening, not only the scenery, dresses, and others;
and, though last, not least, a considerable number of musicians;
amongst the names of the gentlemen, are - Mr. Dean (leader), his Three Sons,
Messrs. Sippe, Wilson, Turner, Papping and Son (French horns), Johnson, White,
Westrop, White, Bowles, and others whose names I have not taken note of.
And I trust, when I take charge of the Theatre, to conduct it with respectability, and make it convenient to a liberal public.
I am, Sir, Your obedient servant,
BARNETT LEVEY.
Thursday, 20th March, 1836.
ASSOCIATIONS: Barnett Levey (proprietor, Theatre Royal, as above); John Philip Deane and sons (musicians); George Sippe (musician); Mr. Wilson (musician); Stephen Turner (musician); Stephen Pappin and son (musicians); Zachariah Westrop (musician)
[Advertisement], The Sydney Herald (25 January 1838), 4
http://nla.gov.au/nla.news-article12861271
ORGAN for SALE. To be Sold by Private Contract,
A FINE-TONED FINGER ORGAN, just imported, and in the best possible condition,
containing the following stops , viz -
Diapason, Principal, Fifteenth, and Dulciana, with shifting movement to take off the loud stops, and also a general swell.
The case is of Spanish mahogany, very handsomely moulded and panelled, with gilt pipes in front.
It stands nine feet high, and has altogether a very handsome appearance.
This Instrument was built to the express order of the celebrated Prince Talleyrand.
It combines very considerable power with great sweetness of tone, and is admirably adapted for a small Church or Chapel.
To ensure a speedy sale, it will be disposed of on the following liberal terms, namely, for negotiable Bills at three, six, and nine months.
Such an opportunity has never before been presented in this Colony, and it will probably be long ere another Instrument so complete in every respect will be imported.
The Instrument is the Property of the importer - can be seen,
and all further particulars learnt by enquiry of Mr. Cavendish, King-street;
or, Mr. Johnson, Professor of Music, George-street, next the Commercial Bank.
ASSOCIATIONS:
William Joseph Cavendish (as above);
Charles-Maurice Talleyrand (French statesman,
served as ambassador in London, 1830-34, from which time this organ, almost certainly English, dated); see also,
[Advertisement], Morning Herald [London, England] (28 September 1836), 8
https://www.britishnewspaperarchive.co.uk/viewer/bl/0002408/18360928/236/0008 (DIGITISED)
SALES BY AUCTION. Capital Household Furniture, Pianofortes,
AN EXCELLENT FINGER ORGAN, Ornamental China, and other Valuable Effects.
No. 51, PORTLAND-PLACE.
MR. HOARD respectfully announces that he has been honoured with instructions to
SELL by AUCTION, THIS DAY (Wednesday), September 28, at Twelve o'clock, upon the Premises,
as above (some time the distinguished residence of Prince Talleyrand) . . .
"To the Editor of . . .", The Australian (6 February 1838), 3
http://nla.gov.au/nla.news-article36856625
SIR, - I was not a little surprised to find myself charged,
in your last number, with refusing the assistance of the choir of St. James's Church at the Oratorio,
"in terms of the most ungracious nature."
That I did refuse that assistance, as far as I was concerned, is true;
but that you may see that there was nothing uncivil about the manner in which it was done,
I will trouble you with the following brief statement of what took place on the occasion.
On Monday evening last I received a verbal communication from the Rev. Mr. Spencer,
requesting I would allow the choir of St. James's Church to assist at the Oratorio, at "St. Mary's Cathedral."
At first I thought of returning an answer in the same way, but, lest any mistake should occur in delivering my message,
and there by some misunderstanding be caused, I determined to see Mr. Spencer, and sent word to that effect by the youth who came from him.
I accordingly saw him the same evening and put it to him, whether he thought, upon principle, I could act as he wished me,
or whether he, as a conscientious member of the Church of Rome, could do for us what he requested us to do for them.
I confess he did not seem satisfied that my conscience was not over-sensitive upon the point,
and seemed to suppose that, although he, as a catholic, could not do anything to assist the cause of protestants,
yet I, as a protestant, ought not to have the same scruples to assist catholics -
but finding I was firm on the point, the matter was dropped;
but so far from there being any thing like "ungracious," we parted in the most friendly manner.
I can, with confidence, refer you to the Rev. Mr. S., himself, as to the correctness of this statement,
and as to whether or not any angry or uncourteous word escaped either of us.
As I feel you have been imposed upon by some one who was ignorant of all the facts,
except the refusal of the desired assistance, and for some not very honorable motive,
choose to add to that fact. I rely on your candour in contradicting the mis-statement of which I complain.
I am, Sir, your obedient servant,
The Organist of Saint James's Church.
Sydney, February 5, 1838.
ASSOCIATIONS:
John Benedict Spencer (cleric, choirmaster, St. Mary's);
St. Mary's cathedral (Sydney);
the oratorio, on 31 January 1838, was under the direction of
William Vincent Wallace (as above);
see "LOCAL NEWS", The Australian (2 February 1838), 2
http://nla.gov.au/nla.news-article36858649
We understand that the Choral band belonging to St. James's Church was applied to, to lend their assistance to the Musical Festival which took place at St. Mary's Church on Wednesday evening, in order to render the choruses more effective; to which request, the party, who boast the possession of so much religious toleration, refused compliance - and that too in terms of the most ungracious nature.
[Advertisement], The Australian (20 February 1838), 4
http://nla.gov.au/nla.news-article36856792
MESSRS. J. AND W. J. JOHNSON, Organists of St. James's Church,
BEG to remind the Inhabitants of Sydney that they give Lessons on the
Practice and Theory of Music, the Organ, Pianoforte, Flute, Singing, &c.;
and as from circumstances to which it is needless to do more than allude,
many families must be in want of a Master in their profession,
Messrs. Johnson take the opportunity of stating that they make a point of attending to their engagements with strict punctuality;
and having had much experience in Musical Tuition, both here and in England,
feel confident of being able to direct the studies of their Pupils with success.
All communications addressed to Messrs. J., Castlereagh-street South, between Liverpool and Goulburn-streets;
or to George-street, next the Commercial bank, will be promptly attended to.
[Advertisement], The Sydney Gazette and New South Wales Advertiser (19 May 1838). 3
http://nla.gov.au/nla.news-article2542452
AUSTRALIAN AUXILIARY CHURCH MISSIONARY SOCIETY.
THE Members and Friends of this Institution, are respectfully informed that
the Anniversary Meeting will be held in St. James' Public School Room, in Elizabeth-street, near the Church,
on Friday, the 25th Instant, at Eleven, in the Forenoon.
JAMES JOHNSON, Secretary pro. tem. Sydney, 10th May, 1838.
[Advertisement], The Australian (23 March 1838), 3
http://nla.gov.au/nla.news-article36854977
SERAPHINE FOR SALE.
A VERY superior fine-toned SERAPHINE, in a neat case, with a handsome silk curtain.
The Instrument is of full compass, and is worthy attention from its answering to the touch as quickly as an Organ,
(a particular in which Seraphines are usually deficient), and its great power of tone - price moderate.
For further: particulars, apply to Mr. J. Johnson, Professor of Music, next to the Commercial Bank.
"Married", The Australian (24 July 1838), 2
http://nla.gov.au/nla.news-article36857966
By Special License on the 21st instant, at St. Matthew's Church, Windsor, by the Rev. H. T. Styles, Mr. W. J. Johnson, to Eliza Harris, eldest daughter of Charles Tompson, Esq., of Clydesdale.
[Advertisement], The Sydney Herald (17 October 1838), 3
http://nla.gov.au/nla.news-article12864755
MR. W. J. JOHNSON, Professor of Music, And Tuner of Organs & Pianofortes
BEGS to inform the Inhabitants of the Colony that his residence is Removed from George to Castlereagh-street, between Bathurst and Liverpool-streets.
Schools attended.
N.B. Pianofortes and Organs repaired in the best manner.
Instruments tuned by the year.
[Advertisement], The Colonist (5 January 1839), 3
http://nla.gov.au/nla.news-article31722331
MR. J. JOHNSON, PROFESSOR OF MUSIC,
begs to inform his friends that he has removed from Castlereagh-street to Prince-street,
nearly opposite Colne House, where he continues to give lessons on the Piano Forte, Singing, &c.
January 5, 1839.
[Advertisement], The Sydney Herald (13 February 1839), 2
http://nla.gov.au/nla.news-article12862960
FOR SALE. SPLENDID Rosewood grand unique PIANOFORTE, with metallic bracings and patent string plate.
This instrument was made expressly for this Colony, and is one of the finest pieces of workmanship ever imported.
The tone is of the richest and most brilliant character, and the touch firm and smooth,
answering to the finger of the most rapid performer with the greatest certainty.
This Pianoforte is well adapted for singing to, as the performer's voice passes over the top the same as in horizontal instruments, and can be so placed that the player faces the audience.
Another great advantage of this instrument is that although it has the power of a semi-grand, it does not occupy more room than an ordinary cottage Piano.
To be seen at Mr. W. J. Johnson's residence, Castlereagh-street, (between Bathurst and Liverpool-streets),
who will give a guarantee of its goodness, and if it remain in Sydney, keep it in tune for twelve months.
"The Cecilian Society", The Australian (9 March 1839), 3
http://nla.gov.au/nla.news-article36863205
This Society, which has been established nearly three months, has flourished in a manner almost beyond the anticipations of its originators. There are about one hundred subscribers on the list, most of whom are performers upon some musical instrument, or who contribute to the vocal entertainment of the evening. Amongst the performers on Wednesday evening, were Mr. W. Wallace, Mr. Leggett (brother-in-law to Mr. Ellard, of George-street), Mr. Deane (the Leader) and family, Mr. Lee, and several Amateurs of musical talent. The Glee department is under the direction of Mr. Johnstone, professor of music; and although the attendance was thin, in consequence of the unfavorable weather, the performance in the musical department was of the first order. The overtures to Gustavus and William Tell elicited great applause; Mr. Leggett's oboe and Mr. Wallace's flute produced a fine effect; Mr. Wallace performed several of the Irish Melodies on the violin, without any of the Monitor's "fantasias" (!!!); his tones were full, his stopping minutely perfect, and the few graces, ad libitum, were chaste. It is said by the first judges that Mr. Leggett is, without exception, the best musician in the colony. It is intended to request His Excellency to become the Patron of this cheap and instructive Society, which, when properly organized, will afford the delight of a concert in every sense of the word, once a-week, for the trifling sum of five shillings a-month.
ASSOCIATIONS: Spencer Wellington Wallace (musician); Thomas Leggatt (musician); Francis Ellard (musicseller); John Philip Deane (as above); Philip Lee (musician); Cecilian Society (association)
"News of the Day", The Sydney Monitor and Commercial Advertiser (13 January 1840), 2
http://nla.gov.au/nla.news-article32166874
The Cecilian Monthly concert was held on Wednesday eveneing in the Court-room, Castlereagh-street, and was well attended. Both the vocal and instrumental pieces and songs, as performed by amateurs, were well selected, and went off with eclat. The room was well lighted, and the arrangements judicious. This is a very sociable and pleasant concert, and reminds us of the first subscription concerts held some fifteen years ago in the room over head, when Mr. Edwards presided at the orchestra with so much credit to himself and satisfaction to his friends, for we have never heard better instrumental music in this Colony than was there performed, nor have we ever heard a better song than Mr. Edwards's Tempest; and we should like to hear it again, either from him or some other scientific singer. Il Barbieri di Siviglia is full of glorious music, and went off well. "Haydn's symphony" sounded tame. "The miller and his men" is always stirring, and never fails to elicit applause. The songs were all good, and the amateur who sang "Some love to roam" will not not come short of Mr. Bushelle in English songs, if he take lessons from a good master; for his voice is melodious and powerful and he has energy. He may make, by study, a first rate singer, but he requires, of course, what all proficients go through, study. Mrs. Clancy's notes evinced her usual sweetness of intonation. Her "Donald" is an excellent song, both for sentiment and music, and she sang it well. A very little boy would have sung his part in "Hark the Vesper Hymn is stealing" with eclat, if the little fellow had had nerve, for his voice is excellent for his tender age. Under a good master he may make a fine singer. Another youth, half a foot taller, sang well, in a glee (we think it was "Here in cool grot.") Mr. Johnson's counter in the first duett, or glee, was excellent - his finishing note had an excellent effect, being so perfectly in tune, which is difficult on such a note.
ASSOCIATIONS: John Edwards (musician); Sydney Amateur Concerts (1826-27 series); John Bushelle (vocalist); Elizabeth Clancy (vocalist); Old Court-house (Sydney venue)
[Advertisement], The Sydney Monitor and Commercial Advertiser (22 January 1840), 3
http://nla.gov.au/nla.news-article32166971
IF JOHN ARTHUR BOSTOCK, who eight years ago was in the employment of Renn and Boston, Organ Builders, Manchester,
will apply at the offices of this paper, or at Johnson and Kinlock, Organ Builders, Prince-street, Sydney,
he will hear of something to his advantage.
ASSOCIATIONS: John Arthur Bostock (organbuilder); John Kinloch (organbuilder)
[Advertisement], Australasian Chronicle (28 February 1840), 1
http://nla.gov.au/nla.news-article31727704
UNDER THE PATRONAGE OF LADY O'CONNELL.
MRS. CLANCY HAS THE HONOUR TO ANNOUNCE THAT HER
Concert Will take place in THE OLD COURT HOUSE, Castlereagh Street,
On TUESDAY EVENING, March 3, 1840, On which occasion she will be assisted by
Madame and Monsieur Gautrot, Mr. Worgan, Mr. Deane and Family, Mr. Leggett, Mr. Curtis,
Mr. Sippe and the Cecilian Society, who have kindly offered their assistance.
Leader of the Orchestra, Mr. S. W. WALLACE,
Piano, Mr. Johnson; who have also kindly given their assistance . . .
ASSOCIATIONS: Mary O'Connell (patron); Joseph and Josephine Gautrot (violinist and vocalist); George William Worgan (vocalist); Richard Gill Curtis (musician)
"DOMESTIC INTELLIGENCE", The Sydney Herald (27 March 1840), 2
http://nla.gov.au/nla.news-article12860808
The inhabitants of Windsor have literally subscribed the sum of nearly £500, for the building of an organ and the erection of an appropriate gallery, for St. Matthew's Church, in that town. Messrs. Johnson and Kinloch, organ builders, Prince-street, Sydney, have contracted to build the instrument for £320, and engage it shall be fully equal to any that could be purchased in England as to workmanship, power and tone, for the like sum. It is to be ready by September next.
"ORGAN", Australasian Chronicle (11 August 1840), 2
http://nla.gov.au/nla.news-article31728924
We have inspected the organ now building for St. Mathew's Church, Windsor, by Messrs. Johnson and Kinloch, of Macquarie-street, and have much pleasure in stating, for the information of our readers, that this first attempt at organ building in the colony has every appearance of being eminently successful. The instrument will be ready for exhibition in the course of a month. From the facility that now offers for obtaining organs within the colony, we may soon hope to see all our churches adorned with this almost indispensable appendage.
ASSOCIATIONS: William Augustine Duncan (editor, Chronicle)
[Advertisement], The Sydney Monitor and Commercial Advertiser (16 October 1840), 3
http://nla.gov.au/nla.news-article32185891
ORGAN BUILDING. MESSRS. JOHNSON and KINLOCK beg to state,
that the Organ built by them for Windsor Church is now finished and will be open for public inspection
in the St. James' School Room, Elizabeth-street, on Monday next,
and as this is the first specimen of organ building in the colony,
the Company of Amateurs and others interested in the progress of the fine arts, is respectfully requested.
The Room will be opened at seven o'clock.
"DOMESTIC INTELLIGENCE", The Sydney Herald (21 October 1840), 2
http://nla.gov.au/nla.news-article28652837
On Monday evening a large and highly respectable audience assembled in the Old Court
House for the purpose of hearing the new organ which has just been finished by Messrs. Johnson and Kinlock, for the Church of St. Matthew at Windsor.
Among the pieces played in order to ascertain the capabilities of the instrument, were the following: -
"The Selection No. 2 from Mozart's Symphonies," - "With Verdure Clad," from Haydn's Creation, -
Handel's "Pastoral Symphony," "Let the Bright Seraphim," - "To thee Cherubim and Seraphim." - The Hallelujah Chorus and a movement by Zingarelli.
This instrument is the first organ of any magnitude that has been built in thc colony, and embraces five octaves,
with double G sharp, the swell goes down to F on the fourth line on the bass.
It has one and a half octaves of German pedals with a shifting movement.
It has fine stops in the great organ, viz., open diapason, stop ditto., Principle [sic,] the twelfth and fifteenth all through.
The swell contains the open diapason, the stop and the principal.
There is a copula to connect the two organs and it has a speaking front.
The cost of this organ was £320, being about £80 less than the builders will make another instrument of the same dimensions and power for.
The whole has been made in the Colony, but the materials that are employed in its construction are principally English oak, with American Dautzic pine.
It was allowed by judges to be an excellent specimen of the skill of the builders and there is little doubt but that it will lead to their receiving similar orders from many other places in the Colony.
[News], The Australian (24 October 1840), 2
http://nla.gov.au/nla.news-article36850793
On Wednesday last we had the pleasure of viewing in its finished state, the Organ built by Messrs. Johnson and Kinloch, for Windsor church, and the anticipations formed by us of its powers on our inspection of the instrument before it was put together, were more than realised. We were really astonished; and while listening to its deep and swelling notes, and its great volume and power of tone, together with its finished and elegant exterior appearance, we could scarcely credit that it was wholly manufactured in so young a colony. It is extremely gratifying to know that the numerous churches and chapels now springing up in all directions can be supplied with this useful, ornamental, and, indeed to our taste, necessary appendage, without the delay and uncertainty attending the transmission of an order to the mother country. We trust the spirited contractors will meet with abundant encouragement which we can scarcely doubt will be the case now that they have proved their ability to execute any order in so superior a manner. The instrument in question consists of a great organ and swell with five stops, viz: open diapason, stop diapason, principal, twelfth, and fifteenth, and on the latter, three, viz: - open diapason, stop diapason, and principal, with a copula to connect the two organs together, and a movement to change the great into a choir organ. The case is of cedar very elegantly finished, there are twenty-nine gilt pipes in front (all of which speak) tastefully disposed in five compartments, and the tout ensemble is extremely pleasing to the eye, the softer stops are beautifully sweet, and the combined effect of the whole is really astonishing.
"To the Editor of . . .", The Sydney Herald (27 October 1840), 3
http://nla.gov.au/nla.news-article12866212
MR. EDITOR, - May I beg room for a few more words on our first Colonial built Church Organ.
The Meeting of Monday evening last, was, indeed, a spirit-stirring occasion;
for the instrument then opened, excellent as indeed it is in itself, speaks rather of the prospective capabilities of the builders,
than as being a complete specimen of their art, when unshackled by contracts taken too low,
or confined by buildings too scant for the developements of scale sufficiently large for the true character of the instrument.
When the Church at Windsor was laid out, an organ was not contemplated, and, as a consequence, there is not proper height in the gallery,
and the instrument has necessarily been squatted down to suit its place.
It may not be amiss here to give our friends the architects a hint about good height in our Church galleries for the future;
this should not be less than eighteen feet, if a really good organ is to be mounted, (the organ at St. Paul's, London, is thirty-six feet in height,)
for the top of the sound-board cannot conveniently be brought lower than five feet, and the double G of the open diapason foot and pipe requires,
in metal, at least twelve feet, making seventeen feet, and the cornices, &c., of course, will take up another foot at least.
But deficient height was not the only obstacle this instrument had to contend with;
the contract had been taken too low to allow of the best remedies for confined space being exhibited,
and (although, perhaps, more has been done for the money, in this instance, than would have been undertaken even in England) the bass of the instrument has suffered miserably in consequence.
The larger pipes (and they are truly noble ones) which have necessarily been ranged at the sides below the wind chest, for want of height above it,
being fed from this, in the old fashion, by conveyances, instead of being furnished with the modern improvements of a separate wind chest to themselves,
(this, with the necessary additional mechanism, might have cost an extra £20).
Although these pipes speak well, yet they actually do not give out nearly the quality of tone, nor above one-fourth of the power,
which, from their fine proportions, and very liberal size, they are calculated and intended to produce.
This Instrument, which has a speaking front of beautiful Metal Pipes, may be described as follows: -
Great Organ, compass GG, with GG, sharp to F in Alt. (five honest octaves) has five whole stops, viz.: -
open Diapason, stopped Diapason, Principal, Twelfth, and Fifteenth, each stop throughout.
Swell organ, compass F to F in Alt, three stops, viz. open Diapason, stopped Diapason, and Principal; and it is pierced for a fourth stop. -
There is a "Coupler" from the Great Organ Keys to those of the swell, and a shifting movement to take off the Great Organ to the Diapasons,
thus forming with the swell coupler, a very good Choir Organ.
The swell is on the Venetian principle, giving opportunity for the finest crescendo,
at the same time that it affords the power of imitating the Bow-ing of an Orchestra.
An octave, one-half of German pedals, complete the Mechanical apparatus: -
but here again the contract is too low for the builder; the pedal has no coupler,
and therefore merely take down the bass keys, only giving breadth to the chorus,
whilst, if fitted with the extra sound-board and its mechanism,
they would be most convenient as affording a violone accompaniment with the softest solo, or giving firm accent to the intonation of the most powerful recitative.
The scale of the pipes generally, is half a note larger than that of the St. James's organ; and the body of tone is proportionally more powerful.
The quality of the stops individually is appropriate and excellent,
and with the exception of a few pipes in the higher trebles of the twelfth and fifteenth (always a dangerous region for getting the ears cut), the voicing is perfect;
in fact the Cathedral quality has been hit most happily, particularly with the diapasons and principal.
Much cannot be said for the opening, either in the performance, or (with exceptions) the pieces selected;
but the utmost allowance must be made, for the performers had not previously practiced on the instrument, which was actually not ready when the company assembled.
The first piece "To thee Cherubim" told vilely; from the screaming of the overpowerful twelfth and fifteenth, above alluded to;
a middle one too "Let the bright Seraphin," was also very poor, for want of the trumpet, which, in this composition, is obligato;
and a something in the shape of a voluntary, the most miserable olla podrida of namby pamby trash ever fixed for a school girl's lesson,
showed off every other fragment of imperfection which could be had out of the instrument, with most friendly pertinacity.
But in "With Verdure Clad," the Hallelujah Chorus, a movement of Zingarelli's, and in our National Anthem, which,
with recent horrid news in recollection, at present comes home to every Briton's heart, this noble Instrument spoke out for itself,
and left nothing to be wished, but that the good people of Windsor may live long to enjoy their acquisition;
and that now Messrs. Johnson and Kinlock have shewn how good and cheap organs can be procured here, other churches may have the benefit of their help;
and that our Cathedral too may boast a Colonial organ -
not a thing of a row and a half of keys, but after the pattern of that at the Minster at York, one suited to open to "We praise thee O God."
I trust to your excuse for trespassing on your space, and remain, Sir, your's respectfully,
ONE OF THE PUBLIC.
P.S. - It may give some idea of the relative cheapness of Colonial and imported organs to state, that the contract for the organ for Windsor was taken at £320,
whilst the St. James's organ, which contains at the utmost but £70 worth more of work, cost, I have been told, £800 or guineas.
"WEEKLY SUMMARY", The Temperance Advocate and Australasian Commercial and Agricultural Intelligencer (28 October 1840), 6
http://nla.gov.au/nla.news-article228131430
. . . The organ built by Messrs. Johnson and Kinloch, for Windsor church, the first instrument of the kind built in the colony, gives entire satisfaction to the musical world . . .
[Advertisement], Australasian Chronicle (3 November 1840), 3
http://nla.gov.au/nla.news-article31729695
BROADWOOD'S PIANOFORTES.
MR. J. JOHNSON, Organist of St. James's Church,
begs to acquaint the public that he has just received a few six and a half octave grand and square PIANOFORTES, direct from the above celebrated makers.
The reputation of Messrs. Broadwood renders it unnecessary for Mr. J. to do more than pledge himself that these instruments are their genuine manufacture,
and to solicit an early inspection of them by persons who may require a really good instrument at less than the usual price.
To be seen at Mr. Johnson's residence, Prince-street, two doors from Argyle-street.
ASSOCIATIONS: Broadwood pianos (general)
"WINDSOR", The Sydney Herald (11 November 1840), 2
http://nla.gov.au/nla.news-article12866452
On Sunday last, the new Colonial organ built by Messrs. Johnson and Kinloch of Sydney, was opened by Mr. Johnson himself in St. Matthew's Church, Windsor. To those who can appreciate the solemn and soul-inspiring tones of so noble an instrument as the organ in the performance of divine worship in our church, the effect it produced on the unusually numerous congregation in so small a town as Windsor may be better conceived than described. It was at once gratifying and encouraging to observe that the general apathy which, for want of such un instrument, hitherto has pervaded the congregation against uniting in that portion of the service which at once lifts the soul above this terrestrial state, and gives it a transient, though imperfect idea of Heaven, began perceptibly to give way when the sweet tones of the instrument first opened with that grand and solemn Psalm, the old hundredth, and the congregation, utmost simultaneously "with one consent" appeared to unite in raising their voices to the Throne of God. The second Psalm was the 149th to the tune of the old 104th, when the effect was similar. An excellent and appropriate sermon was preached on the occasion by the Rev. W. B. Clarke, M. A., from the 1st, 2nd, and 3rd verses of the 92nd Psalm, which was concluded by an appeal to the congregation in aid of the funds. At the termination of the service, a beautiful voluntary was played, and the congregation, as they retired from the sacred edifice, contributed a respectable sum in furtherance of this laudable object.
ASSOCIATIONS: William Branwhite Clarke (cleric)
[2 advertisements], The Sydney Herald (21 December 1840), 1
http://nla.gov.au/nla.news-article12867153
Organs and Pianofortes. MESSRS. JOHNSON & KINLOCH,
in returning their sincere thanks to their friends and the public, for the patronage they have received since they commenced business,
beg to inform them that they can build Organs in the Colony of any dimensions, as cheap as they can be procured in England, and in one half the time.
Messrs. J. & M. [sic] particularly beg to notify that all the wood used by them for the interior of Organs is well seasoned,
and the same as used by English builders, viz, Norway Oak and American Pine.
Organs and Pianofortes tuned and repaired on the shortest notice.
N.B. - As a specimen of J. & K.'s work, they beg to refer all interested to the instrument built by them,
now in St Matthew's Church, Windsor.
A large barrel Organ for sale, suitable for a church, or a gentleman's drawing-room.
Macquarie-street Sydney.
BROADWOOD'S PIANOFORTES.
MR. J. JOHNSON, Organist of St. James's Church . . . [as 3 November above]
"THE CECILIAN SOCIETY", The Sydney Herald (15 February 1841), 2
http://nla.gov.au/nla.news-article12867797
In consequence of a requisition from the leading members of this Institution a Public Meeting was held on Friday,
in the Society's Temporary Concert Rooms, when after the subjoined report had been read,
the following resolutions were moved, seconded, and adopted by the meeting - . . .
5. That the thanks of this Meeting be given to the Gentlemen and Officers of the Committee for their very efficient services since the last meeting,
and that the following gentlemen be requested to act for the ensuing year, viz. -
Mr. W. E. Rogers, treasurer; Mr. Joseph Levien, Secretary;
Committee - Messrs. Bradridge, Thomson, Le Britton, Barnett, James Johnson,
Leggatt, Greville, Challis, Tomlins, and R. Johnson . . .
ASSOCIATIONS: William Edward Rogers (member); Joseph Levien (member); William Bradridge (member)
"THE CECILIAN SOCIETY", The Sydney Herald (25 March 1841), 2
http://nla.gov.au/nla.news-article12868426
Yesterday Mr. W. Ward appeared at the Police office before Mr. Windeyer, for having in his possession books belonging to the Cecilian Society, alleged to have been stolen from the Society's press. Mr. Deane appeared for the prosecution and identified about ten volumes of music as being his property which he had lent to the Cecilian Society, and which had been to his knowledge kept with the property of the society in a press in the old Court House, and had been abstracted from that place of safety about the 17th instant. In consequence of information a search warrant was issued for the house of Mr. Curtis, but the property was ultimately found in the house of Mr. Ward, who immediately gave up the property, and also gave every information ns to bow the property claimed came into his possession. Mr. Rogers the secretary of the society also identified some of the properly as belonging to the society and said that about twenty pounds worth of the same had been purchased from Mr. Curtis. Mr. James Johnson proved that on Tuesday evening the 16th instant the books in question were lodged in the society's press in the old Court House, Mr. Allen proved that he had locked the press in which the society's music was contained, and also that when he locked the press on last Tuesday night there was a wide space vacant from the lock having been forced. Mr. Josephson proved that on Friday morning Mr. Cosgrove called him in for the purpose of seeing the press in which the society's books were contained, as it had fallen down, and be was afraid some of the books were missing . . . The case occupied the Court for nearly three hours, and from the great number of musical gentlemen that were present it evidently excited great interest among the profession.
ASSOCIATIONS: John Philip Deane (as above); Richard Gill Curtis (as above); Edward Allen (member); Joshua Frey Josephson (member)
"AN ADMIRER OF A HOT DINNER", The Sydney Herald (5 August 1841), 2
http://nla.gov.au/nla.news-article12870395
Thomas Este, the hired servant of Mr. James Johnson the organist, appeared at the Police Court on Tuesday, charged with having committed an aggravated assault on his master on Sunday last, because he had not provided him with a warm dinner that day. The assault being clearly proved, the Court sentenced him to pay a fine of £5 with 3s. 6d. costs, or to be confined for two calendar months in Sydney gaol. It appeared from the evidence that the defendant (a late arrival) told his employer that he did not come here to eat cold dinners.
[Advertisement], Australasian Chronicle (26 August 1841), 3
http://nla.gov.au/nla.news-article31732695
FIRST RATE HARP, BY ERAT. [sic, Erard]
- For Sale, a splendid double action Harp, with Bochsa's patent metallic strings, by the above celebrated maker.
This instrument, lately imported, will be sold at a very moderate price.
To be seen at Mr. Johnson's, organist of St. James's, Princes-street.
"THE CICILIAN SOCIETY", The Sydney Herald (15 September 1841), 2
http://nla.gov.au/nla.news-article12871141
The Monthly Concert of this highly popular society takes place tonight, when his Excellency the Governor and a number of the public officers are to be present. The Vocal department is under the direction of Mr. Johnson, the organist of St. James' Church. We understand that Mrs. Prout has offered her professional services for the evening.
ASSOCIATIONS: Maria Prout (pianist, harpist)
"CECILIAN SOCIETY", The Sydney Monitor and Commercial Advertiser (22 September 1841), 3
http://nla.gov.au/nla.news-article32190766
We were politely favored with an admission card to the Cecilian Concert held, on Wednesday evening last, at St. James' Primary School Room (the room was kindly lent to the Society by the Lord Bishop of Australia). We were highly entertained with the performances and pleased with the reception of the catering of the committee met, from the fashionable and very respectable assemblance of visitors . . . His Excellency entered the room at half past eight o'clock, when the orchestra, consisting of amateurs, conducted by Mr. James Johnstone, organist of St. James' Church, and aided by the military band of the [80th] regiment, played the national anthem until His Excellency gained his seat. The concert then commenced with the overture to Der Freischuby [Der Freischutz], which was admirably executed and met with deserved applause. Next came the glees, the whole of which were well got up and sang with spirit, and did much credit to the performers . . .
ASSOCIATIONS: William Grant Broughton (bishop); Band of the 80th Regiment (military)
[Advertisement], The Sydney Herald (14 January 1842), 3
http://nla.gov.au/nla.news-article12873277
REMOVAL. MR. JOHNSON, Organist of St. James' Church,
begs to inform his friends and pupils, that he has removed from Prince street,
to Sarah Dell Cottage, Parramatta Road, (nearly opposite Mr. Norton's,)
and that he continues to give Organ and Pianoforte lessons as usual.
10th January.
[Advertisement], The Hunter River Gazette; and Journal of Agriculture, Commerce, Politics, and News [West Maitland, NSW] (14 May 1842), 2
http://nla.gov.au/nla.news-article228140908
Piano Forte and Organ Tuning.
MR. W. J. JOHNSON, RESPECTFULLY informs the inhabitants of the Hunter's River district,
that he will be in Maitland, on the 17th instant,
when all commands for tuning and repairing Pianofortes and Organs will be promptly attended to.
All letters to be post paid, and addressed to him,
at Mr. Johnson's, Watchmaker, West Maitland.
"HANDEL'S MESSIAH", Australasian Chronicle (20 August 1842), 3
http://nla.gov.au/nla.news-article31736930
Another rehearsal of the principal chorusses of this chef d'oeuvre took place last evening, under the direction of Messrs. Johnson, Leggatt, and Wallace. The greater part of the wind instruments were absent, so that we are unable to say what progress Mr. Legatt has made in reducing them to suavity, tune, and time, but the stringed instruments were all that could be reasonably wished for, and the chorusses, considering the materials of which in a great measure they seem to be composed, certainly gave us equal surprise and delight. Mr. Johnson has in this instance accomplished a feat, and we willingly accord him our meed of praise. We were much satisfied with Mr. Leggatt's conducting generally speaking, but we must say we were terribly annoyed with the timeing of the "Hallelujah chorus," which (at least the first time) was sung absurdly slow as it almost always is by amateurs, but by which the sublime idea of the composer is utterly destroyed. We hope Mr. Leggatt will attend to this, and upon the whole we promise our numerous musical friends a magnificent treat on the last day of this month, without any fear of disappointment.
ASSOCIATIONS: William Augustine Duncan (editor, Chronicle); Thomas Leggatt (musician); Spencer Wellington Wallace (musician)
"THE ORATORIO", The Sydney Morning Herald (23 August 1842), 2
http://nla.gov.au/nla.news-article12408209
The forthcoming Oratorio is expected to come off with great eclat next week, the amateurs having done what amateurs seldom will do, attended the rehearsals and been well drilled, and as there are amongst them many persons of considerable musical talent, and the professional men, particularly Messrs. Johnson and Leggatt, have bestowed a great deal of time and attention on the arrangements, the result we have little doubt will be the performance of that splendid Oratorio, the Messiah, in a very creditable manner.
[Advertisement], The Sydney Morning Herald (31 August 1842), 1
http://nla.gov.au/nla.news-article12411133
GRAND ORATORIO in aid of the finds of the Benevolent Society . . .
THIS EVENING, the 31st of August, HANDEL'S GRAND ORATORIO of the
MESSIAH will be performed in aid of the Funds of the Benevolent Society,
in the Royal Victoria Theatre, Pitt-street,
on which occasion the following professional performers have kindly offered their gratuitous assistance -
Mrs. S. W. Wallace, Messrs. Leggatt, Johnson, Deane, E. Deane, Griffiths, Allen, Worgan, and Egerton.
The Chorus will consist of 20 trebles, 12 altos, 14 tenors, 16 basses.
The Orchestra will consist of 5 first violins, 6 second violins, 4 violas, 4 violoncellos, 2 double basses,
2 oboes, 2 flutes, 2 clarionetti, 2 horns, 2 trumpets, 2 fagotti, 3 contra basses, 1 trombone, 2 double drums;
making a grand total of 101 performers.
PRINCIPAL VOCAL PERFORMERS.
Mrs. Bushelle, Mrs. S. W. Wallace, Mrs. Curtis, Mr. Bushelle, Mr. Waller, Mr. Griffiths, Mr. Allen, and Master Weavers.
PRINCIPAL INSTRUMENTAL PERFORMERS.
Mr. Leggatt, Mr. S. W. Wallace, Mr. Johnson, Mr. Deane, Mr. O'Flaherty, Mr. E. Deane, Mr. Portbury,
and, by the kind permission of Colonel Baker, a Selection from the Band of the Eightieth Regiment.
Conductor - Mr. Leggatt.
Leader - Mr. S. W. Wallace.
Chorus Master - Mr. Johnson . . .
ASSOCIATIONS: Caroline Wallace (vocalist); John Philip Deane (as above); Edward Smith Deane (musician); Edward Allen (vocalist); George William Worgan (vocalist); Samuel Edgerton (master, 80th band); Eliza and John Bushelle (vocalists); Mary Curtis (vocalist); James Waller (vocalist); William Griffiths (vocalist); Charles Weavers (vocalist); Henry Charles O'Falherty (musician); Benjamin Portbury (musician); Band of the 80th Regiment (military); Royal Victoria Theatre (Sydney venue)
"MUSICAL", The Australian (2 September 1842), 2
http://nla.gov.au/nla.news-article37114047
The Oratorio in aid of the funds of the benevolent Society came off, as announced, on Wednesday night;
and to say that we were pleased, would but faintly convey our feelings on the subject; we were delighted and astonished.
We confess that we previously felt some misgivings that a composition, so difficult as the Messiah,
and one requiring such effective management, both in regard to the number and utility of the performers, would prove too great an attempt for the musical powers of our community.
We are happy to say that our fears proved to be wholly without foundation, and we express not only our own sentiments,
but those of every person with whom we have conversed on the subject, when we say, that the performance as a whole was such as to raise, in a very high degree,
the character of our city, with respect to its musical powers.
The number of complicated and difficult chorusses which were introduced,
and the extremely effective manner in which they were performed, reflect the very highest degree of credit upon all parties concerned in getting them up,
and in particular to Mr. Johnson, to whose indefatigable perseverance, and judicious management in practising and conducting the vocal department,
we consider the effectiveness of the whole performance, is in a very great degree attributable.
It is an additional source of qualification to consider that the exertions of we believe nearly all the orchestre,
both vocal and instrumental, were afforded gratuitously in aid of the funds of this excellent Institution, in favour of which the Oratorio was given.
The main feature of the Messiah, consists in the grandeur and sublimity of its chorusses,
and the almost more than mortal skill, with which the most sublime poetry is linked to the most divine harmony;
and one main reason of the ever enduring popularity, of this celebrated composition, consists in the circumstance of this combination,
by which its beautiful words are brought home to every heart.
It was the realisation of this sentiment which gave such universal pleasure on this occasion.
Where every thing was so well done it is difficult to particularize; the chorusses of course found the main attraction.
Such a body of musical sound has never before been heard in this colony,
and the effect was hightened by the precision and accuracy of the performance, and by the whole being so much beyond expectation.
If any selection can be made as deserving more praise than the rest, we could name the chorusses "For unto us a child is born" and the "Hallelujah."
We were rather surprised that the old custon of the whole audience rising during the singing of the last named chorus, was deviated from upon the present occasion.
Of the solos, those of Mrs. Bushelle stood pre-eminent.
The deep feeling and pathos which she imparted to this opening recitative "Comfort ye my people,"
and the animation with which she sung "Rejoice greatly O daughter of Zion," rendered both exquisite treats.
Mr. Bushelle also sung his two songs in his usual effective manner.
We were more particularly pleased with the recitative and song, "For behold darkness shall cover the earth,"
and "The people that walked in darkness have seen a great light," which were sung in great perfection by Mr. Waller.
"The trumpet shall sound," would, we have no doubt, have been sung well by Mr. Griffiths,
had it not been completely marred by the horn accompaniments, which seem fated never to be played in tune.
We must not omit to mention the skilful manner in which Mr. Leggatt sustained the office of conductor;
his great abilities, both as a practical and theoretic musician, were never more conspicuously or more effectively employed.
We had almost overlooked the leading of the orchestra, by Mr. Wallace, which certainly was effected in his usual correct and efficient manner;
and we cannot allow the opportunity to pass without a remark, as to the performance of the two Arias,
"He shall feed his flock," and "He was cut off," by Mrs. S. W. Wallace, which, to say the least, were sung with sweetness and feeling.
The house, notwithstanding the inclemency of the weather, was well attended,
and we trust the funds realised will amount to a handsome donation to the Society to which it is to be devoted.
Now that it has been proved that Oratorios can be given in Sydney,
we trust that the musical public will, ere long, have another such treat as that afforded on Wednesday night.
"THE ORATORIO", The Sydney Morning Herald (2 September 1842), 2
http://nla.gov.au/nla.news-article12417903
IT IS with no small amount of pleasure that we notice the performance of Handel's sublime Oratorio of the Messiah, which took place at the Victoria Theatre, on Wednesday evening.
Independently of the delight we derived from the music, and from the anticipation that such glorious performances will be repeated frequently in our adopted land,
the knowledge that the numerous persons assembled were responding to an appeal to then sympathy from the indigent and affected was highly ratifying,
and we could not suppress the ambitious hope that ere many ages the city of Sydney would be able to vie with the metropolis of our glorious mother-country
in numbering among its handsomest buildings and oldest institutions, hospitals and asylums for the unfortunate.
The appearance of the stage, when all the performers were assembled, was very imposing.
The orchestra was covered over and seats placed on it for the vocalists, while the instrumental performers were ranged behind them,
the military bandsmen being in the rear, and an organ being placed against the back scene, which was about forty feet from the prosceniuim.
There were upwards of one hundred persons engaged in the performance,
a number, which, considering the population of Sydney is quite surprising.
The Governor, Lady Gipps, the Chief Justice, and Lady Dowling, Sir Maurice and Lady O'Connell, the Colonial Secretary and Mrs. Thomson,
and a highly respectable audience were present, and after the national anthem,
the solos of which were sung by Mrs. Bushelle, the oratorio commenced.
The performance throughout exceeded our most sanguine expectations, and fully deserved the approbation with which it appeared to be greeted in every part of the house.
It was impossible, however, that so heavy an undertaking for so young a society could be gone through without some faults,
and such of these as we think most calling for correction, we shall take upon ourselves the duty of touching upon.
The first movement oi the overture was too quickly and prettily played, it wanted that majesty, decision, and solidity,
which characterise the overture to the Messiah when it is well performed, and with a sufficient orchestra.
In the second movement, however, each performer appeared to have fallen into his work, and nothing could have been better than the result.
The pastoral symphony was exquisitely performed, we should have liked it repeated.
The accompaniments with one exception, were excellent; the singer having nothing but his own part to think of.
It is not our intention to particularise each solo - the best of the evening were undoubtedly Mrs. Bushelle's and Mr. Allen's.
Mrs. Bushelle laboured under the disadvantage of singing pieces that were not adapted to her voice - none but a tenor can sing "Comfort ye;"
none but a soprano can with pleasure and effect sing "Rejoice greatly."
Mrs. Bushelle, notwithstanding, acquitted herself well; but we would much have preferred hearing her in "He was despised,"
or in the beautiful solo arranged for a mezzo soprano "He shall feed his flock."
Mr. Allen took us by surprise - we must confess that we never listened to him with even comfort till now -
but the sweetness and evenness of tone, and correctness of style with which he sang "How beautiful are the Feet,"
pleased much, and gave proof of considerable practice and good teaching.
Of the other solos we must not say much.
Mrs. Wallace's indistinct enunciation, incorrect reading, and attempts to improve Handel by common place turns and graces, prevent us from dwelling upon her performance.
Mrs. Wallace's voice is sweet, and deserves better management.
Mr. Bushelle should never attempt Handel again; sacred music requires soul, and a correct conception of the subject and composer,
conjoined with expression and distinctness; neither of which could we trace in Mr. Bushelle's performance on Wednesday evening.
Master Weavers sang very sweetly, but showed sad want of tuition in his pronunciation and division of syllables,
this might soon be corrected, and would make him a valuable addition to our choir.
We cannot too highly commend Mr. Johnson for the manner in which the choruses were performed,
they were worthy of a much older society, and with very few exceptions, went off admirably,
especially the choruses "He shall purify," "The Lord gave the Word," "Lift up your Heads."
The Hallelujah chorus was too fast; we know that this is a disputed point, but we take as our standard the performances at Exeter Hall, and the Festivals in England,
and we certainly think the chorus more effective when played slower, as we have been accustomed to hear it.
It passed off very well, however, and concluded a performance from which we derived much pleasure, and augur a great deal to come.
We shall be delighted to hear the Oratorio repeated complete, as, in this performance,
some of our favourite choruses and solos were left out.
We cannot conclude without expressing our satisfaction at the able manner in which Mr. Leggatt conducted, and Mr. Wallace led, the orchestra during the performance.
"CHURCH BOOK SOCIETY" and "THE ORATORIO", The Sydney Morning Herald (19 October 1842), 2
http://nla.gov.au/nla.news-article28650505
Mr. James Johnson will deliver the first of a series of lectures on Music, at the St. James's Grammar School, this evening.
The amount handed to the Committee of the Benevolent Society by Mr. Waller, the Treasurer of the Oratorio, after paying all expenses, was £57 8s. 5d.
"CHURCH BOOK SOCIETY. MR. JOHNSON'S FIKST LECTURE ON MUSIC", The Sydney Morning Herald (24 October 1842), 2
http://nla.gov.au/nla.news-article12420449
ON Wednesday evening [19 October], Mr. Johnson delivered the first of a series of lectures on Music, at the Grammar School, Phillip-street.
Among the arts there were none so congenial to man as music; the feelings of delight created by the concord of sweet sounds were common to all men,
no contrivance to solace their woes, to cheer under depression, or to charm in recreation, had acted so universally upon them.
Music softened the heart, elevated the soul, dispelled malignant feelings, and above all, was a most important aid in lifting up the heart in praise and thanksgiving to the Creator.
It had been so from the beginning of time, and would be so when time should cease.
Our first parents employed their voices in praising the author of their being, and the redeemed in heaven would sing the praises of Him that sat upon the throne, and the Lamb, for ever.
In a social point of view, it was highly beneficial.
Relaxation from the cares of business, or study, was necessary; and all must be aware, that in the absence of innocent amusements at home,
recreation was sought elsewhere, and frequently led to the most lamentable results.
Although faith was not to be placed in the miraculous effects said by ancient writers and poets to have been produced by music,
it was evident, from the ascription of such capabilities, that they considered the knowledge of the art as one of the greatest blessings conferred upon man.
It must however be admitted, that the power of music acted beneficially on disturbed feelings,
and he need only refer to the case of David, who by his skill charmed the evil spirit from Saul, to prove its beneficial influence.
Its effect also, in raising and sustaining courage, was very remarkable.
In proof of this assertion he would relate a well authenticated fact.
The commander of a Highland regiment, having a very great dislike to the national instrument, ordered the playing of the bagpipe to be dispensed with.
On approaching the field of battle it was observed, with great concern, that they did not display their accustomed alacrity in meeting the foe.
The commander therefore ordered the pipes to play: the effect was electric, their despondency vanished,
they rushed eagerly to the contest, and added fresh glory to their aready distinguished corps.
In the history of music there were three epochs, occurring at considerable intervals of time, of great importance,
as showing its advancement, - the invention of instruments, of notation, and of counterpoint.
It might be learnt from scripture history, that many years had not passed away from the creation before considerable advancement had been made in the use of musical instruments.
Before the dentil of Adam, Jubal flourished; and it was not to be supposed that he was the only person who understood their use;
indeed the phrase, "the father of all such as handle the harp and organ" precluded the idea.
The Egyptians had attributed their discovery to Hermes, who, walking along the banks of the Nile, found the shell of a tortoise,
the flesh having dried and wasted in the sun, the sinews had become hardened, and were rendered sonorous.
Pleased with the sound produced by striking his foot against it, he was led to construct a lyre in the form of a tortoise, stringing it with the dried sinews of animals.
The instruments of Jubal were probably the lyre of the Egyptians and the Fistula panis, or Pandean pipes.
Of wind instruments it did not appear that the ancients had any great variety.
The flute, horn, trumpet, and a very simple species of bagpipe, seemed to comprehend all.
In later times, the hydraulicon, water-organ, was added to the list.
Flutes were of various kinds, and termed Tibia pares, or equal flutes, or Tibia Impares, or unequal;
Tibias dextrae, or right-handed, and Tibia sinistrae, or left-handed.
Besides these there was the double flute, having two tubes:
both tubes were blown at the same time, and stopped with the fingers.
It was supposed, that the notes given by one pipe were in a correct gradation of the scale below those of the other.
Of the ancient horn but little was known: it was chiefly formed of the horn of the wild goat, or ram, and was, by the Egyptians and Jews, termed a shawm.
This was the instrument used by the priests when they encompassed the walls of Jericho.
The trumpet, also, owed its origin to the horns of animals, it being originally constructed from that of the ox.
It was soon improved upon, and made of metal; and being crooked, and made upon a smaller scale, produced an exceedingly loud and shrill sound.
This was used by the Roman cavalry, and a straight, deep-toned one by the infantry.
The bagpipe was an instrument that had great claims to antiquity.
There was, in the palace of Santa Croce, at Rome, a bas-relief, which bore a close resemblance to it.
And Nero was spoken of as playing upon the flute by means of a leathern bag, or bladder of wind, under his arm.
The effeminate despot gave a very characteristic reason for preferring this to the flute blown by the mouth, viz. -
That he might avoid those distortions of the countenance occasioned by flutes blown by the mouth, and which so greatly disgusted Minerva.
The hydraulicon, or water-organ, was so called, because it was blown, and perhaps performed upon, by means of water,
which was, by some contrivance, pumped, so as to force the wind into the pipes.
In some instances it was played by means of mechanism moved by the same power.
It was also played upon by the finger.
The principal percussive instruments were the drum, the cymbal, and small bells.
The drum was of Egyptian origin, and was called Thoph or Sistrum, and was in the form of a ship.
Though generally of this form, it was frequently circular.
It was made sometimes of iron, and even of silver and gold;
round the rim a number of rings were strung on a bar that extended over a circle, and by means of a handle was swung backwards and forwards,
from the collision of the rings with each other, and their friction against the sides, the circle, and the bar, a melancholy murmur arose.
This instrument was used by the Hebrews.
It was unnecessary to occupy their time with a description of the cymbal, the bells, or the triangle, as all would be familiar with them.
As the voice without the aid of instruments, was incapable of giving any fixed or settled scale,
or reducing its powers to the control of system and rule;
so without the aid of notation no perpetuation of musical ideas could be accomplished.
For many ages this important help to musical improvement was wanting;
though it must be confessed, that under this disadvantage the science flourished,
and that new instruments were added, and old ones improved.
It did not appear from history that the Egyptians, Phoenicians, Hebrews, or any other ancient people, except the Greeks and Romans, had any musical characters,
and even the latter, could only boast of the letters of their alphabet.
The exact time of this invention was not known, some attributing it to Pythagoras, and others claiming it for Terpander.
In the time of the latter it was certain that the practice existed, and that it was improved by others.
The letters were not used in their pure state.
Some were invented, others mutilated, and but few left in their proper form.
From the twenty-four letters of the alphabet one hundred and twenty-five musical characters were formed.
St. Gregory about the 6th century substituted the Roman letters in place of the complicated Greek notes.
By the capitals A B C D E F G he designated the lower or grave octave, the next by small letters of the same name, and the third by the latter doubled.
The notes used in missals and called Gregorian notes were not invented till some centuries after his time,
but having been chiefly used for writing chants in the antiphonary of that pontiff, they had obtained that appellation.
In the tenth century lines were used to the number of eight or nine, and the syllables to be sung were written between them according to the note to which they corresponded.
Their place on these lines was denoted by a letter placed at the beginning of each, capitals being used for the grave and small letters for the acute sounds.
Sometimes the note (or letter) was written over the word, and connected with it by a stroke;
all these words were used in the missals of the church from the 6th to the 10th century;
and it would now be almost impossible to decypher the notes thus written.
The stave of five lines was supposed to have been invented by Guido, a chorister in the monastery of the Benedictines, at Arezzo, who was born A. D. 990.
If he were not the first who employed it, he was the first who made use of the spaces as well as the lines, thus giving it the greater accommodation which it now afforded.
Intimately connected with notation in its simplest form, was the time table, for as without some contrivance to settle the exact length of each note,
nothing like writing in parts with any accuracy could be accomplished.
This practice was not adopted till the 14th century, at which period notes were distinguished as longs and breves,
from these the more minute divisions proceeded, by the addition of the semibreve, minims, &c.
Although longs and breves were not now much known, the former being quite disused, still by the crotchet, quaver, &c., as minute divisions were obtained us were required.
Mr. Johnson then stated that on Wednesday evening, he purposed entering upon the subject of counterpoint.
"CHURCH BOOK SOCIETY. MR. JOHNSON'S SECOND LECTURE ON MUSIC", The Sydney Morning Herald (28 October 1842), 2
http://nla.gov.au/nla.news-article12408241
On Wednesday evening [26 October], Mr. Johnson delivered his second lecture on Music, at the St. James's Grammar School Phillip-street.
Counterpoint, or the art of writing in parts, was an advance which had done more towards giving to music the dignity of a science,
than either the invention of instruments or notation: for, although without their aid no music of scientific character could exist,
they, by themselves, were capable of producing only very meagre effects.
It required the aid of harmonical combination to give to the art the magnificence and grandeur which was its most noble attribute.
It was wonderful that, when it had become the practice to unite the performance on several instruments,
and when immense congregations of singers and players joined in concert,
that no accidental striking together of concords should have led to such research as would have resulted in a system of harmonic combination, long before such discovery took place.
Some asserted, that the Greeks were acquainted with counterpoint; while others contended, that till the time of Guido, it was unknown.
He did not, however, think, from all that could be gathered upon the subject, that the Greeks had any other idea upon the subject than,
perhaps, doubling the parts an octave, or perhaps a fifteenth higher, according to the nature of the instrument used, or of the voice accompanying the instrument.
Dr. Burney visited Italy, and consulted all that could afford information upon the subject,
and stated, that in the manuscript missals, rituals, graduals, psalters, and antiphonaries, of any of the great libraries, not the slightest trace of counterpoint was to he found.
Previous to the time of Guido, who flourished in the 11th century, descant, which consisted of an under-part, called organum, sung to the plain melody, was practised;
but the barbarous dissonances which by it were tolerated, rendered such an addition anything but an improvement.
For instance, this under-part proceeded in successive intervals of the fourth with the melody.
As it was allowed to double this part an octave higher, it produced a succession of fifths, the most unbearable progression to a refined ear that could be imagined.
For the next three or four centuries, but little progress was made in the art of counterpoint.
Music, at this time, was cultivated almost exclusively by churchmen, who were much opposed to anything having the appearance of change or innovation.
Counterpoint, nevertheless, continued to advance.
Franco introduced new concords, and gave rules as to their use; but even with his improvements, the art was in an imperfect state.
From his time, however, improvements continued to be made; the system was now established on fixed principles;
and a science, more interesting than those who had only viewed it in a superficial manner were inclined to acknowledge had been the result.
Until the time of the ancient Greeks, music could not be said to have possessed a history.
It was true, that there were records of its existence in the first ages of the world;
that by Noah it was in all probability preserved to the world after the flood;
that by the Phoenicians and Egyptians their knowledge and improvements were communicated to the Hebrews and Greeks,
but what that knowledge was, could not be ascertained.
The Greeks were an essentially musical people, and held the cultivation of the art as of great national importance.
Their senators did not scorn to legislate upon the subject; and in their schemes of education music formed no inconsiderable part.
The scales or genera used by the Greeks were three, the diatonic, the chromatic, and the enharmonic.
In the first of these, the diatonic, the progression consisted of a semitone and two whole tones, -
as from B flat to C flat, the semitone C flat to D, one whole tone, D to E another whole tone, forming what was termed the tetrachord.
The union of two of these tetrachords disjunct, formed our diatonic octave.
The chromatic differed from ours of that name, as we used a continued series of semitones,
while theirs proceeded by two semitones and a minor third.
The enharmonic was a scale of little practical use to «s, few of our instruments being so constructed asto express the diesis or quarter tone, -
it consisted, however, of two quarter tones and a major third.
These three scales united made a fourth or mixed genus, and out of it their modes, grave, middle, and acute, were formed, -
the gravity or cheerfulness depending upon its locality in the compass of this genus, which comprised three octaves and a tone.
With the Romans, as with the Greeks, music, was held in high estimation.
It was largely used in the celebration of religious rites, and also in connexion with the drama, and as a fashionable accomplishment.
They were principally indebted to the Greeks, as the Greeks were to the Egyptians, for the improvement of their taste.
They had, however, a music of their own; coarse and rude it might have been,
but still entitling them to be considered as possessing a national music.
Rome, from her rude beginning and mere military genius, after a time emulated the Greeks, and established public institutions for the advancement of poetry and music,
and by the time of Augustus, their literature was as splendid as their military achievements.
After this time a false taste was cultivated, and the effeminate luxury of the Asiatics was substituted for manly refinement.
Music became puerile and voluptuous, and was made subservient to the gross passions and sensual appetite of the times.
Music having ceased to receive the patronage of the mighty among the Romans, took refuge with the early Christians,
by them it was used to solace their wearied spirits under the almost unceasing persecution of their heathen masters.
To caves in the rocks, holes in the earth, and almost impenetrable parts did these early professors of our holy faith retire to exercise religious rites.
Under these circumstances, music as a science could not be expected to make any progress.
In the few intervals from active persecution which they enjoyed, it formed a conspicuous feature in their services.
The melodies used in the Church appeared to have been very simple, the whole congregation joining in them without previous teaching.
In the time of Constantine music began to be studied with reference to its applications to the Church, and at the Council of Laodicea,
a canon was issued, directing that none but the canons who sang out of parchment books should be allowed to sing in the church.
It was supposed by some writers, that organs were not introduced into churches till about the year 670,
though Dr. Busby said that they must have been in use in the time of Julian the Apostate, who flourished in the 4th century.
The lecturer said, he had not intended to have discontinued his subject here;
but having been too much pressed for time to proceed further, he must defer the resumption of it to some future time.
[Advertisement], The Sydney Morning Herald (6 March 1843), 3
http://nla.gov.au/nla.news-article12421964
MR. JOHNSON, Organist of St. James's Church,
has removed to College street, Hyde Park, (Mr. Lyons's Terrace),
and requests that all communication« to him, may be addressed at above. March 4.
[Advertisement], The Sydney Morning Herald (2 May 1843), 1
http://nla.gov.au/nla.news-article12410910
SINGING CLASS, On the system of Hullah and Mainzer, so successfully established in London and on the Continent.
THE public are informed, that a class in connexion with the School of Arts, will be opened on Tuesday, May the 9th, at seven, p.m.,
under the direction of Mr. Marsh, Member of the Royal Society of British Musicians; and Mr. Johnson, Organist of St. James's Church,
and will meet every Tuesday and Friday, at the same hour.
Terms per quarter to members of the School of Arts 10s., and to non-members of that Institution 15s, to be paid in advance.
Persons desirous of joining the class, are requested to leave their names with Mr. Duer, the Secretary, at the School of Arts,
between the hours of two and nine, p.m.
ASSOCIATIONS: Stephen Hale Marsh (musician); John Hullah (English singing master); Joseph Mainzer (German singing master); John Storck Duer (secretary); Mechanics' School of Arts (Sydney association and venue)
"MUSIC AND MUSICIANS. SINGING FOR THE MILLION", The Australian (12 July 1843), 2
http://nla.gov.au/nla.news-article37114617
We notified in a recent number of this journal that the system of Mainzer which,
is now carried out with such distinguished success in London by Hullah,
was on the eve of introduction into this colony by Messrs. Johnson and Marsh.
Since our first notice was written we have had the pleasure of attending the three first of these gentlemen's class-meetings at the School of Arts
(in connexion with which establishment they have commenced)
and have been much gratified by witnessing the marked interest in the proceedings evinced by the fashionable auditories who attended the Theatre of the Institution on these occasions.
In expatiating on the elegance and usefulness of the art these classes so delightfully illustrate,
we shall probably startle those who expect an elucidation of an unknown theory by declaring our belief that to the older madrigalians must be awarded the merit of mastering the complexities of part-writing,
and rendering them easy to the prima vista of the tyro.
It is evident, from a careful reference to the results of that excellent old English school,
that a system, having for its aim the same effect proposed by Mainzer and Hullah,
must have been habitually exercised by the madrigalians to lead to the acknowledged proficiency they arrived at;
and we must therefore award to the founders of the system their fair meed of honour, amidst our commendatory tributes to the modern revivers of this famous school of class-teaching.
The efforts of Mainzer and Hullah in Europe have achieved what is called, in the cant phrase of London, a great "musical movement;"
one in short which has brought the first professors from their ordinary quiet routine into the critical arena of public demonstration.
To undertake the simultaneous instruction of larger classes of pupils in the mysteries of sight-singing is a task of no ordinary difficulty,
and among those who have entered the field - and we speak with reference to professors in London, as well as Sydney -
Messrs. Johnson and Marsh come to their task with recommendations of much weight.
They are admirable sightsmen, and if their practice and education be accepted as guarantee for their precepts,
none can be more worthy of the confidence of the Sydney public.
To trace the progressive improvements of the classes will be the most interesting part of the critic's duty,
and we predict that in the Theatre of our School of Arts classes of singers will be formed who shall not fear comparison with their London contemporaries at Exeter Hall.
ASSOCIATIONS: Singing for the million (movement); Exeter Hall (London concert venue)
[Advertisement], The Sydney Morning Herald (14 July 1843), 3
http://nla.gov.au/nla.news-article12421625
PIANO WANTED. WANTED, immediately, a good square Pianoforte;
apply post-paid to W. J. Johnson, Pianoforte-maker,
3, Regent Terrace, Hunter-street, Sydney.
[Advertisement], The Sydney Morning Herald (29 August 1843), 3
http://nla.gov.au/nla.news-article12427342
SINGING CLASSES.
MR. JOHNSON, Organist of St. James's Church, begs to announce
that he intends opening classes for teaching the theory of Music and Singing,
at his residence, College-street, Hyde Park,
the first of which will be commenced on Tuesday, the 29th instant, at eight o'clock,
and will meet every Tuesday and Friday at the same hour.
A class for the convenience of young ladies attending school during the day, will meet at five o'clock on Mondays and Thursdays.
Terms and particulars may be obtained at Mr. Johnson's residence, College-street, Hyde Park.
"Deaths", The Maitland Mercury and Hunter River General Advertiser [NSW] (2 March 1844), 3
http://nla.gov.au/nla.news-article665029
At his residence, West Maitland, on Wednesday, February 21, aged 69, Mr. Rich. Johnson, watchmaker; much and deservedly regretted.
"COLONIAL BUILT ORGAN", The Australian (19 October 1844), 3
http://nla.gov.au/nla.news-article37122885
Those who think the encouragement of Colonial manufactures, and works of art,
will tend to the advancement of science and the general prosperity of "the land we live in,"
will be highly gratified by an inspection of the new Organ, which has been recently built for the temporary Church of St. Andrew,
by Mr. W. J. Johnson, the Organist, and which is valued at 200 guineas.
Of the tones of the instrument, and its power and compass imparted by the two composite pedal pipes,
the variety of its stops, and, its Venetian front, we cannot speak but in terms of unqualified praise and admiration.
Its interal machinery, is far too complicated for any one but an organ-builder to describe, or a proficient player on the instrument to understand.
We subjoin the following description of its powers and capabilities for the information of the curious in the works of art.
The compass of the great organ is from G. G. to F. in alt, comprising 59 notes;
consisting of the open diapason, the stop diapason, the principal, the fifteenth, and the cremora [sic, cremona].
The small [swell] organ comprises 35 notes, with Venetian front, the power and effect of which, in connection with the pedals,
must be heard to be understood, open diapason, principal, and copula.
There are an octave of pedal pipes and an octave and a half of pedals, pedal copula, and two composite pedals.
The instrument, we are assured, will challenge competition with any similar instrument of equal compass and dimensions that can be produced in the Colonies.
ASSOCIATIONS: St. Andrew's cathedral (Sydney)
"THE ORGAN OF ST. ANDREW'S TEMPORARY CHURCH", The Sydney Morning Herald (30 November 1844), 2
http://nla.gov.au/nla.news-article12409888
THIS organ has been built solely by Mr. W. J. Johnson,
organist to St Lawrence's and as it is the first instrument of the kind that has been constructed in the colony,
we have the greatest satisfaction in making mention of it, especially as it is as perfect for the size as could be obtained in any city in Europe.
It has been erected in the temporary church for the sum of £150, an amount much below what we should have expected to have given for it in London.
It is constructed of the same material as is generally used for such purposes,
the woodwork being of oak and pine, its present locale is of course unfavourable to sound, but even here its tones are powerful and rich.
The stops, without exception, are good, the open diapason especially, whether in the great organ or in the swell, is of delicious quality;
and the swell is as effective as any we have ever heard, being efficient even with the great organ.
The cremona also is very sweet - this is the only fancy stop afforded.
The mechanism is, throughout, excellent, being much more complete than is usual with instruments of this size,
as will be seen from the subjoined description: -
Great Organ - Compass from GG to F in Alt, with GG sharp,* (according to rotation), 59 notes.
Stops. - 1st, Open Diapason (metal), from bass G to F in Alt, 47 notes. This note is five inches in diameter.
2nd, Stop Diapason (wood), throughout the whole extent of the keys, 59 notes.
3rd, Principal (metal), ditto ditto
4th, Fifteenth (metal), ditto ditto
5th, Cremona (metal reed), from fiddle G to F in Alt, 35 notes.
6th, Copula, to connect the swell with the great organ.
Swell Organ (Venetian Front.) - Compass from Fiddle G to F in alt, 35 notes.
Stops. - 1st, Open Diapason (metal) throughout
2nd, Principal (metal) ditto
Pedals. - Compass from GG to Gamut C, 18 notes.
Stops. - 1st, Copula, to draw the Great Organ keys with the pedals.
2nd, Pedal Pipes, an Octave of large Open Diapason, from GG to G, 13 notes.
[Total] 10 Stops, 347 Pipes.
Shifting Movements. 1st, To take off the fifteenth and principal of Great Organ, so as to form a Choir Organ.
2nd To take off the Cremona with the foot.
* Seldom put to an organ unless expressly stipulated for, being a very expensive note.
"To the Editors of the . . .", The Sydney Morning Herald (2 December 1844), p. 3
http://nla.gov.au/nla.news-article12424907
GENTLEMEN - Observing in your journal of this day a paragraph headed the Organ of St. Andrew's Temporary Church,
wherein you state that the organ just completed by Mr. W. J. Johnson is the first instrument of the kind that has been constructed in the colony;
allow me to state that about four years ago Messrs. Johnson and Kinlock, of Prince-street,
commenced an organ, which when completed the proprietors invited an inspection of their work at the Old Court House, Castlereagh-street.
The room was crowded to excess, and the instrument was allowed by all present to be a masterpiece of colonial workmanship.
My object in troubling you on this occasion is merely to give credit where it is due,
and to state that myself was employed in the work during its progress.
Hoping you will insert the above in your valuable journal as soon as possible,
I am, Gentlemen, Yours, &c.,
T. B.
Lower George-street.
"THE NEW ORGAN AT ST. ANDREWS. To the Editors of . . .", The Sydney Morning Herald (2 December 1844), 4
http://nla.gov.au/nla.news-article12424928
GENTLEMEN, - I have waited for an abler pen to notice our new acquisition,
in the very good organ of our colonial builder, Mr. W. J. Johnson, has lately put up in the weather-boarded church of St. Andrew, in George-street.
This instrument, far too excellent to be let pass sub silentio, eloquent as it is of sweet and noble sounds,
is another proof that we need not be dependent on foreign builders to furnish us with help for the choral parts of our devotional services in the Church's public worship.
And I now venture to assert, after a somewhat lengthened course of observation, that European builders cannot produce a better instrument for quality and workmanship,
and would not have constructed such an one for less that as much again as has been paid for this;
at the same time, that this organ for character, quality, and body of tone, is superior to any other instrument in the colony;
and this because its scale is larger, and more faithfully carried out, whilst its voicing is most judicious and perfect.
Those of us who recollect the organ at Westminster Abbey some twelve years ago, will be forcibly reminded of their old friends by this legitimate descendent of the New Road School.
That we may bye-and-bye have colonial built organs for our churches, with a more extended bill of fare for choice on their draw stops,
we may well enough wish - better times will enable us to pay for these.
But for character and quality of tone, we need wish for nothing better than that of this instrument;
- for that we are obliged to the builder, but we cannot pay him for it.
The instrument comprises, great organ GG to f''', with GG sharp open diapason, principal,
and fifteenth, all on a nine-inch scale, stopped diapason, and cremona.
Swell (Venetian) fiddle G to f''' open diapason and principal.
There is an octave and half of pedals, with coupler to great organ, the usual shifting movement to take off the great organ to the diapasons,
a composition pedal foe the cremona, and a coupler from the great organ to the swell.
The full, rich, mellow body of the open diapason of the great organ has seldom been equalled in any organ,
and the principal is the first the writer has met with which explained the reason of its designation;
- but if clear, majestic, firm intonation, still without harshness, are indicated, these are most completely given forth by this stop;
and it again is well met by a fifteenth, without shriek or skuawk;
credat Judeus, but the 15th in this organ blends only as the natural, obligato, harmonic of the diapason.
Forgive diffuseness on so limited an instrument; its character tells what our builder can do in better times;
and, I trust, by and by, we shall have to listen to an instrument of such magnitude as his skill ought to be employed about.
Meanwhile, let our fellow-colonists listen to this one, to know what a sound, honest, proper church organ ought to be;
not a thing of penny whistles, but one which will meet the Psalmist's idea when he invited everything melodious and vast to accompany him,
and opened with "O come let us worship, and fall down, and kneel before the Lord our Maker."
The frittering scale on which church organs are generally built is the reason of their unsatisfactory quality;
the diapasons dishonestly small, and even then again shrunk in the bass, are necessarily voiced to a scream to make a note to be heard,
and to make up for want of body in the foundation of the instrument, the principal, 12th, 15th, sesquialtera, and cornet,
are also over voiced, so as to produce the common remark, "What a nasty squeaking organ."
Sometimes (as at Surry Chapel) an unison trumpet is used to make up - of course with wretched success.
The organ never can be good if the scale of the diapasons is not large.
The instruments at York Cathedral, Birmingham Music Hall, and the hall of Christ Church, London, demonstrate this;
they have thrown the formerly wonderful Haarlem organ to the owls and the bats.
The German builder has done wonders, he doubtlets throughout, in producing the note CCCC with a pipe 32 feet long by 8 inches diameter;
but, for the York instrument, Mr. Hill made a double pipe for the same note, 28 feet long, 6 feet 6 inches wide, 3 feet 6 inches deep, and made the note articulate.
This will show the dishonesty of common organ building for this vast double pipe is, for the pitch, but the 10 1/2 inch scale fairly carried out.
The singers will find the comfort of the organ at Saint Andrew's:
- We are not all professionals, nor yet choristers, and few, who have not the pane-splitting power of the late Dicky Randall,
(Handel's last surviving pupil) can afford to sing to the hungry buz of a meagre choir organ;
but, with this generous instrument, any of us with cracked voice, or scale short of a note here or there,
may join in without fear of annoying, and find the organ's help give voice,
where the throat, through put in shape for the desired note, would not give this out,
without the sympathetic vibration of its volume of sound.
I remain, Gentlemen,
Yours respectfully,
ONE OF THE PUBLIC.
Sydney, November 29.
[This letter was evidently written before the notice of this organ appeared in the Herald.
As it is on an interesting subject, we give it insertion notwithstanding. - EDS.]
ASSOCIATIONS: William Hill (English organ builder); Richard Randall (English singer)
[Advertisement], The Sydney Morning Herald (13 December 1844), 3
http://nla.gov.au/nla.news-article12416512
MR. W. J. JOHNSON, Organist of St. Laurence Temporary Church, 53, Pitt-street South.
Pianofortes tuned for 5s. Instruments repaired.
"SYDNEY CHORAL SOCIETY.", The Australian (22 April 1845), 3
http://nla.gov.au/nla.news-article37154815
A preliminary meeting of this society took place at St. Lawrence school-house, on Friday evening last,
when the Rev. Mr. Walsh, being voted to the chair, briefly stated the objects of the society, which were -
firstly, to improve choir music in churches,
to supply volunteer choirs to assist in promoting the advancement of psalmody and church music generally in our sacred edifices to the praise of Him to whom all praise is due;
and, secondly, to encourage part singing of both sacred and secular music, the want of which has been so long felt in this colony -
The rev. gentleman then called upon Mr. Purchase to read the draft rules.
Mr. Purchase having, in a most apposite speech, glanced at the advantages which such a society, on the grand scale contemplated,
would cause to the community in general, stated that the Bishop had most kindly consented to become patron,
and had offered the free use of St. James' Grammar School for the purposes of the society.
He then proceeded to read the rules (thirty-one in number), which were passed with but little alteration.
The meeting then formed itself into a general committee, when the following gentlemen were elected: -
president, Rev. Mr. Walsh; secretary, Mr. Hatch; treasurer, Mr. Hirst;
conductor, Mr. Johnson; leader, Mr. W. Johnson.
An active committee of management was also formed, composed of - Mr. Hatch, Mr. Hirst, Dr. Nathan, Mr. Sincombe, Mr. Logan, Mr. Deane, and Mr. W. McDonell.
A vote of thanks was awarded to Mr. Hatch, as the active originator of the society, and to Mr. Purchase for his strenuous co-operation,
and for his efforts in the cause of music.
The same was also awarded to the Rev. Mr. Walsh, for his very able conduct in the chair;
and the meeting departed, highly satisfied with the progress made.
ASSOCIATIONS: William Horatio Walsh (member); Henry John Hatch (member); George Robert Hirst (member); Charles Nathan (member); Charles David Logan (member); John Philip Deane (as above); Sydney Choral Society (association)
"SYDNEY CHORAL SOCIETY", The Sydney Morning Herald (29 May 1845), 3
http://nla.gov.au/nla.news-article12879869
Tuesday night [27 May], being a visitor's night, and one on which the members were entitled to admit their friends, there was a strong muster of the body. The rooms were opened at seven o'clock, and visitors began to throng in at that hour. The performance began punctually at half-past seven o'clock, at which time a highly respectable audience had assembled. The first on the programme were the psalms of the day, Crotch, Spofforth, and Farrant. The chanting of these gave great satisfaction. They were followed by Farranti's [sic, Farrant's] splendid anthem of "Lord for Thy tender mercies' sake," which in no wise suffered by the absence of the organ; indeed, the harmony was far more distinguishable. Gibbons' Sanctus was next on the list, and was ably performed. Haydn's hymn closed the first part of the programme, the execution being worthy of great commendation, though we would impress on the members the necessity of observing the forte and the piano parts, as absolutely required to give the effect intended by the composer, as well in this as in the other pieces. The second part commenced with Neukomm's Sanctus in G. (subsequently repeated) succeeded by Dr. Clarke's "The Lord descended," sung to part of the 119th psalm, these with "In Jewry is God known" met with universal approbation. The quintette in the latter was particularly deserving of notice. It was well sung. "God save the Queen," arranged we believe for the occasion by the leader, Mr. W. J. Johnson, concluded one of the most satisfactory performances of sacred music ever heard in the colony and we think that the auditory were unanimous in this opinion. We sincerely hope that all present will exert their utmost to support a Society which includes all classes in its members, and has for its object the noble aim of celebrating Divine praise in the glorious music composed by authors of undying fame, and in its secular department the re-production of those compositions, the character of which appears to be much mistaken here.
[Advertisement], The Australian (29 May 1845), 2
http://nla.gov.au/nla.news-article37154716
ROYAL CITY THEATRE. (UNDER DISTINGUISHED PATRONAGE.)
MISS HINKESMANN respectfully informs her friends and the public, that she intends giving a
CONCERT of Vocal and Instrumental Music, at the above Theatre,
TO-MORROW EVENING, MAY 30, 1845. To commence at 8 o'clock precisely . . .
The Theatrical Band . . . will be assisted by the Members of St. Patrick's Band,
who have most kindly consented to give their valuable services upon his occasion.
Leader, Mr. Gibbs; Conductor, Mr. Johnson (Organist of St. James's) . . .
ASSOCIATIONS: Maria Hinckesman (musician); John Gibbs (violin, leader); City Theatre (Sydney venue)
10 September 1845, consecration of Christ Church, St. Lawrence, Sydney
"CONSECRATION OF CHRIST CHURCH", The Sydney Morning Herald (11 September 1845), 2
http://nla.gov.au/nla.news-article12882107
YESTERDAY morning the new church in the parish of St. Lawrence, was consecrated in the usual form by the Lord Bishop of Australia.
His Lordship was received at the western door by the minister of the church, the Rev. W. H. Walsh, the churchwardens,
and several of the principal inhabitants, when the petition for the consecration was presented and read . . .
The usual morning service was then proceeded with by the Rev. W. H. Walsh,
the various collects introduced in the consecration service being read by the Bishop . . .
The singing and chanting was of a very superior description,
the choir being assisted by nearly all the singing members of the Choral Society.
The new organ was played by Mr. W. Johnson; it is a very fine toned instrument:
we hope, on a future occasion, to be able to give a description of it.
The chants (the Venite, the Psalms for the occasion, and the Jubilate,) were by Tallis, Nares, Tarrant, and Spofforth.
The Te Deum was King's splendid composition in D.
The anthem was Handel's chorus from the Messiah, "Lift up your heads O ye gates,"
and previous to the Sermon there was Gibbons' Sanctus.
The greater part of the congregation could never have had an opportunity of hearing sacred music performed so effectively before.
The Te Deum and the anthem were remarkably well sung . . .
ASSOCIATIONS: Christ Church St. Laurence (Sydney)
"CONSECRATION OF CHRIST CHURCH IN THE PARISH OF ST. LAWRENCE", The Australian (11 September 1845), 3
http://nla.gov.au/nla.news-article37159722
The ceremony of consecrating this edifice was performed yesterday by the Lord Bishop of Australia, at 11 o'clock. His Lordship was received at the west door of the Church . . . The sentences in the consecration service were read by the Rev. Dr. Cowper. The usual Morning Church Service was then performed by the Rev. W. H. Walsh (the minister of the parish) . . . The chaunting was performed in excellent style, accompanied by Mr. W. J. Johnson, on a fine and full toned new organ: the chorister boys appearing in their gowns, for the first time in New South Wales . . .
"SCHOOL OF ARTS", Morning Chronicle (13 September 1845), 3
http://nla.gov.au/nla.news-article31746324
Mr. James Johnson will deliver the first of a course of lectures on the History and Science of Music, in the theatre of the above Institution, on Monday evening next. We understand that Mr. Johnson is to be assisted in his illustrations by several talented amateurs . . .
"SCHOOL OF ARTS", The Australian (16 September 1845), 3
http://nla.gov.au/nla.news-article37158084
Mr. James Johnson delivered, last evening, at the Theatre of this Institution, the first of a course of Lectures on the History and Science of Music, to a crowded and fashionable audience, who appeared highly pleased with the evening's recreation, more especially with the illustrative part - amongst which the most prominent features were "Leichhardt's Grave," by Mr. Waller; "Hark! hark! the Lark!" and "Glorious Apollo." Some illustrations of ancient Greek music were also well received.
ASSOCIATIONS: James Waller (vocalist)
MUSIC: Leichhardt's grave (Nathan)
"MUSICAL EXAMINER", The Examiner (20 September 1845), 53
http://nla.gov.au/nla.news-article228062718
One of the most purely gratifying soirees of the season was that, in the form of a Lecture on Music by Mr. James Johnson, on Monday evening. This, however, is no novelty with Mr. Johnson, who seems invariably to deem it his artist-duty to provide a feast of irreproachable quality. In this he succeeded as usual, to the delight of an audience remarkable alike for its numbers and the intellectual character of its composition; but while full of congratulation to him on the result, we have still to regret that our space will, this week, prevent our rendering him the meed of justice to which he is entitled. The lecture was a most interesting one, with a fine choir, headed by Mr. Waller, to assist in its illustration and development. The chief pieces were "Pindar's Ode," - "Glorious Apollo," - "Hymn to Calliope," - "Here in Cool Grot," - "Hark the Lark," - "Leichhardt's Grave," - "When I think of the Wrongs he has done me," - one of Paer's choicest gems, abundant of fine thoughts and still finer examples of their treatment - and "Hail to thee Mighty One." These illustrations of what the word "music" signifies, were alone worth all the squeezing we had the fortune to endure on Monday; (the Theatre of the School of Arts was inconveniently crowded to the ceiling.) To his great ability as a classical instructor, Mr. Johnson is well-known to join the talent of an admirable performer, and we, therefore, need scarcely add that at his hands, we enjoyed charming performances of the various symphonies and accompaniments during the evening. His second lecture takes place on Monday next, and at the conclusion of the course, we shall endeavour to present our readers with a summary of the whole; assuring them, that it will amply compensate a careful perusal.
MUSIC: Hail to thee, mighty one (S. H. Marsh)
"MUSICAL EXAMINER", The Examiner (27 September 1845), 61
http://nla.gov.au/nla.news-article228062668
Mr. James Johnson's second Lecture on Music was delivered in the Theatre of the School of Arts on Monday evening, and attracted, as before, a numerous and fashionable audience. The concluding lecture will be given next Monday, and in our next number we shall submit to our musical friends our promised precis of the course.
"MUSICAL EXAMINER", The Examiner (4 October 1845), 69
http://nla.gov.au/nla.news-article228062584
Mr. James Johnson delivered his final lecture on the History and Science of Music on Monday evening last, in the theatre of the School of Arts, to a numerous and highly respectable audience. The principal points touched upon by Mr. J. during the course were the origin and progress of musical Instruments, and of melody, harmony, and counterpoint, and of ecclesiastical music. We were glad td observe that the lecturer (instead of following the ad captandum practice of converting a lecture into a concert) really went into and explained the subject to his audience, while, at the same time, he gave every necessary practical illustration. His drawings of the various musical instruments were exceedingly interesting and instructive. As a whole, these lectures reflect great credit upon Mr. Johnson, - and shew him to be a master well conversant with the art. We must defer our promised precis of the course until our next number.
The promised precis did not appear in the next number
"ORGAN BUILDING", The Australian (18 October 1845), p. 3
http://nla.gov.au/nla.news-article37157175
We were much gratified yesterday by an inspection of a beautiful chamber finger-organ which has just been completed by Mr. W. J. Johnson for Mr. Aldis, the tobacco merchant. Its compass is from CC to F in alt, and it has four stops, viz., diapason treble, diapason bass, principal, and dulciana, and is furnished with Venetian swell. The case is made of cedar, with handsomely ornamented gilt, pipe front - altogether forming an elegant construction, highly creditable to the builder. We understand this is the third instrument built by Mr. Johnson in the colony: the first was for the temporary Cathedral Choral [sic, church], George-street; the second for St. Matthew's, Windsor; and two more of larger dimensions are in progress, viz., one for the Independent Chapel, Pitt-street, and one for the Church Society. As Mr. Johnson can build these instruments in the colony at a much cheaper rate than they can be imported, we hope soon to see them more generally introduced into our several churches and chapels; and as every possible encouragement should be given to our infant colonial manufactures, we would suggest that in future subscriptions for instruments, and in public worship, express stipulation should be made that the money should be expended in the colony.
ASSOCIATIONS: William Henry Aldis (musical amateur)
[Advertisement], The Australian (20 December 1845), 2
http://nla.gov.au/nla.news-article37154516
SYDNEY COMMERCIAL READING ROOMS AND LIBRARY.
GRAND ORATORIO, AT THE ROYAL VICTORIA THEATRE, On Tuesday, December 23, 1845,
UNDER the Distinguished Patronage of - HIS EXCELLENCY SIR GEORGE GIPPS . . .
The Committee of the "Sydney Commercial Rending Rooms and Library,"
have much pleasure in intimating that the arrangements for the performance of
HANDEL'S ORATORIO OF THE MESSIAH, With Mozart's additional accompaniments,
are now completed, and that the whole of the professional talent of the colony has been selected for the occasion,
assisted by a large number of Vocal and Instrumental Amateurs, who have readily come forward,
to aid in bringing out this sublime composition on a scale of unrivalled grandeur and magnificence.
CONDUCTOR - MR. JOHNSON.
LEADER - MR. S. W. WALLACE.
ORGAN - MR. W. JOHNSTONE [sic].
PRINCIPAL VOCAL PERFORMERS. - Mrs. Bushelle, Mrs. Stirling, Mrs. Gibbs, Madame Carandini, Mrs. Wallace, Miss Hincksmann, Miss Touhy,
Mr. F. Howson, Mr. J. Howson, Mr. Waller, Signor Carandini, Mr. Worgan, Mr. Griffiths, Mr. Salter, &c., &c.,
assisted by a large and efficient chorus
PRINCIPAL INSTRUMENTAL PERFORMERS. - Mr. S. W. Wallace, Mr. Gibbs, Mr. Deane,
Mr. J. Deane, Mr. E. Deane, Mr. W. Deane, Mr. F. Deane [sic],
Mr. O'Flaherty, Mr. Strong, Mr. Guerin, Mr. Friedlander,
Mr. Walton, Mr. Wilson, Mr. Westropp, assisted by numerous amateurs; and by permission of Colonel Jackson,
THE SPLENDID BAND OF THE 99TH REGIMENT . . .
ASSOCIATIONS: Eliza Wallace Bushelle (as above); Theodosia Stirling (vocalist); Eliza Gibbs (vocalist); Maria Carandini (vocalist); Caroline Wallace (as above); Maria Hinckesman (as above); Mary Tuohy (vocalist); Frank Howson (vocalist); John Howson (vocalist); James Waller (as above); Gerome Carandini (vocalist); George William Worgan (as above); William Griffiths (as above); Mr. Salter (vocalist); Spencer Wellington Wallace (as above); John Gibbs (musician); John Philip Deane (as above); John Deane (musician); Edward Smith Deane (musician); William Deane (musician); Henry Deane (musician); Henry Charles O'Flaherty (as above); George Strong (musician); James Guerin (musician); William Friedlander (musician); Humphrey Walton (musician); Mr. Wilson (musician); Zachariah Westrop (musician); Band of the 99th Regiment (military)
"THE ORATORIO", The Sydney Morning Herald (25 December 1845), 2
http://nla.gov.au/nla.news-article12884314
THE first and second parts, together with a portion of the third part, of Handel's Messiah, were given at the Victoria Theatre on Tuesday,
for the benefit of the Commercial Reading Rooms and Library.
The music had been got up under the direction of Messrs. Johnson, and the performers comprised nearly the whole of the available musical skill of the city.
On the arrival of His Excellency the Governor, who was well received, the National Anthem was sung by the choir, accompanied by the whole orchestra,
and the same was repeated at the conclusion.
The Overture was played with considerable taste and precision, which prepared us for our usual treat in the succeeding tenor solo,
"Comfort ye my People" when, eheu! out squeaked a shrill treble, pitched a full octave above the composer's score,
and we fancied we heard the ghost of old Handel exclaim, in his well known phrase, "The teyvil, the teyvil! dat is no ma moosic."
What in the name of common sense could tempt Mr. Johnson to suffer the beautiful harmony of this sublime air to be turned upside down in this manner,
especially as he had one or two good tenors competent to sing the part.
While thus condemning an inexcusable error, we hasten to express our admiration of the manner in which Mrs. Bushelle sang "I know that my Redeemer liveth,"
which is one of the finest airs within the whole range of musical composition.
Passing over the choruses "And the Glory of the Lord," and "He shall purify," as well as Mr. F. Howson's "But who may abide,"
in which there was little remarkable, we come to the solo, "Behold a Virgin shall conceive," which was given by Mrs. Gibbs with great accuracy,
always excepting her defective articulation of the words.
The chorus, "O thou that tallest," went passably well, but Mr. Waller's "For behold darkness,"
was a little darker, we apprehend, than the composer could have intended or wished.
It is but fair to say that this gentleman was very useful in the choruses for which alone his voice is fitted.
The master stroke of the evening was decidedly, the choral fugue, "For unto us a child is born."
This, had the number and power of voices been quadrupled, would have been perfect.
And truly there is nothing finer extant of its kind.
The Pastoral Symphony was beautifully played, and Mrs. Stirling did tolerable justice to the four succeeding recitatives.
The chorusses "Glory to God," and "His yoke is easy," were also free from serious objection,
and the same might be said of the air Rejoice greatly," had not Mrs. Bushelle outstripped the modesty of oratorio canons by acting the part.
The exquisite pastoral air "He shall feed his flock," was sung by Madame Carandini with good effect.
The other pieces worthy of special remark were "He was despised," beautifully intoned by Mr. J. Howson;
"But thou didst not leave," by Mrs. Wallace, (which as it was sung badly the first time, the audience kindly encored;)
"How beautiful are the feet," sung with feeling by Mrs. Stirling; and the Hallelujah Chorus, which last was, we believe, sung in tune on this occasion, for the first time in New South Wales.
At the last Oratorio, it was actually transformed into an adagio.
It may be remarked of the choruses, in general, that the uppermost and lowermost parts were sung with much precision,
but that the reverse was the case with respect to the intermediate parts, particularly the altos.
Besides His Excellency the Governor and Lady Gipps, we observed present His Excellency the Commander of the Forces and suite,
and the Right Worshipful the Mayor and family.
The boxes of the Theatre were crowded with persons of fashion, a proof out of many,
that however faulty in some respects the musical taste of the colony may be,
it is sufficiently prevalent to be worthy of cultivation and improvement.
ASSOCIATIONS: Eliza Wallace Bushelle (vocalist); Frank Howson (vocalist); Eliza Gibbs (vocalist); Theodosia Stirling (vocalist); Maria Carandini (vocalist); Johh Howson (vocalist); Royal Victoria Theatre (Sydney venue)
See also the above reprinted, "THE ORATORIO", The Weekly Register of Politics, Facts and General Literature (27 December 1845), 303
http://nla.gov.au/nla.news-article228135508
"THE ORATORIO", The Australian (27 December 1845), 3
http://nla.gov.au/nla.news-article37154649
It is some time since we have seen so distinguished an audience as that which attended at the performance of this grand musical entertainment, on Tuesday evening.
The boxes were replete with all the fashionables of Sydney, and the pit was also most respectably filled.
Handel's Messiah was selected for the occasion, and, making due allowance for the comparative inefficiency of our musical strength for so great an undertaking, it was very creditably accomplished.
The most conspicuous defect was in the chorusses - the voices were inharmoniously balanced, and the general effect was altogether too feeble.
Nevertheless, "For unto us a child is born," and the Hallelujah Chorus, were two of the most successful pieces of the evening;
they were sung in time and in tune, with great spirit and animation, while the harmony was sustained throughout.
Mrs. Carandini sang "He shall feed his flock" very sweetly.
This lady has a charming quality of voice, and evinces great delicacy of taste, and pathos in execution.
Diligence and care in her musical studies, would soon place Mrs. Carandini in the first rank as a cantatrice.
"Comfort ye my people," being written for a male voice, and the harmony therefore destroyed if otherwise treated, we must pass that by.
But this defection was amply atoned for by "I know that my Redeemer liveth," to which difficult, but exquisite composition, Mrs. Bushelle rendered strict justice.
Mrs. Wallace's "But thou didst not leave," was encored, and justly so, we think.
Mrs. Stirling sang "How beautiful are the feet," with purity, and expression,
but her recitatives were inferior, defective in style, vigour, and enunciation. Her tournure is also susceptible of improvement.
Mrs. Gibbs, in '"Behold! a Virgin!" sang very prettily, and with her usual good taste, and, what is more, good judgment.
Of the male solos, we cannot particularise, save "He was despised and rejected," by Mr. J. Howson, and even this was not unexceptionable -
no breadth of expression - no soul! and in this beautiful air, these ingredients are essentially requisite; they are, in fact, its characteristics.
Still, it was the best male solo of the evening.
The entertainment was under the direction of Mr. Johnson, with Mr. Wallace as leader.
Mr. W. J. Johnson presided at the organ, which was, however, too small for the theatre, and placed too far back on the stage, to be adequately effective.
The band of the 99th Regiment gave their valuable aid, as also all the professional instrumentalists of Sydney.
It will therefore be unnecessary to say that the orchestral arrangements were highly satisfactory.
It was gratifying to see so respectable an audience, to encourage so commendable an undertaking, namely, to relieve the funds of an useful, well-conducted public Institution.
As regards the Managing Committee of the Commercial Reading Rooms, they are deserving of all praise for their zealous, well-directed exertions on this occasion,
and we are right glad to learn that they have not laboured in vain.
"COLONIAL ORGAN BUILDING", The Sydney Morning Herald (3 January 1846), 2
http://nla.gov.au/nla.news-article12884489
Mr. W. J. Johnson's new organ, built for the Congregational Church, Pitt-street, will, we understand, be opened to-morrow; although from the circumstance of the instrument not being completely finished, its full tone and expression cannot be fully developed.
"NEW CONGREGATIONAL CHURCH", The Sydney Morning Herald (6 January 1846), 2
http://nla.gov.au/nla.news-article12884533
THE opening services of this spacious and handsome building commenced on the morning of Thursday last . . . On Sunday morning the services were resumed . . . The organ, a powerful and exceedingly beautiful instrument, built specially for this church by Mr. W. J. Johnson, is we believe, the largest one ever made in the colony . . .
"OPENING OF THE NEW CONGREGATIONAL CHURCH", The Sentinel (8 January 1846), 2
http://nla.gov.au/nla.news-article226465325
This spacious, commodious, and elegant sacred edifice was opened with divine service for the first time on Thursday last, being New Years Day . . . The organ, which is a powerful and beautiful instrument, built by Mr. W. J. Johnson, is said to be the largest in the colony . . .
"Music. MR. W. J. JOHNSON'S NEW ORGAN FOR THE CONGREGATIONAL CHURCH", The Spectator (7 February 1846), 32
http://nla.gov.au/nla.news-article250084219
Although the voicing of this fine instrument is not quite finished, in consequence of the noise occasioned by the workmen at present completing the building, we cannot resist the pleasure of giving a slight description of a work which reflects the highest credit on Mr. W. J. Johnson, and speaks most favorably for the progress of mechanical science in Sydney. The case is designed in the pure Gothic style, having a front of seventeen handsome gilt speaking pipes. Its dimensions are as follows: - nine feet seven inches wide, five feet six inches deep, and sixteen feet nine inches in height. The instrument comprises a great organ and swell organ, with an octave and a half of German pedals to act upon the manuals. The great organ contains the following stops throughout the scale, (which is from double G to F in alt., fifty-nine notes) viz., 1st, open diapason; 2nd, stop diapason; 3rd, principal; 4th, twelfth; 5th, fifteenth; 6th, copula to connect the swell with the great organ. The swell organ is in compass from fifth G to F in alt., thirty-five notes; and contains the following stops, viz., 1st, open diapason; 2nd, stop diapason; 3rd, principal; 4th, hautboy (reed stops). There are two composition pedals, and the swell is enclosed in a stout case with a Venetian front. The total cost of this organ, including the putting it up in the Church, and tuning it, is only £200; whilst, had the Trustees decided on importing one from London, the expense would not have been less than £320. Very cordially do we tender our congratulations to the congregation on the spirit and liberality they have evinced in this matter, and particularly on the very satisfactory manner in which Mr. W. J. Johnson has executed the commission so confidently entrusted to his skill.
"STEALING WINE", Morning Chronicle (22 April 1846), 2
http://nla.gov.au/nla.news-article31747870
A miserable looking woman named Honora Bentley, appeared in the dock yesterday, at the instance of Mr. William Jonathan Johnson, organist of Christ Church, who charged her with having purloined four bottles of wine from him, and a rusty scissors belonging to his wife, value about three halfpence. It appeared from Mr. Johnson's statement, that he laid in four dozen of wine a few days since, and that on his return home last night, he was informed that the prisoner was drunk the entire day. Suspecting that she could not have come by the drink honestly, he went to her room, and got her box, which he shook as sagaciously as to be able to ascertain that there was a bottle inside it; and as she refused opening it, so that he might satisfy himself as to its contents, he at once gave her into custody, first having the box forced open, where he found a bottle with about half a glass of wine in it, and the before mentioned rusty old scissors. Mr. Johnson would not take upon himself to swear to the bottle, and though at first disposal to lean to the opinion that his wife might have lent the prisoner the scissors, he at last swore positively that she stole it, and had her committed-to take her trial.
POLICE COURT. MONDAY . . . ROBBERY BY A SERVANT", The Sydney Weekly Transcript (25 April 1846), 3
http://nla.gov.au/nla.news-article251644107
A damsel named Dorah Berkely made her appearance at the Police Office, charged with abstracting from the cellar of her employer, Mr. William Johnson, of Pitt-street, four bottles of wine for her own private drinking. Mr. Johnson had recently remarked a growing consumption of his stock, and as the appearance of the prisoner confirmed the suspicion of her indulgence in unpermitted libations, he caused a search to be made, when the wine in question was discovered in her possession. She was fully committed to take her trial.
"SACRED MUSIC", The Sydney Morning Herald (5 September 1846), 2
http://nla.gov.au/nla.news-article12892284
We are informed that Mr. James Johnson will shortly issue his programme for a concert of sacred music, to take place at the School Room, Castlereagh-street, under the patronage of the Bishop of Australia and his clergy.
ASSOCIATIONS: William Grant Broughton (bishop)
[Advertisement], The Spectator (10 October 1846), 453
http://nla.gov.au/nla.news-article250084264
GRAND CONCERT OF SACRED MUSIC.
Under the distinguished Patronage of His Excellency the Governor, and Lady Mary Fitz Roy,
His Honor the Chief Justice, His Excellency the Commander of the Forces,
the Right Rev. the Lord Bishop of Australia, the Hon. the Colonial Treasurer,
Mr. Justice Dickinson, and Mr. Justice Therry.
MR. JOHNSON, Organist of St. James's Church, and Conductor of the Sydney Choral Society,
has the honour to announce that hie intends giving, on
Wednesday, the 14th instant. A CONCERT OF SACRED MUSIC,
Selected from the works of Handel, Haydn, Mozart, Rossini, Neukomm, Novello, &c., &c., &c.;
upon which occasion he will be allowed the use of the organ recently erected by Mr. W. J. Johnson for the Choral Society,
and will be assisted by Mesdames Guerin, Carandini, and Gibbs; Messrs. F. Howson, Mr. J. Howson, and Waller:
and a large body of Amateurs, who have most handsomely volunteered their aid.
The Concert (by the kind permission of the incumbent of St. James's) will be held in the Infant School Room, Castlereagh-street.
The programme and further particulars will be published in a few days.
ASSOCIATIONS: Charles and Mary Fitzroy (governor and wife); Alfred Stephen (chief justice); Maurice O'Connell (soldier); Roger Therry (judge)
"CONCERT", The Sydney Morning Herald (16 October 1846), 3
http://nla.gov.au/nla.news-article28649165
Mr. James Johnson gave a selection of sacred music on Wednesday evening, at the School-room, Castlereagh-street. His Excellency the Governor, and Lady Mary Fitz Roy, the Bishop of Australia, the Chief Justice, and other distinguished persons, were present. There was likewise a very full audience. His Excellency was received with the National Anthem, and was much greeted on his entrance into the room. The programme was very rich and well arranged, containing some of the choicest solos, duets, trios, and choruses from the Messiah and the Creation; and in the second part some morceaux from Mozart, Rossini, and others. The choir was numerous, efficient, and well arranged, and the choruses admirably got up, reflecting the greatest credit on Mr. Johnson. The solos, duets, and trios, were likewise very good. Mr. J. Howson's sweet voice told with great effect in "Comfort ye" and "In Native Worth." The beautifully descriptive recitative and air from the Creation, "And God said," "Now Heaven in fullest glory," were admirably given by Mr. F. Howson. Mrs. Gibbs's "But thou did'st not leave" was most tasteful and feeling; and Mrs. Guerin sang "With verdure clad" with much sweetness and good taste. We cannot forget the nice style in which the trio "How beautiful" was sung by Mrs. Guerin and the Messrs. Howson. Madame Carandini evidently suffered from severe indisposition, but which did not prevent her making her best efforts to contribute her share to the evening's entertainment. The accompaniments were played on the organ by Mr. Johnson with great judgment; and on the whole the concert was highly creditable to his taste and industry. We hope it was as profitable as it deserved to be.
"MR. JOHNSON'S CONCERT", The Australian (17 October 1846), 3
http://nla.gov.au/nla.news-article37156552
This entertainment of Sacred Music was given under the patronage of His Excellency the Governor;
Lady Mary Fitz Roy; His Honor the Chief Justice; His Excellency the Commander of the Forces; the Right Rev. the Lord Bishop of Australia;
the Hon. the Colonial Treasurer; Mr. Justice Dickinson; and Mr. Justice Therry; in the Infant School Room, Castlereagh-street, on Wednesday evening last.
The weather was not very propitious for outgoers, nevertheless, the attendance was good within the room, with a fair, proportion of eaves-droppers without.
We now proceed to review these "things so charming" so highly calculated to raise the mind of man from the "things of this earth,"
and to enable us to dwell in the imagination - if but for a moment - in "the realms of bliss."
After the Overture to the "Messiah," Mr. J. Howson, sang Handel's sublime, soul-stirring composition of "Comfort ye my People," in a masterly style;
and executed with equal judgment and good taste the beautiful Air of "Every valley shall be exalted," which followed the Recitative.
If we felt disposed to find fault, we should say it was not accompanied in correct time;
this movement should have been played nearly half as fast again.
Mr. J. Howson also sang with exquisite feeling, "Lord remember David."
This elegant composition breathes throughout a soft melodious strain of humble piety, which, stealing on our senses, absorbs them in holy visions,
beyond the power of mortal eloquence to portray.
Mr. J. Howson appeared to enter fully into all the various expressions of devotion so ably delineated by the great master of sacred song,
and pathetically conveyed his feelings to the delighted audience.
Our observations on the masterly style of Mr. John Howson's singing, may with equal justice be applied to Mr. F. Howson.
This gentleman has a most beautiful barytone voice, of first-rate quality, as regards both clearness of intonation and distinctness of execution - his tones are mellow, sweet, and, flexible.
Tambourini and Phillips excepted, we pronounce him the best barytone singer in Europe;
and we are right glad to find the development of his vocal powers are beginning generally to be appreciated in this colony.
This talented artist sang the whole of the music allotted to him with true energy and expression worthy of his voice;
but the most finished singing we ever heard in Australia was his execution of Rossini's "Pro Peccatis" from his "Stabat Mater" - a sublime composition,
breathing throughout the strain, one linked sweetness of melody, originality of harmonious combinations, and religious fervour,
blended with pious humility, which could only emanate from an inspired mind, when the divine notes were committed to paper.
We have only to add, that Mr. Howson did justice to the composition; and would have excited admiration from Rossini himself, had he been present.
Mrs. Gibbs was in excellent voice, and sang, with extreme pathos, animation, great flexibility,
and correct intonation - particularly, we may mention the Aria, "But thou did'st not leave his soul in Hell;"
and Neukomm's "By the Waters of Babylon;" which was deservedly applauded.
It was "a palpable hit;" and but for the lateness of the hour, it would have been encored.
Mrs. Guerin (late Mrs. Stirling,) sang Novello's "Infant Prayer" very chastely. It was deservedly encored.
This lady sang, as far as the limit of her vocal capabilities empower her to do, with considerable expression and effect.
She, by nature, possesses that requisite for singing which no earthly master can give, namely - soul.
She sings and feels what she sings, without straining after difficulties beyond her reach.
If Mrs. Guerin's physical powers had been equal to her good taste and delicacy of expression,
she would have thrown into the shade every soprano singer that has hitherto appeared in Australia;
and would certainly not be inferior to any Prima Donna in England.
Why was "I know that my Redeemer liveth," omitted - that glorious master-piece of Handel,
so admirably expressive of confidence in the clemency of a just and merciful God!
This sublime composition is assuredly "expressive of a mind inspired by the surest hope of a future state;
a mind that, bursting from the trammels of mortality, is already, in idea, partaking of beatitude."
This should have been given to Mrs. Guerin, who, even with her limited voice,
would, from her judicious mode of expression and excellent capability of entering into the composer's meaning, have done it justice.
Mr. Waller sang Handel's glorious, "For behold! Darkness shall cover the Earth;" and Paisiello's masterly "Fall of Zion," spiritedly.
Mr. Waller has a fine, mellow-toned bass voice, which, if it had been cultivated, would have qualified him to give effect,
and to do justice, to any composition. He is a good timist, and generally sings in tune; but his very defective articulation,
and (in particular instances,) more than imperfect intonation, resulting from his evident ignorance of the art of managing his voice, disqualify him for solo singing.
The vocal organs of the human voice are so beautifully and so wonderfully constructed, that in nine hundred and ninety-nine cases out of a thousand,
nature will point out to the singer the best method of producing, or rather, the proper channel through whose influence, the various qualities of tone are as it were created;
and any infringement on nature's direction for the creation of sound must occasion impurity of tone.
Here then is Mr. Waller's great stumbling block. He does not seem at all conscious that the tones of a bass voice should issue from the chest,
(what the Italians term the Voce di petto,) and that any attempt, with such quality of voice to produce sounds through the influence of the head -
distinguished as Voce di testa - would be almost as preposterous as expecting a horse to trot across the ocean on the surface of the water,
or setting a ship down on dry land to sail over the Blue Mountains!
Mr. Waller most frightfully disfigures nature, when he aims at artificial sounds - we mean those sounds which he produces,
so repugnant to the laws of melody, and so excruciatingly revolting to the ear of the unfortunate listener:
they are unearthly sounds - not such us we read of in Shakspeare, Pythagoras, and others, as being produced by the spheres above,
but more like sounds we might imagine from the Tartarean Palace below.
We have no desire to be severe on Mr. Waller. His voice is good, as we before observed, and, at this remote,
distance from England, invaluable to join in chorus; but we hope he will never again attempt to sing a solo, unless he sings so low that we may not hear him.
Madam Carandini, who has only just recovered from severe indisposition, sang with much sweetness and correctness of intonation - "Angels ever bright and fair."
Her execution of this air elicited from the enraptured audience a general encore -
not from any display of science, for she has no pretensions to the least knowledge of the art of singing,
on the contrary, she is quite untutored - but from the mere intrinsic beauty of her voice.
Tosi, an old Italian singing master, who wrote on the science more than 200 years ago, wisely remarks that it requires a hundred requisites to make a singer;
but he who has a good voice is already in possession of ninety nine of them.
Madam Carandini is indeed in full possession of the ninety-nine, for she has a most delicious voice, whose mellifluous tones must command delight.
In conclusion, we have to observe, that all the concerted pieces were admirably well sung;
the chorusses were also (with the exception of the "Hallelujah Chorus"), well and spiritedly performed, both by the organist and the singers.
The young gentlemen sang in good time and tune;
but however we may admire the tones of the organ, the building of which reflects great credit on Mr. Johnson (who is himself no mean musician),
we hope the next selection of Sacred Music, will have the advantage of a proper Orchestra.
An efficient band on such occasions is indispensable.
ASSOCIATIONS: Antonio Tamburini (Italian vocalist); Henry Phillips (English vocalist); Pier Francesco Tosi (Italian vocalist); the reviewer was probably Isaac Nathan
[Advertisement], The Sydney Morning Herald (2 April 1847), 1
http://nla.gov.au/nla.news-article28648816
FOR SALE, A GRAND PIANOFORTE, A DOUBLE ACTION HARP, AND A SERAPHINE.
THE Pianoforte is by the celebrated firm of Zeitler and Company, constructed on a new principal,
the soundboard being supported by elastic wooden arches, therefore warranted to possess superior sonorous properties,
and like the violin to improve by use; in addition to which, it has a repetition action,
and all the most modern improvements, and is in every respect perfectly in order.
The Harp is by Eratt [sic, Erard], of London, and a very sweet instrument.
These instruments can be seen by applying to Mr. W. J. JOHNSON, Organist of Christ Church, 53, Pitt-street South.
ALSO, A VERY FINE TONED SERAPHINE.
[Advertisement], The Sydney Morning Herald (4 May 1847), 1
http://nla.gov.au/nla.news-article12894480
WANTED, for the Choir of St. James's Church, Adult Singers.
Apply to the Organist, Mr. JOHNSON, 48, Horbury Terrace, Macquarie-street. May 3.
"DIED", The Sydney Morning Herald (12 May 1847), 3
http://nla.gov.au/nla.news-article12897185
On the 11th May, Ellen, the wife of Mr. James Johnson, Organist of St. James's Church.
[Advertisement], The Sydney Morning Herald (6 January 1848), 1
http://nla.gov.au/nla.news-article12895190
PIANOFORTE TUNING AND REPAIRING -
Mr. W. J. JOHNSON, (Organist of Christ Church, St. Lawrence,)
begs to inform Ladies and the public generally that he has made arrangements by which, from this date,
he will be able to give prompt and immediate attention to any orders that he may be honoured with in the above branches of his profession.
He therefore solicits a portion of their kind patronage.
Orders left at either of the following Stationer's will be at once attended to, viz.-
Mr. Moffitt, Pitt-street.
Messrs. W. and F. Ford, George-street.
Messrs. Kern and Mader, Hunter-street.
Sydney, January 1.
P.S. - Charges as usual.
ASSOCIATIONS: William Moffitt (book and musicseller); William and Frederick Ford (booksellers); Kern and Mader (booksellers)
"NEW INSOLVENTS", The Sydney Morning Herald (12 June 1848), 3
http://nla.gov.au/nla.news-article12914056
William Jonathan Johnson, of the city of Sydney, organ builder.
Debts, £463 3s. 9d. Assets - personal property, £258; landed property, £10;
good debts, £67 18s.; and a doubtful debt, £1 1s. 6d.
Balance deficiency, £116 4s. 3d. -
Official Assignee, Mr. George King.
[Advertisement], The Sydney Daily Advertiser (13 June 1848), 3
http://nla.gov.au/nla.news-article253058405
NOTICE OF REMOVAL.
MR. W. J. JOHNSON, Organist of Christ Church,
begs to notify that he has removed his Organ Manufactory to his former workshop,
Flood's Lane, Sussex-street South.
Orders for tunings, &c., left at Messrs. Kern and Maders, stationers, Hunter-street;
or Mr. Moffitt's, stationer, will be promptly attended to.
[Notice], New South Wales Government Gazette (16 June 1848), 757
http://nla.gov.au/nla.news-article230131534
In the Insolvent Estate of William Jonathan Johnson, of Sydney, organ builder.
WHEREAS the Estate of William Jonathan Johnson was, on the tenth day of June,
1848, placed under sequestration by order of His Honor Mr. Justice Manning,
I hereby appoint a first meeting of the Creditors of the said Insolvent, to be holden before me, at my Office,
Supreme Court House, Sydney, on Thursday, the twenty-second day of June instant, to commence at 11 a. m.,
and end at noon, for the proof of debts against the said Estate, and a second meeting to be holden before me,
at the same place, on Monday, the twenty-sixth day of June instant, to commence at 11 a. m. for the like purpose,
and for the election of a Creditor's Assignee) if required. - Sydney, 14th June, 1848.
WILLIAM A. PUREFOY,
Chief Commissioner of Insolvent Estates.
Official Assignee - George King.
"ABSTRACT OF SALES BY AUCTION TO TAKE PLACE THIS DAY", The Sydney Daily Advertiser (27 June 1848), 2
http://nla.gov.au/nla.news-article253058186
Mr. Edward Salamon, at his rooms, at 11 o'clock, in the insolvent estate of W. J. Johnson,
fine-toned new finger organ, three milking cows, an allotment of land at Parramatta, cattle and horses;
at twelve o'clock, two houses in Gloucester-street;
at his rooms, at twelve o'clock, a rosewood cottage piano, by Mortimer.
[Advertisement], The Sydney Daily Advertiser (5 July 1848), 3
http://nla.gov.au/nla.news-article253059446
MR. W. J. JOHNSON, Organist of Christ Church,
begs to notify that all orders for tuning pianofortes, left at his residence, 86, Castlereagh-street,
or Mr. Moffitt, stationer, Pitt-street, or Messrs. Kerne and Madden's [sic] Hunter-street, will be promptly attended to.
"SYDNEY CHORAL SOCIETY", The Sydney Morning Herald (21 July 1848), 2
http://nla.gov.au/nla.news-article12903764
On Wednesday evening last, visitors were again admitted to the practice of this Society, being the second time within the last two months. The programme consisted chiefly of the compositions of the great masters, Handel, Haydn, Beethoven, and Mozart. There was also a judicious selection from the cathedral services of Smith, of Dublin, which, consisting of alternate verse, and chorus, formed a pleasing contrast with the more ponderous choruses of the Messiah. The whole was executed in a manner that would have done credit to musicians much more experienced than the members of the Sydney Choral Society. The organ accompaniments were by Mr. James Johnson, the indefatigable conductor. It may be new to some of our readers that this Society was formed with the twofold object of furnishing volunteer choirs for the parish churches of Sydney, and of cultivating a taste for really good music, and in both these objects we believe the Society has been eminently successful.
[Notice], New South Wales Government Gazette (18 August 1848), 1043
http://nla.gov.au/nla.news-article230149429
In the Supreme Court of New South Wales.
In the Insolvent Estate of William Jonathan Johnson, of the City of Sydney, in the Colony of New South Wales, organ builder.
NOTICE TO CREDITORS. NOTICE is hereby given, that I, the abovenamed William Jonathan Johnson,
intend to apply to the Chief Commissioner of Insolvent Estates, at Sydney, on Thursday, the twenty-first day of September now next ensuing,
that a certificate be granted to me . . .
- WILLIAM JONATHAN JOHNSON.
SUPREME COURT. SOLVENCY JURISDICTION. WEDNESDAY", The Sydney Daily Advertiser (28 September 1848), 2
http://nla.gov.au/nla.news-article253059658
On the motion of the Chief Commissioner, the following insolvents' certificates were confirmed: . . . and William Jonathan Johnson.
Sydney in 1848, illustrated by copperplate engravings of its principal streets, public buildings, churches, chapels, &c. from drawings by Joseph Fowles (Sydney: J. Fowles, [1848-50]), 28-29
https://collection.sl.nsw.gov.au/record/74VKV8kZWp0d/jAjRK7xqVeqV3 (No. 6 page 28 - DIGITISED)
https://collection.sl.nsw.gov.au/record/74VKV8kZWp0d/qBwdJkJd64Ve0 (No. 7 page 29 - DIGITISED)
. . . St. James's Church is a building of considerable dimensions, the foundation of which was laid on the 7th October, 1819 . . . There is a well toned and powerful organ, and an excellent choir [29] under the direction of Mr. James Johnson, to whom the Colony is indebted for the first introduction of this branch of music. The Choral Society, mentioned above, owes its origin to the meetings originally held for practice for the service of this Church.
ASSOCIATIONS: Joseph Fowles (artist, author); the work was originally published as a periodical in 20 parts beginning in July 1848 and continuing into 1850
"MECHANICS' SCHOOL OF ARTS, SYDNEY", The Courier [Hobart Town, VDL (TAS)] (28 February 1849), 2
http://nla.gov.au/nla.news-article2966624
President of this Institution is Dr. Nicholson, M.L.C. There are four vice-presidents, a treasurer, four auditors, and eleven members of Committee. They are all elected by ballot. The use of the library, containing 1,212 works in 3,722 volumes, the use of the reading-room, the benefits of lectures, and other privileges of membership, are obtained upon the payment of an annual subscription of sixteen shillings, and half that sum to the sons, or any male relatives, of members. The formation of four instruction classes has been arranged, and the three first are in actual operation. A class for mutual instruction, fee 1s. per quarter; one for the study of drawing, under C. Rodius, Esq., fee 5s. per quarter; one for the study and practice of vocal music, under James Johnson, Esq., fee 6s 6d. per quarter; and another for mathematics, &c., under J. M. O'Brien, Esq., fee 2s. 6d. per quarter. There were 476 yearly members, and 51 life members. Total 527.
ASSOCIATIONS: Charles Nicholson (president); Charles Rodius (drawing master)
[Advertisement], The Sydney Morning Herald (26 May 1849), 3
http://nla.gov.au/nla.news-article12912789
MECHANICS' SCHOOL OF ARTS.
MEMBERS of this Institution are informed formed that a
MUSIC CLASS, in two sections, has been established, and is now in operation.
Section I. For the study and practice of Vocal Music, under the management of James Johnson, Esq.
Section 2. For the practice of Instrumental Music, under the management of J. P. Deane, see., Esq.
Members of the Institution are admitted to the Music Class on payment of 6s. 6d. per quarter in advance,
which fee will entitle them to the privileges of either or both sections.
The Music Class has been established with a view of giving Monthly Concerts,
to which other Members of the Institution will also be admitted on payment of 6s. 6d. per quarter in advance,
and have the privilege of introducing one Lady, being a member of his family.
The sons, or other male relatives of the Members of the Institution being of the age of ten to seventeen years,
are admitted to this class of students on payment of 8s. per annum, in addition to the class fee.
Members desiring to secure tickets for the Concerts are requested to append their names to the line in the hands of the Librarian,
of whom any further information can be obtained.
May 18.
[Advertisement], The Sydney Morning Herald (12 December 1849), 3
http://nla.gov.au/nla.news-article12909212
PIANOFORTE FOR SALE.
A FINE TONED, 6 octave Cabinet Pianoforte, in perfect order, warranted sound, and to be seen at
W. J. JOHNSON'S, Pianoforte Manufactory, 314, Pitt-street, near King-street.
PIANOFORTES TUNED, REPAIRED, AND REGULATED
on moderate terms, by first-rate workmen from Messrs. Broadwood's.
[Advertisement], The Sydney Morning Herald (6 July 1850), 1
http://nla.gov.au/nla.news-article12919263
NEW MUSIC. JUST RECEIVED, ex Bank of England,
by W. J. Johnson, Pianoforte Manufacturer and Importer of Music and Musical Instruments,
now on view at his Rooms, 314, Pitt-street, near King-street.
One large Gothic Harp, by Erard
One rosewood Semi-Cabinet Pianoforte, by d'Almain and Co.
One superior GUITAR, new system, with 9 strings
One Cornopean (cortean pattern)
One very superior VIOLIN
(From the celebrated Houses of Cramer and d'Almain.)
Consisting of all the newest and favourite Songs, Duets, Polkas, Quadrilles, Waltzes, &c.
Also, One second-hand 6 octave SEMI-GRAND
PIANOFORTE, by Broadwood
One ditto 6 1/2 Cottage Pianoforte, by Lyons
One ditto 6 octave Square Pianoforte, by Kirkman.
PIANOFORTES TUNED AND REPAIRED.
[Notice], New South Wales Government Gazette (26 July 1850), 1104
http://nla.gov.au/nla.news-article230043962
In the Insolvent Estate of William Jonathan John son, Tale of the Surry; Hills, Sydney, organ builder.
NOTICE is hereby given that a second plan of distribution in this Estate, shewing a dividend of 1s. 3 3/4d. in the pound,
upon all claims proved, now lies at my Office . . .
[Advertisement], The Sydney Morning Herald (25 October 1850), 3
http://nla.gov.au/nla.news-article12922001
FINGER ORGAN. FOR SALE, a Finger Organ, suitable for a small Church -
built by Davis, London, and contains six stops.
The organ may be seen at the rooms of the undersigned,
W. J. JOHNSON, 314, Pitt-street.
[Advertisement], The Sydney Morning Herald (11 November 1850), 3
http://nla.gov.au/nla.news-article12922451
PARENTS AND GUARDIANS. - An apprentice wanted to learn the business of a Pianoforte maker.
Apply (pre-paid) to Mr. W. J. Johnson, Pianoforte manufacturer, 314, Pitt-street, Sydney.
[Advertisement], The Sydney Morning Herald (18 February 1851), 3
http://nla.gov.au/nla.news-article12924881
MR. W. J. JOHNSON, will be at Bathurst on Thursday, the 20th instant, for the purpose of tuning Pianos.
All communications left with Mr. Josiah Parker, Chemist, will be attended to;
and where, from a large stock of New Music, just arrived from Europe, may be selected
Songs, Duets, Polkas, Schottisches, Gallopes, Quadrilles, Instruction Books, &c., &c.
Marriages solemnized in the parish of St. Mark, Alexandria, in the county of Cumberland N.S.Wales, in the year 1851; register 1847-95, page 7; Anglican Diocese of Sydney
https://www.ancestry.com.au/search/collections/61177/records/900131175 (PAYWALL)
No. 23 / James Johnson of this parish widower and Elizbeth Kerby of this parish spinster
were married in this church by license this [17 May 1851] . . .
[Advertisement], The Sydney Morning Herald (31 July 1851), 1
http://nla.gov.au/nla.news-article12929079
PIANOFORTES, HARP, AND NEW MUSIC.
FOR SALE, by the undersigned 2 6 3/4 octave rosewood semi-cottage Pianofortes
1 Second-hand square ditto
1 Harp, double action, strings, &c.
Together with a stock of classical music, consisting of
Pianoforte pieces, Songs, Quadrilles, &c., among which will be found
QUADRILLES. The Queen of May, Birthday, Hungarian, Minstrel, La Prophete, Robin Goodfellow.
WALTZES. - Giulietta, Crusaders, La Pluie de Perles, La Sicillienne, &c., &c.
SONGS. Gentle Bertha, Say thou wilt roam, Jeanie and Donald, &c., &c., &c.
W. J. JOHNSON, 314, Pitt-street.
N.B. Instruments repaired and tuned in the best manner.
[Advertisement], The Sydney Morning Herald (2 February 1852), 1
http://nla.gov.au/nla.news-article12934015
SYDNEY CHORAL SOCIETY.
PATRON: The Lord Bishop of Sydney . . .
CONDUCTOR: James Johnson, Esq. . . . .
The Members are informed that the next Visitors' Evening is fixed for Wednesday the 4th February, for which new tickets are necessary.
The practice will commence at half-past seven precisely, and will consist of a selection of Sacred Music, including the first part of the Messiah.
THOMAS DRUITT, Hon. Sec., 161, Elizabeth-street, Hyde Park. January 20
ASSOCIATIONS: Thomas Druitt (cleric, secretary)
[Advertisement], The Sydney Morning Herald (27 May 1852), 1
http://nla.gov.au/nla.news-article12937092
ESTABLISHED 1836.
Pianoforte Manufactury, 314, Pitt-street, near King-street.
THE undersigned has just received a large and varied stock of the most brilliant toned Pianofortes.
Also, 1 of the celebrated TRANSPOSITION Pianofortes, which attracted the favourable notice of the musical public at the Great Exhibition.
W. J. JOHNSON, 314, Pitt-street.
NEW MUSIC. Consisting of Polkas, Waltzes, Quadrilles, Songs, Duetts, Pianoforte pieces, &c.
REPAIRING AND TUNING. W. J. J. having been practically acquainted with the manufacture of Pianofortes for the last 25 years,
can undertake to repair instruments in the most perfect manner.
Wanted, a Boy to attend the Music Room. Apply between the hours of 9 and 10 o'clock in the morning.
[Advertisement], The Sydney Morning Herald (25 August 1852), 4
http://nla.gov.au/nla.news-article12939492
. . . MR. MORT has received instructions to sell by public auction,
at his Rooms, Pitt-street, (per his agent, Mr. THOMAS PLATT), on THURSDAY, 26th August, at 11 o'clock . . .
MAHOGANY PICOLO PIANOFORTE, by W. J. Johnson . . .
[Advertisement], The Sydney Morning Herald (5 February 1853), 5
http://nla.gov.au/nla.news-article28643732
MUSICAL REPOSITORY, 314, PITT-STREET, Three Doors from King-street.
CHURCH ORGAN. FOR SALE, by the undersigned, a Church Organ,
consisting of two complete rows of keys, and an octave and half of pedals,
three (3) composition pedals, Venetian swell, patent percussion valve to steady the wind,
double feeder to bellows, with two actions (viz.), for the hand and foot, with the following stops.
Great Organ.
1 Open Diapaison [diapason]
2 Stopped ditto
3 Clarabella
4 Dulciana
6 Flute
6 Cremona
7 Principal
8 Fifteenth
9 Twelfth
Swell Organ.
1 Open Diapaison
2 Stopped ditto
3 Principal
4 Hautboy
CHOIR BASS
1 Stopped Diapaison
Size about 8 feet wide, 5 feet deep, 14 feet high.
PIANOFORTES.
W. J. Johnson and Company beg to call the attention of the Musical Public to their splendid assortment of Pianofortes, just landed,
consisting of one very beautiful VICTORIA BOUDOIR, GRAND SQUARE COTTAGE BICHORD and SEMI-GRAND, by Collard and Collard.
Also, One very superior second-hand 6 octaves Rosewood Cottage Piano, by "Metzler,"
These are good and serviceable instruments.
MUSIC STOOLS. 1 Case of Rosewood Music Stools, various fashions.
FLUTINAS. 1 Case of Flutinas, Egyptian finish, the best ever imported.
CONCERTINAS. 1 Case of Concertinas, the only instruments of full compass in the city.
NEW MUSIC. Consisting of Pianoforte Pieces, Dance Music, Songs, and Vocal Duets, &c.,
by Roselin, Blumenthal, Oesten, Gottschalk, Osbourne, Russell, F. Kücken, Glover, &c., &c.
Instruments tuned and repaired.
NEW POLKA AND SCHOTTISCHE, In the Press, and will be published on Tuesday, the 8th instant, at W. J. Johnson and Co.'s Music Repository, 314, Pitt-street.
The Biological Polka, composed by C. W. Harwood, and dedicated to Mr. Daly;
also, the Electro-Biological Schottische, by Mr. Edward Deane,
with critiques from Mesmeric Observer Daily [Daly) News, Electro-Biological Journal, Virginian Gazetteer, and Electric Telegraph.
W. J. JOHNSON AND Co., Music Publishers, 314, Pitt-street.
ASSOCIATIONS: Charles William Harwood (composer); Edward Smith Deane (composer); for full details of these editions, see Musical publications (below)
[Advertisement], The Sydney Morning Herald (6 April 1853), 3
http://nla.gov.au/nla.news-article28643944
JEPHTHA'S DAUGHTER and Lungi dal Caro Bene -
the two songs so unanimously received with enthusiastic marks of approbation on Monday last at St. Mary's Choral Society -
as sung by Mr. Palmer - are now published, 2s. each;
with Angels ever Bright and Fair, - The Lord's Prayer, - The Names of Christ, -
and all Mr. Nathan's works.
At W. J. JOHNSON's Music Warehouse, 314, Pitt-street.
ASSOCIATIONS: Isaac Nathan (composer); W. J. Palmer (vocalist); St. Mary's Choral Society (association)
[Advertisement], The Sydney Morning Herald (31 May 1853), 1
http://nla.gov.au/nla.news-article12946298
GRAND EUPHONICON PIANOFORTE.
THE undersigned, having been intrusted with the sale of the above instrument,
begs to call the attention of the public to its beautiful design,
and entire new principle, compass seven octaves, C to C.
This is the first that has been received in this colony, and also the only one that has the above compass.
W. J. JOHNSON, Musical Repository, 314, Pitt-street.
[Advertisement], The Sydney Morning Herald (2 July 1853), 1
http://nla.gov.au/nla.news-article12946985
ST. JAMES' GRAMMAR SCHOOL.
Under the patronage and direction of the Lord Bishop of Sydney.
The Rev. THOMAS DRUITT - Head Master . . .
Singing, Mr. Johnson . . .
This school will re-open on Monday, the 11th instant . . .
ASSOCIATIONS: Thomas Druitt (cleric, as above)
[Advertisement], The Sydney Morning Herald (14 October 1853), 1
http://nla.gov.au/nla.news-article12949554
BARREL PIANOFORTES. FOR SALE by the undersigned,
a few of the celebrated barrel pianos, playing quadrilles and waltzes.
W. J. JOHNSON AND CO., 314, Pitt-street.
[Advertisement], Empire (8 December 1853), 8
http://nla.gov.au/nla.news-article60147069
METROPOLITAN BUILDING SOCIETY . . .
DIRECTORS - Messrs. David Jones, George-street, Chairman . . .
Trustees - . . . William Jonathan Johnson, Pitt-street . . .
"MUSICAL ENTERTAINMENTS IN SYDNEY", The People's Advocate and New South Wales Vindicator (17 December 1853), 3
http://nla.gov.au/nla.news-article251544452
Both musical and dramatic performances seem to have reached a very low ebb lately in this City, especially the former, since the grievously mismanaged affair of Jacobs' Concert. We are gratified, however, to perceive symptoms of a revival of a taste for the innocent and harmonizing recreation derived from music. First in order, we feel bound to advert to some very spirited performances at the several Choral Societies of St. Mary's and St. James's; at the latter of these an excellent selection was given on the 1st instant, and repeated on the following Thursday. On both occasions "Adelaide," by Beethoven, and "From Rosy Bower," by Purcell, were sung by Miss Flora Harris, so as to call forth the enthusiastic applause of a numerous and most respectable audience. The other portions of this concert performed as it was by amateurs, were such as to demand but little indulgence, and on the whole was extremely creditable and satisfactory. We regret, however, to perceive from the daily papers, the secession from St. James' Choral Society, of two such highly respected members as Mr. James Johnson and Mr. Stanley. Should they altogether withdraw their valuable services we are apprehensive that the days of this Society are numbered . . .
ASSOCIATIONS: Coleman Jacobs (pianist); St. Mary's Choral Society (association); St. James's Choral Society = Sydney Choral Society (as above); Flora Harris (vocalist); William Stanley (musician)
[Advertisement], The Sydney Morning Herald (24 June 1854), 6
http://nla.gov.au/nla.news-article12960246
MUSICAL REPOSITORY, 314, Pitt-street - W..J. JOHNSON and Co.,
having made important alterations to their premises,
are now enabled to open a larger stock of Pianofortes for the inspection of the public than before,
consisting of cottages, semi-cottages, and squares,
by Collard and Collard, Lambert and Co., Cadby, Towns, Stodart, Dettman and Co.,
and from their practical knowledge of Pianofortes, can form a just estimation of the different makers' merit,
and are thereby in a position to sell first-class instruments at the prices usually demanded for inferior articles,
and also to give a written guarantee of the durability of each instrument purchased from them.
Harmoniums from £14 to £45 each.
Just received, a large assortment of Operatic Music, as Solos and Duetts,
also, the Symphonies of Mozart, Haydn, and Beethoven, as Duetts for the Piano.
Accordeons by the best Parisian makers, Violin Strings, and every article in the music trade.
Instruments tuned, repaired, and lent on hire, a spring van kept.
W. J. JOHNSON and CO., Musical Repository, 314, Pitt-street, near King-street.
[Advertisement], The Sydney Morning Herald (18 July 1854), 1
http://nla.gov.au/nla.news-article12954968
TO ORGANISTS. - Required for the Sydney Choral Society, an Organist.
Applications to be addressed to Mr. JAMES JOHNSON, 3B2, Terry's Buildings, Pitt-atreet.
[Advertisement], The Sydney Morning Herald (31 August 1854), 1
http://nla.gov.au/nla.news-article12951762
LOST, a Printed Receipt Book, containing the description of pianos hired from W. J. Johnson.
Whoever will bring it to the Musical Repository will be rewarded for their trouble.
W. J. JOHNSON and CO., 314, Pitt-street.
[Advertisement], The Sydney Morning Herald (12 September 1854), 1
http://nla.gov.au/nla.news-article12952953
W. J. JOHNSON and CO., 57 (late 314), Pitt-street, Importers of Music and Musical Instruments,
beg to call the attention of the musical public to their-large stock of Pianofortes, Music, and Musical Instruments.
The present stock of pianofortes consists of Grands, Boudoirs, Squares, Cottages, Semi-Cottages, and Cabinets;
by COLLARD AND COLLARD, BROADWOOD, CADBY, STODART, LAMBERT, OETZMAN AND PLUMB, and HOLDERNESS.
HARMONIUMS, To arrive, per Maria Adriana, consisting of every variety of ALEXANDRE ET FIS' best instruments,
with every modern improvement, from 3 to 18 stops, with the percussion movement, and the expression upon every key, which renders the
tone more even, and removes the objection of the bass over-powering the treble.
ACCORDEONS and FLUTINAS, From 7s. each to three guineas.
Purchasers requiring good instruments will find it to their advantage to purchase them of Johnson and Co.,
as they can sell them at a much lower figure than any other house in Sydney.
GUITARS, From two to ten guineas each.
Cornopeans, Sax-Tubes, Bass and Double Bass, by Henry Distin, London.
Flutes, with one to eight keys, from 10s. to 90s. each.
MUSICAL BOXES, With drum and bell accompaniment, and others, from 4 to 8 airs,
playing all the most popular airs, including Ethiopian melodies and sacred tunes.
[manicule] Violin, Viola, Violincello, Bass, and Harp Strings, Bridges, Pegs, Tailpieces, Bows, &c., &c.
MUSIC STOOLS and WHATNOTS, Consisting of the most elegant designs, and of the greatest variety, and all the latest improvements.
MUSIC. Just received, a large assortment of the most fashionable and popular music.
Instruction Books for the Pianoforte, 2s. 6d. each; Jousses' Bound Book, 3s. 6d.; Czerney's, 5s.
Flutina Instructions, 2s, 6d. each.
Operatic Gems, from all the popular works of the great masters with a beautifully executed likeness of the authors of each.
DUETTS. Among which will be found Latour's "O Dolce Concento," The Rats' Quadrilles, Hallelujah Chorus, &c., &c.
RUSSELL'S SONGS. Cheer Boys Cheer, The Slave Sale, &c., &c., &c.
NEW PUBLICATIONS. The War Galop, 2s. 6d. each; Lindley's Song, The Last Meeting;
The Bazaar Waltz; Prima Donna Waltz; Fancy Ball Polka;
song, Old Folks at Home; May Day;
Talexy's Mazurka Brilliante, companion to Osborn's Pluie de Perles.
All D'Albert's Dance Music.
Instruments tuned, removed, repaired, and lent on hire.
W. J. JOHNSON and CO., 57, Pitt-street, near King-street.
N.B. - The trade liberally treated.
[manicule] Country orders promptly attended to, and all music sent to any part of the colony upon paying the postage.
[Advertisement], Empire (28 May 1855), 1
http://nla.gov.au/nla.news-article60177082
HANDEL'S MESSIAH, bound in cloth, 7s 6d. W. J. JOHNSON AND CO., 57, Pitt-street.
HAYDN'S CREATION, bound in cloth. 7s. 6d. W. J. JOHNSON AND CO., 57, Pitt-street.
"THE SYDNEY CHORAL SOCIETY", The Sydney Morning Herald (25 January 1856), 4
http://nla.gov.au/nla.news-article12981399
Despite the very inclement state of the weather, the announcement of the production of portions of Handel's Messiah by the Sydney Choral Society operated as an attraction to the admirers of the great master, and a numerous and highly respectable audience assembled within the walls of St. James's school room in Castlereagh-street. It was previously announced that his Excellency the Governor General would patronise the oratorio; his Excellency, however, was not present, but several members of his family honoured the society with their presence; and amongst the auditory we noticed many of the leading families of Sydney. It augurs well for the progress of the society when we find it successfully attempting the production of such compositions as the Messiah and the Creation; and nothing will so tend to improve the musical taste of the city as the delineation of the grand conceptions of Mozart, Handel, Haydn, and Mendelssohn. Independently of the members of the society, the valuable acquisition to their corps musicale of Miss Flora Harris and her equally talented sister, with other ladies of musical ability, on this occasion added considerably to the effect of the whole. We must confess that we have heard Mr. Waller's fine voice to better advantage; in his rendering "For behold darkness," the usual flexibility of his voice seemed constrained on this occasion, although many of his notes were round, full and expressive, and his staccato very effective. "For behold unto us a son is given," was one of the best executed pieces of the evening, and it may be proper here to remark that the choruses and concerted pieces involve somewhat more attention to time than appeared to have been bestowed by them on this particular passage. The soprano solo, "Thou wilt not leave my soul in hell," beautifully executed by Miss G. Harris, with a chasteness and pathos which called forth an unanimous burst of applause, was perhaps the gem of the evening, and elicited a well-merited encore. This young lady possesses a fine voice of a sweet and flexible character, and is a valuable addition to the musical talent of the colony. Miss Flora Harris earned fresh laurels in "I know that my Redeemer liveth," which was well and carefully rendered with her accustomed brilliancy and power. The grand finale, "The Hallelujah Chorus," evinced great proficiency on the part of the members of the society in concerted music. On the whole, the oratorio was successful, and well conducted by Mr. W. Johnson, while the instrumentation of Mr. Packer, who presided at the organ, is deserving of great praise. The Messiah will be repeated on Thursday next.
ASSOCIATIONS: Flora and Gertrude Harris (vocalists); Charles Sandys Packer (accompanist)
[Advertisement], The Maitland Mercury and Hunter River General Advertiser [NSW] (23 February 1856), 3
http://nla.gov.au/nla.news-article18641021
NOTICE. PIANOFORTE TUNING.
MR. W. J. JOHNSON, of Pitt-street, Sydney,
being in Maitland for the purpose of setting up the Church organ,
will be happy to TUNE any PIANOFORTES within a mile or two of the township.
Orders to be left at the Maitland Mercury Office.
[Advertisement], The Sydney Morning Herald (12 April 1856), 1
http://nla.gov.au/nla.news-article12974446
UNDER the Patronage of his Excellency Sir William Denison and Lady Denison, the Hon. E. Deas and Mrs. Thomson, &c., &c., &c.
Mr. W. J. JOHNSON, (Organist of Christ Church, Sydney) has the honour to announce that he will give a
GRAND FESTIVAL CONCERT of Sacred Music, on THURSDAY next, the 17th instant, on which occasion he will be assisted by
Madame Anna Bishop, Miss Flora Harris, Mrs. Bridson, Mrs. St. John Adcock, Mrs. Guerin, Mrs. Gibbs,
Messrs. Spagnoletti, Frank Howson, John Howson, Kitts, Packer, Richardson, Paling, &c., &c., and a large chorus.
Full particulars will appear in a future advertisement.
ASSOCIATIONS: Anna Bishop (vocalist); Sarah Bridson (vocalist); Marianne Adcock (vocalist); Theodosia Guerin (formerly "Mrs. Stirling", vocalist); Eliza Gibbs (vocalist); Ernesto Spagnoletti senior (vocalist); James Edward Kitts (vocalist); John James Mallcott Richardson (musician); William Henry Paling (musician)
"FESTIVAL OF SACRED MUSIC", The Sydney Morning Herald (16 April 1856), 5
http://nla.gov.au/nla.news-article12974565
One of those entertainments which never fail to crowd the English music halls, which have drawn together all classes of society, and rendered be popular those productions of the masters of musical art, is to be given at the New Musical Hall, Royal Hotel, to-morrow evening, by Mr. W. J. Johnson, (organist of Christ Church). The festival is under the patronage of his Excellency the Governor-General and Lady Denison, their Honors the Judges, the Colonial Secretary, &c. The programme consists of selections from the "Creation," the "Messiah," and "Elijah." The beauties of Haydn and Mendelssohn cannot be too familiar or too popular. It has been truly said of the venerable Handel that the sublimity of his productions is only exceeded by the theme which inspired them. We hope our sacred music concerts will be patronised to such an extent as to call forth not only selections from some of the works of the great masters, but also to justify the production from time to time of oratorios in extenso. The "Messiah" was the twelfth of Handel's great productions, but when it is considered that the completion of his "La Resurezzione" was only the first of twenty nine oratories, the wide field for the exercise of conception and musical skill will be apparent. We may safely promise a musical treat of ns ordinary character to those who may attend Mr. Johnson's concert to-morrow evening. A large and efficient chorus has been obtained, and Madame Anna Bishop is to render her valuable assistance in connection with Miss Flora Harris, Mrs. Guerin, Mrs. St. John Adcock, Mrs. Craven, Mrs. Gibbs, Mrs. Bridson; Mr. Packer, Mr. Paling, Mr. Frank Howson, Mr. John Howson, Signor Spagnoletti, Mr. Banks, Mr. Hurford, Mr. Richardson, Mr. Chizlett, Mr. Fisher, Mr. Kitts. Mr. Phypers, Mr. Walford, Mr. Wolford, and a number of others.
ASSOCIATIONS: Eliza Craven (vocalist); Thomas Banks (vocalist); Henry Robert Hurford (musician); Charles Chizlett (musician); James Churchill Fisher (musician); James Phypers (vocalist)
[Advertisement], The Sydney Morning Herald (17 April 1856), 1
http://nla.gov.au/nla.news-article12976818
UNDER THE PATRONAGE of His Excellency the Governor-General,
Lady Denison, their Honors the Judges, the Colonial Secretary, Mrs. Thompson, &c., &c.
Mr. W. J. JOHNSON'S Grand Festival of Sacred Music will take place at the
Concert Hall, Royal Hotel, THIS EVENING, April the 17th, 1856,
when, in addition to a large and efficient chorus, he will be assisted by
Madame Anna Bishop, Mrs. Guerin, Miss Flora Harris, Mrs. St. John Adcock, Mrs. Craven, Mrs. Gibbs, Mrs. Bridson, &c.,
Mr. Packer, Mr. Paling, Mr. F. Howson, Mr. J. Howson, Signor Spagnoletti, Mr. Banks, Mr. Hurford,
Mr. Richardson, Mr. Chizlett, Mr. Fisher, Mr. Kitts, Mr. Phypers, Mr. Walcott, Mr. Wolford, &c., &c., &c.
PROGRAMME: PART I. - FROM HAYDN'S "CREATION."
Recitative and Chorus - In the Beginning God created the Heaven and the Earth - Mr. F. Howson.
Solo and Chorus - Now Vanish, &c., Despairing, &c. - Mr. John Howson.
Solo - Rolling in Foaming Billows - Mr. F. Howson.
Recitative and Solo - In Splendour Bright - Mr. J. Howson.
Chorus - The Heavens are Telling.
Solo - With Verdure Clad - Madama Anna Bishop.
Solo - Oh Mighty Pens - Miss Flora Harris.
Terzetto - Most Beautiful, Appear - Mrs. Bridson, Mr. Fisher, Mr. F. Howson.
Duet and Chorus - By thee with Bliss - Madame Anna Bishop, Mr. F. Howson.
End of Part I.
Concertante Duett (Flute and Piano) - Messrs. Richardson and Packer.
PART II. - FROM MEXDELSSOIIN'S ELIJAH.
Recitative and Solo - If with all your hearts - Mr. J. Howson.
Double Quartette - For He shall give His angels - Miss. Flora Harris, Mrs. St. John Adcock, Mrs. Guerin, Mrs. Gibbs, Mr. Fisher, Mr. Walcott, Mr. Frank Howson, Mr. George Wood.
Duo - What have I to do with Theo, O Man of God - Miss Flora Harris, Mr. F. Howson.
Chorus - Blessed are the Men who Fear Him.
Recitative and Solo - Lord God of Abraham - Mr. F. Howson.
Quartette - Cast thy burden upon the Lord - Miss Flora Harris, Mrs. Gibbs, Mr. Fisher, Mr. F. Howson.
Solo - Woe unto Them who forsake Him - Mrs. St. John Adcock.
Trio - Lift Thine Eyes - Madame Anna Bishop, Miss F. Harris, Mrs. St. J. Adcock.
Recitative - O Lord, Thou hast overthrown Thine enemies - Mr. F. Howson.
Chorus - Open the Heavens and send us Relief.
Duo - Go up now Child, and look towards the Sea - Miss Flora Harris, Mr. F. Howson.
Chorus - Thanks be to God.
By particular desire, Madame Anna, Bishop will sing Angels ever bright and fair.
End of Part II.
Duo - (Violin and Piano) - Mr. Paling and Mr. Packer.
PART III. - FROM HANDEL'S ORATORIO OF THE MESSIAH.
Chorus - And the Glory of the Lord.
Chorus - For unto us a Child is Born.
Organ Solo - Pastoral Symphony.
Recitative - And there were Shepherds - Madame Anna Bishop.
Chorus - Glory to God.
Chorus Finale - Hallelujah.
Conductor, Mr. W. J. Johnson. - Organist, Mr. Packer.
TICKETS FIVE SHILLINGS EACH.
Concert to commence at half-past seven o'clock precisely.
ASSOCIATIONS: Royal Hotel (Sydney venue)
"FESTIVAL OF SACRED MUSIC", Empire (18 April 1856), 5
http://nla.gov.au/nla.news-article60246781
Mr. Johnson's Festival of Sacred Music took place at the Concert Hall, Royal Hotel, last evening.
Despite the unfavourable aspect of the weather, the attendance was very numerous.
The new Hall, which is capable of holding about 800 persons, being filled in every part.
This unusually extensive patronage was doubtless owing to the unprecedented number of artistes,
including Madame Bishop, Mr. Paling, Mr. Frank Howson, and Signor Spagnelotti, whose names graced the programme of the evening.
The entertainment was divided into three parts or courses; the first consisting of a selection of the more popular pieces from the "Creation;"
the second being devoted to the "Elijah;" and the third to the "Messiah."
Between the parts some very agreeable instrumental music was given.
Of Haydn's Creation there is, in these days of cheap music and popular oratorios, but little necessity to speak.
In it we see evidenced more than in any other production his ambition for interpreting the operations of nature by the aid of musical sounds,
as in "In the beginning" (finely rendered by Mr. Frank Howson), where the Stoic theory of creation is beautifully conveyed by the trills of sharp dotted notes,
which fall, like atoms, on each other;
and in the "Splendour Bright" (rather tamely given by Mr. John Howson), where we have a crescendo movement of dotted notes, admirably depicting the gradual rise of the sun in the heavens.
That the composer carried this mimetic art too far no sensible musical student will deny;
and, perhaps, the stricture which Madame de Stael passed upon the Germans - "There is too much mind in their works" - may be justly applied to the maestro.
In such pieces, however, as "With verdure clad" (splendidly sung by Madame Bishop) and "On mighty Pens," (tastefully given by Miss Flora Harris,)
we have the very perfection of musical art, whether looked at from a mechanical or metaphysical point of view.
We see in these productions the composer's power of melody and rhythm to great advantage,
balanced with that grasp and intellectuality of conception which all through his works is a distinguishing characteristic.
The second part - from the "Elijah" - formed the staple of the evening's entertainment.
The recitative and solo "With all your hearts" (Mr. J. Howson) was fairly given; the brilliant semi-quaver passages, with the massive semi-breve accompaniment elicited much applause.
If Mr. John Howson had given the three G's in the passage beginning "And he repenteth him of the evil,"
with that strength and decision which the movement requires, his vocalization would have been all that could be desired.
We may here take occasion to add that Mr. Howson's voice has much improved during his short retirement from the stage.
The other pieces in the second part calling for comment were the recitative and trio, "Lift thine eyes," given in the scale of E;
and the "Angels over Bright and Fair," a stately dirge like composition - only to be described by the word Funestus -
generally sung in the second scene of the fourth act of Henry VIII.
In both of those pieces, Madame Bishop, by her magnificent vocalization, brought down thunders of applause.
The third part of the concert was particularly well performed.
The "Messiah" is an oratorio admirably adapted to the requirements and abilities of amateurs.
It is not so speculative in its nature as the Creation nor founded on such philosophical principles of aesthetics as the chef d'oeuvre of Felix Bartholdy.
It is a fine musical epic, bearing out, perhaps, more than any other production extant, the definition of the Greek root -
from which we get our word music - which, strictly translated, would be equivalent to "poetry sung."
The chorus "And the Glory of the Lord" - given as an allegro in three-four time - was rendered with much spirit and precision.
The pastoral symphony by Mr. Packer, whoso mastery over the organ is really wonderful, was very finely read,
the stately semibreves allotted to the left hand being struck out with much dignity and impressiveness.
Madame Bishop gave the short recitative "There were Shepherds," with taste and feeling.
The calm prolongation of voice on the word "watch," in the passage "keeping watch over their sheep," might by some critics be considered affected, -
but it struck us ns being thoroughly artistic, and such a conception of a great master which none but a great artiste can realize.
Mr. Paling on the violin was as correct, dexterous, and graceful as usual.
Mr. Richardson showed much power in a concertante duet with Mr. Packer,
while under the magic baton of Mr. Johnson, even the choruses went well.
"MR. W. J. JOHSNON'S CONCERT", The People's Advocate and New South Wales Vindicator (19 April 1856), p. 3
http://nla.gov.au/nla.news-article251547244
This Concert took place ah the Concert Hall, Royal Hotel, on Thursday last, and was most numerously attended. I[n] fact, it would have little redounded to the taste of Sydney had it been otherwise, taking into consideration the talent which was enlisted upon the occasion. When such names as Madame Anna Bishop, Mrs. Guerin; Miss, Flora. Harris, Mrs. Craven, Mrs. Gibbs, Mr. Frank Howson, Mr. John Howson, Signor Spagnoletti, Mr. Paling, and Mr. Packer are announced for a musical entertainment a full house is a certain sequitur. The opening was from Haydn's "Creation." The recitative and chorus - "In the beginning God created the Heaven, and the Earth" were, admirably rendered, Mr. Frank Howson doing the recitative. "Now Vanish" - by Mr. John Howson. "Rolling im Foaming Billows" - Mr. F. . Howson, and "In Splendour Bright" - Mr. J. Howson were amongst the gems of the evening. In the second part from Mendelssohn's "Elijah" the beautiful trio, "Lift Thine Eyes" - by Madame Anna Bishop, Miss F. Harris, and Mrs. S. John Adcock was rapturously encored. The recitative - "O Lord thou hast overthrown thine enemies" was magnificently rendered by Mr. F. Howson. Madame Anna Bishop sang - "Angels ever bright and fair" with a pathos so exquisite that it drew tears from a large portion of the audience - the wand of the "Enchantress" touched the rock, and it welled forth living waters. The third part from Handel's "Messiah" was most satisfactorily given. In fact, looked upon both vocally and instrumentally, this Concert was perfect.
"CONCERT HALL, ROYAL HOTEL", The Sydney Morning Herald (19 April 1856), p. 8
http://nla.gov.au/nla.news-article28640001
The concert given by our townsman, Mr. W. J. Johnson, on the evening of Thursday last, was attended by an auditory numbering from six to seven hundred. The programme, consisting of selections from Haydn' oratorio of the Creation, Mendelssohn's Elijah, and Handel's Messiah, was arranged so at to comprise those divisions, thereby giving a compactness and unity in the appropriation of each part to the exclusive production of each of the above-named great masters. The choruses, supported by all the available musical talent of our city, were rather efficient than powerful; and the solos, trios and quartettes, sustained by the Messrs. Howson, Mrs. Bridson, Miss Flora Harris and Mrs. St. J. Adcock, contributed much the success of this festival of sacred music. The event of the evening was the rendering of "Angels ever bright and fair," by Madame Anna Bishop. With a recollection of the peculiar qualifications of the most distinguished and eminent artistes of the Italian, French and English schools, we do not remember experiencing the same sensation of delight when listening to this beautiful production as on this occasion. The exquisite taset controlling and the intense pathos modulating the pure soprano notes of this accomplished songstress produced an impression upon her audience not readily to be effaced; and while, in the rendering of a national ballad or in the singing of a dashing operatic finale, she may encounter emulation and rivalry, her vocal reputation has a firm and safe basis to rest upon it her masterly execution of this sacred composition. Mr. Packer presided at the organ, and Mr. W. J. Johnson conducted. The concert, closing with the Hallelujah Chorus, extended over the space of four hours.
[Advertisement], The Sydney Morning Herald (23 April 1856), 1
http://nla.gov.au/nla.news-article12976710
MUSICAL FESTIVAL. - At the request of a large number of gentlemen,
the MUSICAL FESTIVAL of Mr. W. J. JOHNSON will be repeated on THURSDAY, the 1st May,
and MADAME ANNA BISHOP has kindly consented to remain in Sydney until the 3rd.
[Advertisement], The Sydney Morning Herald (1 May 1856), 1
http://nla.gov.au/nla.news-article12976005
MR. W. J. JOHNSON'S SECOND GRAND FESTIVAL of SACRED MUSIC will take place at the
Concert Hall, Royal Hotel, THIS (Thursday) EVENING, May 1st, 1858 . . .
"CONCERT HALL, ROYAL HOTEL", The Sydney Morning Herald (2 May 1856), 4
http://nla.gov.au/nla.news-article28640182
The vocal and pecuniary success of the concert of sacred music, given by Mr. W. J. Johnson on the 17th of last month, induced that gentleman to give a repetition of the performances. The programme of last evening, as intimated, was the same as on the former occasion, consisting of three divisions, appropriated to selections from Haydn's Creation, Mendelssohn's Elijah, and concluding with a portion from Handel's Oratorio of the Messiah, &c. At the first festival of sacred music, the exquisite taste displayed by Madame Anna Bishop in her rendering of "Angels ever bright and fair" had become a theme of general remark, and doubtless formed the great feature of attraction in the performances of last evening. The profession regard her execution of this beautiful composition, as the chef d'oeuvre of vocalisation. The choruses were powerful and efficient; and the solos sustained by the available musical talent of our city, gave perfect and well merited satisfaction. Although the weather was unfavourable, the concert hall was filled with a highly respectable and delightful auditory.
"MR. JOHNSON'S SECOND FESTIVAL OF SACRED MUSIC", Freeman's Journal (3 May 1856), 3
http://nla.gov.au/nla.news-article115560674
The public owes much to the zeal, energy, and refined taste of Mr. W. J. JOHNSON.
We enjoyed a treat on Thursday evening last, which we shall never forget.
It is to us a source of much regret that we may not - on account of our limited space - indulge at much length in the expression of our delight -
revel in recalling and recording those witching or brilliant passages, which enchanted or entranced our soul on that memorable evening.
We must. however, make a few remarks.
In Part the 1st. from Haydn's "Creation" - which we regret was not Part III.* - Madame Anna Bishop in the solo "With Verdure Clad" (which was encored), electrified the house.
Nothing can be conceived more perfect than the wonderful precision with which she kept time.
In her "Angels Ever Bright and Fair" (also encored), she added to her magic influence over the audience.
Miss Flora Harris deserves more than a complimentary mention, did our space permit it.
She has a really sweet voice, and is every day correcting the little defect of "sliding" one note into another, which we formerly pointed out.
She is, moreover, a sweet enthusiast, and consequently throws telling expression into her pieces.
The choruses were very successful, although the bass was somewhat weak.
Of Mr. Johnson as a Conductor - and Mr. Packer as an Organist - it would be superfluous to offer a word of praise.
The "Hallelujah" chorus seemed to us a partial failure - perhaps because we had hoard it so splendidly executed by St. Mary's choir on Easter Sunday.
* Our objection to the order of the Programme is founded on the principle which guides us at table - to have the heavier dishes first and the lighter afterwards.
This rule, we maintain, applies equally to aesthetics as to banquets.
Handel is sublime and massive; Mendelssohn florid and quaint; Haydn light and etherial -
a brilliant gleam of the purest light of genius that ever irradiated the world.
We think the order on Thursday evening should have been the very opposite of what it was.
But after all this is only a trifling matter.
"SYDNEY CHORAL SOCIETY", The Sydney Morning Herald (9 June 1857), 4
http://nla.gov.au/nla.news-article12996677
The annual general meeting of the members of this Society was held last evening, at St. James' Infant School-room, Castlereagh-street.
Mr. James Johnson occupied the chair.
He expressed his regret to see so small an attendance,
and stated that the great object for which they had assembled was to endeavour to induce members to take a more lively interest in the welfare of the Society,
and to attend more regularly than they had done of late.
This Society had been in existence for 12 years, and had always encouraged good music;
and this he hoped it would continue to do as long as it existed.
The Secretary then read the report, which was as follows: . . .
During the past year, in addition to the selections from the "Messiah," "Creation," anthems and church services,
and the secular concerts consisting of madrigals and glees, from the writings of the old Masters,
the whole of the Dettingen Te Deum, and the greater portion of "Judas Maccabeus," have been performed;
a proof that the Society has not failed in one of the objects for which it was established, the encouragement of good sacred and secular music,
and if any proof were wanting, it may be seen in the fact that two other societies, one of them the offspring of this,
have arisen in the city for the cultivation of the same object . . .
Mr. Hemming moved "That the following gentlemen do constitute the committee for the current year:
President, Rev. W. H. Walsh; honorary secretary, Mr. James Johnson;
honorary treasurer, Mr. S. S. Ussher; librarian, Mr. S. F. Ward;
Mr. Colley, Mr. Hemming, Mr. Hurford, Mr. W. J. Johnson, Mr. J. V. Lavers, Mr. Woolford." . . .
ASSOCIATIONS: William Horatio Walsh (member); Samuel James Ussher (member); Seth Frank Ward (member); Edwin Colley (member); William Hemming (member); Henry Robert Hurford (member)
"SYDNEY CHORAL SOCIETY", Empire (9 June 1857), 5
http://nla.gov.au/nla.news-article64982686
The annual general meeting of the members of the Choral Society was held last evening in St. James's Sobool-room, Castlereagh-street, over which Mr. J. Johnson presided. There was a fair attendance, and after a few remarks from the Chairman, Mr. Usher, the secretary, read the report for the year. It was not so encouraging a document as could have been desired, but we trust, nevertheless, that the society will take courage, and strive to attain excellence . . . Mr. Usher having resigned the secretaryship, Mr. J. Johnson was appointed in his place. After the business of the meeting was over, the members commenced to practice, and when we left, there was quite a number of people standing outside listening to the fine harmony evoked from the well trained voices.
[Advertisement], Empire (9 December 1857), 8
http://nla.gov.au/nla.news-article60265305
SPLENDID LARGE CHURCH ORGAN.
Built by the celebrated maker, Mr. W. J. Johnson.
Second only to the instrument at St. Mary's Cathedral.
FOR POSITIVE UNRESERVED SALE.
At the City Mart, FRIDAY, 11th instant, 11 o'clock.
Now on view at the Congregational Church, Pitt-street.
BOWDEN AND THRELKELD have received instructions to sell by auction, at the City Mart, 311, George-street, on FRIDAY next, 11th instant, at 11 o'clock,
That fine large full-tone Church Organ, built by Mr. W. J. Johnson,
now at the Congregational Church, Pitt-street, where intended purchasers are invited inspection prior to the day of sale.
It comprises A great organ, swell organ, and pedal organ in G,
thick cedar, case, with a speaking front
Compass, of both benches of keys, from double G to F, in altissimo
5 octaves with double G
GREAT ORGAN STOPS.
1 open diapason, large scale
2 Stopped ditto
3 principal, metal
4 twelfth, ditto
5 fifteenth, ditto
SWELL ORGAN.
1 open diapason, metal
2 stopped ditto, wood
3 principal, metal
4 Hautboy, ditto
CHOIR BASS.
5 stopped diapason
6 principal, metal.
PEDAL ORGAN
Unison pipes, from three F to tenor D, very large scale
MOVEMENT STOPS.
1 coupler pedal to keys, pedal pipes, coupler great ditto to swell
Large bellows, two feeders, and three composition stops.
*** Parties requiring a first-class instrument, suitable for churches,
will find this present a favourable opportunity of securing one such as is seldom met with in the colony.
Terms, extremely liberal - 25 per cent., the balance by approved bills at 3 and 6 months.
"SYDNEY VOCAL HARMONIC SOCIETY", The Sydney Morning Herald (23 December 1858), 5
http://nla.gov.au/nla.news-article13016482
A MEETING was held, at the Castlereagh-street Schoolroom, on Tuesday evening, formally to inaugurate the above society. At a previous meeting, which was held about a month since, a committee was appointed to draw up rules and to recommend officers under whose superintendence the society should be conducted. On Tuesday night the proceedings of the provisional committee were ratified, and the Sydney Vocal Harmonie Society was fairly launched into existence. The chair was taken by Mr. Charles Nathan, F.R.C.S., at a few minutes past 8 o'clock. when, after a few remarks as to the labours of the sub-committee in revising the rules, which had been compared with those of the Sacred Harmonic Society of London and the Philharmonic Society of Sydney, he called on Mr. Dyer to read the rules for the approval of the meeting. This having been done, F. L. S. MEREWETHER, Esq., Vice-Provost of the University of Sydney, rose to move the first resolution, which was to the effect that the rules now read be confirmed . . . Mr. SLOPER seconded the appointment of Mr. Nathan as President, and the motion was carried with applause. Mr. Hurford was elected treasurer, Mr. Dyer secretary of the society, and the following gentlemen as committee-men for the year 1859: . . . J. Johnson, R. Johnson, W. J. Johnson . . .
ASSOCIATIONS: Charles Nathan (president); Francis Merewether (member); Joseph Dyer (secretary); Sydney Vocal Harmonic Society (association)
"SYDNEY VOCAL HARMONIC SOCIETY", The Sydney Morning Herald (15 January 1859), 4
http://nla.gov.au/nla.news-article13013562
The committee of this Society issued an invitation to the musical amateurs of Sydney to join in a preliminary practice, on Thursday evening, at the Castlereagh-street Schoolroom. We are happy to state that this invitation was most numerously accepted, and upwards of two hundred vocalists responded to the call. It was understood that the invitation was a general one, so that we cannot say that all that were present were members of the new Society, but so much enthusiasm was manifested that it was evident that the Society will not want for lack of trained voices. The result of the experiment fully bore out what has frequently been asserted, that there is an extraordinary amount of latent musical talent in this city. All that is wanted is for some society, founded on a broad basis, to combine the "fortuitous combination of atoms" which assembled on Thursday night. The musical people present seemed to be fairly astonished at the ease and comparative correctness with which some hundred and fifty singers, casually assembled, not knowing what choruses were to be performed, took up the difficult choruses of the Messiah, and sang them off at sight. Of course there were many defects, many timid voices that relied for support on some sturdy veteran that happened to stand near them, but the steady and practised singers were so numerous that they fairly carried the deficient ones along with them, and the total effect was decidedly grand and thrilling. The various parts wore well filled, the basses being particularly strong, numbering nearly forty, and, although this was a practice of only private individuals, we are sure we shall be allowed, for the sake of encouraging the cause of popular music, to mention the names of some of the gentlemen we noticed as taking part with all their hearts in the chorus. Among the basses were the Hon. F. L. Merewether, Charles Nathan, Esq., President of the Society, the Rev. Canon Walsh, Mr. James Waller, formerly well known here as an amateur bass singer, Mr. Wood, and Mr. Lavers, of the Christ Church choir, Mr. Mac Donnel, and many others with whose names we are unacquainted. The other parts were also well supported, the treble part being the weakest, apparently from want of confidence, although we were pleased to see about twenty ladies and several boys come forward to sustain the leading part. If two or three steady and practised soprano voices could be obtained to lead with courage and spirit, there is an ample body of treble voices available for choruses of great power. There were many more singers present than could be accommodated with standing room on the platform, or than could be provided with music, so that the real strength of the choral body was not developed till after the conclusion of the "Hallelujah" chorus, when, at the impromptu suggestion of the Secretary, the whole body sang with grand effect the notes of the 100th psalm. This terminated a very delightful evening, which must have recalled to many that were present the musical triumphs of Exeter Hall and the societies in England. Mr. Cordner officiated as conductor, and Mr. James Johnson very kindly accompanied on the organ. The programmes of future performances will always be arranged by the committee, and never deviated from.
ASSOCIATIONS: James Waller (vocalist, as above)
"SYDNEY VOCAL HARMONIC SOCIETY", The Sydney Morning Herald (19 January 1860), 5
http://nla.gov.au/nla.news-article13035715
The first annual meeting of this society was held last night in the Infant Schoolroom, Castlereagh-Street, Dr. Charles Nathan in the chair.
On account of the rainy weather the attendance was small.
The CHAIRMAN having read the advertisement convening the meeting, called on the Secretary, Mr. Joseph Dyer, who read the following REPORT . . .
Mr. JOSEPH DYER moved the second resolution: that the following gentlemen be the officers of the Society for the ensuing year. -
Officers: Charles Nathan, Esq., F.R.C.S., president . . . Mr. Joseph Dyer, 25, Macleay-street, secretary.
Committee: . . . Mr. J. Johnson, Mr. R. Johnson, Mr. W. J. Johnson . . .
"FLOOD RELIEF FUND", The Sydney Morning Herald (3 March 1860), 7
http://nla.gov.au/nla.news-article28628768
A meeting of the members of the musical profession took place at Marsh's Music Room, Jamison-street, for the purpose of making arrangements for a grand entertainment in aid of the funds for the sufferers on behalf of the late floods. The meeting was very numerously attended. Mr. Charles Packer, having taken the chair, called on the secretary, Mr. H. N. Montagu, who read a communication from the Secretary of the Sydney Exchange Company, offering, on behalf of the company, the gratuitous use of the hall, &c., for the occasion . . . The secretary having read a letter from Mr. W. J. Johnson, offering his services; that gentleman was appointed treasurer, Mr. J. T. Read, who also volunteered, auditor. Messrs. Packer, Ellard, Stanley, and Cordner were appointed a sub-committee, to arrange the programme . . .
ASSOCIATIONS: Henry Marsh (musicseller); Charles Sandys Packer (chair); Henry Neville Montagu (secretary); John Thomas Read (auditor); Frederick Ellard (musician); William Stanley (musician); William John Cordner (musician); Exchange Hall (Sydney venue)
[Advertisement], The Sydney Morning Herald (12 April 1860), 1
http://nla.gov.au/nla.news-article13039099
W. J. JOHNSON and CO., Importers of Pianofortes, Harmoniums, and Music.
Pianofortes for sale and hire, by Collard, Broadwood, Kirkmann, Cadby, Nutting, &c.
Pianofortes exchanged, repaired, tuned, and removed by covered vans.
MUSIC - an extensive stock in every variety. Catalogues and music forwarded by post. 172, Pitt- street.
"DEATH OF MR. JAMES JOHNSON", The Sydney Morning Herald (14 April 1860), 13
http://nla.gov.au/nla.news-article13039273
We are sure that our readers will learn with deep regret, that this universally esteemed gentleman died yesterday afternoon, at his residence in Pitt-street. On Wednesday, the 4th instant, he was riding a vicious buck jumping horse, which was let out for hire at Manly Beach, when he was thrown violently over the head of the animal, and fell upon his elbow. Being a stout, heavy man, he suffered a compound fracture of the arm, which, from the first, assumed a serious aspect. Inflammation rapidly set in, rendering it impossible to set the fractured limb; ultimately the wounds suppurated, and the virus becoming absorbed into his system, caused his deeply lamented death. It is superfluous to say that Mr. Johnson had the best medical aid that the colony could afford [Charles Nathan], and that the sympathy and condolence of an unusually large circle of attached friends alleviated his last illness. He had filled the situation of organist at St. James's Church for twenty-four years, and conducted the important part of public worship which fell to his charge, with most becoming reverence, great musical ability, and undeviating punctuality. By the congregation at St. James' he will, we are sure, be much regretted. He also held the office of assistant secretary at the Benevolent Asylum for many years, a position where his business habits, his long experience, and unflinching rectitude, were of great public service. The musical circles of Sydney have lost a warm supporter in Mr. Johnson, who was the founder of the Sydney Choral Society, and lost no opportunity of promoting the art of which he was an enthusiastic admirer, and a sound and skilful professor. Indeed, it may be said that he had the high honour of being the father of choral singing in Australia.
"DEATHS", The Sydney Morning Herald (21 April 1860), 4
http://nla.gov.au/nla.news-article13039583
JOHNSON - April 13th, at his residence, Pitt-street, Sydney, Mr. James Johnson, aged 57.
[Advertisement], The Sydney Morning Herald (26 April 1860), 1
ttp://nla.gov.au/nla.news-article13039792
THE LATE Mr. JAMES JOHNSON. -
Resolution unanimously carried by the General Committee of the Benevolent Society of New South Wales,
at a special meeting held on the 20th April, 1860.
"The Committee of the Benevolent Society has learnt with feelings of deep regret the melancholy intelligence of the sudden decease of their late much respected assistant secretary, Mr. James Johnson.
They cannot allow the sad occasion to pass without recording the sense entertained of the zealous and efficient services which he rendered to the institution during the long period of twenty years that he was connected with it."
- GEORGE ALLEN, honorary secretary.
[Advertisement], The Sydney Morning Herald (1 August 1860), 1
http://nla.gov.au/nla.news-article13043760
JOHNSON and CO.'S Music Warenouse, 172, Pitt-street,
has the largest stock of new and standard MUSIC in the colonies, from all the first London publishers.
Catalogue and music sent post free.
[Advertisement], The Sydney Morning Herald (15 December 1860), 12
http://nla.gov.au/nla.news-article28625950
NOTICE OF REMOVAL.- W. J. JOHNSON and CO.
respectfully inform their friends and the public generally that their
new warehouse, No. 233, Pitt street, is now complete,
and beg to solicit a continuance of the patronage they have enjoyed for the last twenty years.
From the increased accommodation of their new premises they are enabled to add to their former stock of pianos on view from sixty to seventy instruments,
in every variety of wood and design, by Messrs. Charles Cadby, Collard and Collard, Broadwood, Kirkman, Erard, and others, from 36 to 200 guineas each;
also, harmoniums by Alexandre, Cadby, and Evans, from 17 to 50 guineas each.
All these instruments are selected by an eminent professional gentleman in London, and are so constructed as to resist the influences of this climate;
they will be found, both for promptness of touch and brilliant quality of tone, as well as for durability, equal, if not superior, to any imported to this city.
In the music department W. J. J. and Co. have a large and very carefully chosen stock,
comprising the chefs d'oeuvre of all the great composers, as well as the best elementary works;
also the most popular and fashionable vocal and dance music of the day,
and all the new publications of Messrs. Chapell, Cramer, Boosey, Duff and Hodgson, Cocks, Jeffreys, Williams, and other publishers, received by each monthly mail.
N.B. - W. J. J. and Co's stock of Erard's pianos are from the London house only; they do not import his foreign-made instruments.
Pianos removed (in a covered van), tuned, repaired, and lent on hire.
W. J. JOHNSON and CO. are the agents of most of the large pianoforte makers and music sellers in London,
233, Pitt-street, four doors south from King-street.
"LATEST IMPROVEMENTS IN LONDON PIANOFORTES", The Sydney Morning Herald (5 January 1861), 5
http://nla.gov.au/nla.news-article13050968
We had scarcely expected the product an of any higher effects in the manufacture of the most delightful instrument of the drawing room and concert-hall than those which were principally the result of the warm competition for prizes at the Great Exhibitions of London and Paris. We find, however, that the London manufacturers are making strenuous efforts to excel their former ones, for the expositions of the present year; and we have listened with pleasure and surprise to the extraordinary effects of an instrument just received from London by Messrs. W. J. Johnson and Co. of Pitt-street. It is a full seven octaves Concert Grand Pianoforte, by Messrs. Kirkman and Son, Soho-square, the action being one of their new patent repetition touches . . .
[Advertisement], The Sydney Morning Herald (1 April 1862), 2
http://nla.gov.au/nla.news-article28623099
SAINT PAUL'S COLLEGE CHAPEL CHORAL UNION.
Sydney, Eve of the Presentation of Christ in the Temple, 1st February, 1862.
To WILLIAM J. JOHNSON, ESQ. - We, the undersigned, who either are, or have been members of the St. Paul's College Chapel Choral Union,
beg leave to express our regret that you have withdrawn from us your valuable services as Organist and Choir Master.
In parting, we all feel that we ought not to do so without tendering our best thanks for the very kind manner in which you have presided over us during our connection together for the purpose of celebrating the Choral Service of our Church,
according to the custom followed in the Cathedral Churches and Collegiate Chapels in our native country, and hitherto unpractised in this colony;
and for the willing information, assistance, and co-operation we have always received from you, even at the sacrifice of personal convenience and pecuniary cost.
The value of those services we cannot repay, but we can, and do trust, that the example you have set will stir up the spirit of many others to set forth the praises of our Creator and Redeemer,
to the best of their means and ability, and we cannot refrain from expressing our desire,
that we may have the pleasure of seeing you performing a like office in the Cathedral Church of Saint Andrew, in this city.
We earnestly hope, that health, happiness, and prosperity may be your future lot and that of your family,
and that your work of love may be accepted of Him whose approbation we all desire.
Henry J. Hose, M.A., Warden of St. Paul's College and President of the Choral Union
W. Tonson, E. Haviland, Librarian, and Secretary to the Choral Union.
James Morey,
Robert Johnson, Fellow of St. Paul's, and Vice-President of the Choral Union.
Richard Johnson, Fellow of St. Paul's, and Treasurer to the Choral Union.
W. A. Paul, George Arthur Vaughan, Seth F. Ward, Joseph Cook,
Montagu R. Younger, H. K. Smith, H. Stephen, James Phypers,
W. Hemming, G. Spanswick, A. J. Gastan, G. Best,
A. E. Gaston, Frank Smith, James William Johnson, M.A., Sydney,
J. William Brookes, John Morris, J. T. Read, George R. Hirst, R. Peel Raymond.
REPLY. To the Rev. Henry J. Hose, M.A., and the other members of St. Paul's College Chapel Choral Union.
Gentlemen, - In reply to your kind and generous expression of my services in connexion with St. Paul's College Choral Union,
I beg to assure you that it has given me sincere pleasure and gratification to find that my very humble ability has been so favourably esteemed by those whose approbation I so much value,
Church music has always been my primary object in musical matters, and if I have been in the smallest degree the means of enlivening the devotion of any,
I am heartily thankful to Him, from whom alone come all good gifts.
Sincerely thanking you for your kind wishes towards myself and family, and trusting that a devout love for the Choral Service of our Church may daily increase,
I remain, dear Sirs, yours faithfully,
W. J. JOHNSON.
ASSOCIATIONS: Henry Judge Hose (member); Montague Younger (member); James Phypers (member); St. Paul's College Chapel Choral Union (association)
"SPECIAL SERVICE FOR VOLUNTEERS", Empire (7 April 1862), 5
http://nla.gov.au/nla.news-article60507665
YESTERDAY AFTERNOON, a special service for volunteers was held at Christ Church, George-street, to which all branches of the service were invited.
The volunteers paraded at the Hyde Park Barracks, at half-past 2 p.m., there being in attendance, including officers, the following numbers;
artillery, No. 1 Battery, 18; No. 2 Battery, 35; Rifles of various companies, 215. Colonel Kempt attended as Commanding Officer.
At 3 o'clock the men fell in, and forming fours marched to church, the bands of the No. 2 Battery of Artillery and of the Rifles accompanying them and playing alternately.
On arriving at Christ Church the volunteers took up their position at the eastern end of the church . . .
The following music incidental to the service, was performed on the occasion, Mr. W. J. Johnson presiding at the organ with his usual ability: -
1st. Voluntary Adagio, Haydn's symphony in G; Tallis' Service;
Chants for Psalms for the day, Ingram in C and Boyce in D;
Cantate, Jackson; Deus Misereatur, Jackson;
anthem, "Praise the Lord O Jerusalem!" Scott;
hymn before the sermon, Haydn; concluding Voluntary, March, Handel.
The following are the words of the hymn before the Sermon, arranged to to the well-known Haydn's "Hymn to the Emperor" -
"Gratitude for National Mercies," Vienna P.M.
Lord of heaven, and earth, and ocean,
Hear us from Thy bright abode;
While our hearts, with deep devotion,
Own their great and gracious God:
Now with joy we come before Thee;
Countless have Thy mercies been,
Lord of life, and light, and glory,
Guard Thy Church, and guide our Queen . . . [2 more verses]
ASSOCIATIONS: Sydney volunteer bands (volunteer forces)
"CONCERTS FOR THE DISTRESSED OPERATIVES. To the Editor of . . .", The Sydney Morning Herald (28 July 1862), 8
http://nla.gov.au/nla.news-article13231914
SIR, - Perceiving to-day a letter signed "A Professional Musician,"
animadverting upon Mr. Boulanger's advertisement in which he asks his "brother artists" to co-operate in giving a concert for the Lancashire Relief Fund,
I really cannot see how anyone situated by sterling good feeling, can find fault with that gentleman for so doing.
Surely petty feelings ought not to interfere in such matters.
It is quite competent to the musical profession to unite for the purpose of showing their sympathy for the distressed.
I must say I think the advertisement is so worded that no reasonable person can take exception to it.
Mr. Boulanger holds a high position in the profession, and some one must initiate,
I know of no fitter person to do so.
Trusting you will kindly insert the above in your journal,
I am, Sir, your obedient servant,
W. J. JOHNSON.
ASSOCIATION: Edward Boulanger (musician); for the letter in question, see "CONCERTS FOR THE DISTRESSED OPERATIVES. To the Editor of the . . .", Empire (25 July 1862), 3
http://nla.gov.au/nla.news-article60478716
"MEETING OF THE MUSICAL PROFESSION", Empire (2 August 1862), 4
http://nla.gov.au/nla.news-article60479071
A meeting of the musical profession of Sydney took place yesterday afternoon, at Poehlman's Hotel, Pitt-street,
for the purpose of arranging for a concert to be given in aid of the Lancashire relief fund.
Mr. W. J. Johnson was voted into the chair.
After some conversation relative to the object for which the meeting had been called, Mr. Boulanger proposed, and Mr. E. Deane seconded a motion,
that a committee, limited to seven, be formed with power to add to their number. Carried.
It was proposed by Mr. Anderson, and seconded by Mr. Boulanger, that the chairman should select the committee from the list then before him.
This was accordingly done, and the committee chosen consisted of the following gentlemen: -
Messrs. J. H. Andersen, D. Callen, H. Marsh, E. Deane, E. Boulanger, W. Stanley, and. W. J. Johnson.
Mr. Marsh proposed, and Mr. Stanley seconded a motion, that Mr. Johnson and Mr. J. T. Reid [sic] be respectively requested to act as treasurer and secretary. Carried.
Mr. Boulanger proposed, and Mr. Marsh seconded a motion, that the committee should call on the supporters of the profession for their assistance in the matter. Carried.
Mr. Boulanger proposed, and Mr. Stanley seconded a motion, that the committee then wait on His Excellency the Governor, and request his and Lady Young's attendance, and patronage at the concert;
and also that they would fix a day on which they could attend;
also, that the committee should endeavour to obtain the patronage of public bodies. Carried.
The meeting was then adjourned until Tuesday, at 8 p.m.
ASSOCIATIONS: James Henri Anderson (member); George Douglas Callen (member); Henry Marsh (member); Edward Smith Deane (member); William Stanley (member); John Thomas Read (member)
"THE MUSICAL PROFESSION", Empire (29 August 1862), 4
http://nla.gov.au/nla.news-article60480247
The invitation extended to the professors of music to meet at Poehlman's Hotel last evening, for the purpose of being informed of the progress of the arrangements requisite to be made by the committee appointed to produce a concert in aid of the funds for the relief of the destitute Lancashire weavers, met with a scanty response. Beside eight members of the committee, there were but two other gentleman present. Mr. W. J. Johnson presided. The secretary, Mr. J. T. Read, read a report, detailing the tenders of gratuitous assistance made by certain members of the profession, the patronage promised, the proposed movement, and the conditions under which the Exchange Hall could be obtained. A very lengthy conversation followed, during which the advisability of carrying out the concert, under existing circumstances, namely, the indifferent feeling evinced by the great bulk of the profession in the matter, and the probable limited extent of patronage, was freely discussed. A motion, resolving on the abandonment of the idea, in consequence of the causes stated, was ultimately moved by Mr. H. Marsh, seconded by Mr. W. H. Stanley, and adopted. Thanks, to Mr, Boulanger, for the handsome manner in which he originated the movement; to the committee, including the chairman and secretary, for their efforts in the matter; and to Mr. Poehlman, in recognition of his kindness in placing accommodation at the disposal of the committee, terminated the proceedings.
"FUNERAL OF THE LATE REV. DR. ROSS", The Sydney Morning Herald (5 November 1862), 5
http://nla.gov.au/nla.news-article13236623
The remains of the late Rev. Dr. Ross were interred yesterday morning in the Congregational Burial Ground, Devonshire-street. The religious services held on the occasion were attended by a large number of persons, who were desirous in this manner of testifying their esteem for the deceased, both as a Christian minister and as a public man . . . the funeral proceeded to the Congregational Church, Pitt-street, arriving at half-past eleven, when the coffin was borne along the aisle and deposited beneath the pulpit, the galleries and the pulpit having been draped in black . . . The service concluded with the benediction, the Dead March in Saul, and some other funeral pieces being performed on the organ by Mr. W. J. Johnson . . .
ASSOCIATIONS: Robert Ross (cleric)
"ORGAN AT THE TEMPERANCE HALL", Sydney Mail (20 December 1862), 2
http://nla.gov.au/nla.news-article166688689
Previous to the commencement of the Rev. Mr. Sunderland's lecture at the Temperance Hall, on Monday night, Mr. James Furley, organist and choir-master of St, James' Church, opened the excellent organ now standing in that hall, by playing a choice selection of music from the works of Handel, Haydn, and Mozart. This performance - quite a novel feature in such an affair - was followed by hearty rounds of applause. The fine instrument thus inaugurated, in its present position and altered state, was originally built by Messrs. Johnson and Co., for the old Choral Society, long ago. Subsequently it passed into the possession of the Vocal Harmonic Society, and having, in the course of many years' use, got out of repair, it was lately resold to Messrs. Johnson and Emanuel, who have carefully remodelled the organ, changed its action, and introduced some of the latest improvements. It is now, for its size and compass, considered to be as good an organ as can be found in the colony.
ASSOCIATIONS: James Furley (organist); Abraham Emanuel (business partner); Temperance Hall (Sydney venue)
"ST. BARNABAS' CHURCH", Empire (11 February 1863), 5
http://nla.gov.au/nla.news-article60522691
The marked improvement which has of late manifested itself in the performance of the musical services of our various metropolitan churches, has doubtlessly suggested matter of grateful recognition to very many of our readers. This result may be attributed in no small degree to the strenuous exertions which have been made to secure for these different places of worship not only efficient choirs, but also instruments calculated to support their efforts, and sustain the pure and exalted tone of devotional music. We are led to these remark by a visit on Sunday evening last to St. Barnabas' Church, a building situated in Athlone-street, off Parramatta-street. The raising of so large an edifice in so obscure a neighbourhood, and amongst so poor a population, does infinite credit to the exertions of the respected incumbent, the Rev. Thomas Smith, whose zeal in the discharge of duties undertaken by him has so often met with public eulogy. The rev. gentleman, in his endeavour to cultivate vocal harmony, has succeeded in procuring a sweet and powerful organ, which has lately been built and erected in his church by Messrs. W, J. Johnson and Co., of Pitt-street. This instrument consists of a great organ and pedal organ. The compass of the manuals is five octaves, from GG to F in altissimo, with GG sharp; and the pedal organ an octave and a half. The stops are - one open diapason metal, two dulciana ditto, three principal ditto, four fifteenth ditto, five twelfth ditto, six trumpet ditto, seven sesquialtera and cornet ditto. The whole of the work is made of spotted metal, and of full church scale; it has two composition pedals, double feeders to the bellows, and most of the modern improvements, together with a speaking front of gilt pipes. The powers of this excellent instrument were displayed to great effect by the talented organist, Mr. W. Stanley, whose powers of execution and refined taste are matters of notoriety amongst the musical public in Sydney.
ASSOCIATIONS: William Stanley (as above)
"NOTICE OF DISSOLUTION OF PARTNERSHIP", New South Wales Government Gazette (28 October 1864), 2441
http://nla.gov.au/nla.news-article225360295
THE Partnership formerly existing between us, the undersigned,
William Jonathan Johnson and Abraham Emanuel, as pianoforte and music sellers,
carried on in Sydney under the style or firm of "W. J. Johnson & Co.,"
was dissolved on the 30th day of September last, by effluxion of time. - Sydney, 27th October, 1864.
W. J. JOHNSON.
A. EMANUEL.
ASSOCIATIONS: Abraham Emanuel (business partner); it is unclear how long Johnson and Emanuel had been in a formal business partnership; they had, however, been associated since as early as mid 1858; see [Advertisement], Empire (22 May 1858), 1
http://nla.gov.au/nla.news-article60428809
"CHRIST CHURCH", Empire (7 January 1865), 5
http://nla.gov.au/nla.news-article60563833
Last evening, divine service was held at the above church, the reverend incumbent officiating; upon which occasion the choir performed Tallis' full choral service. The intoning by the Rev. Canon Walsh was very impressive, and Tallis's grand old harmonies in the responses, were rendered with a precision and effect, that would have done credit to some of the cathedrals in England. The boy choristers have evidently been drilled with much care, and reflect great credit upon the organist, Mr. Johnson. In addition to Tallis' evening service, the choir sang the anthem, "How beautiful upon the mountains." The music, as generally rendered at Christ Church, is superior to that of most of the Anglican churches in Sydney; in some of which the greatest amount of sound seems to be the chief object of the choirs. At Christ Church, the voices are well balanced, and every part can be heard distinctly, which gives beauty and solemnity to the fine music of the Church of England. The simple old Gregorian chants have been sadly neglected of late years, and it is only occasionally that they can be heard in our churches, their places being taken by the more florid, but far less impressive, modern double and single chants.
[Advertisement], The Sydney Morning Herald (18 February 1865), 2
http://nla.gov.au/nla.news-article13107737
FINGER ORGAN FOR SALE. W. J. JOHNSON and CO.
have received instructions to sell, at a very moderate figure,
a finger ORGAN; full German compass, containing the following stops:
1. Open diapason
2. Stopped diapason
3. Principal
4. Flute
5. Fifteenth
One composition pedal
And the whole contained in a general swell.
W. J. JOHNSON and CO., importers of pianofortes, harmoniums, and music, 233, Pitt-street.
[Advertisement], The Sydney Morning Herald (30 August 1865), 1
http://nla.gov.au/nla.news-article13118269
TO THE ORGANTSTS AND CHOIR MASTERS OF SYDNEY AND SUBURBS. -
Having been requested by some of the organists and choir masters of the Church of England
to call a meeting for the purpose of considering the practicability of getting up a
CONCERT in aid of the Building Fund of ST. ANDREW'S CATHEDRAL, by the Church Choirs of Sydney and suburbs,
I beg to state that a MEETING for the above purpose will be held at the
Cafe de Paris, King-street, on TUESDAY next, the 5th day of August, at 7 o'clock p.m.,
when the attendance of organists and choir masters is respectfully requested.
W. J. JOHNSON, Organist of Christ Church, Sydney.
"CONCERT FOR ST. ANDREW'S CATHEDRAL", The Sydney Morning Herald (7 September 1865), 4
http://nla.gov.au/nla.news-article31125209
A meeting of the Church of England organists and choir masters was held at the Café de Paris on Tuesday evening last; Mr. W. J. Johnson presided. It was resolved that the gentlemen present form themselves into a committee for the purpose of getting up a concert by the choirs of the several churches in Sydney and suburbs in aid of the funds of St. Andrew's Cathedral, subject to the approval of the Building Committee.
"DEATHS", The Sydney Morning Herald (5 October 1866), 1
http://nla.gov.au/nla.news-article13139268
On the 3rd instant, at his residence, Erskineville, Newtown, WILLIAM J. JOHNSON, Esq., organist of Christ Church from the day of its consecration, aged 55 years.
"THE LATE MR. W. J. JOHNSON", The Sydney Morning Herald (5 October 1866), 4
http://nla.gov.au/nla.news-article13139302
Our readers, and especially those who take an interest in the cultivation of music will read with much regret of the death of Mr. William J. Johnson. This talented gentleman for thirty years pursued the duties of his profession in our midst, and in his department of life has rendered valuable service to the community. On Wednesday evening last after a lingering and painful illness, he died at his residence, Erskineville Road, Newtown. Mr. Johnson came to this colony in company with an elder brother (also an accomplished musician) in the early part of 1836. He brought I with him the result of careful training and diligent study, and above all, the devotion of a true artist. Those who remember his exertions in relation to choral music at St. James's will be not be slow to admit that his efforts have had a large influence in promoting that efficiency which now commonly characterises the "Service of Song". When Christ Church was consecrated he accepted the position of organist and choir master, and retained it to the day of his death. Mr. Johnson was also wall known as a composer. His "Te Deum" and "Jubilate" are familiar to most lovers of church music. An anthem composed by him for one of the collects, and published in England was very highly spoken of by Novello. Among the latest of his compositions was a phasing arrangement of the hymn, "Nearer, my God, to Thee". In these and other pieces, Mr. Johnson proved the thoroughness of his musical knowledge. In private life he was justly esteemed by all who had the privilege of his friendship and his memory will be long revered for his public services, his domestic virtues, the strict integrity of his life, and the quiet and unobtrusive charities of home. Mr. Johnson was in the fifty sixth year of his age and has left a widow and eight children.
"DEATH OF MR. W. J. JOHNSON", Empire (5 October 1866), 5
http://nla.gov.au/nla.news-article60600586
Mr. William J. Johnson, organist of Christ Church for about twenty-five years, died on the 3rd instant, at his residence. In conjunction with his brother, the late Mr. James Johnson, he introduced the use of choral service at St. James' Church. He was the author of several church services and anthems; also a number of secular compositions.
[Notice], New South Wales Government Gazette (9 October 1866), 2413
http://nla.gov.au/nla.news-article225853814
In the Supreme Court of New South Wales. ECCLESIASTICAL JURISDICTION.
In the will of William Jonathan Johnson, late of the City of Sydney, in the Colony of New South Wales, organist, deceased . . .
that Eliza Harris Johnson, of Erskineville, Newtown, near Sydney aforesaid,
the widow and relict of the abovenamed deceased, intends . . . to apply . . .
that probate of the last will and testament of the said deceased may be granted to her, as the Executrix therein named . . .
[Advertisement], The Sydney Morning Herald (7 November 1866), 8
http://nla.gov.au/nla.news-article13148234
W. J. JOHNSON AND CO.'S Musical Repository, No 233, Pitt street, Sydney.
The Public are respectfully informed that the business of the late Mr. WILLIAM J. JOHNSON,
carried on at No. 233, Pitt street, Sydney, under the style of W. J. JOHNSON and CO.,
is continued on behalf of his Widow and Children at the same place and under the old style as above,
and that arrangements have been made for conducting it most efficiently in all its branches . . .
The friends of the lamented deceased and the public generally are earnestly requested to continue,
for the benefit of his widow and children, that patronage and support which they for so many years bestowed upon him.
Sydney, 6th November, 1866.
"THE LATE HON. ROBERT JOHNSON, M.L.C.", Bell's Life in Sydney and Sporting Chronicle (10 November 1866), 2
http://nla.gov.au/nla.news-article65466047
On Wednesday morning a profound feeling of sorrow pervaded the city on it becoming known that the Hon. Robert Johnson had expired suddenly the previous evening at his residence, Brooksby, near Double Bay. The name and eminent reputation of Robert Johnson as a lawyer and a legislator, in addition to the universal estimation in which he has ever been held by not only the citizens of Sydney but the entire colony, will long survive in the memory of all who knew and appreciated his many admirable qualities . . . The funeral took place on Thursday, afternoon. There was a large attendance, comprising members of Parliament, members of the Legal Profession, and many of our most prominent citizens. The coffin was brought to St. Mark's Church in a hearse, drawn by four horses, shortly after 3 o'clock, and was met at the gate by the Rev. Dean Cowper, the Rev. Canon Allwood, and the Rev. Mr. Saliniere, who were preceded by the choristers of the church. The chief mourners were Mr. Richard Johnson (brother of the deceased), Mr. W. J. Johnson (his eldest son) and Mr. John Binney (his son-in-law). The service in the church was performed by the Rev. Canon Allwood, in the absence of the incumbent, Rev. the Mr. Kemmis. The 39th and 90th Psalms were chanted by the choristers, the organ playing the accompaniment. The reverend Canon having read the Cor. xv. c., 20v., the coffin was taken from the trestles, and carried out of the church to the solemn and beautiful strains of the Dead March in Saul. It was then placed in the hearse, and the relatives and friends of the deceased having entered the mourning coaches, the procession proceeded to the Randwick Cemetery, where the remains were buried.
After 1866:
[Advertisement], The Sydney Morning Herald (12 January 1867), 8
http://nla.gov.au/nla.news-article13141695
W. J. JOHNSON and CO., 233, PITT-STREET.
PIANOFORTES constantly on hand by the most celebrated maker . . . .
All the most popular MUSIC sold at half the LONDON MARKED PRICES.
PIANOS TUNED, REPAIRED, and LENT ON HIRE.
W. J. JOHNSON and CO.
[Advertisement], The Sydney Morning Herald (29 May 1867), 1
http://nla.gov.au/nla.news-article13147255
W. J. JOHNSON and CO., 233, Pitt-street.
PIANOFORTES or HARMONIUMS for SALE or HIRE.
PIANOFORTES or HARMONIUMS TUNED, REPAIRED, and PACKED for the COUNTRY.
MUSIC at HALF-PRICE.
W. J. JOHNSON and CO., 233, Pitt-street.
[Advertisement], The Sydney Morning Herald (10 July 1867), 9
http://nla.gov.au/nla.news-article28611579
THURSDAY, July 11th.
In the Estate of the late W. J. Johnson, of Pitt-street, deceased.
To Pianoforte Buyers, Music Sellers, and others.
Brilliant-toned Boudoir Grand PIANOFORTE, by Cadby, 7 octaves, with all the latest improvements, in Handsome Rosewood Case.
Splendid Harmonium, by Alexandre et Fils, 13 Stops, in Rosewood Case.
Fine-toned Cottage Pianofortes, by Collard, Eratd, Challon and Co., and other first-class makers.
Small Instruments, Music Stools, Music, consisting of Songs, Dances, Galops, Operatic Selections, Pieces, &c.
First-class Instruction Books, Fixtures, Fittings, &c.
MESSRS. CHANDLER and CO. have received instructions to sell by auction, at the Warehouse, 233, Pitt-street, three doors from King-street,
on THURSDAY, July 11th, at 11 o'clock, The whole of the stock-in- trade of the late Mr. W. J. Johnson,
comprising Pianofortes, harmoniums, music, Fixtures, fittings, &c.
The stock can be viewed on the morning of sale, and catalogues had.
[Advertisement], The Sydney Morning Herald (21 April 1869), 1
http://nla.gov.au/nla.news-article13179226
ESTATE OF THE LATE MR. W. J. JOHNSON, DECEASED.
A FIRST and FINAL DIVIDEND of 3s 4d in the £ is now payable in the above estate,
at Messrs. Elvy and Co.'s Music Warehouse, 321, George-street, where balance sheet can be seen, and deed of released signed.
ROBERT ELVY, JOHN LAMB, Trustees. April 19, 1869.
N.B. - All bills and promissory notes will be required to be given up.
"JOHNSON V. PARK", The Sydney Morning Herald (24 December 1869), 2
http://nla.gov.au/nla.news-article13197643
This was an action brought by Emily Harris Johnson (executrix and widow of William Jonathan Johnson) to recover £29 10, for hire of goods and detenue. This was an action about a pianoforte. The case of the plaintiff was that the instrument had only been let out to defendant at so much a month, and that the wife of defendant had actually paid to the son and agent of plaintiff part of the money for its hire. Defendant, to the contrary, declared that the piano had been bought, and that the payments made were part payment of the purchase money. Verdict for the plaintiff, £10. Mr. G. C Davis, instructed by Mr. H. R. Way, appeared for the plaintiff; Mr. Hellyer appeared for the defendant.
"DEATHS", The Sydney Morning Herald (17 October 1877), 1
http://nla.gov.au/nla.news-article13401511
JOHNSON. - October 16, at her residence, North Shore, Elizabeth, widow of the late Mr. James Johnson, aged 58 years.
"Deaths", The Sydney Morning Herald (8 January 1880), 1
http://nla.gov.au/nla.news-article13447862
JOHNSON. - December 31, Eliza Harris Johnson, of Crown Lodge, Surry Hills, widow of the late W. J. Johnson, of this city, aged 62.
"WELLINGTON [NSW]. Friday", The Sydney Morning Herald (31 January 1880), 5
http://nla.gov.au/nla.news-article13450020
Mr. Richard- Johnson, solicitor, died this morning [30 January]. He had been unwell for some time, but his decease was unexpected.
"OBITUARY. MR. F. H. JOHNSON", The Sydney Morning Herald (21 April 1931), 13
http://nla.gov.au/nla.news-article16771091
Mr. Frederick Henry Johnson, who died at Wahroonga on Sunday in his 87th year, belonged to a pioneer family. His father, Mr. William Jonathan Johnson, came to Australia in 1830 [sic, 1836], and was later organist at Christ Church St. Laurence for many years, but his grandfather, Charles Tompson, came out in 1798, and obtained a grant of land at Windsor in 1803, and erected thereon in 1804, with convict labour, a homestead which he called Clydesdale, and which is still standing. The Rev. Richard Johnson, who came out in 1788 with Governor Phillip and built the first church, was deceased's great grand-uncle. Mr. Johnson, whose remains were interred in the Church of England portion of the Northern Suburbs Cemetery yesterday, was born at Newtown. He was for many years in the service of the Bank of New South Wales, and later, with the Australian Mutual Fire Insurance Society. He is survived by four sons and two daughters - Messrs. W. S. Johnson (Hay), F. H. Johnson (Wellington, N.Z.), R. M. Johnson (Griffith), and M. F. Johnson (Sydney), Mrs. H. H. Wheeler and Miss Johnson (Wahroonga). The burial service was conducted by Revs. Leicester Johnson and S. Fielding.
Musical works (James Johnson) (extant in red bold; non-extant in black bold):
High let us swell our tuneful notes (posthumously published, December 1862)
The first hymn for Christmas-day: High let us swell our tuneful notes, composed by James Johnson, late organist of St. James' church (Sydney: W. J. Johnson, [1862]); "Printed by J. Degotardi"
https://trove.nla.gov.au/work/16894289
http://nla.gov.au/nla.mus-an6572791 (DIGITISED)
ASSOCIATIONS: John Degotardi (printer, engraver)
[Advertisement], The Sydney Morning Herald (17 December 1862), 6
http://nla.gov.au/nla.news-article13071122
CHRISTMAS HYMN. - Just published the first Hymn for Christmas Day "High let us swell our tuneful notes,"
composed by James Johnson, late Organist of St. James's Church, Sydney; price 3s. 6d.
A liberal reduction to choirs. W. J. JOHNSON and CO., 233, Pitt-street.
"CHRISTMAS HYMN", The Sydney Morning Herald (18 December 1862), 7
http://nla.gov.au/nla.news-article13071177
The late Mr. James Johnson, for many years organist of St. James's church, composed a hymn for Christmas Day, "High let us swell our tuneful notes", which, however, he never published; and the approach of this "joyous time" has been taken advantage of by Messrs. W. J. Johnson and Co. to give it publicity. The hymn is arranged for four voices, with an organ or pianoforte accompaniment. The subject is set in A sharp with a symphony in C natural. The composition is in the style of the old church music, full, extremely harmonious, and well adapted for all places of worship where the congregations join in the singing. Mr. Johnson was devoted to that part of his profession pertaining to choral music, and the respect in which his memory is held will, no doubt, induce many to possess themselves of this unpretending but meritorious "Hymn for Christmas Day".
"NEW MUSIC", Empire (31 December 1862), 4
http://nla.gov.au/nla.news-article60520968
Messrs. W. J. Johnson and Co., have published a new Christmas hymn, a posthumous work of the late James Johnson, formerly organist of St. James' Church, a gentleman well known in the musical world. The title is "High let us swell our tuneful notes." It is in three sharps, changing to C for a short movement of twelve bars, returning to the original key. It is very elaborately scored, and fails in simplicity of melody and of construction; but the harmonies are rich, and the piece, if carefully sung, will prove effective.
Musical works (W. J. Johnson) (extant in red bold; non-extant in black bold):
The Chusan polka (August 1852)
The Chusan polka, performed by the band of Her Majesty's XIth Regiment, at the ball given in honor of the arrival of the first steam ship from Great Britain, composed by W. J. Johnson, and published at the request of his friends (Sydney: W. J. Johnson, [1852])
https://trove.nla.gov.au/work/19492986
https://nla.gov.au/nla.obj-165825436 (DIGITISED)
ASSOCIATIONS:
Chusan (steamship);
Band of the 11th Regiment (military);
and see "THE CHUSAN BALL", The Sydney Morning Herald (28 August 1852), 4
http://nla.gov.au/nla.news-article31734061
. . . Shortly after nine o'clock, a flourish of trumpets, and the performance of the National Anthem, by the band of H.M. 11th regiment (for whom an orchestra had been erected at the eastern end of the room), announced the arrival of his Excellency the Governor General
[Advertisement], The Sydney Morning Herald (23 August 1852), 5
http://nla.gov.au/nla.news-article12939453
IN THE PRESS, And will be published on the 27th instant,
THE CHUSAN POLKA, to be performed by the Band of Her Majesty's 11th Regiment at the Ball given in honour of the arrival of the first Mail Steam Ship from Great Britain.
Composed by W. J. JOHNSON, 314, Pitt-street.
[Advertisement], Empire (18 May 1853), 1
http://nla.gov.au/nla.news-article61324323
NEW PUBLICATIONS . . . Also, Second Edition of the Chusan Polka . . . W. J. JOHNSON AND CO., 314, Pitt-street.
[Advertisement], The Sydney Morning Herald (30 August 1852), 3
http://nla.gov.au/nla.news-article12939594
THE CHUSAN POLKA. - The above Polka is now ready for delivery, and can be had at the Wareroom of the undersigned, and all Music Warehouses. W. J. JOHNSON, 314, Pitt-street, near King-street.
[Advertisement], The Sydney Morning Herald (11 February 1854), 1
http://nla.gov.au/nla.news-article12958481
CHUSAN POLKA. 2nd Edition, beautifully printed. Published by W. J. JOHNSON and CO. 2s. 6d.
Fancy ball polka (July 1853)
Fancy Ball polka, performed by the band of Her Majesty's XIth Regiment, at the Mayor's Fancy Dress Ball, composed, and dedicated to Mrs. Egan, by W. J. Johnson (Sydney: W. J. Johnson & Co., [1853])
https://trove.nla.gov.au/work/17033458
https://nla.gov.au/nla.obj-166229115 (DIGITISED)
ASSOCIATIONS: Mary Egan (Mrs. Daniel EGAN) (dedicatee, lady mayoress); and see "THE MAYOR OF SYDNEY'S FANCY DRESS BALL", The Sydney Morning Herald (9 July 1853), 5
http://nla.gov.au/nla.news-article12947156
[Advertisement], The Sydney Morning Herald (25 July 1853), 1 supplement
http://nla.gov.au/nla.news-article12947554
NEW PUBLICATIONS.
Prima Donna Waltz, Fancy Ball Polka,
Old Folks at Home, See Love's Web . . .
W. J. JOHNSON AND CO., 314, Pitt-street.
[Advertisement], The Sydney Morning Herald (17 August 1853), 1
http://nla.gov.au/nla.news-article12948132
. . . W. J. JOHNSON AND CO., Musical Repository, 314, Pitt-street.
NEW MUSIC. Just published, the FANCY BALL POLKA, performed by the Band of Her Majesty's 11th Regiment at the Mayor's Fancy Dress Ball . . .
[Advertisement], The Sydney Morning Herald (13 May 1854), 1
http://nla.gov.au/nla.news-article12955184
FANCY BALL POLKA, easy and danceable. Published by JOHNSON and Co., 314, Pitt-street. Price 2s 6d.
A collection of psalm tunes (July 1854)
A collection of psalm tunes, comprising the best compositions in general use, harmonized for four voices, with an arrangement for the organ or piano forte, edited by W. J. Johnson, organist and choir master of Christ Church, Sydney (Sydney: W. J. Johnson and Co., [1854])
https://trove.nla.gov.au/work/24498302
http://nla.gov.au/nla.mus-vn1209645
"SACRED MUSIC", The Sydney Morning Herald (13 July 1854), 5
http://nla.gov.au/nla.news-article12957770
Mr. W. J. Johnson has just published a collection of Psalm tunes, which comprise the best compositions in general use, harmonised for four voices; with an arrangement for the organ or pianoforte. The object of the editor has been to supply the Church choirs of the Australian colonies with a collection of good plain melodies, suitable to the metrical version of the Psalms now in use; and the editor, in his preface, states that none have been chosen of a light or fanciful character; but that, on the contrary, the grand and devotional compositions of eminent men of the last three centuries have been selected, as being best suited for congregational use, and known generally by the whole Protestant world. The harmonies are set in four parts, viz., Treble, Alto, Tenor, and Bass, and written in their respective cleffs, with an organ or pianoforte part. The collection comprises the best melodies in common, long, short, and peculiar measures.
[Advertisement], The Maitland Mercury and Hunter River General Advertiser [NSW] (13 December 1854), 3
http://nla.gov.au/nla.news-article695839
Just Published, THE PSALM TUNES generally used in this colony,
edited by W. J. Johnson, Organist and Choir Master of Christ Church.
Price 7s. 6d. J. C. BISHOP, East Maitland.
ASSOCIATIONS: John Charles Bishop (bookseller)
The ladies' ugly schottische (January 1856)
The ladies' ugly schottische; in The Sydney harmonicon ([Sydney: W. J. Johnson & Co., 1856])
NO COPY IDENTIFIED
[Advertisement], The Sydney Morning Herald (2 February 1856), 9
http://nla.gov.au/nla.news-article12976856
SYDNEY HARMONICON . . .
No. 4. . . . The "Ladies Ugly" Schottische - Johnson . . .
An Easter anthem (March 1861)
An Easter anthem, composed for the use of St. Paul's College Chapel, by W. J. Johnson [Christ being raised from the dead] (Sydney: W. J. Johnson & Co., [1861])
https://trove.nla.gov.au/work/156931473
https://collection.sl.nsw.gov.au/record/74VKpdZ8exeX (DIGITISED)
https://nla.gov.au/nla.obj-179584807 (DIGITISED)
https://collection.sl.nsw.gov.au/record/74VKpdZ8exeX (DIGITISED)
ASSOCIATIONS: St. Paul's College Chapel (Sydney)
[Advertisement], The Sydney Morning Herald (25 March 1861), 8
http://nla.gov.au/nla.news-article13054693
PUBLISHED THIS DAY an EASTERN [sic] ANTHEM, composed by W. J. Johnson,
for the use of St. Paul's College Chapel; price 3s.
JOHNSON and CO, Warehouse, Music Warehouse, 233, Pitt-street.
"ECCLESIASTICAL MUSIC", Empire (30 March 1861), 4
http://nla.gov.au/nla.news-article60492124
We believe that we are justified in asserting that, with very rare exceptions indeed, the progress of church music in this colony has not kept pace with the improvement which has be observable, especially of late years, in other branches of the "divine art." This remark applies most particularly to the services of the Anglican Church, and is the more to be regretted, since the cathedral music of that church, since the Reformation, has attained a high degree of excellence, and, in fact, possesses a peculiar and quasi-national character of its own. If we except one or two churches in this city, till very recently no attempt has been made to revive in this colony, the study of those magnificent specimens of choral harmony with, which are identified the names of Tallis, Tye, Blow, and Farrant, of the earlier period, and of Purcell, Nares, Aldrich, Boyce, and King, of the later, not to mention those of Clarke Whitfield, Attwood, Elvey, and Ouseley of our own day. As one of the first fruits of this very laudable attempt, we notice the publication of an Easter Anthem, composed for the use of this choir by Mr. W. J. Johnson, the talented organist of Christ Church, who we understand, has devoted a considerable amount of time and trouble to the instruction of the Choir of St. Paul's College. The anthem to which we allude is evidently a composition of slight pretension, being a verse anthem, with a short solo for the treble voice, the same air harmonised for three voices, a verse quartette, two divisions, and a concluding chorus; but it calls for especial notice at our hands, as being perhaps the first choral composition of this nature for the use of the Anglican Church which has been published in this colony. The anthem is written in accordance with the best models of this school of music, and both the harmonies and accompaniment are carefully scored, betokening an intimate acquaintance with the laws of composition. The words, from the anthem for Easter-day - taken from Romans vi. 9 - are most appropriate to the present holy season.
Good night (first performed, January 1862)
Good night, terzetto, for soprano, alto, and ? bass voices ? and piano; unpublished manuscript
NO COPY IDENTIFIED
[Advertisement], The Sydney Morning Herald (4 January 1862), 1
http://nla.gov.au/nla.news-article13065369
ORPHEONIST SOCIETY. - The Second SUBSCRIPTION CONCERT
will be held at the Masonic Hall, on MONDAY EVENING, January 6th . . .
PROGRAMME . . . Part II. - Secular . . .
Terzetto - "Good Night" (composed for the Society) - W. J. Johnson . . .
Conductor, Mr. G. D. Callen.
Accompanyist, Mr. T. V. Bridson . . .
H. N. MONTAGU, hon. sec.
ASSOCIATIONS: Douglas Callen (conductor); Thomas Vicary Bridson (pianist); Henry Neville Montagu (secretary); Orpheonist Society (association); Masonic Hall (Sydney venue)
"ORPHEONIST SOCIETY. FULL GENERAL REHEARSAL", The Sydney Morning Herald (6 January 1862), 5
http://nla.gov.au/nla.news-article13068633
A full general rehearsal of the programme of the second subscription concert of the Orpheonist Society took place in the Masonic Hall, in York-street, on Saturday afternoon, afternoon, at half-past three o'clock . . . the result going to show . . . that great pains must have been bestowed by Mr. Callen in instructing the elementary classes of "the Orpheonists" . . . A terzetto, entitled "Good Night," composed expressly for the society, was rehearsed by a young lady amateur, a gentleman amateur, and Madame Sara Flower. It is a pretty little thing, but somewhat defective in air. The young lady amateur, who took the soprano part in it, has obviously a very sweet and rather powerful voice; a little more confidence is all that is required to enable her to do full justice to its capabilities. The immediate object of this society is the development of musical talent of every description, and to effect that desirable object by being constituted on a popular basis. The Orpheonist Society appears to have made very considerable progress, if we may judge from the rehearsals of what is to form their second concert this evening.
ASSOCIATIONS: Sara Flower (vocalist)
"SECOND CONCERT OF THE ORPHEONIST SOCIETY", The Sydney Morning Herald (7 January 1862), 4
http://nla.gov.au/nla.news-article13068560
The members of the Orpheonist Society must, we think, be well satisfied with the success of their second subscription concert, which was held in the Freemasons' Hall, in York-street, yesterday evening. That spacious and well-proportioned apartment was crowded in every part by an attentive audience, a considerable portion of whom were ladies . . . The Terzetto, "Good Night" (composed by Mr. W. J. Johnson for the society), was then ably executed by a lady amateur, Madame S. Flower, and a gentleman amateur. The young lady is, we believe, a member of the musical class of the society, and bids fair to become an excellent soprano. Her voice is extremely sweet, and it is powerful too when she has confidence enough to exert its full capabilities . . .
See also "MUSICAL AND DRAMA", The Sydney Morning Herald (21 January 1862), 4
http://nla.gov.au/nla.news-article13062251
O lord God (October 1863)
O, Lord God, the collect for the Sunday called Sexagesima, or the Second Sunday before Lent, set as an anthem, and dedicated to the Rev. Canon Walsh, by W. J. Johnson (Sydney: W. J. Johnson & Co., [1863])
Copy at British Library
https://search.worldcat.org/title/497297565 (DIGITISED)
Transcribed and edited Robert Forsyth, Music of the Anglican churches in Sydney and surrounding regions (Ph.D thesis, University of Sydney, 2002), 546 (550)
http://ses.library.usyd.edu.au/handle/2123/2447
ASSOCIATIONS: William Horatio Walsh (cleric, incumbent of Christ Church St. Laurence)
[Advertisement], The Sydney Morning Herald (31 October 1863), 7
http://nla.gov.au/nla.news-article30936827
. . . W. J. JOHNSON and CO.'S Pianoforte, Harmonium, and Music Warehouse 233, Pitt-street . . .
JUST PUBLISHED, "O, LORD GOD." The Collect for the Sunday called Sexagesima,
or the Second Sunday before Lent, set as AN ANTHEM.
and dedicated to the Rev. CANON WALSH, by W. J. JOHNSON. Price One shilling.
Nearer to thee (Frederick Alexander Packer; arr. W. J. Johnson, September 1864)
Nearer to thee, transcribed for pianoforte by W. J. Johnson, dedicated to Signor Cutolo (Sydney: W. J. Johnson & Co., [1864])
https://trove.nla.gov.au/work/237352100
https://nla.gov.au/nla.obj-166183120 (DIGITISED)
https://trove.nla.gov.au/work/16894313
https://nla.gov.au/nla.obj-165202498 (DIGITISED - 5th edition)
ASSOCIATIONS: Frederick Alexander Packer (composer); Cesare Cutolo (dedicatee, pianist)
MUSIC: Nearer to thee (F. A. Packer senior)
[Advertisement], Empire (21 September 1864), 1
http://nla.gov.au/nla.news-article60558727
NEW PIANOFORTE PIECE. "NEARER TO THEE." Transcribed for the pianoforte, 2s. 6d.
Published by W. J. JOHNSON and CO., 233, Pitt-street.
"NEW MUSIC", The Sydney Morning Herald (28 September 1864), 4
http://nla.gov.au/nla.news-article13100860
The hymn "Nearer to Thee" has deservedly become a favourite in Sydney, and our musical readers will be glad to learn that it has been transcribed as an instrumental piece for the pianoforte by Mr. W. J. Johnson. The introduction is brief, characteristic, and not too elaborate. In the theme there is a pleasing re-arrangement of the bass, making the harmony more complete and accurate. The first variation is written in the singing style cantabile e sostenuto), the second is light and brilliant, and the third Lento resembling somewhat the writing of M. Prudent. His theme is never sacrificed to the variations, but the air may be distinctly recognised throughout the composition. The new colonial production is dedicated to Signor Cutolo, and published by Messrs. W. J. Johnson and Co. at their musical repository in Pitt street. It is printed by Degotardi in a style quite equal to the best English music, and its merits in every respect ought to secure for it on extensive circulation.
ASSOCIATIONS: Emile Prudent (French pianist-composer); John Degotardi (printer, engraver)
"MUSIC", Empire (29 September 1864), 5
http://nla.gov.au/nla.news-article60559213
Mr. W. J. Johnson has just completed a transcription for the pianoforte of the lovely melody so well known amongst members of the Church of England in Sydney as "Nearer, my God, to thee" [sic]. The piece now presented, to the musical public commences with an introduction of ten bars, in which a phrase or two of the original melody is introduced, and from which the performer gracefully glides into the tema. This part is nothing more than a reproduction of the melody "Nearer to thee," with some slight deviations from the original harmonies. The treble and bass parts are unaltered; but the inner parts are slightly varied which give a very sweet harmonisation to the whole. There are three variations to the melody, in every one of which the characterisation of the original music are strongly brought out and sustained. Mr. Johnson has succeeded in placing before the public some graceful modifications of an exquisite air that cannot fail to become a great favourite. There is nothing difficult in the execution; and the arrangement appears to us to depend more for effect upon the taste of the performer than in dexterity of manipulation. The new publication is very neatly got up by Mr. Degotardi, and the music is printed in the very best style. Mr. Johnson has dedicated this new effort of his musical talent to Signor Cutolo.
[Advertisement], The Sydney Morning Herald (14 November 1868), 6
http://nla.gov.au/nla.news-article28423165
NEARER TO THEE. - Sixth edition, just published; transcribed for the pianoforte by Mr. W. J. Johnson.
May be had at all the musicsellers; and at Messrs. F. and E. COLE'S, Stationers, George-street.
Te Deum and Jubilate in D (August 1866)
Te Deum in D ([Sydney: W. J. Johnson & Co., [1866])
NO COPY IDENTIFIED
Jubilate in D ([Sydney: W. J. Johnson & Co., [1866])
NO COPY IDENTIFIED
[Advertisement], The Sydney Morning Herald (25 August 1866), 9
http://nla.gov.au/nla.news-article13135950
Just published, JUBILATE DEO in D, by W. J. Johnson, price 2s.
Also, TE DEUM LAUDAMUS in D, by W. J. Johnson, price 2s . . . W. J. JOHNSON and CO.
Hallelujah, amen (n.d.)
Hallelujah, amen (before the gospel); manuscript, Christ Church St. Laurence, Sydney; transcribed and edited, Robert Forsyth, Music of the Anglican churches in Sydney and surrounding regions (Ph.D thesis, University of Sydney, 2002), 536 (540)
http://ses.library.usyd.edu.au/handle/2123/2447
Third hymn for Christmas day (n.d.)
Third hymn for Christmas day (While shepherds watched their flocks) ? or by William Stanley; manuscript, Christ Church St. Laurence, Sydney; transcribed and edited Forsyth, 537 (541)
http://ses.library.usyd.edu.au/handle/2123/2447
Psalm chants (n.d.)
Anglican chants; manuscript, Christ Church St. Laurence, Sydney; transcribed and edited Forsyth, 545 (549)
http://ses.library.usyd.edu.au/handle/2123/2447
Musical publications (W. J. Johnson & Co., 1853-66) (extant in red bold; non-extant in black bold):
This is a complete, or almost complete, chronological schedule of published editions by W. J. Johnson and Co., running from 1852 to 1866. Notably, every edition of which copies are extant is independently dateable from newspaper advertisement or notices
The Chusan polka (composed by W. J. Johnson, August 1852)
See details in Musical works (above)
The biological polka (C. W. Harwood, February 1853)
The biological polka, dedicated to Mr. Daly, composed by C. W. Harwood (Sydney: W. J. Johnson and Company, [1853])
https://trove.nla.gov.au/work/19204092
https://nla.gov.au/nla.obj-165673829 (DIGITISED)
ASSOCIATIONS: Charles William Harwood (composer); James Daly (mesmerist, "electro-biologist")
The electro-biological schottische (E. S. Deane, February 1853)
The electro-biological schottische, composed by E. S. Deane (Sydney: W. J. Johnson and Company, [1853])
https://trove.nla.gov.au/work/19204100
https://nla.gov.au/nla.obj-165674398 (DIGITISED)
ASSOCIATIONS: Edward Smith Deane (composer); James Daly (mesmerist, "electro-biologist")
[Advertisement], The Sydney Morning Herald (29 January 1853), 1
http://nla.gov.au/nla.news-article12943273
NEW POLKA . . . IN the press, and will be published in a few days,
at W. J. Johnson and Co.'s Musical Repository, 314, Pitt-street,
The Biological Polka, composed by Mr. C. W. Harwood, and dedicated to Mr. Daly.
Also, The Electro-Biological Schottische, by Mr. Edward Deane . . .
[Advertisement], The Sydney Morning Herald (5 February 1853), 5
http://nla.gov.au/nla.news-article28643732
NEW POLKA AND SCHOTTISCHE, In the Press,
and will be published on Tuesday, the 8th instant, at W. J. Johnson and Co.'s Music Repository, 314, Pitt-street.
The Biological Polka, composed by C. W. Harwood, and dedicated to Mr. Daly;
also, the Electro-Biological Schottische, by Mr. Edward Deane,
with critiques from Mesmeric Observer Daily [Daly) News, Electro-Biological Journal, Virginian Gazetteer, and Electric Telegraph.
W. J. JOHNSON AND Co., 4205 Music Publishers, 314, Pitt-street.
The names of Christ (Nathan, by April 1853)
The names of Christ, by James B. Laughton, esq., composed as a soprano solo, and arranged likewise as a sestetto, expressly for St, James' and St. Mary's Choral Societies, by I. Nathan (Sydney: W. J. Johnson, [1853])
https://trove.nla.gov.au/work/15072837
https://nla.gov.au/nla.obj-166017435 (DIGITISED)
ASSOCIATIONS: Isaac Nathan (composer);
James Brotherston Laughton (words);
Sydney Choral Society (association, "St. James's Choral Society");
St. Mary's Choral Society (association);
Nathan himself typeset this edition, and probably also had it printed at his own expense
[Advertisement], The Sydney Morning Herald (6 April 1853), 3
http://nla.gov.au/nla.news-article28643944
JEPHTHA'S DAUGHTER and Lungi dal Caro Bene -
the two songs so unanimously received with enthusiastic marks of approbation on Monday last at St. Mary's Choral Society -
as sung by Mr. Palmer - are now published, 2s. each;
with Angels ever Bright and Fair, - The Lord's Prayer, - The Names of Christ, -
and all Mr. Nathan's works.
At W. J. JOHNSON's Music Warehouse, 314, Pitt-street.
ASSOCIATIONS: W. J. Palmer (vocalist)
MUSIC: Jephtha's daughter (Nathan); Lungi dal caro bene (Sarti; arr. Nathan); Angels ever bright and fair (Handel; arr. Nathan); The Lord's prayer (Nathan); all of these, except Jephtha's daughter (engraved and published in London), had been previously typeset in Sydney by Nathan, and "published" locally by other musicsellers
Old folks at home (April 1853)
Old folks at home, Ethiopian melody, as sung by Christy's Minstrels, written and composed by E. P. Christy (Sydney: W. J. Johnson and Company, [1853])
https://trove.nla.gov.au/work/5818344
https://nla.gov.au/nla.obj-166218250 (DIGITISED)
https://trove.nla.gov.au/work/260851761
https://collection.sl.nsw.gov.au/record/74VK65d0o3Py
ASSOCIATIONS: Old folks at home (song); Stephen Foster (attributed) (composer, lyricist); Edwin Pearce Christy (minstrel)
[Advertisement], The Sydney Morning Herald (16 April 1853), 5
http://nla.gov.au/nla.news-article12945135
Just published, and will be ready for delivery on the 20th instant,
OLD FOLKS AT HOME: Ethiopian melody, as sung by Christy's Minstrels, written and composed by E. P. Christy . . .
W. J. JOHNSON AND CO., 314, Pitt-street.
[Advertisement], The Sydney Morning Herald (4 May 1853), 1
http://nla.gov.au/nla.news-article12945526
NEW MUSICAL PUBLICATIONS.
OLD FOLKS AT HOME. This beautiful Ethiopian Melody as sung by Christy's Minstrels, at New York, is now ready.
THE ELECTRO-BIOLOGICAL SCHOTTISCHE
THE BIOLOGICAL POLKA
THE CHUSAN POLKA.
Either of the above will be forwarded to any part of the colony on receipt of 2s. 6d. in postage stamps.
W. J. JOHNSON AND CO., Musical Repository, 314, Pitt-street.
[Advertisement], Empire (18 May 1853), 1
http://nla.gov.au/nla.news-article61324323
NEW PUBLICATIONS.
Old Folks at Home. This beautiful Ethiopian Melody is now ready.
Also, Second Edition of the Chusan Polka, the Biological Polka, and Electro-Biological Schottische.
The whole of Mr. Nathan's Music . . .
W. J. JOHNSON AND CO., 314, Pitt-street.
See love's web around thee weaving (Miss Murphy, May 1853)
See love's web around thee weaving! the poetry by the Rev. J. D. Mereweather, B.A., the music composed and dedicated to Mrs. Alfred Stephen by Miss Murphy (Sydney: W. J. Johnson & Co., [1853])
https://trove.nla.gov.au/work/31830446
https://collection.sl.nsw.gov.au/record/74VKRq0PkREZ (DIGITISED)
ASSOCIATIONS: Miss Murphy (composer); John Davies Mereweather (lyrics); Eleanor Stephen (dedicatee)
[Advertisement], The Sydney Morning Herald (14 May 1853), 1
http://nla.gov.au/nla.news-article12945807
This Day is Published, "SEE LOVE'S WEB AROUND THEE WEAVING," A New Song.
The Words adapted from some unpublished verses, written by the Rev. J. D. Mereweather, B.A.
The Music composed by Miss Murphy.
To be had at the Music Repository of the Publisher,
W. J. JOHNSON AND CO., Pitt-street;
and at all the other Music Warehouses in the City.
"SEE LOVE'S WEB AROUND THEE WEAVING", Bell's Life in Sydney and Sporting Reviewer (21 May 1853), 2
http://nla.gov.au/nla.news-article59757157
We have been presented with a copy of the above Song, by the publishers, Messrs. W. J. Johnson and Co., of Pitt-street. The poetry by the Rev. J. D. Mereweather, B. A., is pretty, but the stanzas are too numerous and one or two are so conspicuously expressionless, that they might in our opinion bc advantageously struck out. The fair composer, Miss Murphy, has done the fullest justice to the reverend author; and to the melodious accompaniment as rendered by her, the superfluity we have alluded to in the verses may pass unnoticed, or at least be tolerated.
"Literature. NEW MUSIC", Freeman's Journal (21 May 1853), 9
http://nla.gov.au/nla.news-article114835346
"See Love's Web around the Weaving," a song, the poetry by the Rev. J. D. Merewether, B.A the music composed and dedicated to Mrs. Alfred Stephen by Miss Murphy. Johnson und Co., Sydney. This one of the thousand and one inflictions for which poor Cupid will assuredly have much to answer. Whatever merit is due to the performance we must, as in gallantry bound award it to the fair composer. As regards what is facetiously termed poetry on the title page we certainly should not have noticed it at all, on the understood principle that compositions of this kind are generally mere nonsense apart from the melody to which they are subordinate. But in the piece before us we find the author of some of the most wretched "sky-blue," that ever we had the misfortune to peruse, a clergyman who has taken his B. A., degree. For this reason we addressed ourselves to the task of giving the song a careful perusal, from which we rose in much the same condition as one of Mr. Daley's "susceptibles" after a twenty minutes stare at the disc. The following specimen of the author's versification is really amusing: -
"Thee, oh fondest one, he sueth
With all eloquence, yet know
That with equal warmth he wooeth
Many women fair as thou."
The rhythm of the fourth line is bewitching. The Rev. author is no favored son of the "Nine." A clergyman should not descend from the high functions of his sacred office to
"Frame love ditties passing rare,
And sing them to a lady fair."
We cannot too much admire the usually tasteful and excellent style such matters are got up by the publishers, Messrs. Johnson and Co.
"MUSIC", The People's Advocate and New South Wales Vindicator (21 May 1853), 3
http://nla.gov.au/nla.news-article251544498
Amid the scenes and changes which are daily taking place, and which serve in measure to occupy the attention of the people in general, we are glad to observe that the truly valuable science of music seems to keep pace with other orders. Amongst a variety of productions of late, which have come under our notice, there is one deserving of especial mention. The subject, "See love's web around thee weaving," by the Rev. J. D. Merewether, is beautiful in itself, and such a one as would be likely to call forth the real pathos and musical power of the composer, Miss Murphy, to whom too much praise cannot be given. We cannot help commending Miss Murphy in her choice of dedication; and we recommend this pleasing little work as a piece of music well worthy the attention of the musical world - the female portion especially.
Fancy ball polka (composed by W. J. Johnson, July 1853)
See details in Musical works (above)
The prima donna waltz (Jullien, July 1853)
NO COPY OF JOHNSON'S EDITION IDENTIFIED
ASSOCIATIONS: Louis Jullien (composer); but see also the Sydney edition published in April 1853 by Woolcott and Clarke (musicsellers)
[Advertisement], The Sydney Morning Herald (25 July 1853), 1 supplement
http://nla.gov.au/nla.news-article12947554
NEW PUBLICATIONS.
Prima Donna Waltz, Fancy Ball Polka,
Old Folks at Home, See Love's Web . . .
W. J. JOHNSON AND CO., 314, Pitt-street.
[Advertisement], The Sydney Morning Herald (27 July 1853), 3
http://nla.gov.au/nla.news-article12947585
. . . W. J. JOHNSON AND CO., Musical Repository, 314, Pitt-street.
THE PRIMA DONNA WALTZ Is now ready for delivery, price 3s. 6d. per post 3s. 9d.
[Advertisement], The Sydney Morning Herald (3 August 1853), 1
http://nla.gov.au/nla.news-article28644750
. . . The Prima Donna Waltz is just published. W. J. JOHNSON AND CO., 314, Pitt-street.
[Advertisement], The Sydney Morning Herald (8 August 1853), 1
http://nla.gov.au/nla.news-article12947839
. . . W. J. JOHNSON AND CO., Musical Repository, 314, Pitt-street.
The Prima Donna Waltz, second edition, Post free, 2s. 6d.
You love me not (W. C. Uhr, August 1853)
You love me not, air and words composed by W. C. Uhr, and dedicated to the ladies of Sydney, sung with rapturous applause by Madame Sara Flower, and Mr. John Howson, the proceeds of this work to be given to the Benevolent Asylum (Sydney: W. J. Johnson & Co., [1853])
https://trove.nla.gov.au/version/19894175
https://nla.gov.au/nla.obj-166218765 (DIGITISED)
ASSOCIATIONS: William Cornelius Uhr (composer and lyricist); Sara Flower (vocalist); John Howson (vocalist)
"NEW MUSIC", The People's Advocate and New South Wales Vindicator (6 August 1853), 2
http://nla.gov.au/nla.news-article251544059
"You Love me Not." - Song, the Air and Words composed by W. C. Uhr. - W. J. Johnson & Co , Sydney.
- It is a remarkable, and we believe a pretty generally admitted fact that good poetry is very rarely found united with good music,
and we regret we cannot congratulate the author and composer of "You Love me Not," on his having furnished an exception to the above-mentioned rule.
As regards the words we are fain to confess that we love them not, since they are words and little else.
The music, however, we are gratified in being enabled to state, is altogether of a different description, consisting as it does, of a graceful melody,
displaying much taste and feeling, which we have little doubt will prove a very agreeable and acceptable addition to the musical library of the ladies of Sydney,
to whom the composition is by the author appropriately and gallantly dedicated.
"YOU LOVE ME NOT", The Sydney Morning Herald (8 August 1853), 5
http://nla.gov.au/nla.news-article12947826
A very beautiful and very original ballad has been published by Mr. Johnson, bearing this title. The words and music are both by Mr. W. C. Uhr, an amateur, whose taste for sweet sounds, judged of by this little performance, must be exquisite. The melody is charmingly simple, but the time is still more charmingly irregular, and there is a little ritournella full of abandon, which none but a musical soul could have conceived. We can cordially recommend this song to every lady's drawing-room.
Oh, charming May (Rodwell, September 1853)
Oh, charming May, the words written by P. Henry Hatch, esq., the music composed by G. Herbert Rodwell (Sydney: W. J. Johnson and Co., [1853])
https://trove.nla.gov.au/work/5746863/version/19894141
https://nla.gov.au/nla.obj-166216566 (DIGITISED)
https://trove.nla.gov.au/work/5746863/version/45059628
https://nla.gov.au/nla.obj-176996706 (DIGITISED)
ASSOCIATIONS: George Herbert Rodwell (English composer); see also this copy of Johnson's Sydney edition under a cover of a copy of the original London edition:
https://nla.gov.au/nla.obj-169175832 (DIGITISED)
[Advertisement], The Sydney Morning Herald (2 September 1853), 5
http://nla.gov.au/nla.news-article12948579
NEW SONG, just published, OH! CHARMING MAY; cavatina,
sung with the most unbounded applause by Miss Rebecca Isaacs, Miss Cubit, Mrs. Sunderland, Miss Rose Braham, and all the leading vocalists.
The words written by P. Henry Hatch, Esq.; the music composed by G. Herbert Rodwell.
Published by W. J. JOHNSON and CO., 314. Pitt-street; and to be had at the Music Warehouses in the city.
Price, 2s. 6d.; post free, 2s. 8d.
Tho' for a while (Spagnoletti senior, October 1853)
Tho' for a while, a new canzonet, for soprano voice by Sign. Spagnoletti ([Sydney: W. J. Johnson and Co., 1853])
NO COPY IDENTIFIED
ASSOCIATIONS: Ernesto Spagnoletti senior (composer)
[Advertisement], The Sydney Morning Herald (26 October 1853), 8
http://nla.gov.au/nla.news-article12949893
MUSICAL REPOSITORY, 314, Pitt-street. NEW MUSIC - . . . A new canzonet, for a soprano voice, "Tho' for awhile," by Erneste Spagnoletti, price 2s. 6d. W. J. JOHNSON AND CO. . . .
[Advertisement], The Sydney Morning Herald (26 November 1853), 8
http://nla.gov.au/nla.news-article12950673
. . . New Canzonet, composed by Sig. Spagnoletti, "THO' FOR AWHILE" . . .
Mazurka brillante (Talexy, November 1853)
Mazurka brillante (performed by Mr. Coleman Jacobs, at his farewell concert) by Adrien Talexy (Sydney: W. J. Johnson & Company, [1853])
https://trove.nla.gov.au/work/8113404
https://nla.gov.au/nla.obj-175935455 (DIGITISED)
ASSOCIATIONS: Adrien Talexy (French composer); Coleman Jacobs (pianist)
[Advertisement], The Sydney Morning Herald (26 October 1853), 8
http://nla.gov.au/nla.news-article12949893
NEW MUSIC. - Talexy's Mazurka, brilliantly performed by Mr. Coleman Jacobs, at his farewell Concert,
revised and fingered by W. J. Johnson, price 2s. 6d.
Also, A new canzonet, for a soprano voice, "Tho' for awhile," by Erneste Spagnoletti, price 2s. 6d.
W. J. JOHNSON AND CO., 314, Pitt-street.
[Advertisement], The Sydney Morning Herald (4 November 1853), 5
http://nla.gov.au/nla.news-article12950091
. . . In the press, "Talexy's Mazurka." W. J. JOHNSON AND CO., 314, Pitt-street.
Prayer (1853/54)
NO COPY IDENTIFIED
[Advertisement], Illustrated Sydney News (31 December 1853), 6
http://nla.gov.au/nla.news-article63613825
PRAYER FOR THE CONVERSION OF THE JEWS TO THE CHRISTIAN FAITH, beautifully set to Music, and now on sale by W. J. JOHNSON & CO., 314, Pitt-street, Sydney.
[Advertisement], Empire (4 March 1853), 8
http://nla.gov.au/nla.news-article60149838
PRAYER for the Conversion of the Jews to the Christian Faith, set to music by an eminent composer,
and on sale by Mr. JOHNSON, Pitt-street. Price, 4s. Recommended to the notice of clergymen and families.
May Day (C. S. Packer, January 1854)
May Day, ballad, by Charles S. Packer ([Sydney: W. J. Johnson and Co., 1854])
NO COPY IDENTIFIED
ASSOCIATIONS: Charles Sandys Packer (composer)
[Advertisement], The Sydney Morning Herald (24 January 1854), 1
http://nla.gov.au/nla.news-article12951589
NEW MUSIC. - Charles S. Packer's beautiful Ballad "May Day."
Published this day, by W. J. JOHNSON and Co., Musical Repository, 314, Pitt-street.
New bazaar waltz (Spagnoletti, January 1854)
New bazaar waltz by Spagnoletti ([Sydney: W. J. Johnson and Co., 1854])
NO COPY IDENTIFIED
ASSOCIATIONS: Ernesto Spagnoletti senior (composer);
on the new bazaar in the Royal Hotel (Sydney venue), see:
"THE NEW FANCY BAZAAR, ROYAL HOTEL", Illustrated Sydney News (7 January 1854), 2
http://nla.gov.au/nla.news-article63613860
[Advertisement], The Sydney Morning Herald (31 January 1854), 5
http://nla.gov.au/nla.news-article30939684
NEW BAZAAR WALTZ, by Spagnoletti. W. J. JOHNSON AND CO., 314, Pitt-street.
[Advertisement], The Sydney Morning Herald (13 May 1854), 1
http://nla.gov.au/nla.news-article12955184
PRIMA DONNA WALTZES, as performed by Winterbottom's band. JOHNSON and CO., 314. Pitt-street.
NEW BAZAAR WALTZ, by Signor Spagnoletti, published by JOHNSON and CO., 314, Pitt-street.
The last meeting (Linley, April 1854)
The last meeting, music and word by G. Linley ([Sydney: W. J. Johnson and Co., 1854])
NO COPY OF JOHNSON'S EDITION IDENTIFIED
ASSOCIATIONS: George Linley (English composer); see also Another edition (imported)
"MUSICAL PUBLICATIONS", Illustrated Sydney News (15 April 1854), 2
http://nla.gov.au/nla.news-article63614206
"The Last Meeting," a ballad composed by Mr. George Linley, and published by Mr. Johnson of Pitt-street, is decorated with a graceful lithograph, and is creditably brought out altogether. The words are pretty enough, being much the same as one may find in a hundred other ballads - but we suppose it is useless in these days to look for any originality of idea in a song.
A collection of psalm tunes (arranged by W. J. Johnson, July 1854)
See details in Musical works (above)
The war galop (D'Albert, August 1854)
The war galop by Charles D'Albert ([Sydney: W. J. Johnson and Co., 1854])
NO COPY OF JOHNSON'S EDITION IDENTIFIED
ASSOCIATIONS: Charles d'Albert (English composer)
[Advertisement], The Sydney Morning Herald (22 August 1854), 5
http://nla.gov.au/nla.news-article30940809
THE WAR GALOP, by D'Albert, just published. JOHNSON and CO., Pitt-street, and all music sellers.
[Advertisement], The Sydney Morning Herald (4 September 1854), 1
http://nla.gov.au/nla.news-article12957385
JUST Published, by JOHNSON and CO., Pitt-street,
"The War Gallop;" Lindley's beautiful Ballad, the "Last Meeting;"
"Molly Bawn;" the "White Squall;" and "The Bazaar Waltz."
[Advertisement], The Sydney Morning Herald (16 September 1854), 8
http://nla.gov.au/nla.news-article60197214
JUST PUBLISHED, the WAR GALOP, by W. J. JOHNSON, Pitt-street.
Molly Bawn (Samuel Lover, September 1854)
NO COPY OF JOHNSON'S EDITION IDENTIFIED; however, see Woolcott and Clarke's edition
ASSOCIATIONS: Samuel Lover (composer)
The white squall (George Barker, September 1854)
NO COPY OF JOHNSON'S EDITION IDENTIFIED; however, see Woolcott and Clarke's edition
ASSOCIATIONS: George Barker (composer)
The rifle corps march (George Uhr, 1854)
The Australian Rifle Corps march for the pianoforte, composed and dedicated to the fatherland, by George Uhr, esq. (Sydney: W. J. Johnson and Co., [1854])
NO COPY IDENTIFIED
ASSOCIATIONS: George Uhr (composer)
[Advertisement], The Sydney Morning Herald (3 October 1854), 1
http://nla.gov.au/nla.news-article60198299
JUST PUBLISHED. - The Rifle Corps' March. W. J. JOHNSON AND CO., 57, Pitt-street.
"NEW MUSIC", Bell's Life in Sydney and Sporting Reviewer (28 October 1854), 2
http://nla.gov.au/nla.news-article59759337
We have delayed acknowledgment of a copy of "The Australian Rifle Corps March", composed and dedicated to Fatherland, by Mr. George Uhr, in the expectation of receiving a piano, the usual and necessary accompaniment of such presentation, whereby to test the merits of the composition. We have scarcely the presumption to hope that the instrument hallowed by the touch of the divine Catherine will be presented to us for this purpose, by Messrs. Johnson and Co.; but we confidently anticipate the arrival of a respectable "Cottage" or "Cabinet" from the establishment within the next week, when we shall be enabled to march into the "Rifle Corps March".
Fading away (Anne Fricker, October 1854)
Fading away, song, composed by Anne Fricker (Sydney: W. J. Johnson & Co., [1854])
https://trove.nla.gov.au/work/16894377
https://nla.gov.au/nla.obj-166188874 (DIGITISED - Tenth edition)
ASSOCIATIONS: Anne Fricker (c. 1815-1893; Mrs. John Mogford; composer)
[Advertisement], The Sydney Morning Herald (21 October 1854), 8
http://nla.gov.au/nla.news-article12958082
JUST Published, the WAR GALOP, - W. J. JOHNSON and CO.
THE RIFLE CORPS MARCH, by Geo. Uhr, Esq. Price 2s. 6d. JOHNSON and CO., Pitt-street.
FADING AWAY (new Ballad); will be out in a few days. W. J. JOHNSON and CO., Pitt-street.
The singing polka (Giulio Alary, October 1854)
The singing polka, with variations, as sung by Miss Catherine Hayes, and performed by Mr. Lewis Moss, with great success (Sydney: W. J. Johnson and Co., [1854])
https://trove.nla.gov.au/work/255541635
https://nla.gov.au/nla.obj-169292173 (DIGITISED)
ASSOCIATIONS: Catherine Hayes (vocalist); Lewis Moss (pianist); Giulio Alary (composer); originally polka with variations, from his opera Le tre nozze, 1851; also known as Sontag's celebrated polka, as sung by Henriette Sontag (vocalist)
[Advertisement], The Sydney Morning Herald (25 October 1854), 1
http://nla.gov.au/nla.news-article12951819
JUST Published, FADING AWAY, a new ballad. W. J. JOHNSON and CO, 57, Pitt-street.
THE RIFLE CORPS MARCH and WAR GALOP are ready for delivery. W. J JOHNSON and CO.
THE SINGING POLKA will be ready in a few days. W J. JOHNSON and CO., Pitt-street.
The Catherine Hayes's polka (C. W. Harwood, March 1855)
The Catherine Hayes polka, in which an air sung by that celebrated songstress is introduced as an agreeable reminiscence, composed and dedicated with permission to Miss Therry, by W. C. Harwood [sic; but on top of page 1: "Composed by C. W. Harwood"] (Sydney: W. J. Johnson and Co., [1855])
https://trove.nla.gov.au/work/35633696
https://nla.gov.au/nla.obj-169291714 (DIGITISED)
ASSOCIATIONS: Charles William Harwood (composer); Catherine Hayes (vocalist); Jane Frances Therry (b. NSW, c. 1834)
[Advertisement], Empire (17 March 1855), 8
http://nla.gov.au/nla.news-article60177027
CATHERINE HAYES'S Polka, just published by W. J. JOHNSON AND CO., 57, Pitt-street.
SINGING Polka and War Galop, W. J. JOHNSON AND CO., 57, Pitt-street.
[Advertisement], The Sydney Morning Herald (18 May 1855), 1
http://nla.gov.au/nla.news-article12969401
. . . Just published, price 2s 6d. each . . .
The Catherine Hayes Polka; dedicated to Miss Therry, composed by Mr. W. C. Harwood (introducing one of Miss Hayes' most popular airs) . . .
W. J. JOHNSON and CO., 57, Pitt-street; and at the Stores, 5, Wynyard-street.
Chanson d'amour (Hauser, April 1855)
NO COPY IDENTIFIED
ASSOCIATIONS: Miska Hauser (composer)
[Advertisement], Freeman's Journal (7 April 1855), 11
http://nla.gov.au/nla.news-article115554342
NEW MUSIC. CHANSON D'AMORE,
MORCEAUX DE SALON, FOR THE PIANO. COMPOSED BY MISKA HAUSER.
JUST PUBLISHED, BY W. J. JOHNSON and Co., 57, Pitt-street. Price 2s.; per Post, same price.
Mazurka (Hauser, May 1855)
NO COPY IDENTIFIED
[Advertisement], The Sydney Morning Herald (18 May 1855), 1
http://nla.gov.au/nla.news-article12969401
NEW PIANOFORTE MUSIC by MISKA HAUSER -
Just published, price 2s 6d. each, "Chanson d'Amour," dedicated to Madame Montifiore [sic];
and a Mazurka, dedicated to Madame Rawack.
The Catherine Hayes Polka; dedicated to Miss Therry, composed by Mr. W. C. Harwood (introducing one of Miss Hayes' most popular airs.)
Also the Singing Polka, as performed by Miss Catherine Hayes; the Rifle Corps March.
The beautiful songs of "Fading Away," "Oh, Charming May," "May Day," "The Last Meeting," and "Old Folks at Home" . . .
W. J. JOHNSON and CO. . . .
ASSOCIATIONS: Caroline Montefiore (dedicatee); Amalia Rawack (dedicatee)
All things are beautiful (Stephen Glover, August 1855)
NO COPY OF JOHNSON'S EDITION IDENTIFIED
ASSOCIATIONS: Stephen Glover (composer); see US edition
Mother, he's going away (Lover, August 1855)
NO COPY IDENTIFIED
ASSOCIATIONS: Samuel Lover (composer); see US edition
[Advertisement], The Sydney Morning Herald (9 August 1855), 2
http://nla.gov.au/nla.news-article12972707
CATHERINE HAYES POLKA. Just published, by W. J JOHNSON and CO.. 57. Pitt-street.
ALL THINGS ARE BEAUTIFUL. Vocal duet, by Glover. W. J. JOHNSON and CO., 57, Pitt-street . . .
MOTHER, HE'S GOING AWAY. By Lover. Sung by Miss Nelson. JOHNSON and CO..
The bird song (John Wintebottom, October 1855)
The bird song, from the new comedy "A way to reclaim a thoughtless husband", as sung by Mrs. Emma Waller, the music composed by M. Winterbottom [words: J. H. Wilton] (Sydney: W. J. Johnson and Co., [1855])
https://archive.org/details/BirdSong39684/mode/2up (DIGITISED)
ASSOCIATIONS: John Winterbottom (composer); Emma Waller (actor, vocalist); John Hall Wilton (lyrics)
[Advertisement], The Sydney Morning Herald (20 October 1855), 1
http://nla.gov.au/nla.news-article12982616
. . . "The Bird Song," written expressly for Mrs. Waller by Mr. J. H. Wilton, the music by Mr. Winterbottom, and published by Johnson, Pitt-street . . .
[Advertisement], Empire (26 November 1855), 6
http://nla.gov.au/nla.news-article60170259
THE BIRD SONG.- M. WINTERBOTTOM. - Sung by Mrs. Emma Waller, now ready. 2s. 6d. JOHNSON AND CO.
The Sydney harmonicon (musical and literary periodical, with musical supplement, 1855-56)
The Sydney harmonicon, nos. 1-11 (Sydney: W. J. Johnson and Co., [1855-56])
NO COPY OF ANY ISSUE IDENTIFIED
ADVERTISED MUSICAL CONTENTS:
Issue no. 1: - Lovely night - Franz Xavier Chevatal;
Bright sword of liberty - Weber;
Go, lovely flower - Madame J. James;
La figlia mia schottische - Charles Sandys Packer
No. 2 - Pensee musicale - Adolphe Gutmann;
Allied Armies polka
No. 3. Je suis la bayadere (song) - Bochsa;
The New Year's polka [? La coquette polka] - Anton Wallerstein
No. 4. Etude en forme de valse - Charles Sandys Packer;
The spell (song) - Weber;
The lady's ugly schottische - W. J. Johnson
No. 5. Military galop - Neuman
Our village home (song) - Ernesto Spagnoletti senior
No. 6. Concertstuck march - Weber;
Ave Maria (song) - Schubert;
Partant pour la Syrie polka - Charles Sandys Packer.
Nos. 7-11, contents not advertised; but probably including: -
Menuetto e trio and waltz - Beethoven;
Flowers of spring - Weber;
Chanson d'amour - Miska Hauser;
La pastorella dell' alpi - Liszt;
Oh! ye voices gone - "set to music by an amateur . . . who adopts, the cognomen of Zeta";
When Maggie gangs awa - Alexander Lee;
Bella Ciprignia - Francesco Pollini
ASSOCIATIONS: Charles Sandys Packer (Sydney composer); Nicholas Charles Bochsa (composer, died Sydney, NSW, 6 January 1856): Ernesto Spagnoletti senior (Sydney composer)
"THE SYDNEY HARMONICON", The Sydney Morning Herald (24 December 1855), 3
http://nla.gov.au/nla.news-article12973915
A new weekly musical gazette and journal of literature and art, under the above title, has been announced by Mr. W. J. Johnson, and the first number was published on Saturday. In his prospectus Mr. Johnson observes, that it has long been considered desirable to occupy, as it were, a medium position between the newspaper on the one hand and the review on the other; and that it is therefore proposed to supply this desideratum in a somewhat novel manner, inasmuch as, in addition to the ordinary literary, department, there will be a weekly musical issue, consisting either of original vocal and instrumental morceaux by the most talented composers, or reprints of the most popular compositions of the day; promise being given, "that in the musical department every effort will be made to present as great and as agreeable a variety as possible." That Mr. Johnson has faithfully performed, in his first number, all that he promised in his prospectus, we have much pleasure in stating in unqualified terms. The musical morceaux consist of Chevatal's "Lovely night," Weber's "Bright sword," Madame J. James' canzonet, "Go lovely flower," and a new schottische, composed expressly for the Harmonicon by Mr. Charles Packer, of Parramatta. Of the two first named gems of the German school, it is needless to speak in regard to their long acknowledged beauties, and almost unknown here. Mr. Johnson deserves the thanks of our musical circles, for having arranged for their wide diffusion here. The words of the song, "Bright Sword of Liberty," was written by the illustrious Körner, the night before he fell in battle, fighting for the liberty of his fatherland. It has been often translated by poets of Western Europe; but by none so faithfully as by the lamented Felicia Hemans. "He of the lyre and the sword," was one of the chief favourites of the gifted poetess, and earnestly did she summon her powers of thought and feeling to do justice to his muse; and his countryman, the great maestro, Weber, struck his magic harp in the high cause of liberty. The canzonet, "Oh, lovely flower," by Madame J. James, is a delightful drawing-room theme, and will be certain to be favourably received. The schottische, La Figlia Mia, by Mr. Charles Packer, is a brilliant composition; and with its artistical combinations, and graceful embellishments, will be a most welcome addition to our ball-room music. We have thus shown that the promise "to give as great and as agreeable a variety as possible" has been kept; and we cannot but predict for the Sydney Harmonicon an extensive circulation. The literary department is in obviously practised hands, and we anticipate many agreeable reminiscences of gossip on music, literature, and art.
[Advertisement], Empire (3 January 1856), 1
http://nla.gov.au/nla.news-article60171889
NEW SONG, "LA BAYADERE," composed by Signor BOCHSA, and sung by Madame ANNA BISHOP,
will be published in the Harmonicon on SATURDAY next, at the Office. W. J. JOHNSON AND CO., 57, Pitt-street.
ASSOCIATIONS: Anna Bishop (vocalist)
"SYDNEY HARMONICON", Empire (11 January 1856), 5
http://nla.gov.au/nla.news-article60172292
Under this title, a very creditably got up weekly periodical has lately made its appearance, three numbers having been published.
It professes to give criticisms on music and art in general with more discrimination than they generally receive,
and while on the one hand the genuine and true artist is to be fostered and interpreted,
the impostor and the sham is to receive condign punishment at the hand of the editorial Rhadamanthus.
It is a question whether in the present state of Sydney with regard to music and the arts, there is room for such a periodical as the one we see before us.
Even in London, the journals devoted strictly to musical criticisms have a very small circulation;
and the paucity of the material for the critic's pen to be found in this city, is strikingly exhibited in the first three numbers,
there being only three subjects to engage the attention, the Sydney Choral Society, Madame Anna Bishop, and Messrs. Howson and Winterbottom's Concert.
It is not to be wondered at, therefore, that the editor has been driven to fill his columns with a learned essay on the philosophy of sound,
and some light and amusing sketches from London periodicals.
The original matter is carefully written, and in so liberal and appreciative a spirit, that no nervous debutante need tremble at the editorial thunder.
In addition to four folio pages of letter-press, thc Harmonicon also contains four pages of engraved music.
Among these pieces there are some elegant and graceful compositions, but none of them of such originality and charm that they are likely to win a permanent popularity.
Indeed, it is remarkable how very few original musical compositions ever do obtain popularity.
Some few years ago the present proprietors of the London Punch brought out a musical periodical called the Music Book, on which many thousand pounds were expended.
The songs were written by the best ballad writers of the day, and the music was entrusted to the best masters of the art procurable in London.
Mr. Gilbert a'Becket, and Mr. Mark Lemon went deeply into the speculation, wishing, as they said,
to do away with the nonsense verses which were being sung in every drawing-room to favourite airs.
The attempt utterly failed, and ladies still, in melodious accents, "Dream that they dwell in marble halls,"
and make musical inquiries as to whether the hearers will "Love them then as now?" &c., &c.
The attempt on the part of these shrewd and clever writers was abandoned, and we know that some thousands of pounds were lost in the speculation.
If they had succeeded in producing one song as popular as Mary Blane, it would have repaid them.
We fear the proprietors of this colonial publication will find that they will have a great deal of dead stock on their hands at the end of a year,
for music that has not a name nobody seems to care to hear.
Among the more successful pieces we would mention an "Elegant Trifle" from the pen of the late Chevalier Bochsa, called the "Bayadere,"
and a graceful composition by Guttman, entitled "La Coquette."
This last is likely to be a favourite in the drawing-room.
We would suggest to our contemporary to try his hand at a bold, original, Australian Anthem, to celebrate our "precipitation into a nation."
The theme is a worthy one, and would doubtless bring both honour and profit.
In conclusion, we hail our contemporary's appearance in this art-desert with delight, and should, be glad to give him greater hopes of success.
"THE SYDNEY HARMONICON. - NOS. 5 AND 6", Empire (24 January 1856), 3
http://nla.gov.au/nla.news-article60172816
This periodical still keeps up its reputation, and for impartiality of criticism and the varied nature of its contents, is worthy of a wide support. A journal devoted to the fine arts has been long needed in Sydney, and it will certainly be no fault of the conductors of the Harmonicon, if the want is allowed any longer to exist. There are one or two pretty melodies from Weber, and some spirited dance music by Charles Packer, and W. J. Johnson, in the numbers before us, together with a well-written sketch of the late Chevalier Bochsa. We cannot express too much gratification at the dignity of tone which pervades the publication throughout.
[Advertisement], The Sydney Morning Herald (2 February 1856), 9
http://nla.gov.au/nla.news-article12976856
SYDNEY HARMONICON. - This day is published
No. 7 of the above weekly periodical, consisting, besides a variety of instructive and entertaining matter,
Weber's lovely song Flowers of Spring Time, and a very brilliant Pianoforte Sketch, by the celebrated Liszt.
The back numbers can be had on application at the Sydney Harmonicon Office,
at W. J. JOHNSON and CO's., Musical Repository, No. 57, Pitt-street.
No. 1, containing - Lovely Night (song) - Chevatal
Sword Song - Weber
Go, Lovely Flower - James
Schottische - Packer
No. 2 - Fantasia, Pianoforte, Gutteman
Allied Armies Polka
No. 3. La Bayadere (song) - Bochsa
The New Years Polka - Wallerstein
No. 4. Etude - Packer
The Spell (song) - Weber
The "Ladies Ugly" Schottische - Johnson
No. 5. Military Galop - Neuman
Our Village Home (song) - Spagnoletti
No. 6. Concert Stucke March - Weber
Ave Maria (song) - Schubert
Partant pour la Syrie Polka - Packer.
See also [Advertisement], Empire (2 February 1856), 3
http://nla.gov.au/nla.news-article60173209
[Advertisement], The Sydney Morning Herald (9 February 1856), 6
http://nla.gov.au/nla.news-article28638924
THIS DAY IS PUBLISHED, No. 8 of the SYDNEY HARMONICON. W. J. JOHNSON, 57, Pitt-st.
"THE SYDNEY HARMONICON", The Sydney Morning Herald (26 February 1856), 5
http://nla.gov.au/nla.news-article12973904
This musical serial has now reached its tenth number,
and the success which is attending it verifies the favourable prediction which we had no hesitation in offering upon its first appearance.
The days of grands coups de lance are over.
Everything is now done by here a little and there a little; and periodical publications, like timely showers,
translate the wilderness into a fruitful field by gradual instilment.
Music, the youngest born of Heaven's Benevolence, who toils not neither does she spin,
but only fills her father's house with smiles, has no want of service in the acceptable work before us . . .
For comprehensiveness of aim, the Sydney Harmonicon must be especially commended, and musical circles, whether in our towns,
or in the distant homesteads of our rural districts,
are much indebted to Messrs. W. J. Johnson and Co. for the excellent taste which has distinguished the classical selections in each of the numbers already published.
In the higher schools we find some of the choicest gems of the great masters;
amongst which are Beethoven's famous Menuetto e Trio, and also one of his most graceful waltzes.
Carl Von Weber's "Flowers of Spring;" and "Oh, say what strange resistless feeling," are delicious specimens of that illustrious composer's pure style . . .
Returning to the Harmonicon, we will invite special attention to Weber's Marche du Concert Stuck;
the Ave Maria of Schubert, a composer whose strict attention to the meaning of the poet has (as in the instances just referred to) been often cited in terms of the highest praise . . .
Amongst the choicest of the brilliant compositions for the pianoforte we must particularly name "Chanson d'Amour," by Miska Hauser;
"la Pastorella Dell' Alpi," by Liszt; "Pensee Musicale," by Guttmann;
"Etude en forme de Valse," by Charles Packer; the "Ladies' Ugly Schottische," by W. J. Johnson; and other light arrangements.
In the list of vocal music will be found Felicia Hemans' "Oh! ye voices gone," set to music by an amateur of no ordinary merit, who adopts, the cognomen of Zeta.
Bochsa's La Bajadere, in which Madame Bishop, for whom it was expressly composed, has been recently so successful at the Prince of Wales Theatre.
Alexander Lee's piquant Scotch ballad, "When Maggie gangs awa."
Ernest Spagnoletti's "Our Village Home," - a composition worthy of the son of the most accomplished musician who ever presided over the splendid orchestra of the Italian Opera House in the Haymarket.
Musical talent of a high order is inherent in the Spagnoletti family, for a son of M. Ernst,
who is also pursuing the profession in Sydney, has published some compositions bearing the impress of much talent.
With an arietta, by Francesco Pollini, Bella Ciprignia, we close the list in which, as will be observed,
the tastes of all have been carefully consulted.
Our space will not allow us to refer at any length, at present, to the literary part of the work. We shall, therefore,
content ourselves with observing that this department is conducted with much ability, and by experienced hands;
abounding in sound criticisms on music and art generally; and with other valuable papers both original and select.
"NEW PUBLICATION", Freeman's Journal (1 March 1856), 2
http://nla.gov.au/nla.news-article115559171
The Harmonicon, or Musical Gazette and Journal of Literature and Art. Sydney. W. J. Johnson.
We beg to offer our best apology to the enterprising publisher of the Harmonicon, for our long neglect of his admirable periodical.
One of the sad misfortunes of turbulent times - days of political excitement -
is the frequent forgetfulness of those things which chiefly constitute the sunny side of life - namely, Literature, Music, and Art.
The forthcoming elections occupy so much of our attention and consideration, that we have almost forgotten what we owe to the Beautiful.
The object of the conductors of the Harmonicon is obviously, in the first instance,
to elevate the public taste by presenting us with real sound literary matter, and the most approved select music;
and, in the second place, to develop the musical and artistic talent amongst us - defend its claims and promote its influences.
Each number of the Harmonicon for the present, contains four pages of excellent music.
We say for the present emphatically, because we feel sure that, if the public only encourage the noble undertaking,
this department will be considerably enlarged.
The music in each number alone is worth considerably more than the entire price of a single copy.
We can not too strongly recommend our readers to examine at least one number of the Harmonicon;
we feel assured that one number will induce most of them to continue supporting it.
[Advertisement], The Sydney Morning Herald (1 March 1856), 12
http://nla.gov.au/nla.news-article28639317
NEW PUBLICATION. - No. 11 of the SYDNEY HARMONICON, is published THIS DAY. Office, 57, Pitt-street.
The last rose of summer (Moore, March 1856)
The last rose of summer, as sung by Madame Anna Bishop, the words by Thomas Moore (Sydney: W. J. Johnson and Co., [1856])
https://trove.nla.gov.au/work/18044537/version/21176568
https://nla.gov.au/nla.obj-166502089 (DIGITISED)
ASSOCIATIONS: Anna Bishop (vocalist)
[Advertisement], The Sydney Morning Herald (12 March 1856), 8
http://nla.gov.au/nla.news-article12974385
JUST PUBLISHED. The Last Rose of Summer, as sung by Madame Anna Bishop, is now ready. Price 2s. W. J. JOHNSON and CO., 57, Pitt-street.
The names of Christ (C. S. Packer, ? c. 1856)
The names of Christ, anthem, compiled from the holy scriptures, by Samuel Elyard, esq., to whom it is respectfully dedicated by the composer, Charles S. Packer (Sydney: W. J. Johnson, [? 1856])
https://trove.nla.gov.au/work/7577334
https://trove.nla.gov.au/work/260674683
https://collection.sl.nsw.gov.au/record/74VMb8xKdDKb (DIGITISED)
ASSOCIATIONS: Charles Sandys Packer (composer); Samuel Elyard (words)
[Advertisement], The Sydney Morning Herald (9 April 1856), 1
http://nla.gov.au/nla.news-article12974485
SYDNEY CHORAL SOCIETY . . .
THIS EVENING, Wednesday, at St. James' School-room, Castlereagh-street . . .
Part II . . . The Names of Christ - Packer . . .
ASSOCIATIONS: Sydney Choral Society (association)
La Hogue polka (A. Brown, January 1857)
NO COPY IDENTIFIED
ASSOCIATIONS: Anthony Brown (musician, violin maker, composer);
La Hogue (ship); Henry Neatby (captain, dedicatee);
see also "LA HOGUE", The Sydney Morning Herald (27 January 1857), 4
http://nla.gov.au/nla.news-article12991719
[Advertisement], The Sydney Morning Herald (15 January 1857), 6
http://nla.gov.au/nla.news-article12991335
LA HOGUE POLKA, composed by A. BROWN, dedicated to Captain Neatby and Officers of the ship,
will be published on SATURDAY next Price 2s. 6d. W. J. JOHNSON and CO., 57, Pitt-street.
The Simla polka (E. Spagnoletti senior, January 1857)
Simla polka respectfully dedicated to Capt. Cooper and the officers of the steamer Simla, played by Mr. Moss, composed by Spagnoletti (Sydney: W. J. Johnson & Co., [1857])
https://trove.nla.gov.au/work/260774660
https://collection.sl.nsw.gov.au/record/74VKdJZE5Bey (DIGITISED)
ASSOCIATIONS: Ernesto Spagnoletti senior (composer); Simla (ship); Lewis Moss (pianist)
Nina waltz brilliant (E. Spagnoletti junior, January 1857)
The Nina waltz brillante by E. Spagnoletti ([Sydney: W. J. Johnson and Co., 1857])
NO COPY IDENTIFIED
ASSOCIATIONS: Ernesto Spagnoletti junior (composer)
[Advertisement], Empire (16 January 1857), 1
http://nla.gov.au/nla.news-article60273700
THE SIMLA POLKA, respectfully dedicated to Captain Cooper and the Officers, by Spagnolette [sic], to be had at W. J. JOHNSON'S, 314, Pitt-street.
MUSIC. - Nina Waltz Brilliant, respectfully dedicated to Lady Denison, by E. Spagnoletti. W. J. JOHNSON AND CO.
"SIMLA POLKA", The Sydney Morning Herald (13 February 1857), 5
http://nla.gov.au/nla.news-article28636844
Messrs. W. J. Johnson and Co., of Pitt-street, have just published a characteristic polka under the above title. It is the composition of Signor Spagnoletti, and fully sustains his high musical reputation. It is dedicated to Captain Cooper and the officers of the Simla, and will, we feel assured, be a great favorite in those amusements which so generally relieve the monotony of a long sea-voyage; whilst its sparkling style will, we doubt not, secure for it as cordial a welcome in our ball rooms on shore. We are gratified to notice the many charming morceaux of this description, the compositions of our resident musical professors, which have been lately issued by the enterprising publishers of Sydney.
La varsoviana (August 1857)
La varsoviana, a new and fashionable dance, performed with the greatest success at the Court, and Nobilities Balls, arranged for the pianforte (Sydney: W. J. Johnson & Co., [1857]
https://trove.nla.gov.au/work/21051882
https://nla.gov.au/nla.obj-166960760 (DIGITISED)
[Advertisement], The Sydney Morning Herald (29 August 1857), 8
http://nla.gov.au/nla.news-article12999916
JUST PUBLISHED, La Varsoviana, the only true and genuine copy of this new and fashionable dance. JOHNSON and CO. . . .
Little Nell (C. S. Packer, August 1857)
Little Nell, a ballad, founded on an incident in "Master Humphrey's clock", the poetry by Charlotte Young, sung, with enthusiastic applause, by Madame Anna Bishop, to who it is dedicated by her friend and fellow student, the composer, Charles S. Packer (Sydney: W. J. Johnson & Co., [1857])
https://trove.nla.gov.au/work/5492748
https://nla.gov.au/nla.obj-166512347 (DIGITISED)
ASSOCIATIONS: Charles Sandys Packer (composer); Anna Bishop (vocalist); Bishop and Packer had been pupils together in the 1820s at the Royal Academy of Music (London)
[Advertisement], The Sydney Morning Herald (29 August 1857), 8
http://nla.gov.au/nla.news-article12999916
. . . LITTLE NELL. - This charming Ballad, composed by, Charles S. Packer, sung with such enthusiastic applause, by Madame Anna Bishop;
published THIS DAY by JOHNSON and CO., 57, Pitt-street. Price, 2s. 6d.
[Advertisement], The Sydney Morning Herald (4 September 1857), 1
http://nla.gov.au/nla.news-article13000210
LITTLE NELL, ballad, sung by Madame Anna Bishop. 2s. 6d. post free. W. J. JOHNSON and CO.
The violet; I dream of thee (George Barker, May 1858)
Violet, I dream of thee, sung by Madame Sara Flower, at the Sydney Philharmonic concerts, composed by George Barker (Sydney: W. J. Johnson & Co.; and L. Moss, [1858])
https://trove.nla.gov.au/work/5492768
https://nla.gov.au/nla.obj-166513376 (DIGITISED)
https://nla.gov.au/nla.obj-661733317 (DIGITISED)
https://nla.gov.au/nla.obj-165049697 (DIGITISED)
ASSOCIATIONS: George Barker (English composer); Sara Flower (vocalist); Sydney Philharmonic Society (association); Lewis Moss (musicseller)
[Advertisement], The Sydney Morning Herald (14 May 1858), 8
http://nla.gov.au/nla.news-article13010042
JUST PUBLISHED. - New Song, "I dream of Thee," sung by Madame Sara Flower. JOHNSON and CO.
[Advertisement], The Sydney Morning Herald (17 September 1859), 12
http://nla.gov.au/nla.news-article13030882
. . . and the "Violet." W. J. JOHNSON and CO , 172, Pitt-street.
Willie we have missed you (Stephen Foster, January 1859)
Willie we have missed you, the popular ballad sung by Miss Emma Stanley in her musical entertainments (Sydney: W. J. Johnson & Co.; and Lewis Moss, [1859]); cover: "Typ. J. Degotardi"
https://trove.nla.gov.au/work/10708756/version/2117657
https://nla.gov.au/nla.obj-166502439 (DIGITISED)
ASSOCIATIONS: Stephen Foster (US composer); Emma Stanley (vocalist); Lewis Moss (musicseller); John Degotardi (engraver, printer); this is the first extant Johnson publication engraved using Degotardi's new type elements, which from now on would be used by most Sydney music publishers
[Advertisement], The Sydney Morning Herald (6 January 1859), 1
http://nla.gov.au/nla.news-article13016788
JUST PUBLISHED, "Willie we have missed," ballad sung by Miss Emma Stanley. JOHNSON and CO.
Ah, I have sighed to rest me (ballad from Il trovatore (Verdi, September 1859)
NO COPY OF JOHNSON'S EDITION IDENTIFIED
[Advertisement], The Sydney Morning Herald (17 September 1859), 12
http://nla.gov.au/nla.news-article13030882
THE BALLAD from IL TROVATORE - "Ah, I have Sighed;"
also "Fading Away," "Willie, we have missed you," "Last Rose of Summer," and the "Violet."
W. J. JOHNSON and CO , 172, Pitt-street.
Il trovatore waltzes (Spagnoletti senior, November 1859)
Il trovatore waltzes, arranged by Spagnoletti, R.A., and dedicated to his kind friend, W. J. Johnson, esq. (Sydney: W. J. Johnson & Co., [1859])
https://trove.nla.gov.au/work/260844622
https://collection.sl.nsw.gov.au/record/74VvoOy6q4Rb (DIGITISED)
ASSOCIATIONS: Ernesto Spagnoletti senior (composer)
[Advertisement], The Sydney Morning Herald (7 November 1859), 1
http://nla.gov.au/nla.news-article13032796
TROVATORE WALTZES, just published, 2s. 6d. W. J. JOHNSON and CO., Pitt-street.
Break, break, break (Blockley, December 1859)
Break, break, break, sung by Mr. J. R. Black, the words by Alfred Tennyson, esq., composed by John Blockley (Sydney: W. J. Johnson & Co., [1859]); cover: "Engraved and printed by J. Degotardi"
https://collection.sl.nsw.gov.au/record/74VvxJKxkQKZ
https://trove.nla.gov.au/work/17802167/version/22642282
https://nla.gov.au/nla.obj-165716253 (DIGITISED)
ASSOCIATIONS: John Blockley (composer); Alfred Tennyson (lyrics); John Reddie Black (vocalist); John Degotardi (engraver, printer)
[Advertisement], The Sydney Morning Herald (1 December 1859), 8
http://nla.gov.au/nla.news-article28629461
BREAK, BREAK, BREAK - Song sung by Mr. Black, 2s. 6d; W. J. JOHNSON and CO., 172, Pitt-street.
[Advertisement], The Sydney Morning Herald (10 December 1859), 12
http://nla.gov.au/nla.news-article13034217
BLOCKLEY'S New Song, "Break, Break, Break," sung by Mr. Black. 2s. 6d. JOHNSON and CO.
Jessie, a conversation polka (Henry Marsh, December 1860)
Jessie, a conversation polka, to Miss Pitt, words by H. N. Montagu, esq., music by Henry Marsh [To Miss Pitt of Bronte] (Sydney: H. Marsh; W. J. Johnson and Co., [1860]); cover: "Printed at J. Degotardi's"
https://trove.nla.gov.au/work/12840678
https://nla.gov.au/nla.obj-164720922 (DIGITISED)
ASSOCIATIONS: Henry Marsh (composer, musicseller); Henry Neville Montagu (lyrics); Jessie Pitt (1840-1887; Mrs. William Mylam Nicholas Garling)
[Advertisement], The Sydney Morning Herald (17 December 1860), 8
http://nla.gov.au/nla.news-article13050260
MUSICAL NOVELTY. - In the Press, and will be ready in a few days, "The Conversation" or "Jessie Polka," composed by Henry Marsh.
Price 2s. 6d. W. J. JOHNSON and CO., 233, Pitt-street.
[Advertisement], The Sydney Morning Herald (5 February 1861), 2
http://nla.gov.au/nla.news-article13052172
JUST PUBLISHED. price 2s, THE JESSIE, or Conversation Polka W. J. JOHNSON and CO.
JUST PUBLISHED, the "Jessie Polka," by H. MARSH. 269, George-street.
"THE 'JESSIE,' OR 'CONVERSATION,' POLKA", Empire (7 February 1861), 5
http://nla.gov.au/nla.news-article60495176
In our Musical notice of Monday, we omitted to mention the above new publication, which has just been issued by H. Marsh and Co. Of all our composers, Mr. H. Marsh is the most felicitous, as regards dance music. His melodies, whilst variable, light, and sparkling, are so to the purpose - so to the time and measure - in short, so danceable, that they are always seized on in every drawing room, or at each ball. The "Jessie" Polka, dedicated to Miss Pitt, of Bronte, must rouse the most phlegmatic; those delighting in the saltatory amusement will commence dancing as soon as the first few bars are sounded. A change of key at the termination of the first polka movement introduces the usual trio, but, though in polka time, the melody ia here so pleasing and so like a song, that some words have been appended by Mr. H. N. Montagu, which, though not of Byronian measure, will nevertheless serve to introduce conversation between partners. Instead of the usual rapid compliments on those occasions; and, moreover, the verses really are "complimentary" (according to title), in spite of the equivocal first line. After the trio the original melody brings the piece to a satisfactory conclusion.
My Johnny was a shoemaker (arr. C. S. Packer, April 1861)
My Johnny was a shoemaker (ancient Scotch song) sung with enthusiastic applause by Lady Don, the symphonies and accompaniments by Charles S. Packer (Sydney: W. J. Johnson & Co., [1861]); cover: "Printed at [Degotardi's]"
https://trove.nla.gov.au/work/260768476
https://collection.sl.nsw.gov.au/record/74VK72jEykXl (DIGITISED)
ASSOCIATIONS: Charles Sandys Packer (pianist, arranger); Emily Don (vocalist)
[Advertisement], The Sydney Morning Herald (6 April 1861), 12
http://nla.gov.au/nla.news-article13059380
JUST PUBLISHED, "My Johnny was a Shoemaker," ancient Scotch song;
sung by Lady Don nightly at the Victoria Theatre, with enthusiastic applause and encored three times. Price, 2s. JOHNSON and CO.
"MUSIC", Empire (6 April 1861), 4
http://nla.gov.au/nla.news-article60493762
In our notice of the performances at the Victoria Theatre on Thursday evening, we adverted to the very enthusiastic reception accorded by the audience to a song introduced by Lady Don in the comedietta which concluded the programme. The song in question, entitled, "My Johnny was a Shoemaker," has unquestionably achieved a most rapid and decided popularity in our good city; and perhaps one of the best evidences we can adduce of this fact will be found in the more or less accurate imitations of the refrain of the song, which may be heard chanted by our gamins and Bedouins in all our leading thoroughfares. The song has just been published by Messrs. Johnson and Co., of Pitt-street, and the melody has been exquisitely harmonised by Mr. Packer. It would savour somewhat of effrontery to impugn the worth of the most able musician to whom this colony can claim, or we might take exception to the abruptness of the transition (however justifiable by musical rules) from B major to E minor, in the three bars of the symphony. This, after all, is perhaps only in keeping with a composition which, like very many of its Scottish contemporaries, ends on the 5th, a feature which constitutes a distinctive characteristic of the national airs of Caledonia. The words, we understand, were written by Mr. Wilton, Sir William Don's talented agent, who is also the author of a song which has attained a very extended renommee, and which will be familiar to many of our readers under the title of "Limerick Races." "My Johnny was a Shoemaker," even if not regarded as a souvenir of Lady Don, will be welcomed by the lovers of old melody most exquisitely harmonised.
ASSOCIATIONS: John Hall Wilton (lyrics); Royal Victoria Theatre (Sydney venue)
The Garibaldi polka (E. Spagnoletti junior, April 1861)
The Garibaldi polka composed by Ernesto Spagnoletti, dedicated to Signor Cutolo (Sydney: W. J. Johnson & Co., [1861]); cover: "Litho, J. Degotardi"
https://trove.nla.gov.au/work/18988771
https://nla.gov.au/nla.obj-165560732 (DIGITISED)
ASSOCIATIONS: Ernesto Spagnoletti junior (composer); Cesare Cutolo (pianist, dedicatee)
[Advertisement], The Sydney Morning Herald (6 April 1861), 12
http://nla.gov.au/nla.news-article13059380
JUST PUBLISHED . . . THE GARIBALDI POLKA, by E. SPAGNOLETTI, beautifully illustrated, 2s. 6d. JOHNSON and CO., Pitt-street.
"THE GARIBALDI POLKA", The Sydney Morning Herald (20 August 1861), 5
http://nla.gov.au/nla.news-article13061841
Every week brings out something new in dance music: remarkable personages or events suggest to the composer who caters for the demand of the votaries of Terpsichore that such ought to be recorded in galop, valse, or polka, and, indeed, a hero, on whatever stage of life he may appear, can scarce be said to have achieved immortal fame until his name or portrait is attached to the title page of some composition specially written for the ball-room. The great Italian hero of the present day has at length reached this apex of popularity, and we have now to record the publication of a polka bearing his name, by Ernesto Spagnoletti, and dedicated to the patriot's countryman and accomplished pianist, Signor Cutolo. Besides being brilliant in style, it possesses greater originality than is usually met with in compositions of this character. The time is well marked, a circumstance of great value to the dancer and the triplets at the end of each bar in the first part give it a pleasing effect; a plentiful use has also been made of the chromatic scale in the second part, which, is in B flat, the coda returning to the original key of A flat. The whole is well modulated, which, as a matter of course, adds materially to the brilliancy of the polka. As a specimen of colonial printing it is highly creditable; the title page is most elaborate, and artistically designed, - the prominent word "Garibaldi" being printed in fancy letters of gold and red. The notation is remarkably clear and apparently correct, which is also a very important feature, but one to which frequently little regard is paid. With so many commendable points, it cannot fail to become a great favourite m fashionable circles. The publishers are Messrs. Johnson and Co., of Pitt-street.
No jewelled beauty is my love (Robinson, August 1861)
No jewell'd beauty is my love, ballad, set to music and published expressly in aid of the building fund of the Hunter's Hill School, June 3rd, 1861 [words by Gerald Massey, music by C. E. Robinson] (Sydney: W. J. Johnson & Co., [1861]); cover: "Engraved at J. Degotardi's"
https://trove.nla.gov.au/work/19492981
https://nla.gov.au/nla.obj-181785636 (DIGITISED)
ASSOCIATIONS: Charles Edward Robinson (composer); Gerald Massey (English lyricist)
[Advertisement], The Sydney Morning Herald (6 August 1861), 8
http://nla.gov.au/nla.news-article13064245
NO JEWELLED BEAUTY IS MY LOVE, ballad, just published in aid of the building fund of the Hunter's Hill School.
To be had at W. J. JOHNSON and CO.'S, and all other musicsellers.
Dixey's Land galop (1862)
Dixey's Land galop . . . second edition (Sydney: W. J. Johnson & Co., [1862]); cover: "Printed at J. Degotardi's"
https://trove.nla.gov.au/work/19204103
https://nla.gov.au/nla.obj-165674851 (DIGITISED)
https://collection.sl.nsw.gov.au/record/74VvlyaPK4EZ
Dixey's Land galop . . . fifth edition (Sydney: W. J. Johnson & Co., [1862])
https://trove.nla.gov.au/work/260851761
https://collection.sl.nsw.gov.au/record/74VK65d0o3Py
[Advertisement], The Sydney Morning Herald (29 October 1862), 6
http://nla.gov.au/nla.news-article13236294
DIXEY LAND GALOP, as performed by Her Majesty's 12th Regiment, 2s. 6d. W. J. JOHNSON, 233, Pitt-street.
VOLUNTEER BANDS - The Universal Quick Step, on Staff Parade, cards, 4s. 6d. each. W. J. JOHNSON and CO.
High let us swell our tuneful notes (James Johnson, posthumously published, December 1862)
See details in Musical works (above)
O, Lord God (composed by W. J. Johnson, October 1863)
See details in Musical works (above)
Australia (James Waller, December 1863)
Australia, a patriotic song, dedicated to the volunteer forces of Australia, written and composed by James Waller (Sydney: W. J. Johnson & Co., [1863]); cover: "J. Degotardi"
https://trove.nla.gov.au/work/33539273/version/41229199
https://nla.gov.au/nla.obj-169463075 (DIGITISED)
ASSOCIATIONS: James Waller (composer)
[Advertisement], The Sydney Morning Herald (10 December 1863), 6
http://nla.gov.au/nla.news-article13085883
MR. WALLER'S new song, "AUSTRALIA," may he had at W. J. JOHNSON and CO'S, Pitt-st.
Nearer to thee (Frederick Alexander Packer; arranged by W. J. Johnson, September 1864)
See details in Musical works (above)
Good-bye (Mackenzie, December 1864)
Good-bye, words by Walter Allen, music by Harry Mackenzie ([Sydney: W. J. Johnson and Co., 1864])
NO COPY IDENTIFIED
ASSOCIATIONS: Harry Mackenzie (composer); Walter Bourne Allen (lyrics)
[Advertisement], The Sydney Morning Herald (17 December 1864), 12
http://nla.gov.au/nla.news-article13102439
NEW SONG, "Good-bye," words by Walter Allen, music by Harry Mackenzie, 2s. JOHNSON and CO.
"NEW MUSIC", Sydney Mail (28 January 1865), 2
http://nla.gov.au/nla.news-article166662542
Under the title of "Good Bye," a new ballad has just been published by Mr. W. J. Johnson, of Pitt-street. The words are by Walter Allen, and the music is the composition of Harry Mackenzie. Both words and music are pretty, and the song bids fair to become a favourite.
Hark, the herald angels sing (Burney, December 1864)
Hark, the herald angels sing, the hymn for Christmas Day, by Miss Burney (Sydney: W. J. Johnson & Co., [1864]); cover: J. Degotardi"
https://trove.nla.gov.au/work/16894297
https://nla.gov.au/nla.obj-171708652 (DIGITISED)
ASSOCIATIONS: Charles Burney (composer); see US edition (1807)
[Advertisement], The Sydney Morning Herald (17 December 1864), 12
http://nla.gov.au/nla.news-article13102439
CHRISTMAS HYMN. "Hark, the Herald Angels," 1s. 6d. W. J. JOHNSON and CO., 233, Pitt-street.
The nervous cures (arr. Montague Younger, February 1865)
The nervous cures, as danced by the celebrated Christy's Minstrels, arranged for the pianoforte by M. Younger (Sydney: W. J. Johnson and Co., [1865])
https://trove.nla.gov.au/work/17101523
https://nla.gov.au/nla.obj-169687756 (DIGITISED)
ASSOCIATIONS: Montague Younger (arranger); Smith, Brown, and Collins's Original Christy's Minstrels (troupe)
The nervous cures galop (Montague Younger, February 1865)
The veritable Christy's Nervous Cures galop, as played at the Nobility's and Genrty's Balls, M. Younger (Sydney: W. J. Johnson & Co., [1865])
https://trove.nla.gov.au/work/20843046
https://nla.gov.au/nla.obj-166853791 (DIGITISED)
[Advertisement], The Sydney Morning Herald (13 February 1865), 8
http://nla.gov.au/nla.news-article30935996
JUST PUBLISHED, "The Nervous Cures," as sung by the Christy's Minstrels, with the words,
arranged as a pianoforte piece by M. Younger, 2s. 6d. W. J. JOHNSON and CO., 233, Pitt-street.
[Advertisement], The Sydney Morning Herald (14 February 1865), 2
http://nla.gov.au/nla.news-article13111044
JUST PUBLISHED, the "NERVOUS CURES," as sung by the Christy's Minstrels, with the words,
arranged as a pianoforte piece, by M. Younger, 2s. 6d., to which will be added the GALOP.
W. J. JOHNSON and CO., 233, Pitt-street.
[Advertisement], The Sydney Morning Herald (18 February 1865), 2
http://nla.gov.au/nla.news-article13107737
Te Deum and Jubilate in D (composed by W. J. Johnson, August 1866)
See details in Musical works (above)
Bibliography and resources:
Graeme D. Rushworth, Historic organs of New South Wales: the instruments, their makers and players, 1791-1940 (Sydney: Hale & Iremonger, 1988), 365-67
https://trove.nla.gov.au/work/16876593
Prue Neidorf, A guide to dating music published in Sydney and Melbourne, 1800-1899 (Masters thesis, University of Wollongong, 1999), 183 (James), 184-85 (W. J.), and passim
http://ro.uow.edu.au/theses/2926 (DIGITISED)
James Forsyth, Music of the Anglican churches in Sydney and surrounding regions (Ph.D thesis, University of Sydney, 2002), passim
http://ses.library.usyd.edu.au/handle/2123/2447
James Johnson, Geneanet
https://gw.geneanet.org/rerj37?n=johnson&oc=2&p=james
William Jonathan Johnson, Geneanet
https://gw.geneanet.org/rerj37?lang=en&n=johnson&p=william+jonathan
© Graeme Skinner 2014 - 2026