LAST MODIFIED Monday 29 March 2021 8:30

Thomas Reed and family

Dr GRAEME SKINNER (University of Sydney)


To cite this:

Graeme Skinner (University of Sydney), "Thomas Reed and family", Australharmony (an online resource toward the history of music and musicians in colonial and early Federation Australia):; accessed 19 April 2021

REED, Thomas (Thomas REED; Mr. REED; Mr. T. REED; "Daddy" REED)

Musician, string player (violin, viola, cello, double bass), orchestra leader, professor of music, music class leader, composer, musicseller

Born London, England, 1795; son of Thomas REED and Margaret WESTBROOK

Married (1) Frances GERMAN (? c. 1792-1839), Ss. Philip and Jacob, Bristol, England, 14 July 1816

Married (2) Amelia Ann SMITH (1822-1866), London, England, 1846

Arrived Melbourne, VIC, 8 November 1849 (per Gitana, from London, 14 July)

Died Fitzroy, VIC, 19 June 1871, aged 76 (TROVE tagged by Australharmony)

REED, Emma (Emma Martha REED; Mrs. Daniel HARRISON)

Pianist, music teacher

Born England, 27 August 1832; baptised St. Nicholas, Cole Abbey, London, 11 March 1849 [sic]; daughter of Thomas REED and Frances GERMAN

Arrived Melbourne, VIC, 8 November 1849 (per Gitana, from London, 14 July)

Married Daniel HARRISON (1818-1902), St. James's church, Melbourne, VIC, 27 April 1850

Died VIC, 7 March 1915, aged "84" (TROVE tagged by Australharmony)


England to 1849

London, Bristol, and Bath, 1795-1831

Thomas Reed was born in or near London, in or around 1795. He was a son of Thomas Reed and Margaret Westbrook, who had married at St. Matthew's church, Bethnal Green, on 27 August 1791. Thereafter, no documentary record of his earliest years has yet been uncovered.

Aged 21, Reed married Frances German on 14 July 1816, at SS. Philip and Jacob, in Bristol. Their first son, Thomas German Reed (1817-1888), was born in Bristol the following year. At this time, Thomas was probably a member of the orchestra of the Theatre Royal, Bristol.

According to a report at the time of his retirement from the Theatre Royal, Haymarket in London in 1849, Reed was first associated with the band there, in a "subordinate capacity", 30 years earlier, around 1820, during the proprietorship of David Edward Morris.

By around 1827, or perhaps considerably earlier, Reed and his growing family were living in the south west, in Bath. In 1830, as a cellist and musical arranger, Thomas was reportedly a member of the orchestras of both the Theatre Royal and the Grand Pump Room, while also being active around this time in nearby Bristol.

Under Thomas's tutelage, his eldest son, German Reed, made his concert and theatre debuts, according to later biographies as a pianist and singer aged 10 (c. 1827). As Master Reed he appeared as a vocalist in concerts in Bath, Bristol and Devizes in 1829 and 1830.

By 9 November 1828, when all seven of their surviving children were baptised together at the parish church in the Bath suburb of Lycombe and Widcombe, Reed and his wife were living in Claverton Place, and were still at the same address on 25 May 1831, when their son Robert (born 1829) and daughter Harriet Elizabeth (born 1831) were baptised.

In June 1830, his second son, William, reportedly aged 8 (actually 9) made his public debut as a cello soloist at the Theatre Royal, Bath. Thomas had evidently also maintained working contacts with the Haymarket Theatre on visits to London. A Master Reed (probably German) began to appear in minor roles there during the London summer season, and a few months later, William made his first appearance in London there, performing a cello solo, for Eliza Paton's benefit on 15 October 1830, when Master Reed (German) also appeared as Franco in Bishop's opera Guy Mannering.

London, 1831-49

The family finally moved permanently probably in the summer of 1831, in the first instance probably to allow the eldest, German, to pursue his musical career. Thomas himself probably returned to the band of the Haymarket Theatre, and "Master Reed" (the 15-year-old German) continued to be billed in minor roles in musical pieces. Around this time, according to later recollection, Thomas also became conductor at the Garrick Theatre, in Leman Street, Whitechapel, with German as his deputy. One of German's earliest reported compositions was an overture performed by the orchestra of the Garrick, presumably under Thomas's direction, on 27 December 1833. From 1832 German was reportedly also organist of the Roman Catholic chapel in Sloane Square.

For the spring season of 1838, at the Haymarket Theatre, since the previous year under the lesseeship of Benjamin Webster, Thomas and German were for the first time billed respectively as the musical director and leader of the band. They continued to work together there for the next decade, though with German increasingly taking the leading role as composer and conductor.

Meanwhile, according to Thomas's later account, he was also active as a teacher and music seller. Some of German Reed's early compositions were published jointly by him and his father under the family imprint, "Reed and Sons" (see, for instance, The vixen, 1845)

In 1840, Thomas was also founder conductor of an amateur musical society in Islington, at whose concerts leading London professionals assisted, as well as the male members of his family. As "Miss Reed", one of his elder daughters also appeared as a singer, perhaps Frances (1822-1900) or Ellen (1823-1896, Mrs. William Coleman).

During the later 1840s, two other sons, then in their mid teens, probably also became active in the Haymarket orchestra. James Westbrook Reed (1828-1876) was later elected to the Royal Society of Musicians in 1854, and Robert Hopké Reed (1829-194) to the same society in 1859.

Reed's wife Frances having died in 1839, he married Amelia Smith in 1846.

Upon Thomas's retirement from the Haymarket in July 1849, it was reported:

Mr. Reed received a handsome ring from the members of the orchestra of the Haymarket Theatre; he is about to quit England for Port Philip.

Australia from 1849

In preparation for emigration to Victoria, Reid's two eldest daughters from his first marriage, Harriet Elizabeth, aged 17, and Emma Martha, 16, were baptised at St. Nicholas Cole Abbey, in the City of London, on 11 March 1849 (Harriet need not of have been; she had already been baptised in Bath in 1831).

He was already in his 50s when he arrived in Melbourne on the Gitana in November 1849, with his second wife, Amelia Ann Smith, and two daughters. He immediately opened a music warehouse in Bourke Street with stock he had brought with him. Further stock, evidently ordered before his departure, continued to arrive in early 1850.

In November 1850 he published his own new work, The song of Victoria ("Written and Composed with Original Music, by Thomas Reed"), now lost, celebrating Separation.

At a concert in May 1850 he presented his son German Reed's Plantagenet polka, as well as his own Fantasia on Italian operatic airs and a Pasticcio, introducing the Yarra Yarra schottische and Port Phillip aerial galop (written for and performed at the recent Royal Birthnight Ball).

Reed was almost an early member of the Melbourne Philharmonic Society, and was a member of its orchestra, playing cello when required, and also arranging music.

Thomas Reed, Melbourne, 1860s (from a family collection; kindly supplied by Neill Reed, UK, 2021)


England to 1849

14 July 1816, marriage of Thomas Reed and Francis German, St. Philip & Jacob, Bristol

Marriages solemnized in the parish of St. Philip & Jacob, in the county of Bristol in the year 1816; register, 1813-19, page 147; Bristol Archives (PAYWALL)

No. 439 / Thomas Reed of this Parish and Frances German of this Parish were married in the Church by Banns this [14 July 1816] . . .

Bath, c. 1827 (or earlier) to 1832

WIDCOMBE CHURCH, NEAR BATH, Great Britain illustrated (1830)

WIDCOMBE CHURCH, NEAR BATH, in Great Britain illustrated . . . from drawings by William Westall, A.R.A. . . . (London: Charles Tilt, 1830), 116 and plate (DIGITISED)

WIDCOMBE is one of the beautiful suburbs of the City of Bath, comprising within its boundary Widcombe Parade and Claverton Place . . .


20 December 1827, liturgical performance, St. Joseph's Catholic chapel, Trenchard Street, Bristol, Thomas Reed (cello)

[Advertisement], Bristol mercury (17 December 1827), 3

Bristol Catholic Charity School.
ON THURSDAY NEXT, December 20, 1827, will be celebrated at the CATHOLIC CHAPEL, TRENCHARD-STREET . . .
Music. GRAND MASS - (No. 1) - Mozart.
Miss FORDE will sing the celebrated "GRATIAS AGIMUS TIBI" - Guglielmi, With a Clarionet Obligato, by Mr. MURPHY . . .
Leader of the Band, Mr. J. LODER.
Conductor at the Organ, Mr. G. F. STANSBURY.
Violas, Messrs. HERVEY. Violoncello, Mr. REED.
Double Bass, Mr. JOSEPH STANSBURY . . . .

ASSOCIATIONS: John David Loder (1788-1846, uncle of George Loder)

MUSIC: Mass in C (Mozart, K 317); Gratias agimus tibi (Guglielmi)


9 November 1828, group baptism of all 7 surviving Reed children, St. Thomas's church, Widcombe, Bath

Reed family baptisms, 1828

Baptisms solemnized in the parish of Lyncomb & Widcomb in the county of Somerset in the year 1828; register, 1826-37, pages 58-59; Somerset Archives (PAYWALL

Nov'r 9th [1828] [Nos]. 460-66 / Thos. German / Born June 7th 1817 / [son of] Thomas & Frances / Reed / Claverton Place / Musician . . .
William Francis [Reed] / Born Feb'y 8th 1821 . . .
Frances Margaret / Born Aug't 5 1822 . . .
Ellen Gedrych / Born Dec'r 16 1823 . . .
George Frederick / Born Sep'r 16 1825 . . .
Mary Ann / Born Jan'y 21st 1827 . . .
James Westbrook / Born August 6th 1828 . . .


2 June 1829, concert, Devizes, Wiltshire, Thomas Reed (cello) and German Reed (vocalist)

[Advertisement], Devizes and Wiltshire gazette (28 May 1829), 3

GRAND CONCERT, BEAR INN, DEVIZES . . . on TUESDAY the 2d of June, 1829.
PRINCIPAL VOCAL PERFORMERS: - MISS CHUBB, and MASTER REED, (from the London and Bath Concerts;)
MR. FARNDEL, of the Theatre Royal, Haymarket,) And MR. EDWARDS.
Second Violin - Mr. CHUBB. Tenor - Mr. TYTE. Flute - Mr. QUELCH.
Violoncello - Mr. REED. Double Bass - Mr. GUY.
PART I. Overture, L'Italiana in Algieri - Rossini.
Duetto "My Pretty Page" - Miss Chubb and Master Reed - Bishop . . .
The celebrated Quartetto, "God Preserve the Emperor" - Messrs. Knight, Chubb, Pitman, and Reed - Haydn
Song, "Fly away Lady Bird" - Master Reed - Roche . . .
Quartetto - "Yes 'tis the Indian Drum" - Miss Chubb, Master Reed, Mr. Farndel, and Mr. Edwards
PART II. Overture, "Der Freischutz" - Weber
Trio - "Trid Fior de Apprilli" [sic] - Miss Chubb, Master Reed, and Mr. Edwards - Cherubini . . .
Song "The Banner of Blue" - Master Reed - Stansbury
Finale, "The Chough and Crow" - Miss Chubb, Master Reed; Mr. Farndel, and Mr. Edwards - Bishop.
The whole under the direction Mr. Quelch . . .

MUSIC: Theme and variations (2nd movement, G major) from String quartet op. 76 no. 3 (Haydn)


7 January 1830, Bishop's Palace, Wells, German Reed (vocalist)

[News], Bath chronicle and weekly gazette (14 January 1830), 3

A musical fete, confined exclusively to sacred harmony, and distinguished alike by taste and elegance, was given at the Palace, Wells, on Thursday evening last [7 January], to an assemblage ot about 130, by our estimable and deservedly popular Diocesan, under the very able conduct of Mr. A. Loder, of Bath. The performers, Miss Wharton, Miss Loder, Mr. Rolle, and Master Reed, obligingly assisted by Mr. Beauchamp, jun. of West-Pennard, formed the small, but choice and scientific choir. Mr. George Field on the organ . . .

ASSOCIATIONS: Andrew Loder (the younger, 1785-1838), was son of Andrew Loder (the elder 1752-1806); Andrew (the elder) was a cousin of John Loder (1757-95), whose sons were John David Loder (1788-1846), father of Edward James Loder and ; and George Loder (c. 1794-1829), the latter father of George Loder (1816-68), later active in Australia, and Kate Loder.

15 January 1830, pantomime, Theatre Royal, Bath, Thomas Reed (musical arranger)

[Playbill], Theatre Royal, Bath, 15 January 1830 (detail)

[Playbill], Theatre Royal, Bath, 15 January 1830 (DIGITISED)

On FIRDAY, JANUARY 15th, 1830 . . . To conclude with a New Comic PANTOMIME, with New Scenery, Machinery, Dresses, &c., called
The Music selected and arranged by Mr. REED . . .

For other musical productions that same month, see also [Playbill], Theatre Royal, Bath, 15 January 1830 (DIGITISED)

5 February 1830, morning concert, Bath, German Reed (vocalist)

[News], Bath chronicle and weekly gazette (11 February 1830), 3

Miss Wharton's Morning Concert, on Friday last [5 February], was extremely well attended. The various performances appeared to give great satisfaction . . . Master Reed sang Handel's repetitions, in "Angels ever bright and fair," in a very chaste manner. Mr. Croft, as bass singer, gave to the music allotted him a tasteful execution. The other performers also acquitted themselves the satisfaction of the audience. The instrumental department was, as usual, ably led Mr. Loder.

27 March 1830, concert, Pump Room, Bath, German Reed (vocalist)

[Advertisement], Bath chronicle and weekly gazette (25 March 1830), 3

GREAT PUMP-ROOM. THE Nobility and Gentry are most respectfully informed that a Grand CONCERT of Vocal and Instrumental Music, (in aid of the Funds for the Prolongation the Pump-Room,) will take place on Saturday Morning, March 27th, 1830.
Mr. BIANCHI TAYLOR, and Mr. CROFT, Who have kindly offered their valuable services.
Leader of the Band, Mr. GUY, (Which will be considerably augmented.) . . .

ASSOCIATIONS: John Bianchi Taylor (born Bath, 1801; died Bath, 1876), vocalist, pianist, composer, conductor

8 April 1830, concert, Assembly Rooms, Bath, German Reed (vocalist)

[News], Bristol mercury (6 April 1830), 3

from the most esteemed Compositions of HANDEL,HAYDN, MOZART, BEETHOVEN, PERGOLESI and ROMBERG . . .
on THURSDAY EVENING NEXT, April 8th, 1830, under the Management of a Committee.
Principal Vocal Performers already engaged:
Miss WHARTON (of the Nobility's Concerts),
Master REED (from the Bath and other Concerts), and Miss STANSBURY,
Mr. BLAND, Mr. A. LODER, and Mr. MARTYN . . .
Leader of the Band (which will be very numerous and complete) Mr. JOHN STANSBURY.
Conductor (at the Grand Piano Forte) Mr. ANDREW LODER . . .

27 May 1830, Theatre Royal, Bath, debut of William Reed (cello); and Bristol, 4 June

[News], Bristol mercury (1 June 1830), 3

Friday night [27 May], at the Bath Theatre, Master Reed, only 8 years of age (son of Mr. Reed, of the Pump-room and Theatrical Orchestras) played a solo on the violoncello; and it is but justice to this embryo Lindley to state, that he acquitted himself astonishingly well, and was most enthusiastically applauded. Master Reed, we understand, will perform the same Solo at Mr. Morgan's benefit Concert, which is fixed for Friday Evening next, June 4th, at the Assembly Rooms, Prince's-street [Bath]. See Advertisement.

ASSOCIATIONS: Robert Lindley (cellist)

MASTER WILLIAM REED. Theatre Royal, Haymarket, December the 15th, 1830

MASTER WILLIAM REED. Theatre Royal, Haymarket, December the 15th, 1830

15 October 1830, Theatre Royal, Haymarket, London debut of William Reed (cello)

"THEATRE ROYAL, HAYMARKET", The tatler (15 October 1830), 144 

THEATRE ROYAL. HAYMARKET. For the Benefit of MISS PATON, and the Last Night of the Season . . .
GUY MANNERING . . . Franco, Master REED . . .
In the Course of the Evening, Master W. REED, will perform (for the 1st time in London) a Grand Solo on the Violencello . . .

[Advertisement], The morning advertiser [London] (15 October 1830), 2

Last Night of the Company's Performing Season.
THIS EVENING (Friday), Oct. 15, will be performed
GUY MANNERING. Henry Bertram, Mr. Horn; Dandie Dinmout, Mr. Webster;
Dominie Sampson, Mr. W. Farren; Lucy Bertram, Miss Paton; and Meg Merrilies, Mrs. W. Clifford.
In the course of the evening Master William Reed will perform (for the first time in London), a Grand Solo on the Violoncello.
The celebrated Finale to Cinderella, and the National Anthem of "God save the King."
To conclude with INKLE AND YARICO. Sir Christopher Curry, Mr. W. Farren; Inkle, Mr. Vining; and Yarico, Miss Paton.

ASSOCIATIONS: William Farren (actor)


6 April 1831, benefit concert, Bath, for William Reed (cello)

"THE BENEFIT CONCERT . . .", Bath chronicle and weekly gazette (14 April 1831), 3

. . . of that surprising child, Master W. Reed, took place on Wednesday morning last. Among the vocal performers were Miss Riviere, Miss Watson, Miss Hall; Messrs. Croft, A. Loder, Bianchi Taylor, &c. Raptures of applause were excited the performance of Master Reed on the violoncello, and which indeed might be truly denominated astonishing in one so very young. The fine band of the 5th Dragoon Guards was present, and by their performances added considerably to the general effect of the Concert. The room was attended by a most brilliant and distinguished company.

ASSOCIATIONS: Miss Riviere (= Anna Bishop)

10 May 1831, Theatre Royal, Bath, benefit of German Reed (prior to his going to London) and Thomas Reed's pupil, Miss Holl

[Advertisement], Bath chronicle and weekly gazette (28 April 1831), 3

Theatre Royal, Bath. Madame VESTRIS'S Third Night . . .
PERFORMERS' BENEFITS will occur in the following succession . . .
TUESDAY, [May] 10 - Master REED, Miss HOLL, Miss SALMON . . .

ASSOCIATIONS: Lucia Vestris (vocalist, actor)

25 May 1831, baptism of Robert and Harriet Reed, St. Thomas's church, Widcombe (prior to their going to London)

Baptisms solemnized in the parish of Lyncombe & Widcombe in the county of Somerset in the year 1831; register, 1826-37, page 131; Somerset Archives\ (PAYWALL)

No. 1044 / May 25th / Robert son of / Thomas and Frances / Reed / Claverton Place / Musitian [sic] . . .
No. 1045 / May 25th / Harriet Elizabeth D'r of / Thomas and Frances / Reed / Claverton Place / Musitian . . .

19 May 1831, concert, Miss Holl (vocalist, pupil of Thomas Reed)

"THE THIRD GRAND SUBSCRIPTION CONCERT . . .", Bath chronicle and weekly gazette (26 May 1831), 3

. . . took place on Thursday night last [19 May]. The inimitable Pasta was in splendid voice, and astonished the company by her powers of song. She was encored in "Il soave e bel contento," the recitative, "O Patria," and "Di tanti palpiti," her execution of which excited the admiration which is always raised by her magnificent performances. Signior Rubini delighted and amazed the audience with the brilliant ability which he displayed. He fully realized all the anticipations which had been formed respecting his powers, and was rapturously applauded in all his pieces. The Concert was opened with the Overture to Masaniello, which was executed a style that attracted considerable approbation; after which Miss Holl (pupil of Mr. Reed) sang, in a very touching and talented manner, a sweet Ballad by Roche, in which she was deservedly and rapturously encored. - It would be scarcely possible for to speak too highly of Mr. Henry Field's performance the Piano Forte, of the Grand Variations on the March the Overture to Guillaume Tell. - The character of this gentleman's playing is too well known to need any comment from us; and we have, therefore, only to say, that his ability was fully appreciated on the present occasion: Mr. Bianchi Tavlor gave the romance "Rose softly blowing," with considerable taste and judgment, and Mr. Mori's Fantasia on the violin, attracted enthusiastic applause.- We should not omit to say that Mrs. Pillinger sang pretty ballad style, nor pass over unnoticed Mr. W. L. Viner's M.S. Overture - a talented production, which called forth considerable applause. The Concert, on the whole, was one of the most attractive which has taken place in Bath for several years; and the public cannot but feel highly indebted to the spirited individuals who have provided so rich musical feast. We are sorry, however, to hear that, owing to the enormous sums paid to Pasta and Rubini, Messrs. Viner and Milsom will be involved in a loss of from £80 to £100, notwithstanding the large number of the company present - We sincerely hope, therefore, that their Benefit Concert, which is fixed for Friday next (vide adv.) will be patronized m a manner which will fully compensate them for their loss, which, it should be remembered, has been incurred by their adding most materially to the amusements of our city.

ASSOCIATIONS: Giudita Pasta (soprano vocalist)

6 June 1831, Theatre Royal, Bath, William Reed (cello); Miss Holl (vocalistyt, pupil of Thomas Reed)

[Advertisement], The Bristol mirror (4 June 1831), 2

MISS ROMER . . . her Benefit . . . previous to her Engagement at the Theatre-Royal, Covent-Garden, when will be performed
THE MARRIAGE OF FIGARO. Susanna - Miss Romer. The Countess - Miss HOLL, of the Theatre-Royal, Bath.
End of the Opera A SOLO ON THE VIOLONCELLO, by Master Reed, (only nine years of age) of the Theatre Royal, Bath . . .

ASSOCIATIONS: Emma Romer (soprano vocalist, actor)

London, 1832 to 1849

1 June 1832, Theatre Royal, Drury Lane, William Reed (cello)

[Playbill], The theatrical observer [London] (1 June 1832), 3 (DIGITISED)

Theatre Royal, Drury Lane. Mr. H. WALLACK's BENEFIT. This Evening . . .
In the course of the Evening, the following Entertainments:
Master Reed, will perform a Concerto on the Violincello . . .
The Two Masters Distin (one 11 the other 9 years of Age) will play a Duet on the French Horns, (their First Appearance) . . .

ASSOCIATIONS: Henry Wallack (actor); Distin family (brass players)

14 June 1832, Haymarket Theatre, London debut of Thomas Reed's pupil, Miss Holl

"HAYMARKET THEATRE", Bell's life in London and sporting chronicle (17 June 1832), 2

A new and very amusing farce, from the pen of Mr. R. Ryan, entitled The Boarder, was produced at this house, with unquestionable success, on Thursday evening . . . A young lady of the name of Holl afterwards made her first appearance in London as Margaretta in No Song No Supper, Miss Holl is an agreeable singer, hut she wants cultivation and more confidence. These she will acquire by practice. Farren was, as usual, excellent, and the piece was given out for repetition with unanimous applause.

28 July 1832, Haymarket Theatre, German Reed (in Bishop's Clari; or, The maid of Milan)

[Playbill], The theatrical observer [London] (28 July 1832), 3 (DIGITISED)

Theatre Royal, Hay-Market. This Evening, the Opera of CLARI . . . Page, Master REED . . .


24 August 1833, Haymarket Theatre, German Reed (in Guy Mannering)

[Playbill], The theatrical observer [London] (24 August 1833), 4 (DIGITISED)

Theatre Royal, Hay-Market. This Evening, the Opera of GUY MANNERING . . . Franco, Master REED . . .

13 November 1833, Haymarket Theatre, William Reed (cello)

[Playbill], The theatrical observer [London] (13 November 1833), 4 (DIGITISED)

Theatre Royal, Hay-Market. Miss E. PATON'S BENEFIT. This Evening, the Opera of Love in a Village . . .
In the course of the evening Mr. Richard CART will play a SOLO on the FLURE, from Der Freyschutz, and
Master REED will also play a SOLO on the VIOLINCELLO, in which, he will introduce a popular Scotch Air . . .

ASSOCIATIONS: Eliza Paton (actor, vocalist); Richard Carte (flute)

27 December 1833, Garrick Theatre, Whitechapel, German Reed (composer)

"GARRICK", The public ledger and daily advertiser [London] (28 December 1833), 3

The proprietors of this theatre appear determined keep pace with the "march of intellect", and vie with their competitors in the production of variety, novelty, and amusement for their friends and visitors. Last night, after the tragedy of "Othello" . . . an excellent Pantomime, entitled the "Sleeping Beauty, or Harlequin Night and the Enchanted Forest," commenced, and all eyes and ears were fixed in delighted attention. Ihe opening, which is written by Mr. Lawrence, the comic scenes by Mr. Young . . . Mrs. Conquest was all that could be expected Columbine . . . The overture is the composition of Mr. Reed, jun., and evinces talent which hope will soon find a more favourable sphere for its developement. The tunes are also excellent, some of them possessing that vis comica, which is the life and soul of music . . .

ASSOCIATIONS: Mrs. Conquest (wife of the proprietor, Benjamin Oliver Conquest)


11 August 1836, Haymarket Theatre, Mr. Reed (probably German) (composer)

"HAY-MARKET THEATRE", The theatrical observer (12 August 1836), 1 (DIGITISED)

Last night, after The Tempest & The Youthful Queen Mr. Ryan's new Musical Drama, in two acts, called Second Sight, a Tale of the Highlands, was produced, and considering that the audience were nearly exhausted, for it did not commence till eleven o'clock, it went off remarkably well . . . There was some pleasing music by a Mr. Reed, Sinclair had two songs encored, and the same compliment was paid to the opening chorus . . .

"HAY-MARKET THEATRE", The theatrical observer (16 August 1836), 1 (DIGITISED)

Mr. Ryan's Musical Drama, called Second Sight, a Tale of the Highlands, the second performance of which was announced for last night, has totally disappeared from the bills, and will doubtless be heard of no more at this Theatre; we are less surprised at this result than that Mr. Morris, who generally evinces so much judgment and taste in the selecting of his new pieces, should have ever allowed it to be performed, it being, as we remarked before, only fit for a Surrey audience. The failure of this piece was an unfortunate circumstance for Mr. Reed, who had composed some very pleasing music for it; one of the chorusses was particularly striking . . .

ASSOCIATIONS: David Edward Morris (proprietor)


27 July 1837, Haymarket Theatre, German Reed (composer)

"HAY-MARKET THEATRE", The theatrical observer (27 July 1837), 1 (DIGITISED)

. . . the music of the new Drama, called The Young King, is by Mr. T. German Reed . . .

26 December 1837, Haymarket Theatre, Mr. Reed (probably German) (composer)

"HAY-MARKET THEATRE", The theatrical observer (27 December 1837), 1 (DIGITISED)

Last night, after The Love Chase, and The Romantic Widow, Mr. Webster produced a new Legendary Fairy Drama, called Whittington and his Cat, and the Fairy Queen of Herne's Oak, which was received with great applause. It was an alteration of his own Drama, which was played with great success at the Victoria; it was well got up, and some very pretty music, introduced by Mr. Reed. Mrs. Waylett personated the hero.

ASSOCIATIONS: Harriet Waylett (actor, vocalist)


Easter season 1838, Haymarket Theatre, Thomas Reed (musical director), German Reed (leader)

[News], The theatrical observer (10 April 1838), 1 (DIGITISED)

The following is a list of the company engaged at the Haymarket Theatre, which opens for the season on Easter Monday: . . .
Musical Director, Mr. Reed; Leader of the Band, Mr. T. G. Reed . . .

3 December 1838, Haymarket Theatre, Thomas Reed (musical director), German Reed (leader)

"PUBLIC AMUSEMENTS. HAYMARKET", New monthly belle assemblée (January 1839), 56-57 (DIGITISED)

Mr. Reed and Mr. T. German Reed, the Leader and Director of the orchestra, took their benefit on the 3rd Dec. . . . The principal novelty of the evening was the waltzes of Strauss, which were admirably performed by the band, between the acts; indeed, we know of no orchestral band, the Opera excepted, so effective and complete as that at the Haymarket. The house was crowded to overflow before the drawing up of the curtain . . .

ASSOCIATIONS: Johann Strauss senior (composer)


30 January 1839, Haymarket Theatre, German Reed (vocalist, actor), Miss Reed (vocalist)

"HAY-MARKET THEATRE", The theatrical observer (1 February 1839), 1 (DIGITISED)

A performance of theatrical amateurs took place at this theatre on Wednesday evening, and was well attended. The entertainments were Auber's Opera of Fra Diavolo, and High Life Below Stairs. The Opera was done most creditably in the vocal department, and excellently well in the instrumental; the band comprising some of the best members of the Covent Garden and Haymarket orchestras, presided over by Mr. Thomas, the Covent Garden leader. A gentleman, named Eames, played Fra Diavolo; he gained two encores. Mr. Reed acted Lord Allcash, and his sister Zerlina; the singing of the lady was meritorious . . .

ASSOCIATIONS: William Thomas (violinist)

Easter season 1839, Haymarket Theatre, Thomas Reed (musical director), German Reed (leader)

"THEATRE ROYAL, HAYMARKET", The monring post [London] (13 March 1839), 3

Mr. Webster, Lessee. The Public is respectfully informed, that this elegant and popular THEATRE will OPEN for the SEASON on MONDAY March 18 . . .
Musical Director, Mr. Reed; Leader, Mr. T. G. Reed . . .

ASSOCIATIONS: Benjamin Webster (lessee, Haymarket Theatre, London)


October 1840, Islington Amateur Concert Society, Thomas Reed (founder, conductor)

"AMATEUR CHORAL SOCIETY", The musical world [London] (22 October 1840), 266 (DIGITISED)

A society of this kind has been established at Islington, under the superintendence of Mr. Reed, the music-director of the Haymarket Theatre, and will commence active operations as soon as the subscription list is sufficiently full. The choristers are entirely amateurs, but a full band of forty instrumentalists will be engaged for the concerts which will take place periodically after a certain number of practice-meetings. It is intended chiefly to execute the compositions of the great continental writers, but Mr. Reed has grafted on this plan the excellent resolution to perform any meritorious works of English musicians which may be submitted to him for that purpose. This latter feature is especially worthy of notice as being likely to promote the cultivation of choral-writing among us - a branch of art which, under the existing difficulties of procuring a public performance, has few devotees in this country.

3 November 1840, first concert, Islington Amateur Concert Society, Thomas Reed (conductor), German Reed (piano), Miss Reed (vocalist)

[News], The morning post (5 November 1840), 3

The Islington Amateur Society gave its first concert on Tuesday evening, which was crowded. Mr. Dando led a very excellent band, which performed several full pieces extremely well. A trio, for pianoforte, oboe, and bassoon, was excellently played by Mr. T. G. Reed, Keating, and C. Keating. A solo on the concertina was given in a very clever style by Mr. G. Case, and Mr. Handley executed "Di Piacer" in a very brilliant manner on the trumpet. The singers were Miss Dolby, Miss Reed, Madame F. Lablache; Messrs. Horncastle, C. Purday, and John Parry. Among the encores were "John Anderson," by Madame Lablache; "The Incheape Bell," by Miss Dolby; "Fair is the morn," by Mr. Horncastle; and "Wanted a Governess," by Mr. J. Parry. The performance was under the direction of Mr. Reed, senior, whose daughter is a singer of great promise. (From a Correspondent.)

ASSOCIATIONS: Joseph Dando (violin, leader); George Case (concertina); John Parry (vocalist)

7 December 1840, Islington Amateur Concert Society, Thomas Reed (conductor), German Reed (piano), William Reed (cello)

"ISLINGTON AMATEUR SOCIETY", The musical world (10 December 1840), 375 (DIGITISED)

The second concert of this society took place, under the direction of its founder, Mr. Reed, on Monday evening last. The band numbered about forty, and was extremely effective throughout. The wind instruments were, of course, wielded by professional hands, but sufficient of the quartett-department was left to the amateurs to prove that they were making rapid strides in their orchestra-practice. Beethoven's overture to Leonora, notwithstanding its difficulties, which have puzzled many larger and more celebrated bands than that assembled on this occasion, was played with uncommon spirit and effect. An occasional weakness of the fiddles was perceptible in some of the more knotty points, which, considering its difficulty and the comparative inexperience of the performers, was not to be wondered at; but the general going of the overture was, nevertheless, highly creditable to all parties concerned. The overture to Guillaume Tell, which opened the second act, was an equally creditable performance, and, of course, more successful with the audience. The playing of the principal violoncello (Mr. W. Reed) in the first movement, was highly satisfactory, and we have seldom heard anything more delicious than the flute and corno inglese of Messrs. Richardson and Keating in the movement following the storm. The most interesting professional performance of the evening was a quintett by Beethoven for pianoforte, oboe, clarinet, bassoon, and horn, charmingly played by Messrs. T. G. Reed (for whom a very needless apology on the score of indisposition was previously made), Keating, Lazarus, Godfrey, and Creaghton. In the course of the concert, two madrigals - Festa's "Down in a flow'ry vale," and Barnett's "Merrily wake music's measure" - were nicely sung by a strong body of amateur chorus, and warmly applauded. It struck us, however, from a frequent want of unity of expression in both these madrigals, that many of the singers had neglected attendance at rehearsals - a practice quite sufficient to neutralize the best efforts of the choral directors. The principal singers were Mrs. Severn, Misses Woodyatt, Ward and Reed, and Messrs. Horncastle, Freame, and F. Lablache. We regret that we cannot spare space to individually notice their performances, and can, therefore, merely say that the best were, Spohr's lovely song, "The bird and the maiden," beautifully sung by Mrs. Severn, and accompanied on the clarinet and pianoforte by Mr. Lazarus and the conductor; "Largo al factotum" by Sig. F. Lablache, and a very pretty Irish ballad composed by Mr. T. G. Reed, and sung by Miss Reed. Between the acts, "God save the Queen" was sung and played by every body concerned, with a new and capital orchestral arrangement, of which we did not discover the author. Mr. Dando led, with his usual ability, and the conductors were, Mr. H. Smart for the first act, and Mr. T. G. Reed for the second.

"MUSIC AND MUSICIANS. Islington Amateur Concert Society", The atlas (12 December 1840), 14

A SOCIETY has been established at Islington, by Mr. REED, a professor resident in the neighbourhood, for the purpose of practising amateurs in the performance of instrumental and vocal music, which appears likely to attain a most flourishing condition. At a concert, which took place on Monday evening last, the members, led by Mr. DANDO and assisted by professional wind instruments, acquitted themselves very creditably in BEETHOVEN'S overture to Leonora and ROSSINI's overture to Guillaume Tell, neither of which are trifling matters to accomplish. A number of ladies and gentlemen, who had evidently been practising their vocalities to good purpose, also sang two madrigals - "Down in a flowery vale," and "Merrily wake music's measure," from BARNETT'S Rosamond, with excellent effect. Professional assistance was liberally employed for a variety of solos and concerted pieces, vocal and instrumental, the most interesting of the whole being a quintett by BEETHOVEN, for pianoforte, oboe, clarinet, horn, and bassoon - a delicious composition, and very cleverly played by Messrs. T. G. REED, KEATING, LAZARUS, CREATON, and GODFREY. The vocal selection was better in many respects than we usually find at miscellaneous concerts of the present day, as the names of four pieces will show - the trios "Soave sia il vento," SPOHR'S song "The bird and the maiden," ROSSINI'S tarantelle, "La Danza," and the old favourite, "Ah comprir" . . .

There is abundance of example to show what small beginnings often suffice to bring about great ends in musical matters, and we trust, for the sake of art, that the Islington, and all similar institutions, may afford fresh instances of success. But this can only be accomplished by energy, perseverance, skill of the masters, and docility of the scholars, in such a society; and, above all, by cultivating a taste, progressively but determinately, for the highest school of music only. There is no instance on record of great and enduring patronage being extracted from the public by pandering to a diseased appetite for bad and frivolous music, but there are many referable to a steady progress in the opposite direction; and to this fact we would direct the attention of the managers of the society here noticed.

ASSOCIATIONS: Frederick Lablache (bass vocalist); Joseph Richardson (flute); Henry Smart (conductor)


January 1841, Islington Amateur Concert Society, Messiah (Handel; arr. Mozart), Thomas Reed (conductor)

"ISLINGTON CONCERTS", The world of fashion, and monthly magazine (1 February 1841), 43 (DIGITISED)

A third Concert, under the direction of Mr. Reed, was given by this band of amateurs. The Messiah, with Mozart's additional accompaniments, was very creditably performed. The assistance the amateurs afforded was confined to filling up the subordinate parts, the principal vocalists and instrumentalists being professionals. The choruses were well executed. The vocal solos were given to the Misses Birch, M. Williams, and Reed; Messrs. Hobbs, A. Novello, and Freame. Miss Birch's singing was characterized by good taste. She gave the air, How beautiful are the feet, and I know that my Redeemer liveth, with propriety and expression, and received an encore.

"MISCELLANEOUS, The musical world (7 January 1841), 15 (DIGITISED)

MR. WEBSTER has, at length, obtained an extension of license for the Haymarket Theatre, which now allows him to keep that establishment open for the whole year. We mention this, not as a circumstance of musical interest, although to the great credit of Mr. T. Reed, the overtures and entr'actes are always judiciously selected and well-played at the Haymarket, but as a proof that good management in a good cause ensure success; for, it is to be presumed, Mr. Webster would not have solicited an increased term had he failed during the ten months he has been hitherto allowed . . .

Easter season 1841, Haymarket Theatre, Thomas Reed (musical conductor), German Reed (leader)

[News], The theatrical observer (5 April 1841), 1 (DIGITISED)

The following is a list of the company engaged at the Haymarket Theatre for the ensuing season, commencing on Easter Monday . . . Miss P. Horton . . .
Musical Conductor, Mr. Reed; Leader, Mr. T. G. Reed . . .

England census, 6 June 1841, St. Mary's Islington west, Middlesex; UK National Archives, HO 107 / 665 / 1 (PAYWALL)

Thomas Reed / 45 / Professor of Music / [not born in county]
Francis [Reed] / 15 // Mary / 14 // James / 11 // Robert / 10 // Daniel / 9 // Emma / 8


20 January 1844, marriage of German Reed and Priscilla Horton, St. Luke's church, Norwood

1844, marriage solemnized at St. Luke's, Norwood, in the parish of Lambeth in the county of Surrey; register, 1837-92, page 92; London Metropolitan Archives (PAYWALL)

No. 183 / Jan'y 20 / Thomas German Reed / Bachelor / Gent. / [residence] St. Martin in the Fields / [father] Thomas Reed / Gent.
Priscilla Horton / Spinster / - / Norwood / [daughter of] Thomas Horton / Gent. . . .

ASSOCIATIONS: German Reed's wife, the actor Priscilla Horton, was a sister of John Horton, of Goulburn, NSW

1844, musical editions by Reed and Sons, Islington

"REVIEWS", The musical world (24 January 1844), 28 (DIGITISED)

"Sweet Erin Alanna Asthore," - T. GERMAN REED.
"The Woodsman" - T. GERMAN REED, (Reed & Sons.) . . .

"THE ITALIAN OPERA", The illustrated belle assemblée (April 1844), (31), 32 (DIGITISED)

. . . Rossini's popular opera of La Cenerentola was performed at this Theatre on Saturday, the 23rd March, for the purpose of bringing forward, in the character of Angelina, or Cinderella, Maddle. Favanti, the young singer of whose extraordinary vocal powers fame has been spreading high reports . . . We recollect Mademoi-[32]sselle Favanti, or Miss Edwards, some three or four years at the Haymarket, when she was a pupil of the Royal Academy, and performed in the Amateur plays, at that time got up by Mr. Reed, the director of music at the above-named theatre . . .

October 1844, Adelphi Theatre, London, German Reed (arranger)

"ADELPHI", The illustrated London news (5 October 1844), 10

. . . On Wednesday evening . . . a very pleasant comic operetta was produced, under the name of "The Fox and the Goose" - a translation, if we mistake not, of French vaudeville, "Le Panier Fleuri" . . . The piece was interspersed by some music composed by M. Ambroise Thomas, and arranged by Mr. Reed, of the Haymarket Theatre. This was the least effective part of the piece, being a weak imitation of Adolphe Adam; but the audience applauded, and so we presume the end was answered . . .


1845, musical editions by Reed and Sons, Islington

[Advertisement], The musical world (27 March 1845), (DIGITISED)

No. 1. - "THE GREAT BRITAIN" - a National Song, written and composed by W. C. Evans, Esq., 2s.
2. - "ASK YE WHERE MY HOME" - written by J. R. Planche, Esq., composed by Katherine Planche, 2s.
3. - "THE VIXEN" - sung by Madame Vestris, and nightly encored in the drama of “Somebody else," 2s.
4. - "THAT'S MY MARQUESA" - written and sung by Mr. C. Matthews, 2s.
5. - "HE'S A JOLLY GOOD FELLOW" - a National Song, written by J. R. Planche, Esq., 2s.
6. - "THE LONDON EXHIBITIONS" - a Comic Medley Song, written by J. R. Planche, Esq., 2s.
Published by REED & SONS, Islington, to be had of all Musicsellers.

ASSOCIATIONS: Lucia Vestris (vocalist); James Planche (playwright, songwriter)

MUSIC: The vixen (arr. by German Reed)

"MUSICAL REVIEW", The morning post (2 July 1845), 6

That's my Marquesa. T. German Reed. - Reed and Son.
Mr. Reed, well known as music director at the Haymarket Theatre, is an artist of deserved repute. He shows both taste and science in this seguidilla, a pretty trifle a l'Espagnolle . . .

The Vauxhall comic song-book . . . edited by J. W. Sharp . . . (London: Thomas Allman, 166-68 

LONDON EXHIBITIONS. Written by C. Planché, Esq. for the Drama "At Home,"
as published by S. G. Fairbrother. Sung by Messrs. Charles Matthews and J. W. Sharp, at the Royal Gardens, Vauxhall,
Music at T. Reed's . . .

17 December 1845, Haymarket Theatre, Thomas Reed (musical director, benefit), William Reed (cello)

"HAYMARKET THEATRE", The musical world (18 December 1845), 604 (DIGITISED) 

Mr. Reed took his benefit at this theatre yesterday evening, which, we are happy to say, was numerously and fashionably attended. Mr. Reed is worthy of the best patronage of the public. He is an excellent artist, and his compositions and musical direction become no mean addition to the many attractions of the Haymarket. Notwithstanding that pause in theatrical business, which may be observed at every theatre a few weeks antecedent to Christmas, we have perceived no falling off at this house . . . The musical entertainments of the evening included, among other interesting matters, the Overture to Auber's Crown Diamonds, and a Fantasia on the violoncello, by Mr. W. F. Read, a son of the beneficiaire, and an artist of the highest promise.


January 1848, concert, either Thomas or William Reed (cello)

"SOCIETY OF BRITISH MUSICIANS", The era [London] (16 January 1848), 11

The last concert of the series was given on Monday evening, and contained an unusual proportion of native compositions. The concert commenced with a manuscript quintet, in C minor, for pianoforte and stringed instruments, by Mr. Westrop; played by the composer, and Messrs. Thirlwall, Day, R. Blagrove, and Reed . . . A song by Mr. Rea, "I arise from dreams of thee," was sang by Miss E. Turner.

ASSOCIATIONS: Miss E. Turner = Elizabeth Testar (soprano vocalist); Henry Westrop (composer); John Wade Thirlwall (violin); Henry Blagrove (viola)


12 February 1849, Eastern Harmonic Society, Mr. Reed (cello, ? William or Thomas)

"THE EASTERN HARMONIC SOCIETY . . .", The dramatic and musical review (16 February 1849), 56

. . . gave a performance of "Elijah," on the 12th, at the St. James's School Room, Stepney. Mr. Bell, a basso of good quality, sang the music allotted to Elijah, in a manner which surprised us, especially when the responsible nature of the task is considered: the air, "Is not his word like a fire?" and "It is enough," (the violoncello passages by Mr. Reed being excellently played) were expressively sung . . . Mr. Arthur, as leader, acquitted himself in an able manner, and Mr. Halley conducted.

11 March 1840, baptism of Harriet and Emma Reed (prior to emigration to Australia), St. Nicholas Cole Abbeey, London

Baptisms solemnized in the parish of Saint Nicholas Cole Abbey in the City of London, in the year 1849; register, 1813-1916, page 22; London Metropolitan Archives (PAYWALL)

No. 174 / 11th March [1849] / Harriet Elizabeth / daughter of] Thomas & Frances / Reed / 44 High St. Islington / Musician / born 21st May 1831 . . .
No. 175 / 11th March / Emma Martha / [daughter of] Thomas & Frances / Reed / 44 High St. Islington / Musician / born 27th August 1832 [sic] . . .

7 July 1849, retirement testimonial to Thomas Reed, Haymarket Theatre, London

"HAYMARKET THEATRE", The musical world (14 July 1849)

The members of the orchestra presented to Mr. Reed, on Saturday last, a handsome ring, as a memorial of their respect and attachment, on his quitting the theatre for Port Phillip, after a service of thirty years. Mr. Reed originally entered the Haymarket theatre in a subordinate capacity, during the management of the late Mr. Morris, whose discerning eye soon discovered his more than ordinary merits, and he was soon raised to the post of director of music. In this position Mr. Morris invariably consulted him on any new points of management, and placed considerable reliance on his judgment. When Mr. Webster undertook the, management of the theatre, Mr. Reed's largely increasing connexion induced him to surrender the dictatorship into the hands of his son, Mr. T. German Reed, and, conjointly, they have succeeded in procuring for the Haymarket orchestra its present efficiency. Mr. Reed, having now secured for his large family a suitable position in the world, has decided to visit our Australian colonies, where we feel persuaded his merits will be immediately recognised.

ASSOCIATIONS: David Edward Morris (lessee, Haymarket Theatre, London); Benjamin Webster (lessee)

"INTELLIGENCE, MISCELLANEA, ETC.", The dramatic and musical review (August 1849), 221

Mr. Reed received a handsome ring from the members of the orchestra of the Haymarket Theatre; he is about to quit England for Port Philip.

14 July 1849, Reed family (Thomas, Amelia, Emma, Harriet, Amelia Jane, and Louisa) embark from London on the Gitana, for Melbourne

Melbourne, Australia, from 1849

8 November 1849, Thomas Reed and family arrived Melbourne, NSW (VIC), per Gitana, from London, 14 July

"THE MUSICAL WORLD", Port Phillip Gazette and Settler's Journal (24 November 1849), 2 

A very celebrated pianist has arrived in the Gitana, named Mr. T. G. Reed [sic], for a longtime connected with the Theatres Royal, London. He had a very flattering testimonial presented previous to embarking for Australia from Mr. Webster and other gentlemen. Mr. Reed is a composer as well as a pianist.

Mechanics' Institution, Melbourne; S. T. Gill, 1855; State Library of New South Wales

Mechanics' Institution, Collins-street, Melbourne; as pictured by Samuel Thomas Gill, 1855; State Library of New South Wales (DIGITISED)

7 December 1849, music class concert, Mechanics' Institution, Thomas Reed (viola)

"CONCERT", The Argus (27 November 1849), 2

We hear that the coming concert of the music class of the Mechanics' Institute is to introduce to the Melbourne public a musical professor of very high standing, in the person of Mr. Reed, who has lately arrived in this province. Mr. Reed was for many years the leader of the orchestra at the Haymarket Theatre, and report speaks very highly of his talents. The vocal class connected with the institution has been placed under his superintendence, and we feel convinced that the results of efficient tuition will soon begin to show themselves.

[Advertisement], The Argus (6 December 1849), 3

Mechanics' Institute. MUSIC CLASS.
THE Members of the Music Class beg to announce, that they will give their
Overture - Masaniello - Auber
Quartette - German
Song - 'The Moon is on the Water' - Dunhill
Solo - Violoncello
Song - 'Thou art gone from my Gaze' - Linley
Quartette - German
Overture - 'Bohemian Girl' - Balfe
Overture - 'Zauberflote' - Mozart
Quartette - German
Song - 'The Gipsey Girl' - Kohl
Quartette - (Instrumental) God preserve the Emperor - Haydn
(introduced under Mr. Reed.)
Principal Violin - Mr. Megson.
Second Violin - Mr. Pietzker.
Violin - Mr. Reed.
Violoncello - Mr. Thomson.
Song - 'Cinderella' - Glinden.
Finale - 'God save the Queen'
TICKETS. - To Members of the Institute, (not Subscribers to the Music Class) 2s 6d each; to the Public, 3s. To be had of Mr. Roycraft, at the School of Arts, at Mr. Megson's, or Mr. Reid's [sic] Music Warehouse, Bourke-street.
Doors to open at half-past 7. Concert to commence at 8 o'clock.

"MUSIC CLASS CONCERT", The Argus (7 December 1849), 2 

A very well attended concert took place at the Mechanics' Institute last evening, being the seventh given by the Music Class in connexion with that institution. A most beautiful quartette of Haydn's, was performed under the auspices of Mr. Reed, of whom we made favorable mention the other day: besides several overtures, and a capital solo on the violoncello. The vocal portions of the concert consisted of a few German quartettes, and one or two songs by Mrs. Reynolds, and Mr. Young, the latter of whom sang a comic version of Cinderella, which excited great amusement.

ASSOCIATIONS: Joseph Megson (violin); William Pietzker (violin); John Charles Thompson (cello); Mrs. Reynolds (vocalist); Charles Young (vocalist)

MUSIC: Theme and variations (2nd movement, G major) from String quartet op. 76 no. 3 (Haydn)


3 January 1850, Joseph Megson's annual concert, Mechanics' Institution, Thomas Reed (violin, viola)

[Advertisement], The Melbourne Daily News (24 December 1849), 2 

. . . MR. MEGSON BEGS to announce that his
FIFTH ANNUAL CONCERT Will take place on THURSDAY EVENING, January 3rd, 1850, in the Hall of the
MECHANICS INSTITUTE, on which occasion he will be assisted by
Mr. BUDDEE, Mr. REED, and all the available talent in Melbourne . . .
TICKETS, 5s. EACH To be had of . . . Mr. Reed, Music Warehouse, Bourke-street . . .

ASSOCIATIONS: Julius Buddee (pianist)

[Advertisement], The Argus (1 January 1850), 3

Mr. MEGSON . . . CONCERT . . . JANUARY 3RD, 1850 . . .
Programme. PART I. Overture - Montecchi e Capuletti - Bellini . . .
PART II. Overture - Don Pasquale - Donizetti . . .
Quartette - by Messrs. MEGSON, REED, PIETZKER, and THOMPSON - Beethoven . . .
TICKETS, Five Shillings each; To be had of . . . Mr. Reed, Music Warehouse, Bourke-street . . .

"MUSICAL", The Melbourne Daily News (10 January 1850), 3 

We have fallen across the following paragraph in the "Musical World" or 14th July, in which a very flattering tribute is thus paid to the personal worth and professional talent of Mr. Reed, of Bourke-street:

- Haymarket Theatre. - The members of the orchestra presented to Mr. Reed, on Saturday last, a handsome ring, as a memorial of their respect and attachment, on his quitting the theatre for Port Phillip, after a service of thirty years. Mr. Reed originally entered the Haymarket theatre in a subordinate capacity, during the management of the late Mr. Morris, whose discerning eye soon discovered his more than ordinary merits, and he was soon raised to the post of director of music. In this position Mr. Morris invariably consulted him on any new points of management, and placed considerable reliance on his judgment. When Mr. Webster undertook the, management of the theatre, Mr. Reed's largely increasing connexion induced him to surrender the dictatorship into the hands of his son, Mr. T. German Reed, and, conjointly, they have succeeded in procuring for the Haymarket orchestra its present efficiency. Mr. Reed, having now secured for his large family a suitable position in the world, has decided to visit our Australian colonies, where we feel persuaded his merits will be immediately recognised.

ASSOCIATIONS: David Edward Morris (lessee, Haymarket Theatre, London); Benjamin Webster (lessee); George Darley Boursiquot (b. Dublin, 1818; editor of the Daily news, elder brother of Dion Bourcicault [sic])

[Advertisement], The Argus (11 January 1850), 3 

ON SALE, Ex 'Cornelia,"
AT REED'S MUSIC WAREHOUSE, GREAT BOURKE-STREET, (Three Doors from Swanston street.)
THE newest and most popular Polkas, Quadrilles, Waltzes, Marches, and Songs, &c.
With beautifully illustrated coloured Titles.
ALSO, An extensive and carefully selected assortment of Music, comprising - Fantasias, Sonatas, Rondos, Overtures, Duets, Exercises, Tutors and Studies for the Pianoforte and other Instruments, by the most favorite and classical composers.
A great variety of teaching pieces and elementary works for the use of Professors and Schools.
Roman and English Violin, Violoncello, Guitar Strings and Pegs, Flutes, Clarionets, &c., &c., and all other requisites for the Musical Trade of superior quality.
PIANOFORTES, and all kinds of Musical Instruments
TUNED AND REPAIRED with every possible care and attention.
T. Reed presumes that from his long standing in London both as a Professor and Music Seller he may be allowed to hope for a share of patronage and support in this colony.
Being in direct communication with all the chief Musical Publishers in London, and knowing minutely their whole stock, T. R. is enabled to procure either of Music or Instruments a supply superior (he imagines) to any that hitherto could be obtained in Australia.
T. R. is in daily expectation of other goods from London, consisting of Pianofortes and other Musical Instruments, Printed Music, &c., &c.
N.B. - Mr. Reed continues to give instructions on the Pianoforte, Violin, and Violoncello, on the same terms as in London.

[Advertisement], The Argus (28 February 1850), 3

Just landed, Ex 'MINERVA' and 'CORNELIA,'
Several Pianofortes BY BROADWOOD & SONS.
A GREAT Choice of valuable old Italian violins, accordions, flutinas, cornopeans, post horns, flutes, clarionets, guitars, violin and violincello bows, pegs, bridges, strings, &c., of superior quality.
Several excellent second hand silver keyed concert flutes.
An immense stock of pianoforte music of every description, by all the favorite composers, Polkas, waltzes, quadrilles, marches, &c.
All the new and favorite songs of Jenny Lind, Russell, Balfe, Sporle; [REDACTED] melodies, &c.
German and Italian songs and duets.
sacred vocal, pianoforte, and organ music.
Tutors' studies, catechisms, and other elementary works for various instruments.
Tuning and Repairing. Pianofortes, church organs, violins, guitars, and all kinds of musical instruments tuned and repaired by skilful and experienced hands.
T. REED has great satisfaction in stating that he has secured the services of
MR. J. WILKIE, From BROADWOOD & SONS, for the tuning and repairing departments . . .

ASSOCIATIONS: Joseph Wilkie (late of John Broadwood and Sons, London)

22 January 1850, German (vocal) quartet soiree

[Advertisement], The Melbourne Daily News (22 January 1850), 3 

THE last of the series of German Quartette Soirees, will be given on Tuesday, the 22nd Instant, in the Large Room at the Mechanics' Institution.
To give additional interest to this Concert, the assistance of Messrs. Buddee, Reed, Megson, and all the available talent in Melbourne, has been enlisted, and several double Quartettes will add to the variety of the entertainment. TICKETS 3s. each, to be obtained of Messrs. Clarke and Pullar, of Collins-street, Mr. Cooper, Elizabeth-strcet, Mr. Reed, Bourke-street, or at the Institution. Concert to commence at 8 o'clock.

28 February 1850, concert, local debut of Sara Flower (contralto vocalist), Thomas Reed (conductor)

"CONCERT", The Argus (28 February 1850), 2 

Mr. Reed is the kind gentleman who this month undertakes to do musical homage to the full moon, and if one half the things we hear respecting his concert be true, it will present a treat. Of his Prima Donna, Miss Sara Flower in particular, fame speaks loudly. We have some recollection of hearing her in England, and if our recollections do not deceive us, she is possessed of a voice of extreme richness and compass, which we believe has lately been further cultivated under the advantages of continental tuition. The programme is one well worthy of Mr. Reed's musical taste and experience; he appears to have spared no expense in securing all available talent, and we do trust that the lovers of sweet sounds, will reward his energy with a bumper.

[Advertisement], The Argus (28 February 1850), 3

ON which occasion the following performers will have the honor of appearing -
AND MR. BUDDEE, Who has kindly consented for this occasion only, to preside at the piano forte.
NEW ARRIVAL. MR. REED has to announce the accession of the valuable services of
MR. LORD, A contra-bass, from the Theatres Royal, London.
With every desire to render this Concert in all respects novel and attractive, Mr. Reed has engaged
THE SAX HORN BAND, Who will assist in the Instrumental pieces; he has also obtained the use of several military drums and other instruments, by which he hopes to give the original effects in
OVERTURE - "La Gazza Ladra" military drums, &c. - Rossini.
QUARTETTE - Vocal - Kreutzer.
BALLAD - "By the sad sea waves," Miss SARA FLOWER - Benedict.
SONATA - Pianoforte, Violin and Violoncello, Mr. Buddee, Mr. Megson, and Mr. Reed - Himmel.
BALLAD - "The Wanderer," as sung by Miss Flower at the London Concerts - Schubert.
DUETT - Miss Sara Flower and Mr. Young.
SHAKSPERIAN OVERTURE, introducing all the favourite ancient dramatic melodies, arranged expressly for the occasion by T. Reed - Sir H. R. Bishop.
GLEE - "Blow, gentle gales," Miss Sara Flower and others - Sir H. R. Bishop.
CAVATINA - "Se M'Abbandoni bella speranza," - Mercadante.
SOLO - Violoncello, Mr. Thomson
COMIC SONG - "Cinderella," Mr. Young
DALLAD - "Dermot Asthore," Miss Sara Flower.
TO CONCLUDE WITH Jullien's Celebrated Drum Polka, With the original effects of military drums, &c., &c.
The Concert will commence at a quarter past eight precisely.
Tickets 5s each, reserved do 7s . . .

"CONCERT", The Argus (1 March 1850), 2 

Mr. Reed's Concert last evening was very well attended, and passed off with considerable spirit. The principal singer Miss Sara Flower came fully up to the most flattering reports of her performances, and Mr. Reed deserves very great credit for having pounced upon a bird of passage of so high a class, and introduced her to a Port Phillip audience. Possessed of a rich contralto of a very high character, Miss Flower's execution is fully equal to her natural gifts, and every effort she made, was most warmly and justly applauded by her audience. The instrumental portions of the entertainment was also very fairly given and comprised some novelty. One of the most pleasing incidents of the concert was a little ballad not in the programme, but "interjected," as a late mayor would call it, by Miss Flower, with that redundant good nature which embonpoint rarely fails to inspire; and which, consisting of the usual ingredients of a love story, in the shape of rope ladders, faithless maidens, and bereaved swains, was both exceedingly pretty and very well received and encored by the audience. Some little amusement was excited in the course of the evening by the entrance of two or three squatters who had evidently been dining with their friend Doctor Lang, or in some equally congenial society, and were scarcely in a condition usually considered presentable in a concert room. One gentleman in particular appeared to have so well-grounded a doubt as to his state of mind, that he did not feel satisfied without subjecting himself to the severest ordeal, by forcing himself upon the notice of a condensation of all the constables in the person of Mr. Sturt. We did not hear the result of the worthy Commissioner's examination, but as we do not consider these exhibitions as calculated to add to the elegance of our comments, and as some little delicacy is due to assemblages consisting of a large proportion of ladies, we would suggest that if gentlemen present themselves in such a condition, it is only an act of propriety on the part of their friends, who may be a bottle or two in arrear, to take steps to prevent them from exposing themselves, and presuming too far upon the good temper and indulgence of their neighbours.

"LAST NIGHT'S CONCERT", The Melbourne Daily News (1 March 1850), 2 

As might have been expected the attendance at Mr. Reed's first concert was most flattering. The room at an early hour was densely crowded, and it was very evident that the same result would have occurred had the apartment been double the size. Mr. Reed's well known musical abilities and experience inspired faith in his programme, and the accession of a vocalist of the powers of Miss Flower further added to the prestige. Mr. La Trobe was unable to be present, but an equally illustrious individual, the German Prince and his party, were in attendance. The affair was most successful . . .

ASSOCIATIONS: Sara Flower (contralto vocalist)

"MUSICAL", The Melbourne Daily News (2 March 1850), 2 

Mr. Reed, yesterday, started for Geelong, to arrange for a Concert there on Tuesday evening. As the Clifton does not sail until next Thursday, it is Mr. Reed's intention to again introduce Miss Flower to the public.

"MUSICAL", The Argus (2 March 1850), 2 

We are very glad to hear that Mr. Reed is proving his character for energy and promptitude by undertaking a second concert if the 'Clifton' is detained sufficiently long to enable him to afford the Melbourne people another opportunity of hearing Miss Flower. In this spirit and activity in the prosecution of his profession, Mr. Reed proves himself a man after our own heart, and we wish most sincerely that our other public amusements were followed up with anything like equal energy. We should soon lose the character for dullness which at present clings to us In no place is greater liberality shewn in the patronage of intelligent recreation, and it is a source of extreme regret that it is sometimes so little deserved. Mr. Reed also intends giving a concert at Geelong on Tuesday, and we can assure our friends of the "commercial capital" that he will afford them a musical treat which will exceed anything that has been presented to them, since they first discovered that they formed the centre of the solar system.

5 March 1850 (originally set for 7 March), concert, Queen's Theatre, Melbourne, Thomas Reed (conductor)

[Advertisement], The Argus (5 March 1850), 3 

MR. REED'S GRAND CONCERT, Under the Patronage of His Honor The Superintendent, C. J. La Trobe.
On which occasion (and positively for the last time)
MISS SARA FLOWER will have the honour of appearing, assisted by
MR. YOUNG, MR. MEGSON, MR. THOMPSON, AND MR. LORD, (contra basso) From the Theatre Royal London,
AND Miss Emma Reed, Who will accompany on the Pianoforte.
The Saxe Horn Band, And all other available Musical talent will also assist in the evenings performance.
Conductor - Mr. Reed.
Overture, "La Gazza Ladra," Rossini
Ballad, "Thou art gone from my gaze," Miss Sara Flower - Linley
Song, "Land of my Birth," Mr. Young.
Cavatina, "The deep deep sea," Miss Sara Flower - C. Horn
Solo Violin, Mr. Megson, De Beriot.
Ballad, "The Cavalier," Miss Sara Flower, rapturously encored at last concert - Glover
Duet, "When a little farm we keep," Miss Flower & Mr. Young - Mazzinghi
Shakesperian Overture - Sir H. Bishop.
:By ihe Sad Sea Waves" by desire Miss Sara Flower - Benedict
Glee, "Blow Gentle Gales," Miss S. Flower and Others - Sir H. Bishop
"The Maniac," Miss Sara Flower - Russell.
"The Czarina Mazourka," T. G. Reed.
Comic Song,' "Wanted a Governess," Mr. Young - J. Parry.
Ballad - Miss Sara Flower.
Duet. "Sol Fa," Miss Sara Flower, and Mr. Young - Bennett.
To conclude with Jullien's celebrated Drum Polka.
Doors open at 1/2 past 7, Concert to commence at 8 o'clock.
Box Tickets, 5s. Pit 3s. Gallery, 2s. To be had at Mr. Reed's, Bourke-street, and other Music Sellers.

"MR. REED'S CONCERT", The Argus (6 March 1850), 2 

A numerous audience rewarded Mr. Reed's efforts last evening. The house was crowded; every seat in the boxes was occupied, and many persons were obliged to resort to other parts of the theatre. The spectacle afforded a miniature representation of the enthusiastic reception of the adorable Jenny Lind. Miss Sara Flower delighted the audience and we have only to regret, that a bird of such sweet song, should be a bird of passage . . . The instrumental part of the Concert under the direction of Mr. Reed, reflected credit upon the Province. We must not omit to mention Mr. Megson's talent on the violin, which as usual drew forth much applause, nor were Mr. Young's efforts less successful than on former occasions. Miss Reed presided at the Piano Forte . . .

"MR. REED'S CONCERT", The Melbourne Daily News (6 March 1850), 2 

. . . Mr. Reed has established his reputation a judicious and liberal caterer for the musical public. His introduction in this department, was such as might have been expected from a thorough musician, and one accustomed to his vocation. Too fastidious an appreciator of "the concord of sweet sounds" and of their wondrous combinations by the power of art and genius, to be satisfied with mediocrity, he appraised the public taste by his own, relying perhaps on the success of ORPHEUS, the earliest music master we hear of, who by the excellence of his art moved rocks and clay. By observing this judicious course, his debut has given him a vantage ground, which it is his inclination and his interest to maintain, and also the interest of the public to support. Indeed here we must admit that the community have shewn a marked partiality for musical entertainments, and one which by the production of such excellencies as Mr. Reed's concerts have exhibited, will be simultaneously educated and encouraged. Great difficulties had to be contended against in the want of music and the want of time, which necessitated the repetition of several items in the previous programme. However this did not have any effect upon the attendance, as the visitors at the first entertainment (when, from the dimensions of the apartment, but a few could be accommodated) were but so many advertisers of the gratification they enjoyed, as also amongst the most eager to secure an opportunity of its repetition: their admiration, like Shakespeare's description of jealousy, growing by what it fed on." To meet the general wish, Mr. Reed rented the Theatre for the night, and spared no expense in making the most of his materials . . . A Mazourka composed by Mr. T. G. Reed, (a son of the beneficiare and leader of the Orchestra of the Haymarket) was a marked and sparkling trifle . . . We need not repent that the affair was most successful, and we hope will be remunerative to Mr. Reed who had the sagacity to discover, the energy to employ, and the confidence in the public to support, bona fide talent. Mr. Reed conducted and Mr. Megson led.

"MR. REED'S CONCERTS", The Argus (8 March 1850), 2 

It will be seen that Mr. Reed publicly acknowledges his thanks for the patronage he has received from the public of Port Phillip, in endeavouring to cater for their amusement, and expresses a confident hope that an addition to the musical talent at present available may be expected, when reports reach home of the liberality with which the colonists patronise merit.

9 March 1850, concert, Mack's Hotel, Geelong, Thomas Reed (conductor)

"CONCERT", Geelong Advertiser (4 March 1850), 2 

We are to be gratified with a musical treat of no ordinary interest, to be held in the Theatre Royal this week, but the night has not as yet been named. Mr. Reed the eminent pianist, accompanied by Miss Flower, and a strong company of professional artists, including several members of Mr. Megson's band, intend holding one concert which will combine the whole of the interest employed at the concert held in Melbourne, and which has been extolled in unusually eulogistic terms by the local press of that city. Of Miss Flower, we have a perfect recollection. She was the prima donna of the "Princess's" in London a few years back and at her first appearance created considerable sensation. Her voice is an exceedingly rich contralto of great compass, and she adds to so fine a gift all the accomplishments of a thorough musician.

ASSOCIATIONS: James Harrison, editor of the Geelong Advertiser, was the brother of Daniel Harrison, who, on 29 April 1850, married Emma Reed

"To the Editor of the . . .", Geelong Advertiser (8 March 1850), 2 

SIR, - Having accidentally met Mr. Reed, who has come down to arrange for a concert in Geelong, I am led by a kindly feeling towards the inhabitants of your rising town, to impress upon them the fact of the very great treat that is in store for them through the agency of that gentleman.

I have attended almost every concert that ever was given in Port Phillip, and I therefore presume that I am entitled by actual experience to assert that anything at all like the singing of Miss Flower has never been heard in this district. This opinion is fully borne out by the warm eulogies of the Melbourne journals, and by the brilliant success of the two concerts given within so unusually brief an interval.

Those of your readers who avail themselves of this opportunity will, I am sure, feel grateful for my hint, and those only will have reason to regret Miss Flower's visit to Geelong, who neglect the chance afforded them by the casual presence of so sweet a singer.

I am, Sir, Your obedient servant, SPECTATOR.

[Advertisement], Geelong Advertiser (8 March 1850), 2 

ON WHICH OCCASION MR. REED Will have the gratification of presenting, to the Musical public of Geelong and its environs, the accomplished vocalist
MISS SARA FLOWER, Whose performances at the recent Melbourne Concerts have proved so preeminently attractive.
The postponement of the sailing of the Clifton to Sydney, has enabled Mr. Reed to secure the services of this
POSITIVELY FOR THIS ONE NIGHT ONLY. New arrival per the Lord Stanley.
MR. REED will also have the satisfaction of introducing, for the first time in these Colonies, a vocalist of considerable promise, in the person of
MR. TROY KNIGHT, aided by the valuable services of Mr. Young, of the Theatre, Melbourne,
Mr. Megson, Mr. Lord, (of the London Theatres,) Mr. Reed, and Miss Emma Reed, who will accompany on the pianoforte.
Conductor - MR. REED.
OVERTURE - "Men of Prometheus' - Beethoven
BALLAD - "By the sad sea waves." - Miss Sara Flower - Benedict.
SONG - "Land of my birth." - Mr. Young - E. Loder.
CAVATINA - "The deep, deep sea." - Miss Sara Flower - C. Horn.
SONG - "I'm afloat, I'm afloat." - Mr. Troy Knight - H. Russell.
BALLAD - "The Cavalier." Miss Sara Flower - C. Glover.
SILO - Violin, Mr. Megson - De Beriot.
COMIC SONG - Cinderella, Mr. Young - Rossini.
COMIC DUET - "When a little Farm we keep," Miss Sara Flower and Mr. Young - Mazzinghi
OVERTURE - Semiramade - Rossini.
SCENA - "The Last Man," Miss Sara Flower - Callcott.
BALLAD - "In Happy Moments," Mr. Troy Knight - Wallace.
BALLAD - "Jeannette and Jeanot," Miss Sara Flower -
DUET - Pianoforte and Violin, Miss E. Reed, and Mr. Megson - Mayseder.
BALLAD - "Terence's farewell," Miss Sara Flower - Irish Melody.
COMIC SONG - "Wanted a Governess," Mr. Young - J. Parry.
BALLAD - "The Wishing Gate," Miss Sara Flower - Sporle.
COMIC DUET - "Sol, &c., Master and Pupil," Mr. Young, and Miss S. Flower -
;The Concert to commence at 8 o'clock.
Tickets 5s.; reserved seats 7s.; may he had at Mack's Hotel, Mr. Harrison, Malop-street, and Mr. Williams, Corio-street.

"THE CONCERT", Geelong Advertiser (11 March 1850), 2 

The concert, on Saturday evening, was not so well attended as the attractions set forth warranted us to expect. There were about one hundred and fifty persons present, who were fully capable of appreciating, which they did in the most unmistakable demonstration of applause, the entertainments of the night. It is quite unnecessary to pass any comments on the great vocal powers of Miss Flower, which are by this time well known and admitted to be of the very highest order. Her lower notes are exquisitely sweet, equal, if not surpassing any singer of the present day. But while the compass of her voice has an extraordinary range, she occasionally failed in a few of her upper notes, a defect which her great artistic skill enabled her to conceal to all but a few. Ballad singing is Miss F.'s peculiar forte, 'The "Cavalier," and " Wishing Gate" will not soon be forgotten by those who heard Miss. Flower's enchanting tones infused into them on Saturday evening. Mr. Troy Knight a debutant, introduced to the public by Mr. Reed, will in time make an excellent concert vocalist. An error had been made in the selection [of] his first song, but his second was delivered with a sweetness of voice and a depth of feeling which covered every defect of inexperience. His second attempt was encored. There was a nervousness and "mauvais honte" apparent which in a great measure marred the beauty of his attempt. This, however, time and confidence in his own powers will remove. Had the night chosen for the Concert been any other than Saturday, the attendance would hare been much greater.

ASSOCIATIONS: Troy Knight (vocalist); Ebenezer Lord (double bass)


The tenth annual report congratulates the members of the above institute on the steady advancement, and encouraging prospects which the opening of the current year presents . . . The establishment of permanent classes in connection with the institution has not been successful, the music class being the only one at present in existence, under the superintendence of Mr. Megson; its operations have been much extended by the addition of a choral class, under the direction of Mr. Reed. The Committee have under consideration the establishment of classes for the study of French and German, and other classes on the Hamiltonian system. The Committee regret that the respectable tradesmen and mechanics of the city take no legitimate share in its management, which they regard as an anomaly; for those classes were looked to primarily at its foundation. Its management, therefore, it is to be hoped, will be entrusted to such as are more immediately interested.

26 March 1850, Sara Flower's farewell concert, Queen's Theatre, Melbourne, Thomas Reed (conductor)

[Advertisement], The Melbourne Daily News (25 March 1850), 2 

MR. REED HAS the honor to announce the above Concert, assisted by
OVERTURE - Fra Diavolo - Auber
BALLAD - Happy Heart - Miss Sara Flower - Lavenu
SONG - The old Water Mill - Mr. Young
BALLAD - In Happy Moments - Mr. Troy Knight - Wallace
JENNY LIND'S SONG - Search 'thro' wide world - Miss Sara Flower - Donizetti
DUETT - Violin and Pianoforte - Mr. Megson and Miss E. Reed - Mayseder
BALLAD - "The Old Arm Chair" - Miss Sara Flower - Russell
COMIC SONG - London Exhibitions - Mr. Young - T. G. Reed
DUETT - We ere Wandering, Miss Sara Flower and Mr. Knight - Wallace
GALOP - Post Horn - Koenig
BALLAD - Molly Bawn - Miss Sara Flower - Balfe
DUETT (by desire) - When a Little Farm - Miss Sara Flower and Mr. Young - Mazzinghi
DRUM POLKA - Jullien.
OVERTURE - Semiramide - Rossini
SCENA - The Last Man - Miss Sara Flower - Callcott
SONG - The White Squall, Mr. Troy Knight - Barker
JENNY LIND'S SONG - Rataplan - Miss Sara Flower - Donizetti
SOLO - Violoncello - Mr. Thomson
SERENADE - Oh Summer Nights (pasquale) - Miss Sara Flower - Donizetti
JENNY LIND'S POLKA - Wallerstein
JENNY LIND'S SONG - In the Camp - Miss Sara Flower - Donizetti
God Save the Queen - Miss Sara Flower, Mr. Knight, Mr. Young, and Chorus.
Tickets - boxes 5s; pit, 3s; gallery, 1s 6d:
to be had at Mr. Reed's, Bourke-street; Mr. Pitman's; Mr. Puller's; and Mr. Clarke's, Collins-street.

"Mr. REED'S CONCERT", The Argus (26 March 1850), 2 

Our advertising columns will acquaint our readers that through the instrumentality of the indefatigable Mr. Reed, they are again to have the pleasure of hearing Miss Sara Flower, prior to her departure for Sydney. The programme is one of unexampled richness, being so full that there would be no getting through it before daylight with any one of less energy than the present conductor. With his active management, however, there is no fear of all going well, and we would recommend those who complained of the crowded house on the last occasion to take care to be in time tonight.

"LAST NIGHTS' CONCERT", The Melbourne Daily News (27 March 1850), 2 

We are pleased to see such exertions as those displayed by Mr. Reed meet with the patronage bestowed upon them by the citizens; and so stimulating has been the result, that Mr. Reed feels warranted in a determination to import musical talent from London. Thus the public by seconding his efforts of this gentleman, have not only done him justice, but gone far to provide future entertainment for themselves. Shortly, after eight o'clock last night all the available space in the Theatre was occupied, although the pit was not so inconveniently crowded as on the first occasion. The programme contained as many novelties as could be crammed into it, with due regard to the enduring powers of the performers. Having already criticized at considerable length the abilities of our new cantatrice, Miss Sara Flower, we do not feel it necessary to trouble our readers with any very minute analysis of the fulfilment of last evening's programme. The band appeared to have more strength than on former occasions, and got through Fra Diavolo, the opening overture, very efficiently. Miss Flower's singing throughout was, if possible, more admired than on the occasion of her debut. Her voice appeared to have acquired additional tone and volume, this was very apparent in her song of "Search through the wide world," (Donisetti [sic]), a vigorous end sparkling composition, abounding in quaint passages and sudden transitions, which she rendered with great fidelity and beauty. In Russell's ballad of the "Old Arm Chair" (Eliza Cook) Miss Flower was peculiarly successful, and realised with touching pathos the picture of the poem and the music which has given a deeper charm and meaning to the words. This ballad was superbly sung. In "Molly Bawn," Miss Flower sang without an accompaniment of any description, a most hazardous attempt at all times, and one which we would never recommend to the most finished singer that ever sol-fa'd. Nothing but the native melody of this lady's voice and its resonant volume could have carried her through, nevertheless the most superb organ has a bald and bare effect, without the warmth of an accompaniment; it is like a picture without a background - it wants weight and breadth - a bold outline without those details that add to its strength and beauty. Perhaps Miss Flower's best performance was in Campbell's "Last Man," music by Callcott. This sublime and rembrant-like composition, one of the most powerful and lasting of the author of the "Pleasures of Hope," is wedded to the most appropriate melody, of a character sombre, energetic and solemn. The first verse -
All wordly shapes shall melt in gloom,
The Sun himself shall die.

And the fifth -
This spirit shall return to Him
That gave it heavenly spark,
Yet think not, Sun, it shall be dim
When thou, thyself, art dark!

Were given with thrilling affect. The score was within the richest notes of the singer's voice; it deserved a deafening encore. Mr. Young as usual, acquitted himself remarkably well, and in a comic song written by Roe (in the Parry style), entitled "London Exhibitions" received a rapturous encore; the local "hits" were quickly appreciated by the House, and roars of laughter accompanied the singer throughout. A similar fate awaited the favorite duet with Miss Flower of "When a little farm we keep." - A very promising tenor made his appearance in the person of Mr. Troy Knight, who gave us "In happy moments" from Maritana, in a most " happy" manner. This voice is full, rich and melodious - and if good timbre and strength - it has the best of all qualities for a beginner, exuberance - it wants a liltle paring and can afford to bear it. When Mr. Knight has had more practice, (and he will require a good deal yet), and "smells the footlights" a little more frequently, he will be a very pleasing vocalist. We have seldom seen a more promising pupil. His Duett from Maratana, with Miss Flower, was beautifully managed - their voices harmonised admirably and a vociferous encore followed. In "The White Squall" he was not so fortunate. The accompaniment was too strong for him, and his articulation of the words too subdued. We hope to hear him again. The other items in the programme, Mr. Megson's duett with Miss E. Reed and Mr. Tho[m]pson's violoncella solo, were loudly applauded.

"MELBOURNE. FROM OUR OWN CORRESIPONDENT . . . MR. REED'S CONCERT", Geelong Advertiser (28 March 1850), 2 

Being the third intellectual treat offered by that spirited and talented gentleman to the inhabitants of Melbourne, a house filled to overflow responded to the enterprise, and we trust amply rewarded him. Some of the songs fell coldly on the ears of the audience in the first [? part of the] programme, probably from the style of music being different from that which they had been accustomed to, certainly not from their execution, which was faultless; Miss Sara Flower singing with the liquid clearness and easy flow of a fountain. The beautiful ballad "The Old Arm Chair," was sung by this talented "cantatrice" with much pathos. The audience toward the latter part of the evening shook off their lethargy - their enthusiasm bursting all bounds on Miss Flower singing (Jenny Lind's) "In the Camp," which was encored; the "Cavalier" being demanded, her good nature accorded to the request, her "piquante" style merited a repetition; let her beware, "lest swan-like she sing and die." Mr. Troy Knight was well received in "Happy Moments;" and Mr. Young received vociferous applause in "London Exhibitions," a song which evoked roars of laughter. The evening concluded by a monody, sung by Miss Flower, introducing "God Save the Queen," when up rose the whole audience, with an enthusiasm that would have made Dr. Lang tremble for the success of his magnificent exploit with the British Banner.

MUSIC: London exhibitions (song originally published by Thomas Reed in London in 1845, see above)

27 April 1850, marriage of Emma Martha Reed and Daniel Harrison, St. James' church, Melbourne

"MARRIED", Geelong Advertiser (29 April 1850), 2 

On the 27th inst., at St. James' Church, Melbourne, by the Rev. S. Lloyd Chase, Mr. DANIEL HARRISON to EMMA MARTHA, youngest daughter of Thomas Reed, Esq.

"AMATEUR MUSIC CLASS", The Argus (4 May 1850), 2 

We are very glad to perceive that this class commences proceedings again this evening under the auspices of Mr. Reed. That gentleman's well known energy will give the class a vigorous lift and we hope to find it progress rapidly, and afford us a few more of the pleasant evenings of which we have already had so many.

24 May 1850, queen's birthday ball, Royal Hotel, Melbourne

"BIRTH NIGHT BALL", The Melbourne Daily News (20 May 1850), 2 

We have been requested to say that a correspondent, who in our columns of Saturday alleged the Birth-Night Ball would be sans music, is mistaken, Mr. Reed having made satisfactory arrangements to prevent the visitors from the disagreeable necessity of, like the witches in Macbeth, "dancing to the echoes of their feet."


. . . The day has passed . . . and the moon like a pale maiden has commenced her vigil, and many a young heart is beating high, and making earnest preparation for the "ball" at the Royal . . . Quadrille, Polka, Waltz, Galop, Mazourka, Scottish, Cellarius - a goodly "programme." The best music of the best composers Musard, Bishop, Strauss, Jullien, Labitzey, Koenig, selected and played under the able superintendance of Mr. Reed, who composed two exquisite pieces for the occasion, the Port Phillip Galop, and the Yarra Yarra Polka, besides "morceaux," here and there interspersed as a sort of "melange musical." Mr. Reed is a valuable acquisition to the musical world of Port Phillip . . .

30 May 1850, music class concert, Mechanics' Institution, Melbourne, Thomas Reed (conductor, violin, composer)

"MUSIC CLASS", The Argus (25 May 1850), 2 

We are glad to perceive that the operations of the Mechanics' Institution Amateur Music Class are progressing with renewed energy under the direction of Mr. Reed, and that another concert is announced in to-day's paper for Thursday next. We observe also that the Saturday evening practisings, which are a kind of weekly concerts, are again becoming a point of attraction, since the members extended the privilege of admission to visitors, at a small nominal fee.

[Advertisement], The Argus (30 May 1850), 3

PATRONS: His Honor the Superintendent.
His Honor the Resident Judge.
His Worship the Mayor.
THE Members of the Class beg to announce their first Concert, (under the direction of Mr. Reed), for THIS EVENING, (THURSDAY) the 30th instant, to commence at 8 o'clock precisely.
Vocal Performers: Mr. Young, Mr. Troy Knight, and other Amateur Members of the Class.
INSTRUMENTAL PERFORMERS: Mr. Reed, Leader; Mr. Woodward, Mr. Gouge, Mr. Jenkins, Mr. Lord, Mr. Cole, Mr. Smith, Mr. Greenwood, &c. and members of the Class.
Overture (Shaksperian) - Sir H. R. Bishop
Airs from Twelfth Night, Tempest, Midsummer Night's Dream, Macbeth, As you like it, and Comedy of Errors.
Glee - Hail smiling Morn - Spofforth.
Polka - Royal Birth-day - J. M. Jolly
Ballad (Mr. Troy Knight). Quadrille (Les diamans de la couronne) - Musard
Obligato Flute and Cornopean - Mr. Smith and Mr. Greenwood.
Ballad - The Betrothed - Flinn
Valse - Cellarius (Band) - Jullien
Song - The Monks of Old - Glover
Polka - Plantagenet - T. German Reed - Cornet obligato - Mr. Greenwood
Song (Mr. T. Knight)
Glee - Gently, Softly - Danby
Drum Polka (Band) - Jullien
Fantasia - Operatic Airs (Italian), selected and arranged expressly for this concert by T. Reed
Solos - Cornopean, Mr. Greenwood; Flute, Mr. Smith; Violoncello, Mr. Lord; Violin, Mr. Reed.
Glee - Fair Flora decks, &c.
Song - London Exhibitions, (Mr. Young)
Ballad - (Mr. Walton)
Douro Waltzes - (Band) - Labitzky
Song - (Mr. T. Knight)
Chameleon Galop - (Band) - Labitzky
Glee - Medley
Finale - Pasticcio, introducing the Yarra Yarra Schottische, and Port Phillip Aerial Galop
(written for and performed at the recent Royal Birthnight Ball) by. T. Reed
Tickets for the Members of the Institution, 3s 6d; for the public, 4s; may be bad of Mr. T. Reed, Bourke-street; the Secretary at the Institution, and the various Booksellers in Town.

ASSOCIATIONS: George Gouge (musician)

24 July 1850, music class concert, Mechanics' Institution, Melbourne, Thomas Reed (conductor)

"THE CONCERT", The Argus (24 July 1850), 2 

We trust that the probability of a fine moonlight night will induce a large attendance at the Concert of the Music Class of the Mechanics' Institute this evening. We perceive that in addition to a programme containing much novelty, Mr. Reed with characteristic activity, has secured the services of the Royal Hotel Ethiopians, and as the negro admixture will cause a very agreeable variety in the entertainment, we have no doubt of the success of the piebald experiment.

[Advertisement], The Melbourne Daily News (24 July 1850), 2 

Under the Patronage of His Honor the Superintendent, His Worship the mayor, and His Honor the Resident Judge.
The MEMBERS of the above class beg to announce that their second public
CONCERT will take place on WEDNESDAY the 24th instant, in the Hall of the Institute,
on which occasion they have secured the services of the
who will perform a selection of their most favorite vocal and instrumental pieces.
Overture- - Pre aux Clercs (for the first time in Melbourne) - Herold
Glee - When the winds whistle cold - Bishop
Ballad - Will you love me then as now?
Quartette - Instrumental - Haydn
Ballad - Oh native scenes - Bellini
Ethiopian Serenaders - (A selection.) -
Harmonious Blacksmith (full band) arranged for this occasion by Mr. Reed - Handel
Glee - The Forresters sound their Cheerful Horn - Bishop
Song - The Husbandman (from the Seasons) - Haydn
Dublin Waltz - Sabitzker [Labitzky]
Song - Standard Bearer - Pischek
Ethiopian Serenaders (a Selection)
Doors open at seven, to commence at half-past seven.
Members tickets obtainable from Mr. Roycraft, at the School of Arts.
Non-members' tickets 4s each, to be obtained from Mr. Roycraft, Mr. Reed, Bourke-street, and the various Booksellers of the city.


A crowded house responded to the attempt to advance the humanising influence of divine music. The selection was apt, and the deep attention displayed, marked the appreciation of the efforts made. The treat was a rich one. The selections were from Handel, Haydn, Bishop, Wallace, and Lebitzkey [sic]. We should point out as the gem of the evening "The Harmonious Blacksmith," arranged for the occasion by Mr. Reed, a beautiful rich piece of music, the harmony flowing full and majestic, the air running as it were along the surface, like streaks of light. The instrumentation of this piece afforded gratifying proofs of the rapid progress made by Mr. Reed's pupils. Messrs. Waterland and Readings Company of Ethiopian Serenaders lent a pleasing diversity to the evening's entertainment. Fun is necessary, and "Bones" did his best to inculcate it. Were we a merrier race, we should not be the less wise; a good laugh from the very heart, honestly indulged in, not a homeopathic refined smile, is better than all the boasted elixirs or pills ever compounded by regular licentiate or quack.
"Mith that rankling care derides,
And laughter holding both his sides,"

are excellent physicians. True good humour is the play ground in which pale care should occasionally take a hop, step ank jump, for health's sake. The [REDACTED] melodists untie the knotted wrinkles of the brow, and smooth the furrows of the visage "sicklied o'er with the pale cast of thought." Bones and Tambourine are made of India-rubber, with spring vertebra, they were both regarded with much interest by a certain surgeon of Melbourne, who was evidently anticipating an operation. The Railway Galop concluded a very pleasant evening.

ASSOCIATIONS: Waterland and Reading's Serenaders; black-face minstrel company, led by Blythe Waterland, alias of Henry Burton and James W. Reading

"MELBOURNE (FROM OUR OWN CORRESPONDENT)", Geelong Advertiser (13 September 1850), 2 

A German Concert in aid of building an emigration barracks came off last night rather dully.

Arrangements are in course of progress to celebrate duly, on the arrival of the intelligence that the separation Bill is passed, the all absorbing fact. A grand fancy Dress Ball will be held at the Royal, as one part of the festivity. Mr. Read has commenced to drill his band for the occasion.

25 September 1850, music class concert, Mechanics' Insitution, Melbourne

[Advertisement], The Argus (25 September 1850), 3

MUSIC CLASS. Mechanics' School of Arts.
THE Members of the above class beg to announce their third Public Concert, to take place in the Hall of the Institution on
THIS DAY 25th inst., on which occasion Miss Panormo, recently arrived from Britain, will make her debut before a Melbourne audience.
Overture - Iphigenia - Gluck
Glee - Come o'er the Brook
Ballad - (new) Sing me then the Songs of Old - Mr. Young
Ballad - The Secret to be happy - Miss Panormo
Valse a deux temps - Jullien
Ballad - Guitar Accompaniment - Miss Panormo
Evergreen Polka - (new)
Overture - Preciosa - Weber
Glee - Hark tis the Indian drum - Bishop
Ballad - Robinson Crusoe - Mr. Young
Spanish Song with Guitar Accompaniment - [Miss Panormo]
Emerald Polka.
Ballad - Miss Panormo
Song - Mr. Young
Waltz - Labitzky
Doors open at half past seven, to commence at eight precisely. Members Tickets, and Tickets to Members of the Institute 3s., obtainable from Mr. Roycraft. Non-members 4s. obtainable from Mr. Reed, Bourke-street, the various Booksellers of the City, also from Mr. Roycraft.

"LAST NIGHT'S CONCERT", The Melbourne Daily News (26 September 1850), 2 

Great praise is due to Mr. Reed for the very creditable way in which he has brought on the music class of the Mechanics' Institute. Their performance last evening (after being three months in drill) was most remarkable and far in advance of what we anticipated. It gives promise, in a few more months, of great proficiency. The overtures went off well and smartly. The violin department wanted more strength. We noticed a new double-bass, opheclide, French horn and flute. A young lady, Miss Panormo, made her debût on the occasion. She possesses a mezzo soprano of good quality, which will improve under cultivation and that constant practice which it will be necessary she should undergo to obtain that control, modulation, and flexibility which at present is not very observable. The selection was not very judicious, and her style capable of improvement. We are not disposed to criticise too closely first appearances, as much allowance is to be made for nervousness, &c, under which Miss Panormo evidently laboured. We have no hesitation, however, in saying that with study and hard practice this lady will become a very pleasing vocalist . . . Miss Panormo was also encored in a ballad, "Lovely Night," which could have been improved by a little more breadth of tone, spirit, and intonation . . . We were not in time to hear Gluck's overture, which Jullien has lately made quite a feature in the musical world, or "the Secret to be Happy," (Donizetti) Alboni's favourite ballad, which was allotted to Miss Panormo - but we heard both performances commended . . .

ASSOCIATIONS: Sophia Panormo (vocalist); Marietta Alboni (contralto vocalist, active in England)

"A LIBERAL MAYOR", The Argus (30 October 1850), 2 

The pet candidate of the Daily News is brought forward by that journal on the plea of liberality, amongst his numerous other virtues. A specimen of his liberality has just been brought under our notice. Mr. Reed has been taking very great pains to get the band of the music class at the Mechanics' Institution to the very highest state of efficiency, with the view of adding to the effect, and increasing the number of the concerts given by them. Many of his best players are engaged at the theatre, and they have just been expressly precluded from performing at the music class concerts, under the enlightened impression that an occasional concert is calculated to interfere with the prosperity of the theatre. Apart from the liberality of such an idea, we very much doubt its soundness. Our notion of such matters being that these intellectual recreations assist each other. Any one who has enjoyed a visit to a good concert one night, is very apt to try a visit to the theatre on another, whilst the paucity of such entertainments gets people out of the habit of looking for them, and leads to trusting to home alone for amusement.

"A LIBERAL MAYOR . . .", The Melbourne Daily News (31 October 1850), 2 

. . . The above is very easily refuted - When and where did the Daily News advocate the claims of Cr. Smith, to the Mayoralty on the grounds of his "liberality"? Touching Mr. Reed's complaint, that is as easily settled. The matter was some days since mentioned to us, and on referring the same to Cr. Smith he assured us that he had nothing whatever to do with "the engagement of the band." All our contemporary's objections to "Smith Mayor" are very easily answered.

ASSOCIATIONS: John Thomas Smith (one of the proprietors of the Queen's Theatre)

[Advertisement], The Argus (20 November 1850), 3 

TO MR. D. HARRISON, BOOK-SELLER AND STATIONER, 34, Collins-street, (Two Doors below the Royal Hotel.)
T. REED respectfully begs to intimate, that in consequence of his increasing connection in TEACHING, &c., he has been induced to arrange with Mr. Harrison for the management of the business, and that the whole of his stock is transferred, as above, where the business will be conducted as heretofore.
Considerable additions, both of Music and Musical Instruments have been made, and a large importation of the choicest articles in the line is shortly expected from London.
by a thoroughly experienced maker, who was for several years in the house of Stoddart and Sons and Collard and Collard, and subsequently an extensive manufacturer on his own account which enables T. R. to execute all repairs of Piano-fortes to a superior manner at moderate charge . . .

ASSOCIATIONS: Daniel Harrison (bookseller, Emma Reed's husband, Thomas Reed's son-in-law)

20 November 1850, publication of The song of Victoria, Thomas Reed (composer, publisher)

[Advertisement], The Argus (20 November 1850), 3

The Song of Victoria,
Written and Composer with Original Music, by
PRICE, 3s. 6d.
To be had at REED'S Musical Repository . . .

"MUSICAL NOTICE", The Illustrated Australian magazine (November 1850), 385 (DIGITISED)


This is a very pleasing composition. The author will hardly claim originality for it. But as a mosaic of sweet and noble passages it displays considerable taste. Opening in a wild air which comes on the ear like a remembrance that has been lost, it closes in a spirited chorus. In one place you catch a portion of the loved melody of "Home Sweet Home," and in the last verse a part of the National Anthem is introduced with fine effect. The range of notes is rather extended for the generality of voices. Descending in one part to the key-note of C natural, it ascends to the fourth interval beyond its octave. The instrumentalist is seen throughout the arrangement. The whole piece is adapted rather for orchestral effect than for the drawing room. We are much gratified, however, that Victoria's liberation has been so musically celebrated in "The Song of Victoria."

"A NEW VERSION OF AN OLD JOKE", Geelong Advertiser (5 December 1860), 2 

The Victoria Colonist has the following in its editorial columns: -

"Song of Victoria.
This reminds us of our neglect in not acknowledging the receipt of a copy of the "Song of Victoria," from the composer. We could not do it justice, for, alas! we are not musical, and we entrusted the critique upon it to a gentleman of our establishment who is , -
Lady. - Mr. Jenkins, are you musical?
Gentleman. - No, Miss, but I have a werry good snuff-box wot is."

We are glad to learn that a gentleman amateur, to whom the Colonist lent the song, speaks highly of it.

"HAM'S ILLUSTRATED AUSTRALIAN MAGAZINE", The Courier (11 February 1851), 3

WE have accidentally been favoured with the first half yearly volume of this interesting periodical . . . The pieces of Poetry are not numerous. All are generally tolerable, some are of a higher excellence. Music too, is recorded here, separation having brought out the Song of Victoria and the Separation Polka . . .

See also "WHEN MELBOURNE DANCED THE--", The Herald (11 November 1950), 4 

28 November 1850, Separation ball, St. Patrick's hall, Melbourne, Thomas Reed (member of Megson's band)

"GRAND SEPARATION FANCY DRESS BALL", The Argus (29 November 1850), 2 

This entertainment passed off last night, with the greatest success. We append a list of the visitors . . .

"THE GRAND SEPARATION BALL (From the Melbourne Herald, November 29)", The Sydney Morning Herald (7 December 1850), 3 

Last night may be said to have wound up the "Separation" Rejoicings. The processions, the illuminations, the rural feats and other excursions, the bonfires and tar barrels - all had their day, but it remained for the Fancy Ball to terminate an ovation which, from its general nature, and the heart and soul thrown into it by every one, has had no equal for many a long year. The "Ball" was fixed for last evening, at the St. Patrick's Hall, and all circumstances considered went off in very capital style . . . Megson's band was retained for the occasion, and the stewards were indefatigable in their attentions to the assemblage . . .

19 December 1850, Julius Buddee's concert, Mack's Hotel, Geelong, Thomas Reed (composer)

[Advertisement], Geelong Advertiser (14 December 1850), 2 

MR. BUDDEE . . . when he will have the pleasure of introducing
MRS. TESTAR, Whose vocal talents have elicited the warmest and most rapturous approbation in Melbourne . . .
16. - Separation Song, by MR. REED . . .
Reserved seats, 6s; single tickets 4s; . . . Tickets to be procured from Mr. Harrison's, Malop-street; and at the Victoria Colonist Office . . .

ASSOCIATIONS: Harrison's = Daniel Harrison's Geelong premises; Elizabeth Testar (soprano vocalist, newly arrived in the colony from London)

[Advertisement], The Melbourne Daily News (20 December 1850), 2

THE Members of the Mechanics Institution Music Class beg to announce that their next Concert wilt take place immediately after Christmas, for which occasion Mrs. Testar and all other available talent are engaged. All persons (whether professional or other wise) competent to assist are invited to communicate with Mr. Reed, Conductor. 34 Collins-street.


9 January 1851, music class concert, Mechanics' Institute, Thomas Reed (leader, composer)

"MUSICAL", The Melbourne Daily News (31 December 1850), 2 

The great want hitherto felt in all Concerts, has been that of a male tenor, this drawback, we are pleased to learn, need now no longer be experienced, as Mr. Reed has obtained the services of a vocalist of reputed ability - the gentleman is a good pianist, and has composed a variety of very popular polka's and quadrilles. He will shortly make his debut as a vocalist.

"MUSIC CLASS CONCERT, The Argus (9 January 1851), 2 

Our advertising columns announce that a first-rate Concert has been announced for this evening by Mr. Reid, in spite of the illiberal course adopted at the theatre having seriously interfered with his proceedings. The attractions of Mrs. Testar, and of a new tenor, of whom report speaks favourably, will no doubt secure a bumper.

NOTE: "illiberal course adopted at the theatre"; Reed had probably wanted to call again on the servives of the actor and vocalist Charles Young

[Advertisement], The Argus (9 January 1851), 3 

THE Members of the above Class beg to announce their
FOURTH PUBLIC CONCERT to take place on
Thursday Evening, 9th Instant, In the Hall of the Institution.
Leader - Mr. REED.
Vocalist - Mrs. TESTAR.
MR. H. F. HEMY (Tenor Vocalist and Solo Pianist) will preside at the Pianoforte.
Overture, Shaksperian - Sir H. R. Bishop
Glee - The Fairies - Mrs. Testar, Mr. H. F. Hemy, Mr, Lord - Calcott
Ballad - The Captive Greek Girl - Mrs. Testar - Hobbs
Fantasia - Pianoforte (L'Elisir d'Amore) - Mr. H. F. Hemy - Dohler
Ballad - My mother bids me bind my hair - Mrs. Testar - Haydn
Ballad - The Four Leaved Shamrock - Mr. H. F. Hemy - Lover
Chimes, Polka (Band), first time in Melbourne - Mr. H. F. Hemy
Duett - The Fairy's Bride, Mrs. Testar, Mr. H. F. Hemy - Glover
Fantasia on Airs from Italian Operas - Saxe Horns - Hore.
Birthday Quadrilles (Band) - H. F. Hemy
Round - Hark 'tis the Indian Drum - Mrs. Testar, Mr. Hemy, Mr. Lord - Sir H. R. Bishop
Scena - Silence o'er all was reigning (Lucia di Lammermoor) - Mrs. Testar - Donizetti
Solo - Flute, introducing the Last Rose of Summer - Mr. Cooze - Berbigner
Ballad - The Sunny Hours of Childhood - Mr. H. F. Hemy - Harraway
The Song of Victoria (with full Chorus) - J. Reed [sic]
To commence at eight o'clock precisely.
Tickets, 3s 6d each, to be obtained from Mr. Roycraft, at the Institute; Mr. Reed, Collins-street; and the various Booksellers of the city.

"LAST NIGHT'S CONCERT", The Melbourne Daily News (10 January 1851), p. 2

We were gratified to see a remunerative attendance of visitors at last night's concert. It must be admitted however that the attraction was considerable, and the programme fuller than usual. The novelty of the evening was the debut as a pianist and vocalist of Mr. F. Hemy from London. He was very flatteringly received. His abilities as a pianist are very respectable. His execution, rapid and very fluent; but he is evidently of the country school. He would make a rattling quadrille player. As a vocalist, his claims are indifferent. His voice is a rather weak tenor, but musical and pleasing, when not forced beyond its natural limit; the singer's thorough knowledge of music, enables him to make the most of his voice. Lover's ballad of the Four Leaved Shamrock was given with more effort than expression, and the accompaniment too loud throughout; it required more pathos and sentiment than the singer invested it with. Mrs. Testar's performance of the ballad, "My mother bids me bind my hair," was as usual with this lady - good, but a little hard: the composition is no favourite with us, and not a very taking ballad in any hands; the accentuation was not 6s prominent as advisable - every syllable of a ballad should distinctly be heard. Next followed the Chimes Polka, a very sprightly and well marked composition, (Mr. Hemy the author) in which the castonets [sic] were introduced with admirable effect, and played by the pianist while his left hand we're doing double work. The Duetto, "The Fairy Bride," was loudly applauded, and very cleverly sung, but a composition not of a very taking character, and far from the best such vocalists could select. Bellini, Donizetti, and Auber furnish a host that would have been certain of a "dead encore ;" we think that would be worth while attending to. The Birth-day Quadrilles were performed with infinite spirit by Mr. Hemy, who, if not a performer so much to our mind as Mr. Buddee (in fact he belongs to a different school), is undoubtedly a very clever and practised musician. The Fantasia, by Hore's band, was not so happy as usual; the Round of Hark, 'tis the Indian Drum, was very effective. The truth of our recommendations touching selections from the authors above named was fully exemplified in the scena from Donnizetti's Lammermoor, magnificently sung by Mrs. Testar. Its soul subduing melody immediately took with the audience, and drew down a flattering encore, which, with scarcely good taste, was responded to by 'Auld Robin Grey' - beautiful though it be, not the composition coveted or desired. The scena was certainly rather elaborate, but the repetition of a passage from it, would have been more in accordance with the intention of the encore. The ballad was very beautifully sung - but Operatic scores are decidedly this lady's forte. In this school the high cultivation of her voice has scope to develope itself, in addition to which she seems to render the theme with greater spirit and abandon. The solo flute (and piano) was much applauded; but the ornaments were not in the best taste. Mr. Cooze will be a valuable addition to our musical talent. Mr. Hemy again sang a ballad (a very common-place composition), 'The Sunny hours of Childhood,' but not very happily. The entertainments concluded with Mr. Reed's 'Song of Victoria,' which realized our previous remarks in his favor. The chorus, a feature in the song, was not successfully performed - a principal cause being the want of strength. Altogether the concert was not equal to the last, nor was Mrs. Testar in as good voice as usual.

ASSOCIATIONS: Henry Frederick Hemy (tenor vocalist, pianist, composer); William Joseph Cooze (buffo vocalist, flute); Hore family of musicians (brass instrumentalists)

[Advertisement], The Argus (16 January 1851), 1 

HAS the honor to announce that he has commenced giving instructions in SINGING and on the PIANOFORTE.
Terms may be known at his residence, 113, Stephen- street.
N.B.-Drawing-room, Evening Parties, and Balls attended, either with Pianoforte Solo, Piano and Violin, or with Messrs. Hemy and Reed's Select Quadrille Band.
Terms as above, or at Mr. Reed's Musical Repository, 34, Collins-street West, where all Mr. H. F. Hemy's Compositions are on Sale.

21 February 1851, music class concert, Mechanics' Insitution

[Advertisement], The Melbourne Daily News (19 February 1851), 3 

GRAND CONCERT, Under the direction of Mr. REED.
THE Committee of the above class beg to announce that their Fifth Public Concert will take placo in the Hall of the above Institution on
THURSDAY EVENING, the 20th Inst.
Principal Vocal and Instrumental Performers -
Mrs. Testar, Mr. Henry F. Hemy and Mr. and Mrs. Wheeler (newly arrived from England)
L'Italiana In Algeri;
Glee, Hark the Lark; Softly sighs the voice of Evening, Mrs. Testar -
While the Lads of the Village, Mr. Wheeler -
Duet by Donizetti - Solo piano-forte, Mrs. Wheeler -
Oh summer night Mr. Hemy;
Echo Polkas, Hemy.
Bridal Quadrilles;
Glee, Swiftly from the Mountain Brow;
Solo piano-forte, Mr. H. F. Hemy;
L'amor seco mi fe'beata, Mrs. Testar, Donizetti;
Song, The Merry Maids of England, Mr. Hemy;
Duet, Could a Man be Secure, Mr. Hemy and Mr. Wheeler;
Echo Song - Mrs. Testar, with flute obligato, Mr. Cooze -
Bishop; Ballad, Philip the Falconer;
Comic Glee, The Little Farm we Till;
Finale, Waltz Labitzky.
Tickets. 3s 6d each, to be had of Messrs. Reed and Harrison, No. 34, Collins street, of all the principal Stationers in the city and from Mr. Roycraft, at the Institution, of whom Members Tickets can be obtained.
Doors open at Half past Seven; to commence at Eight o'Clock.

"LAST NIGHT'S CONCERT", The Melbourne Daily News (21 February 1851), 2 

The progress of this class reflects the greatest credit on Mr. Reed. Last night's performances deserved a fuller attendance, but as we have often before observed, Jenny Lind herself wouldn't draw after a second appearance in Melbourne. The overtures were very spiritedly played. Mrs. Testar was in capital voice, (although we fancied she laboured under a cold), and gave us Weber's "Softly sighs the voice of Evening" with great sweetness and effect. Mr. Wheeler, who possesses a deep rich baritone voice, sang "While the lads of the village" (from the Quaker, we think,) with great taste and expression, and quite as well as Leffler (who made it quite his own) could have performed it. Mrs. Wheeler's pianoforte solo we did not hear, but heard it highly spoken of. Mr. Hemy was not very happy in "Oh Summer night," but played some Polkas very brilliantly. His performance of the Bridal Quadrilles was highly creditable; in fact he is the the best quadrille player in the province. Where he "came out" was in a solo, comprising airs from Bellini and Rossini's works, and brought down a vociferous encore. His performance was surprising, fluent, brilliant, and expressive. We have rarely been better pleased than while listening to the able manner in which he rendered popular passages from D'Elisir D'Amore, Norma, Sonnambula and other authors. We would suggest their repetition at his next appearance. Mrs. Testar sang a very difficult Italian score with great power and sweetness : she was most deservedly encored in the Echo song. The flute obligato was rather an asthmatical affair. Mr. Wheeler's ballad, Philip the Falconer (evidently a taking song) would have been much more effective if he had not drowned both words and voice with a most injudiciously loud accompaniment. The voice, not the instrument, should lead, and every word of a ballad should be distinctly heard. The attendance of the public was most discouraging.

"THE CONCERT", The Argus (22 February 1851), 2 

The crowded state of our columns yesterday prevented our noticing the very capital concert of the evening before. We think that it may be pronounced the very best, ever given by the music class, and Mr. Reed deserves all praise fo his industry and perseverance in overcoming the thousand obstacles, which have beset his path. The instrumental portion of the entertainment was good, and very well performed; the opening overture equal to any we ever heard in Melbourne. The concert was too long, not being over till nearly eleven o'clock, but interest never flagged, and the audience sat cheerfully to the last. Dear Mrs. Testar (we could not help calling her so if her husband were seven feet high) dear Mrs. Testar, then, came out stronger than ever. She never sang so well, and never appeared in better spirits. Her performance of Weber's grand scena would have called the composer from his grave, if it had been situated 1 inch short of the established 16,000 miles. A very brilliant Italian song in the second part was equally successful, and in fact this delightful singer never appeared without a triumph. Her last effort was the Echo Song, with the flute obligato of Mr. Cooze, and late as was the hour, and severe the evening's exertions of the little lady, human nature could not stand the temptation, and a rapturous encore indicated admiration run mad, almost into want of feeling. A very brilliant pianoforte solo was performed by Mr. Hemy, introducing favorite Italian airs; and a second was presented by a debutante, Mrs. Wheeler, whose style and execution deserved and received the compliment of an encore. The husband of the last mentioned lady also made his first appearance, as a vocalist, and was very favourably received. A fine bass voice gave great effect to some good glees, and he also sung a solo or two; in which, perhaps, a little of the harshness of this style of voice was discernable. The concert was varied with a few polkas and quadrilles arranged by Mr. Hemy, very well given; and which proved what Mr. Hemy's first appearance led us to believe, that he has considerable genius in dancing music. The attendance was not so good as usual, which we regret for two reasons; first, that the performers should have lacked an audience better proportional to their merits, and secondly that our town's people should have been so blind to their own pleasures as to have neglected such a treat.

ASSOCIATIONS: Stephen and Mary Wheeler (musicians); William Joseph Cooze (flute player, buffo vocalist)

[Advertisement], The Argus (25 February 1851), 3 

SUPERIOR Cottage and Semi-Cottage Pianofortes, in elegant rosewood and mahogany cases, on sale at
REED'S MUSICAL REPOSITORY, 34, Collins-street West, (Two doors below the Royal Hotel.)

14 March 1851, concert in aid of sufferers by the late bushfires, Thomas Reed (leader)

[Advertisement], The Melbourne Daily News (14 March 1851), 4 

MR. WILKIE Begs to announce that the
GRAND CONCERT In aid of the funds for the Relief of the Sufferers by the late Bush Fires, will take place in the
Leader of the Band - Mr. REED.
Overture. - "L' Italiana In Algeri," - Band - Rossini.
Solo and Chorus. - "The Gypsies Tent," - Messrs. Kawerau, Hemy, Wheeler, White, &c - Cooke.
Song - "Tubal Cain," - Mr. Hemy - Russell
Violin Solo. - Mons. Hue, - with Pianoforte accompaniment - Mr. Hemy - De Beriot
Solos and Choruses. - Lock's celebrated Music in Macbeth, - (got up expressly for this occasion under the direction of Mr. Hemy), -
"Speak Sister, Speak," - "He will, he will," - "We should rejoice," -
"When cattle die," - "Let's have a dance," - "At the night Raven's dismal Voice," -
"Echo Chorus," - "My little Spirit," - "Come away," - "Now I go," -
"We fly by night." - "Black Spirits and White." - "Round, around about," &c.
Band, "Birthday Quadrilles" - H. F. Hemy
Quartette. - "A te O Cara" (Il Puritana) - Mrs. Testar, Messrs. Kawerau, Hemy and Wheeler
Senaa - "Man the Life Boat," - Mr. Hemy - Russell
Scena - "Ah, Non Giunge," (La Somnambula) - Mrs. Testar - Bellini
Pianoforte Solo, - "Norma," Mr. Hemy - Bellini
Song - "The Flying Dutchnan," - Mr. Wheeler - Parry
Ballad, - "I dreamt that I dwelt," (by desire) - Mrs. Testar - Balfe
Solo and Chorus - "Roderick Vich Alpine," - Messrs, Kawerau, Hemy, Wheeler, Gouge, Shearcroft, White, Nicholas, &c.
Concert to commence at Eight o'clock.
TICKETS - BOXES, 5s.; PIT, 3s.; GALLERY, 2s.
To he had of Mr. Reed, and all the principal Stationers;
and of Mr. Wilkie, at the Pianoforte and Music Saloon, 15, Collins-Street.

ASSOCIATIONS: Theodore Kawerau (vocalist); Edwin Shearcroft (vocalist)

[Advertisement], The Argus (28 October 1851), 1

Under the patronage of His Excellency the Lieutenant-Governor, His Honor the Judge, and the Right Worshipful the Mayor,
Thursday Weekly Subscription Concerts.
Principal Vocal and Instrumental Performers,
Mrs. Testar, Soprano
An Amateur, Alto and Violoncellist
Mr. T. Reed, Contra Basso
Mr. Megson, First Violin
Mr. Wheeler, Basso and Cornetto
Mr. Pietzker, Pianist and Violinist
Mr. Wilson, Violoncellist
Amateurs, Violini, &c. &c.
Chorus &c. &c. by the Members of the Music class.
Conductor - Mr. T. Reed.
Leader - Mr. Megson.
Doors open at half-past seven o'clock. Concert to commence at Eight.
Quarterly Tickets, 10s 6d each; Single tickets to Non-subscribers, 1s each; may be had of Mr. Roycraft, at the Institution, Collins-street East.

[Advertisement], The Argus (4 December 1851), 1 



[Advertisement], The Argus (1 January 1852), 1 

Under the Patronage of his Excellency the Lieutenant-Governor, his Honor the Judge, and the Right Worshipful the Mayor.
Mr«. Testar, Soprano; Mr. Hemy, Tenor;
Mr. Wheeler, Basso; Mr. Cooze, Buffo.
Mr. Megson, Violinist; Mr. Hemy, Pianist;
Mr. Cooze, Flautist; Mr. Wheeler, Cornetto;
Mr. Wilson, Violoncellist; Mr. Reed, Contra Bass;
Chorus, &c., by the Members of the Music Class.
Leader - Mr. Megson.
Quarterly Tickets, 10s. 6d. each; Single do, 1s. each; to be had of Mr. Roycraft at the Institution, Collins-street,

[Advertisement], The Argus (29 January 1852), 3 

REMOVED TO MR. URQUHART'S, Stationer, 66, Collins-street, East, where the business is conducted as usual.
Just Imported.
A VERY choice and extensive assortment of the latest musical publications from Paris and London,
by all the celebrated composers of the day, including those of
Rosselen, Goria, H. Cramer, Hertz [Herz], Beyer, Hunten, Czerney [Czerny], Burgmuller, &c.,
also a large collection of Music for the violin and pianoforte, by De Beriot,
for flute and pianoforte by Toulon [Toulou] and others,
with also the newest songs, fashionable polkas, waltzes, and quadrilles, by Jullien, &c.,
and a variety of the best elementary works, consisting of studies, exercises, and instructors for all instruments.
Violin, guitar, and harp strings of superior quality, in any quantity for dealers, bridges, pegs, tuning hammers, forks, &c. Musical instruments of all kinds and their appurtenances, with a quantity of excellent pianoforte music for teachers, at very reduced prices, if purchased in quantities.

17 February 1852, William Cooze's concert, Mechanics' Institution, Melbourne, Thomas Reed (double bass)

[Advertisement], The Argus (17 February 1852), 3 

At the Mechanics' Institution, on Tuesday, 17th Feb., 1852.
Principal Performers
Mrs. Testar, Soprano
Mr. Megson, Leader
Mons. Huie [sic]
Mr. Woodward
Mr. Buddee, Pianist
Mr. Reed, Contra Basso
Mr. Wheeler, Basso and Cornet a-Piston
Mr. Cooze, Flautist.
Programme: -
Part 1.
Overture - Preciosa, Weber
Song - King Death, Mr. Wheeler, Neukomn
Solo - Violoncello, Mr. Thompson, Mayseder
Aria - Il soave bel contento, Mrs. Testar, Pacini
Quintette - Instrumental, Haydn
Buffo Song - Robinson Crusoe, Mr. Cooze, Parry
Part 2.
Overture - Sadak and Kalasrade, Packer
Song - Tyrol, Qui M'as Vu Naitre, Mrs. Testar, Flute Obligato, Mr. Cooze, Panseron.
Solo - Piano, Mr. Buddee
Song - Where the Bee Sucks, Mrs. Testar, Dr. Arne
Polka - Kathinka, Schacht
Song - The Four Leav'd Shamrock, Mr. Wheeler, Lover
Buffo Song - The Lost Child (by desire) Mr. Cooze, Ford
Finale - God Save the Queen, National.
To commence at Eight o'clock, Admission, 2s 6d.

ASSOCIATIONS: Theodore Felix Hue

MUSIC: Overture to Sadak and Kalasrade (from the opera by Charles Sandys Packer)

13 March 1852, marriage of Harriet Elizabeth Reed and George Wilson, St. Peter's church, Melbourne

Marriages solemnized in the parish of St. Peter's Melbourne in the county of Bourke in the year 1852; register 1848-53, page 121; St. Peter's Eastern Hill (PAYWALL)

No. 482 / George Wilson of this Parish Bachelor and
Harriet Elizabeth Reed of the Parish of St. Mark's Spinster were
married in this Church by License with consent of her father this [13 March 1852] . . .
In the Presence of Thomas Reed of Brunswick Street, Collingwood . . .
Emma Martha G. Harrison, Collingwood . . .

"MARRIED", The Argus (18 March 1853), 2 

On Saturday the 13th inst, at St. Peter's Church, by the Venerable the Archdeacon, George, youngest son of the late Rev. James Wilson, Vicar of Atwick, East Riding, Yorkshire, England, to Harriet Elizabeth, fourth daughter of Thomas Reed, Esq, of Melbourne.

21 April 1852, Henry Marsh's concert, Mechanics' Institution, Melbourne

[Advertisement], The Argus (19 April 1852), 5 

AND MUSICAL ART UNION, Will take place
On Wednesday Evening next, 21st April,
Prize No. 1, an Elegant rosewood Pianoforte, Value 70 guineas
" No. 2, do do 70 guineas
" No. 3, do do 65 guineas
" No. 4, do do 65 guineas
Prizes 5 to 400 consist of a varied selection of the most popular modern music, of the value Of 10s 6d each.
On which occasion Mr. Marsh has secured the services of
Mrs. Testar, Mr. Buddee, Mr. Megson, Mr. Charles Walsh, Mr. Bancroft, Mr. Mitchell, Mr. Osborne, Mr. Tonkins, Mr. Cooze, Mr. Wheeler,
Mr. Reed, Mr. Thompson, Herr Unerbeine [sic], Herr Mater, &c. &c.
Leader - Mr. Megson; Conductor - Mr. Buddee . . .
Tickets, with a Programme of the Concert; to be had at Mr. Reed's Musical Repository, at Mr. Urquhart's, 66 Collins street, East . . .

ASSOCIATIONS: Henry Marsh (pianist, musicseller, composer); Charles Walsh (vocalist); Ferdinand Osborne (musician); Charles Mater (musician) and August Huenerbein (musician), all recently arrived from Adelaide

5 June 1852, Charles Mater's concert, Mechanics' Institution, Melbourne

[Advertisement], The Argus (3 June 1852), 5 

WILL take place on Saturday, June 5, 1852, at the Mechanics' Institute, Collins-street.
PRINCIPAL PERFORMERS: Mrs. TESTAR, Mr. St. George Hamilton, Mr. Charles Walsh, Messrs. Buddee, Megson,
Reed, Cooze, Harwood, and Thompson, Herr Huenerbein, Messrs. Osborne and Wheeler,
Herr Zeigler, Mons. Lavrance, Messrs. Jenkins, Cossac, Cobbin, Beattie, and Barnard;
Assisted by the most powerful hand ever concentrated in Victoria.
Overture - II Don Giovanni - Mozart.
Solo - "Kathleen Mavourneen," Mr. Hamilton - F. N. Crouch.
Solo - Violin, Herr Mater - De Beriot.
Recitative and Air - "Oh! Fontaine, Qu' n'avons nous des Ailes," Mrs. Testar - Donizetti,
Waltz - Die Schoenbrunner, Band - Larner.
Song - "The Exile's Farewell," Mr. Charles Walsh - Sporle.
Song - "Gratias Agimus Tibi," as sung by Madame Catalini, with Clarionet Obligato, Mrs. Testar - Guglielmi.
Quadrille - English, Band - Jullien.
Overture - La Dame Blanche, Band - Boildieu.
Song - "The old House at Home," Mr. C. Walsh - Loder.
Selection - A Norma, Band - Bellini.
Song - "Bid me Discourse," Mrs. Testar - Bishop.
Solo - Clarionet, Herr Mater -
Quartette - Four Brass instruments
Polka - Elephant (as performed at the Theatre Royal, Drury Lane) - Jullien - Band
Buffo Song, (by desire) Mr. Cooze
Finale - Rule Britannia . . .
Tickets to be obtained at Mr. Reed's Musical Repository, Collins-street;

ASSOCIATIONS: Mr. St. George Hamilton (vocalist); Charles Ziegler (musician); William Harward (musician) and William Cobbin (musician), both from Adelaide

19 June 1853, Thomas Reed's concert, Mechanics' Insitution, Melbourne

[Advertisement], The Argus (17 June 1852), 7 

MR. REED respectfully announces that a
GRAND CONCERT upon a scale of magnitude never before attempted, will take place, at the
for which every competent instrumentalist will be engaged; and from the numerous accessions of musical talent recently arrived in this city, Mr. R. anticipates that he will have the satisfaction of presenting to the Melbourne public a musical performance in all respects worthy of the liberal support so generally accorded by them to these entertainments.
The orchestra, under the able leadership of Mr. Megson, will comprise nearly thirty performers.
Mrs. Testar has kindly assented to assist on the occasion; and Mr. Cooze will also have the honor of singing two of his most favorite songs.
Mr. Buddee will preside at the pianoforte.
Further particulars will be duly announced.
All communications to be addressed to Mr. Reed's Musical Repository, 66, Collins-street, East.

"MONSTER CONCERT", The Argus (18 June 1852), 3 

Whatever difficulties in the concert way may beset the path of the Committee of the Mechanics' Institution, Mr. Reed appears to have made arrangements to come out to-morrow on a scale of unexampled magnitude, if we may judge by the programme put forth this morning. Private information, too, fully confirms the expectations excited by the printed details. Mr. Reed talks of his powerful orchestra in the most glowing terms, and dilates upon his success in mustering "ten fiddlers" with a gusto worthy of an alderman who had invented a new mode of treating turtle. The programme is certainly first rate. Amongst other gems we are glad to see a recitative and air of Handel, "Hush ye pretty warbling choir." This is, we fancy, the same piece sung at Mr. Clay's first lecture; and, beautifully accompanied as it was by the violin of that gentleman, we think it about the most beautiful thing we ever heard in that room.

ASSOCIATIONS: Frederick Lord Clay (public lecturer, violinist)

[Advertisement], The Argus (19 June 1852), 7 

MR. REED respectfully announces, that a
GRAND CONCERT (Upon a scale of magnitude never before attempted), will take place
SATURDAY NEXT, JUNE 19, At the Mechanics' Institute, Collins-street.
VOCALISTS: Mrs. Testar; Mr. Wheeler; Mr. Cooze; Mr. Cogdon.
The orchestra, under the able Leadership of Mr. Megson, will comprise nearly thirty performers.
Leader - Mr. Megson. Pianoforte - Mr. Buddee. Conductor - Mr. Reed.
Overture, "Zampa" - Herold.
Scena, "Robert toi que j'aime," Mrs. Testar - Meyerbeer.
Song, "Yes! let me like a soldier fall," (Maritana) Mr. Cogden - P. Wallace [sic]
Military Movement, from twelfth Grand Symphony, Band - Haydn.
Song, "Wanted a Wife," Mr. Cooze - J. Parry.
Overture, "Occasional," (first time in Melbourne) - Handel.
Recitative and Air, "Ye Sacred Priests;" "Farewell, ye Limpid Streams," - Handel.
Sanctum, Mr. Wheeler - Pergolesi.
Air, and variations, "Harmonious Blacksmith," Full Band - Handel.
Recitative and air, "Ye Verdant Plains;" "Hush, ye Pretty Warbling Choir," Mrs. Testar - Handel.
Overture, "Guillaume Tell," Obligato, Flute, Mr. Cooze; Clarionette, Herr Mater; Violoncello, Mr. Thompson - Rossini.
Air, "Lo! hear the Gentle Lark," Mrs. Testar (flute Obligato), Mr. Cooze - H. R. Bishop.
Air, "Home of my Fathers," Mr. Cogdon. (Lucretia Borgia) - Donizetti.
Wedding March, Full Band - Mendlessohn.
Song, "Cinderella," Mr. Cooze - J. Parry.
Finale - "God Save the Queen."
Single Ticket, 3s. Double Ticket (lady and gentleman), 5s.
To be had at Mr. Reed's Musical Repository, 66, Collins-street, East; or of Mr. Patterson, at the Mechancis' Institution.
To commence at half-past seven, precisely, and conclude at ten.

"THE MONSTER CONCERT", The Argus (21 June 1852), 4 

Mr. Reed's very spirited attempt, on Saturday evening, was brilliantly successful, the room being crammed to excess. An orchestra was assembled, which certainly spoke volumes for the industry and enterprise exhibited by the conductor. Never before has so powerful and talented a band been heard in Melbourne. We did not count the performers, as they were so thick upon the ground as to make that process rather difficult, but the band was quite as loud as the roam would bear. The very cracking of the strings of the troop of violins, was a small overture of itself. The programme was very well selected; a small part of sacred music intervening between the other two, and some of the gems of Handel affording a fine contrast to the livelier music of Rossini and Donnizetti. Altogether the concert passed off with considerable spirit, and afforded complete satisfaction to the crowded audience. Some little confusion was excited by a very impudent prank played by some one near the door-way, in lowering the chandelier nearly upon the heads of those sitting below it. No great alarm was occasioned, although any one who ventures upon such tricks in an assemblage containing ladies, deserves to get well drubbed for his pains.

3 July 1853, Thomas Reed's morning (afternoon matinee) concert, Mechanics' Insitution, Melbourne

[Advertisement], The Argus (2 July 1852), 3 

MR. REED Has the honor to announce to the Gentry and the Public of Melbourne and its environs, that a
GRAND MORNING DRESS CONCERT, wiil take place at the Mechanics' Institution,
on Saturday, 3rd July, 1852, at Two o'clock,
Principal Vocal and Instrumental Performers:
Mrs. Testar; Mons. Del Sarte; Mr. Cooze; Mr. Megson;
Mr. Buddee; Mr. Wheeler; Herr Mater; Mr. Thompson; Mr. Portbury, &c. &c.
The Orchestra will be numerous and efficient, led by Mr. Megson; conducted by Mr. Reed.
Overture - Semiramide - Rossini
Cavatina - Should he upbraid, Mrs. Testar - H. R. Bishop
Romance - Sans Amour, Mons. Del Sarte - Masini
Solo - Violin, Mr. Megson - De Beriot
Grand duetto - Lucie and Asthon, Mrs. Testar and Mons. Del Sarte - Donizetti
Comic Song - The Lost Child, Mr. Cooze - J. Parry
Overture - Precioza - Weber
Recitative and air - And God created man - In native worth, Mons Del Sarte - Haydn
Quartette - God preserve the Emperor (instrumental) Mr. Megson, Mr. Osborne, Mr. Reed, and Mr. Thompson - Haydn
Recitative and air - And God said let the earth - With verdure clad, Mrs. Testar - Haydn
Overture - Guy Mannering - H. R. Bishop
Song - Adelaide (1st time), Mrs. Testar - Beethoven
Buffo Song - Largo al Factotum, Mons. Del Sarte - Rossini
Grand Wedding March - Full Band - Mendelssohn
Ballad - When Lubin sings (by desire), Mrs. Testar - Hobbs
Comic Song - X Y Z Married, Mr. Cooze - J. Parry
Finale - God Save the Queen.
Single Tickets, 3s 6d; double ditto, for lady and gentleman, or two ladies, 6s; juvenile family tickets of four each, 7s; to be had at Mr. Reed's Musical Repository, 66, Collins-street, East; or of Mr. Patterson, at the Institution.

ASSOCIATIONS: Camille del Sarte (vocalist); Benjamin Portbury (double bass player)

8 July 1852, music class Thursday concert, Thomas Reed (conductor)

"THE CONCERT", The Argus (8 July 1852), 5 

The following is the programme for this evening:

Song. - "In this old chair my father sat," Mr. Cogdon.
Solo. - Violoncello, Mr. Thompson.
Ballad. - "The Lowly Youth," Madame Allan [sic].
Song. - Mr. Wheeler.
Overture. - "II Barbiere."
Ballad. - "Will you love me then as now," Madame Allan.
Song. - "You'll find no change in me," Mr. Cogdon.
Polka. - "Florence."
Ballad. - "John Anderson my jo," Madame Allan.
Finale. - "National Anthem."

These entertainments are now placed under the conductorship of Mr, Reed, and leadership of Mr. Mater, and from the professional experience of the one gentleman, and the energy of the other, we anticipate that the character of the Concerts will be fully maintained.

ASSOCIATIONS: Francesca Allen (vocalist)


13 January 1853, Thursday concert, Mechanics' Institution, Melbourne

"THE CONCERT", The Argus (14 January 1853), 5 

The reproduction of the Thursday evening concerts was attended with a remarkable degree of success. Besides Mrs. Testar and Mr. Gregg, we had vocal and instrumental talent, quite new to a Melbourne audience. Mr. Thom, as leader, deserves great credit for the manner in which he has got together his band at so short a notice, as well as for the masterly style in which all the instrumental performances were executed, not forgetting his own beautifully performed fantasia on the violin. Mr. Creed Royal, as a solo flautist is quite up to our idea of Richardson, and will, no doubt, be a great acquisition to our instrumental corps. Mr. Sayers is a very neat tenor singer, with a sweet voice, although perhaps with scarcely power sufficient for a crowded room. He was well received, and encored in one of his songs. Upon the whole we congratulate Messrs. Thom, Reid, and Co., upon the success attending their first attempt to cater for our music-loving people. The orchestra is first rate, both in strength and knowledge of their duties, and many of the instrumental pieces were, last night, given in a style quite worthy of an English concert-room. The room was well filled, but not one half as well as a very complete programme very creditably got through, deserved. On the next occasion we are strongly recommend our readers to make an effort to attend.

ASSOCIATIONS: The previous week it was reported that Charles Mater was retiring as leader of the weekly Thursday concerts; Bream Thom (violin); John Gregg (bass vocalist); Creed Royal (flute; compared with Joseph Richardson); W. F. Sayer (vocalist)

[Advertisement], The Argus (31 January 1853), 1 

Open this Evening, 31st January. Mr. Denning, Proprietor.
THE Proprietor, desirous of evincing his appreciation of the liberal increase of patronage afforded to the above Assembly, begs to acquaint Ladies and Gentlemen, and his patrons generally, that, at a considerable expense, he has secured the services of an entirely new and complete String Band, including the most eminent musicians in Melbourne, under the direction of Mr. Reed, of the Concerts at the Mechanics' Institution.
The regulations exercised to render the Assembly deserving the support of respectability will continue unabated.
Admission - Gentlemen, 5s., with the privilege of introducing Ladies.
Dancing to commence at eight o'clock, terminating half-past eleven.

ASSOCIATIONS: Cornelius Denning (dancing master); earlier in the month, Denning had advertised a band under the direction of William Tranter (one of John Winterbottom's band); and the previous Monday the Band of the 40th Regiment under its master Henry Johnson

[2 advertisementd], The Argus (7 February 1853), 8 

Vocalists: Madame Arnati-White; Mrs. Fiddes; Mr. W. F. Sayer; Mr. J. Gregg.
Pianist: - Mr. Buddee.
Solo performers: Mr. Thom, Mr. Creed Royal, Mr. Buddee . . .

Open this Evening, 7th Instant. Mr. Denning, Proprietor.
AN ENTIRE NEW QUADRILLE BAND conducted by Mr. Reed, of the Concerts at the Mechanics' Institution . . .

ASSOCIATIONS: Madame Arnati-White (vocalist); Harriet Fiddes (vocalist)

[Advertisement], The Argus (16 February 1853), 8

Open Thursday Evening, 17th Instant. Mr. DENNING, Proprietor.
. . . The new Quadrille Band vill include Messrs. Creed Royal, Reed, W. F. Sayer, and other talented musicians . . .

[Advertisement], The Argus (7 March 1853), 8 

Open this Evening 7th inst. MR. DENNING Proprietor . . .
the usual Weekly Assembly will be held as above, when the Orchestra will be augmented by the engagement of Signor Maffei, Mr. Reed, Mr. Sayer, and additional instrumentalists of talent . . .

ASSOCIATIONS: Joseph Maffei (musician)

14 April 1853, weekly Thursday concert, Mechanics' Institution, Melbourne

[2 advertisements], The Argus (14 April 1853), 3 

THURSDAY WEEKLY CONCERTS. Under the Direction of Mr. Megson.
Principal Vocal Performers: Sopranos, Mrs. Testar and Mrs. Hancock.
Tenore, Mr. Hancock. Alto, Mr. Mitchell. Basso, Mr. Bancroft.
Principal Solo Performer: Mons. Felix Caranzani del Valle.
The Band: Leader, Mr. Megson.
Principal 1st Violin, Mr. Reed. Principal 2nd Violin, Mr. Thomas.
Viola, Mr. Jenkins. Violincello, Mr. Portbury. Double Basso, Mr. Hardman.
Flute, Mr. Cooze. Clarionet, Mr. Johnson. Cornet-a-Piston, Mr. Chapman.
Ophecleide, Horns, Drums, &c., by the Band of the 40th Regiment.
Overture - Il Barbiere di Seviglia - Band - Rossini
Glee - five voices - Spirits Advance - Mrs. Hancock and Mrs. Testar, Mr. Mitchell, Mr. Hancock, and Mr. Bancroft - Bishop
Solo - cornet-a-piston - Lucia de Lammermoor - Mr. Chapman - Donizetti
Song - Tell me my heart - band accompaniment, Mrs. Testar - Bishop
Quadrille - Edinburgh, new - Band - Scotch
Duet - Lo! The Showers Descending - Mrs. Hancock and Mrs. Testar - Boiledieu
Song - The Tribute of a Tear - Mr. Hancock - Loder
Part II.
Overture - Preciosa - Band - Weber
Quintett - Welcome Lady Fair - Mrs. Hancock and Mrs. Testar, Mr. Mitchell, Mr. Hancock, and Mr. Bancroft - Bishop
Sole - violin - Monsieur Felix Caranzini del Valle
Song - Why do I Weep for Thee - Mrs. Hancock - Wallace
Waltzes - Crystal Palace - Band - D'Albert
Trio - Gipsy's - Mrs. Hancock, Mrs. Testar, and Mr. Hancock - Bishop
Ballad - Oh! why left I my Hame - Mrs. Testar - Scotch
Finale - God Save the Queen.
Leader of Band: MR. MEGSON.
Pianist: MR. BUDDEE.
Concert to commence at Eight o'clock, precisely.
Prices of admission: - To the public 2s., reserved seats 3s., members 1s. 6d.

MECHANICS' INSTITUTION. Thursday Weekly Concert. Mr. MEGSON, Leader.
PRINCIPAL Vocal Performers: - Soprano, Mrs. Testar; Tenori, Mons. Barre and Mr. Huxly; Basso, Mr. Bancroft.
Principal Instrumental Performers - Messrs. Megson, Reed, Cooze, Johnson, Chapman, Hardman, Portbury, &c.,
with several of the Band of the 40th Regiment.
Mr. Buddee, Pianist . . .

ASSOCIATIONS: Mary and Edward Hancock (vocalists); Mons. Barre (vocalist); Felix Caranzani (piano); Richard Bancroft (vocalist); Daniel Hardman (double bass); George Chapman (cornet)

21 April 1853, weekly Thursday concert, Mechanics' Institution, Melbourne

[Advertisement], The Argus (20 April 1853), 12 

Under the direction of Mr. MEGSON. On Thursday next, April 21.
Principal Vocal Performers: Sopranos - Mrs. Testar and Mrs. Hancock.
Tenor - Mr. Hancock. Alto - Mr. Mitchell. Basso - Mr. Bancroft.
The admired Buffo Song "The lost Child," by Mr. Cooze.
For this evening only, Mons. Fleury, the celebrated Violinist, will play
Paganini's celebrated Solo, "the Carnival de Venise," on the Violin.
The Band: Leader - Mr. Megson.
Principal 1st Violin - Mr. Reed.
Principal 2nd Violin - Mr. Thomas.
Viola - Mr. Jenkins.
Violincello - Mr. Portbury.
Double Basso - Mr. Hardman.
Flute - Mr. Cooze.
Clarionet - Mr. Johnson.
Cornet-a-piston - Mr. Chapman.
Ophecleide - Mr. Hartigan.
Horns, drums, &c., by the Band of the 40th Regiment.
Overture, "Cenerentola" - Full Band - Rossini.
Glee and Chorus, "The Gypsies' Tent" - Mrs. Testar, Mrs. Hancock, Mr. Hancock, Mr. Mitchell, and Mr. Bancroft.
Song, "The Wreck" Mr. Hancock - Glover.
Solo (Violin), "The Carnival of Venice" (as played by Paganini) - Mons. Fleury - Paganini.
Song, " Bid me discourse" - Mrs. Testar (Band accompaniment) - Bishop.
Polka, "Sontag" (first time) - Full Band - D'Albert.
Quartette, "Why stays he now?" - Mrs. Hancock, Mr. Hancock, Mr. Mitchell, and Mr. Bancroft - Bishop.
Overture, " Maritana" - Full Band - Wallace.
Cavatina, "Le Romeo" - Mrs. Hancock - Donizetti.
Solo and Chorus, "The Chough and Crow" - Mrs. Testar, Mr. Hancock, Messrs. Hancock. Mitchell, and Bancroft (with full band accompaniment) - Bishop.
"The Great Exhibition Quadrille" - Full Band, with original effect, a la Jullien - Jullien.
Duet, "I've wandered in Dreams" - Mrs. Hancock and Mr. Hancock - Wade.
Ballad, "Terence's Farewell," (by desire) - Mrs. Testar - Irish.
Buffo Song, "The Lost Child," (by general desire) - Mr. Cooze - Ford.
Finale, "God save the Queen" . . .
Leader of the Band, - Mr. Megson. Pianist - Mr. Buddee . . .

ASSOCIATIONS: Joseph Hartigan (ophicleide)

23 May 1853, Joseph Megson's annual concert, Mechanics' Institution, Melbourne

[Advertisement], The Argus (21 May 1853), 8 

MR. MEGSON begs to announce that he will give his NINTH ANNUAL, and Farewell Concert,
at the Mechanics' Institute, On MONDAY EVENING, 23rd May,
on which occasion he will be assisted by Mrs. Testar, Mrs. Hancock, Mr. Hancock, Mr. C. Young, Mr. C. Walsh, Mr. Bancroft, Mr. Reed, Mr. Cooze, Mr. Johnson, Mr. Thomas, Mr. Hardman, Mr. Portbury,
Mr. Jenkins, Mr. Chapman, and several other professional gentlemen; also part of the Band of the 40th Regiment.
Overture - Tancredi (full band) - Rossini . . .
The Great Exhibition Quadrille, (with all effects - full band) - Jullien . . .
PART II. Overture - Guy Mannering (full band) - Bishop . . .

ASSOCIATIONS: Herbert Thomas (viola); Reed's longtime collaborator, Joseph Megson, was leaving the colony for Hobart, at a time when there were several excellent violinists among recent gold rush arrivals

25 May 1853, Cornelius Denning's susbscription ball, Protestant Hall, Melbourne

[Advertisement], The Argus (24 May 1853), 12 

MR. DENNING'S select Full Dress Subscription Ball, by general desire, will be held tomorrow evening, Wednesday, 25th, at the Protestant Hall . . .
The Orchestra will include Mr. Megson, his final professional engagement; Mr. Johnson, Bandmaster of 40th Regiment; Mr. Reed: Mr. Cooze, and several other eminent musicians . . .
[tickets] . . . and of Mr. Reed, musician, Great Brunswick-street . . .

21 June 1853, Cornelius Denning's susbscription ball, Protestant Hall, Melbourne

[Advertisement], The Argus (18 June 1853), 12

MR. DENNING'S Select Full Dress Subscription Ball, will be held on Tuesday evening, 21st June, weather permitting, at the Protestant Hall. Herr Strebinger, the eminent Violinist, Mr. Johnson, Bandmaster 40th Regiment, Mr. Reed, Mr. Cooze, Mr. Chapman, and other distinguished musicians, are engaged for the occasion. Application for tickets must be accompanied with an assurance of the respectability of the parties to be introduced. Admission by ticket only, and full dress indispensbable. Ticket, 10s, not including refreshments, to be obtained of Messrs. Tuck and Co., Confectioners, Elizabeth-street, Mr. Denning, 186. Great Bourke-street, east, Mr. Reed, Musician, Great Brunswick-street, Collingwood, and at the Protestant Hall. The refreshments by Messrs. Tuck and Co., at moderate charges.

[Advertisement], The Argus (18 June 1853), 12

MR. DENNING'S Select Full Dress Subscription Ball, to be held at the Protestant Hall, on Tuesday, 21st inst. . . . The orchestra will be complete, including Herr Strebinger, Mr. Johnston, 40th Band, Messrs. Reed, Chapman, Cooze, Hardman, Thomas, and other talented musicians . . .

"SUBSCRIPTION BALL", The Argus (22 June 1853), 7

Mr. Denning's Subscription Ball, at the Protestant Hall last night, was very numerously attended, the Hall being well filled with a most respectable company. The band played most of the new and popular dances very effectively. Mr. Reed was the leader, and among the performers were Mr. Band-Master Johnston and Herr Strebinger . . . Everything that care and attention could suggest, was done to secure the happiness of all present. Order and decorum were strictly preserved, and the whole arrangements reflected great credit on the manager. Dancing was kept up till a late hour.

ASSOCIATIONS: Frederick Strebinger (violin)

[Advertisement], The Argus (28 July 1853), 8 

This Evening, Thursday, 28th July, a grand concert will take place in the Hall of the above Institution . . .
Director and Conductor - Mons Paltzer.
Overture - L'Italiana in Algeri - Rossini
Melodie Musicale - Full Band - J. G. Reed [sic, T. G. Reed] . . .
Waltz -The Berlin Echo - Arban . . .
Polka - Young Couple, with Cornet Obligato (by desire), Mr. Stewart - Cooke.
Overture - Harmonious Blacksmith, Full Band - Handel . . .
Polka - The Drum - Jullien . . .

ASSOCIATIONS: Jacques Paltzer (violin)


[Advertisement], The Argus (7 January 1854), 8 

CONTINUATION of Tattersall's Concert -
Signor Maffei begs to inform the public that the above concerts will be transferred to the saloon of the Mechancis' Institution, on Saturday, Monday, and Thursday evenings following.
The most powerful and favorite band comprises -
Monsieur Fleury, Mr. Johnson, Mr. Reed, Mr. Hardman,
Mr. Thomas, Mr. Steward, Mr. Hartigan, Signor Maffei,
and the other members of his incomparable band at Tattersalls.
Vocalists - Mrs. Testar and Madame Carandini.
Pianist - Mr. Salamon.
Programme for Saturday, 7th instant.
First appearance of MADAME CARANDINI, (as Bella Prima Donna)
Overture - Il Barbiere de Seviglia - Rossini
Selection - O'Donohue of the Lakes - Reed
Waltz - Genevieve - D'Albert
Song - Oh! what full delight (Bohemian Girl) - Balfe - Madame Carandini, Accompanied by Mr. L. H. Lavenu.
Solo - Sax Horn - Mr. Baker
Ballad - I cannot sing tonight - L. H. Lavenu - Composed expressly for Madame Carandini
Glee - Mynheer Van Dunck - Labitzky
Overture - Preciosa - Weber
Ballad - Thou art gone from my gaze - G. Linley - Madame Carandini
Polka - Downshire - Callen
Solo - Cornet a Piston - Robert, toi que J'aime, from Robert le Diable - Meyerbeer - Signor Maffei
Galop - Leipsic - Labitzky
Doors open at half-past Seven. Concert to commence at Eight o'clock.
Admission - Five Shillings.

ASSOCIATIONS: Achille Fleury (violin); Edward Salaman (piano); Maria Carandini (vocalist); Lewis Lavenu (piano, composer)

The Salle Valentino, after the appearance of Madame Carandini; S. T. Gill, Melbourne 1854; State Library of Victoria

The Salle Valentino, before the appearance of Madame Carandini; Samuel Thomas Gill, Melbourne 1854; State Library of Victoria (DIGITISED)

The Salle Valentino, after the appearance of Madame Carandini; S. T. Gill, Melbourne 1854; State Library of Victoria

The Salle Valentino, after the appearance of Madame Carandini; Samuel Thomas Gill, Melbourne 1854; State Library of Victoria (DIGITISED)

[Advertisement], The Argus (30 January 1854), 8 

Mr. JAS. ELLIS begs respectfully to announce that, for a short time, and until the Gondola Steamers and other conveyances are laid on for the conveyance of visitors, the amusements at Cremorne will be discontinued. . .
J. E. begs to acquaint the patrons and friends that, in the interval, he has determined to give a short season of superior Promenade Concerts, every Evening the Salle de Valentino, for which he has secured the services of the Best Band in the Colony - the names of the Artistes forming the Orchestra will speak for themselves.
Conductor and Leader, Monsieur Fleury; Clarionet, Mr. Johnson; Flute, Mr. Cooze; Tenor, Mr. Reed; Cornet a-Piston, Signor Maffei; Contra Bass, Mr. Hardman; supported by other performers of celebrity.
Madame Carandini, the prima donna of the southern hemisphere, and Mr. Lavenu, the eminent buffo singer from London, will appear every evening and sing their most popular selections.
An entire change of programme every evening.
The interior of the Salle de Valentino has been re-arranged, and seats for six hundred persons have been provided around the Promenade-Circle. In order to sustain the popular character of J. Ellis's Public Amusements, notwithstanding the great expense incurred, the admission will be as before: -
Dress Boxes, Half a Crown; Promenade Circle, One Shilling.

ASSOCIATIONS: James Ellis (proprietor)

[Advertisement], The Argus (22 March 1854), 3 

SALLE DE VALENTINO, top of Bourke-street east.
Re-engagement of Barlow, the celebrated Trans-atlantic Musician and Melodist, for a limited number of nights.
Mr. Ellis begs to acquaint his patrons and friends, that he has determined to give a short Season of superior Promenade Concerts, On a scale far superior to any hitherto attempted in the Colony, for which he has secured the services of the Best Band in the Colony.
Leader and Conductor - M. Fleury.
Together with the following Vocalists: - Miss Octavia Hamilton, (from the Philharmonic Concerts,) and Mr. Barlow.
A new selection will be produced each week, comprising the following favorite Scotch Melodies,
arranged expressly for this orchestra by Mr. Reed.
"Charlie is my Darling," - Full Band.
"John Anderson, my Joe," (Clarionet Solo) - Mr. Johnson.
"Rothiemurchus Ram," (Clarionet and Violin Solos) - Messrs. Johnson and Fleury.
"Green Grow the Rashes, O," (Picolo Solo) - Mr. Cooze.
Scotch Melody, (Clarinet Solo) - Mr. Johnson.
Highland Quick Step, (Oboe Solo) - Mr. Johnson.
"Argyle is my Name,'' (Flute Solo) -Mr. Cooze.
"Within a Mile of Edinburgh," and "Annie, in Twenty I am," (Violin Solo) - Mons. Fleury.
Finale - Full Band.
Promenade, 1s.; dress-circle, 2s. 6d.

ASSOCIATIONS: Robert Barlow (comic vocalist); Octavia Hamilton (vocalist)

[Advertisement], The Argus (24 May 1854), 8 

MR. DENNING'S Assembly, Protestant Hall, postponed on Monday evening, will take place next Monday, weather permitting. A superior Orchestra, under the direction of Mr. Reed, is engaged.

July to September 1854, promendae concerts, Salle de Valentino


. . . On Saturday night I went to the Salle de Valentino, to hear Mons. Fleury, who then took his farewell benefit. That is what it was called, but I hope to hear him often, as arrangements are in contemplation for securing his high professional abilities, and giving them more scope. The night was wet and the streets bottomless; but some hundred or two ventured to the Salle, and were rewarded by a very agreeable entertainment. I was vastly amused. The idea of an orchestra in full dress, wearing huge mud boots, tickled my fancy much. It seemed so thoroughly colonial. At the same time I saw it was indispensably necessary, unless the whole company had arranged to float to the concert room on the double bass. The groups amongst the audience were of the most picturesque character. The Illustrated London news should have an artist at all such places, it did not seem to matter where anybody sat or stood. Everybody went everywhere. I went everywhere. Everybody smoked. I smoked. It was no matter. It was the freest and easiest concert I was ever at in my life. But my business is to tell you about the music. Well, we had no programme, a great omission, for which, if repeated, I shall impose the penalty of total silence. A concert without a programme loses half its interest. The opening overture was effectively executed, allowance being made for the canvass roof of the building, and we had afterwards some popular polkas and quadrilles admirably arranged for Mons. Fleury's orchestra, and in which he performed the very difficult task of leader and conductor in a manner somewhat like and worthy of the illustrious Jullien's own self. We had selections, too, from Scottish airs, arranged by Mr. Reed, and these were succeeded by Irish quadrilles, both of which nationalities were of course quickly recognised and much applauded. A solo on the clarionet by Mr. King was favorably received as it deserved to be, and this brings me to his daughter, Miss Juliana King, a young lady nine years of age, who, I was told, appeared for the first time in Melbourne. Miss King sang, "I'll be no submissive wife," a popular Scotch air, "When a body," &c., and a French song, and very well indeed she sang . . .

ASSOCIATIONS: The extended King family, from Bristol, were recent arrivals in the colony; Juliana King (vocalist) was actually the daughter of the eldest brother, Edward King (violin), not, as reported here, of his younger brother Thomas King (clarinet); Thomas Reed would almost certainly have known of Edward and possibly also Thomas in Bristol and Bath

[Advertisement, The Argus (12 August 1854), 8 

Salle de Valentino. THE Original Shilling Promenade Concerts . . .
Best Band in Victoria! Conductor, Mr. Johnson; Leader, Monsieur Fleury.
Solo Performers, Messrs. Johnson. Fleury, Reed, Cooze, Hartigan, Stewart, etc. . . .

[Advertisement], The Banner (8 September 1854), 13 

Salle de Valentino.
THE Original Shilling Promenade Concerts will be resumed Tonight, and continue every Evening for a short Series, previous to the removal of the Circus, the ground being required for another purpose.-
Best Band in Victoria! Conductor, Mr. Johnson; Leader, Monsieur Fleury.
Solo Performers, Messrs. Johnson. Fleury, Reed, Cooze, Hartigan, Stewart, etc.,
assisted by the elite of the Band of the 40th Regiment, and a galaxy of Vocal Talent.
Admission. One Shilling.
JAMES ELLIS, Proprietor.

[Advertisement], The Argus (21 September 1854), 7 

WANTED a General English Female Servant, at Mrs. Reed's, Brunswick Cottage, King William-street, Collingwood.

October 1854, Astley's Amphitheatre, Spring-street, Melbourne, Thomas Reed (composer, arranger)

[Advertisement], The Argus (30 September 1854), 8 

Sole Lessee - Mr. George Lewis. Conductor and Leader - Mons. Fleury.
Saturday, September 30th, 1854. Grand Musical and Comic Entertainment.
Miss O. Hamilton; Miss Warde; Mrs. Onn . . . The inimitable Barlow . . .
Messrs. Johnson, Hartigan, Reed, King, Cooze, Baker, etc. Herr Strebinger . . .

[Advertisement], The Argus (14 October 1854), 8 

Sole Lessee - Mr. George Lewis. Conductor and Leader - Mons. Fleury.
Saturday, October 14th, 1854. A GRAND MONSTER CONCERT, For the Benefit of Mons. Fleury.
The following Vocalists and Instrumentalists will appear:
Miss O. Hamilton; Miss Warde; Mrs. Onn; Mr. Hertz.
Mons. Fleury, Herr Strebinger, Messrs. H. Johnson, Hartigan, Reed, Stewart, Baker, Redder [Riddett] and Thomas.
1. - Grand Overture, Guillaume Tell, Rossini.
2. - Local Song, Mr. Barlow.
3. - Celebrated Undine Polka, Cornopean and and Flute Obligato.
4. - New Song, Miss Warde.
5. - Waltz, Olga, Jullien.
6. - Scotch Song, Comin' thro' the Rye, Miss O. Hamilton.
7. - Favorite Song, Mr. Hertz.
8. - Comic Song, Mr. Barlow.
9. - By particular desire, the Exhibition Quadrilles, containing the Airs of All Nations.
10. - Mr. Barlow will appear in his much admired character of Lucy Long.
11. - Selection of Scotch Airs, Reed.
12. - Song, Miss O. Hamilton.
13. - Castanet Polka.
14. - Mr. Barlow again as the American Indian.
15. - Finale, Mendelssohn's Morning March.
To conclude with the inimitable Barlow, who will appear for the second time as Fanny Elssler, in his mock Cachuca Dance.
Also several new Comic Local Ditties, black and white.
The doors will open at half-past seven, and the Concert will commence precisely at eight.
Prices of Admission: - Dress circle, 8s.; side boxes, 7s.; pit, 6s.; gallery, 2s. 6d. . . .

ASSOCIATIONS: Constantia Onn (vocalist, pianist); Kate Warde (vocalist)

The Melbourne Exhibition Building of 1854, in William Street

The Melbourne Exhibition Building of 1854 ("our own Crystal Palace"), in William Street

October to December 1854, Victorian Exhibition, new Exhibition Building, Melbourne

THE EXHIBITION, The Argus (23 October 1854), 5 

There were 598 visitors to the Exhibition on Saturday. Of these only 190 were season-ticket holders. The receipts for the day amounted to £163 13s. In the evening a grand military concert took place under the efficient conduct of Mr. Johnson. The different pieces, announced in the programme, already published, were admirably performed. A vocal and instrumental concert will take place this evening; - Mrs. Testar, Miss Edwards, Mr. Ewart, and Mr. Hackett are the vocalists. Herr Strebinger, Messrs. King, Cooze, and Reed are among the instrumentalists. Mr. H. Smith is conductor. The programme includes a number of those songs the brilliant execution of which by the artistes named is to some extent familiar to Melbourne audiences. The instrumental music is selected with equally good taste.

There can be no doubt but that these concerts would be numerously attended were the price of admission to them lowered. The returns show that 188 individuals only were present on Saturday evening. To lower the price of admission would, we are convinced, have an immediate effect in vastly increasing the attendance. Instead of the number present on Saturday evening, it might be expected that 600 or 800 would avail themselves of the opportunity afforded them in the Exhibition of listening to music of the highest character, performed in circumstances so favorable to its full enjoyment as this beautiful building furnishes. In a commercial point of view a reduction of the charge for admission to those concerts would be a wise step. The larger number already mentioned could be comfortably accommodated in the building, and the enjoyment of those present would be enhanced, rather than diminished, by the larger number of auditors. The effect of a musical performance is to a great extent lost when the audience is manifestly far short of the capacity of the building. There is a deadening influence produced on both the performers and the audience, of which neither can rid themselves.

Besides, the Exhibition is a national enterprise. Such arrangements should be made as will admit of every one's enjoying the benefit it is intended to bestow; and it will be a matter of serious and permanent regret if, from persistence in too high a rate of charge for admission, any class of the population are excluded from participation in this benefit. Music is now acknowledged universally to be one of the most efficient means of refining and elevating individual and national character. Concerts in the Exhibition building are obviously admirably calculated to bring this influence to bear on the minds of all; and if such arrangements are at once made as will facilitate the enjoyment by all of this means of education in the enlarged sense of the term, the best results may be expected to ensue.

A Grand Sacred Concert is announced for Thursday evening. The Philharmonic Society, assisted by Mrs. Testar, Mrs. Hancock, Miss Edwards, and an efficient band and chorus will perform a grand selection from Handel's Oratorio of Judas Maccabaeus.

[Advertisement], The Argus (23 October 1854), 8 

A Vocal and Instrumental Concert will take place this evening, Monday, Oct. 23rd, 1854, in the Exhibition Building, William-street.
Principal Performers. - Mrs. Testar, Miss Edwards, Mr. Ewart, and Mr. Hackett.
Instrumentalists: Herr Strebinger, T. King, Mr. Cooze, Mr. Reed, &., &.
Conductor - Mr. H. Smith.
Part I.
Overture - Rossini.
Trio - This Maglc wove Scarf, Mrs, Testar. Mr. Ewart, Mr. Hackett - Barnett.
Ballad - Sweet Home, Miss Edwards - Wrighton.
Violin Solo, Herr Strebinger.
Duet - The Cauld Blast, Mrs. Testar and Miss Edwards - Mendelssohn.
Song - The Wanderer, Mr. Hackett - Schubert.
Aria - Dove Sono, Mrs. Testar (band accompaniment) - Mozart.
Part II.
Overture - Scotch Melodies; arranged by T. Reed.
Duett - Love in thine Eyes, Miss Edwards and Mr. Hackett - Jackson.
Solo, Clarionet, Mr. J. King [sic].
Ballad - Sweet May, Mrs. Testar (band accompaniment) - Kucken.
Trio - Turn on Old Time, Miss Edwards, Mr. Ewart, and Mr. Hackatt - Wallace.
Finale, Band.
The doors will be opened at seven o'clock, and the Concert commences at half-past seven.
Price of admission - 7s. 6d. each; season-ticket holders, 4s each.
A. CLARKE, JOHN HUTCHINSON, Honorary Secretaries.
J. H. BROOKE, Agent to the Commission . . .

ASSOCIATIONS: Thomas Ewart (tenor vocalist); Henry Smith (conductor); Melbourne Philharmonic Society

[Advertisement], The Argus (26 October 1854), 8 

This Evening, Thursday, October 26th.
The Philharmonic Society will perform a Selection from Handel's Grand Oratorio of
Principal Vocalists:
Mrs. Testar, Mrs. Hancock, Miss Edwards, Mr. Hackett, Mr. Ewart, and Mr. J. King.
Principal Instrumentalists:
Violins: Messrs. Griffiths, King, Fleury, Strebinger, Wm. Radford, M. Radford, Ryder, Pietzker, Fischer, Newton, Lewis, and Hurst.
Violas: Messrs. Thompson, King, and Izard.
Violoncellos: Messrs. Reed, Hailes, and Kent.
Bassos: Messrs. Hardman, Gover, and Harndorf.
Flute: Mr. Cooze.
Clarionets: Messrs. Johnson and King.
Bassoons: Messrs. Briggs and McCay.
Trumpets: Messrs. Llewellyn.
Trombones: Messrs. Phair, Macnamara, and Trystram.
Opheicleide: Mr. Hartigan.
Horns: Messrs. Kohler and Naughten.
Leader: Mr. Jos. Griffiths.
Conductor: Mr. J. Russell.
Doors open at 7 o'clock; performance commences at half-past 7 o'clock.
Admission, 10s. each; season ticket holders, 5s. each.
AN. CLARKE, J. HUTCHINSON, Honorary Secretaries.
J. H. BROOKE, Agent to the Commissioners.

[Advertisement], The Age (2 November 1854), 1 

On Friday, November 3rd, The PHILHARMONIC SOCIETY
Will perform Handel's Grand Oratorio, THE MESSIAH.
Principal Vocalists: Mrs. Testar, Mrs. Hancock. Miss Edwards, Mr. Haskett, Mr. Ewart, Mr. H. J. King.
INSTRUMENTALISTS . . . VIOLONCELLOS. - Messrs. Reed, Hailes and Kent . . .

[Advertisement], The Argus (17 November 1854), 7 

. . . on Friday next, the 17th instant, by the Philharmonic Society . . .
Violoncellos - Messrs. Reed, Hailes and Kent . . .
Handel's Serenata, Acis and Galatea . . .

[Advertisement], The Age (7 December 1854), 1 

. . . Violoncellos - Messrs. Reed, Hailes and Kent . . .

ASSOCIATIONS: John Russell (conductor); Joseph Griffiths (violin, leader); George Hailes (cello); Henry John King (vocalist);


[Advertisement], The Argus (19 February 1855), 8 

CRITERION HALL. - Immense Attraction To-night, and every evening during the week,
Grand Promenade Concerts a la Jullien, in the spacious and magnificent hall of the Criterion Hotel.
An entire change of performance.
One shilling. Admission, one shilling.
Miss Graham, in her admired Scotch ballads;
Miss Bourne, the well-known and favorite songstress;
Mr. Geo. Clifford, the unrivalled tenor of the colony;
Herr Funk, the unsurpassed performer on the clarionet, will execute one of his elaborate solos every evening during the week.
Together with Chapman's unrivalled band; comprising all the acknowledged available talent in the colony:
Miss Graham, Miss Bourne, Mr. Clifford, Mr. Chapman, Herr Funk, Mr. Weston,
Mr. Reed, Mr. Mather, Mr. Weis, Mr. Thorn, Mr. Sims, Mr. Ellis, Herr Keillor, Mons. J. H. Krom.
Doors open at half-past seven. Commence at eight.
One shilling. Admission, one shilling.

ASSOCIATIONS: Miss Graham (stagename of Amelia Silverlock); William Funk (clarinet, violin); George Clifford (vocalist); John Herman Krom (musician)

[Advertisement], The Argus (7 June 1855), 1 

WANTED a General Servant; English or Scotch. Apply to Mrs. Reed, 24 King William-street, Collingwood.

[Advertisement], The Argus (23 June 1855), 8 

SALLE DE VALENTINO.- Mons, Fleury will perform on Monday, 25th inst. -
Newly decorated by the celebrated artists, Messrs. T. Pitt and Brogden. -
Fleury's Band, comprising the leading talent of the colonies, will consist of the following artistes -
Mons. Fleury, Conductor and Leader
Messrs. Reid [sic], Fihon [sic], 2nd Violins
Handoff, Double Bass
Kinzella, Clarionet
De Labestrier, Cornopean
Baker, Saxe Horn
Hartigan, Ophecleilde
Brown, Flute
Kummons, Bassoon
Sterne, Drum.

ASSOCIATIONS: Alfred Labalestrier (cornopean); Auguste Filhon (violin)

[Advertisement], The Argus (18 August 1855), 8 

SALLE DE VALENTINO. Promenade Concert and Ball. Open Every Evening. Admission One Shilling.
M. Fleury, in returning thanks to the citizens of Melbourne for their very kind patronage, begs to say that no expense or exertion shall be spared on his part in making the Salle de Valentino the first place of its kind in this city.

M. Fleury promises also to make it his especial object to produce every novelty in Music, both vocal and instrumental and will not be satisfied with merely telling the public that he has an efficient band but will give their names, which, it is hoped, will be a sufficient guarantee of ability:
Instrumentalists: Violinists, Messrs. Read [sic] and Fillon [sic] . . .

[Advertisement], The Argus (11 December 1855), 8 

WANTED 80,000 good Bricks delivered in Russell-street. Apply Mr. Reed, 21 King William-street, Collingwood.


Colony of Victoria, 1856 electoral roll, Collingwood-Fitzroy division, page 54

Reed Thomas / 24 King William street, professor of music / freehold / King William street

[Advertisement], The Argus (7 July 1856), 1 

WANTED a Right-of-Way Repaired, Pitched, and Metalled. Mr. Reed, 24 King William-street, Collingwood.


27 February 1857, concert, Miska Hauser, Thomas Reed (viola)

[Advertisement], The Age (26 February 1857), 1 

MISKA HAUSER Has the honor to announce a Second
CLASSICAL CONCERT, Previous to his departure for Europe,
On Friday next, February 27th, at the Mechanics' Institution,
When he will be assisted by
Mr. E. KING, 2nd violin
Mr. W. REED [sic], Tenor
Mr. H. THOMAS, Tenor
Mr. S. CHAPMAN, Violoncello
Mr. CH. BIAL, Piano . . .

"MISKA HAUSER'S FAREWELL CONCERT", The Age (28 February 1857), 5 

Last evening, the celebrated Hungarian violinist, Miska Hauser, who has now occupied nearly two years in making a professional tour of the Australian colonies, took his leave of them in a grand classical conccrt, at the Mechanics' Institution, - the place where first his transcendant powers as a violinist became known to the Victorian public. The audience was small, but appreciative, and included the principal amateurs of the metropolis . . . Now that the public have had a taste of the enjoyments to be derived from an acquaintance with really classical music, we trust that Messrs. E. King, H. Thomas, W. Reed [sic], and S. Chapman, the able collaborators of Miska Hauser, will not be slow in making us further acquainted with works which they have shown themselves so well qualified to render. The performances of the evening commenced with Mayseder's quintett No. 2, A minor, in which the artistes we have mentioned were all engaged. The symphony selected is one of the most pleasing productions of this well known composer, and was rendered with a delicacy and success which we have seldom heard excelled. During the performance of the work, the audience listened with rapt attention , and at the close of each of the four movements applauded with a heartiness, which showed how highly they appreciated the treat which had been placed before them . . .

"MUSIC AND THE DRAMA", The Age (10 March 1857), 5 

Miska Hauser, whose late concerts have each been understood to be the last, are now to he brought to an actual finale at the Mechanics' Institution, on Thursday. He has been assisted by Miss Emilie Smith, the able pianiste, Miss Chalker, a vocalist of very considerable ability, from Adelaide, and Mr. Bial, whose tasteful piano-forte playing have long been favorably known. Miska Hauser has latterly introduced a novelty into his concerts which should commend them to the favorable notice of the public. We refer to the performance of sinfonies of Hayden, Beethoven, and Mayseder, by Messrs. Reed, Chapman, Thomas, King, and himself. The credit of having introduced this choice element into our concerts is due to Miska Hauser, and we are glad to say has been duly recognised by the public. His concert, on Thursday next, to be held at the Mechanics' Institution, promises to be a great treat in its way, and we trust the last appearance of this favorite violinist previous to his departure for Europe, will be made the signal for a large gathering of the musical community.

ASSOCIATIONS: Miska Hauser (1st violin); Edward King (2nd violin); Herbert Thomas (viola); Samuel Chapman (cello); Charles Bial (piano); Marie Chalker (vocalist)

MUSIC: String quintet in A minor, op. 51 (Mayseder)


[Advertisement], The Argus (21 July 1858), 8 

IN the SUPREME COURT: No. 2,946. - Between
WILLIAM MIDDLETON TENNENT, Plaintiff, and CHARLES ALBERT FREDERICK MATER and JANE CHARLOTTE MATER, Defendants. - Notice is hereby given, that an action has been commenced in this Court by the above-named plaintiff against the above-named defendants, for that the above-named defendants are justly and truly indebted to the above named plaintiff in the sum of £550.18.9d. for money payable by the said defendant Jane Charlotte Mater, while she was sole and unmarried, to the plaintiff, for money lent by the plaintiff to the said Jane Charlotte Mater while she was sole and unmarried, and for money paid by the plaintiff for the use of the said Jane Charlotte Mater, while she was sole and unmarried, at her request, and for money found to be due to the plaintiff from the said Jane Charlotte Mater, while she was sole and unmarried, on an account stated between them;
and a WRIT of FOREIGN ATTACHMENT has been ISSUED, directed to John Duerdin, Henry Adolphus Bronckhorst, and Charles Palmer, of Melbourne, solicitors, and Charles Damm and Thomas Reed, of Collingwood, near Melbourne, musicians, for the purpose of attaching in the hands of the said John Duordin, Henry Adolphus Bronckhorst, Charles Palmer, Charles Damm, and Thomas Reed, all and singular the lands and other hereditaments, moneys, and chattels, bills, bonds, and other property of whatsoever nature, in the custody or under the control of the said John Duerdin, Henry Adolphus Bronckhorst, Charles Palmer, Charles Damm, and Thomas Reed, or either of them, at the time of the service of the said writ belonging to the above-named Charles Albert Frederick Mater and Jane Charlotte Mater, or to or in which such defendants shall at the time be legally or equitably entitled or otherwise beneficially interested (and whether solely or jointly with any person or persons), and all debts of every kind then due by the [said] Charles Palmer, Charles Damm, and said John Duerdin, Henry Adolphus Bronckhorst, Thomas Reed, or either of them, to such defendants, although the same or part thereof may be payable only at a future day; and if at any time before final judgment in this action the said Charles Albert Frederick Mater and Jane Charlotte Mater, or any person on their behalf, will give the security required by law, the said Charles Albert Frederick Mater and Jane Charlotte Mater upon entering an appearance and upon giving notice thereof to the plaintiff, may apply, to the Court and have the attachment dissolved.
Dated this 20th day of July, in the year of our Lord, 1858.
JAMES SMITH, 88 Collins-street east, Melbourne, plaintiff's attorney.

ASSOCIATIONS: Charles Mater (musician, defendant); Charles Damm (musician)

15 November 1858, concert, Melbourne Philharmonic Society, Thomas Reed (orchestrator, arranger)

"THE PHILHARMONIC SOCIETY", The Age (15 November 1858), 4 

. . . The second division of the programme includes one of Corelli's sonatas arranged for a full string and wind band by T. Reed . . .

[Advertisement], The Age (15 November 1858), 1 

Patrons: His Excellency the Governor and Major General Macarthur.
The FIFTH SUBSCRIPTION CONCERT For the year will be held in the Exhibition Building,
When Handel's Serenata ACIS AND GALATEA, And a Miscellaneous Selection of Secular Music, will be performed.
Principal Vocalists: MISS OCTAVIA HAMILTON.
Mrs. Goodliffe, Mr. Ewart. Mr. W. H. Williams.
Leader: Mr. King.
Organist: Mr. George R. G. Pringle.
Part II. Overture - Der Freischutz - Weber . . .
Sonata - No. 10 (specially arranged by T. Reed) - Corelli . . .
Overture - Fidelio - Beethoven . . .
W. G. DREDGE, Honorary Secretary.

"THE NEWS OF THE DAY", The Age (16 November 1858), 5 

The fifth subscription concert of the Philharmonic Society for the current year, was held yesterday evening at the Exhibition Building before a large and distinguished audience. The programme consisted of Handel's "Acis and Galatea," and a selection of vocal and instrumental music . . . The second portion of the concert included two overtures, exceedingly well performed by the band, an admirable part song by Rutter, which was unanimously encored, and one of Corelli's sonatas. This latter was a heavy affair, and assisted, along with the lateness of the hour, in clearing the room of more than half the audience . . .

ASSOCIATIONS: George Pringle (organist); Robert Farquharson (bass vocalist); Mrs. Goodliffe (soprano vocalist); William Henry Williams (tenor vocalist); William Gilpin Dredge (honorary secretary)

MUSIC: ? An arrangement of the Violin sonata, op. 5 no. 10 (Corelli)


13 September 1859, concert, Melbourne Philharmonic Society, Thomas Reed (orchestrator)

"THEATRICALS AND MUSIC . . . THE PHILHARMONIC SOCIETY", Bell's Life in Victoria and Sporting Chronicle (17 September 1859), 2 

The third subscription concert for the present year took place in the Exhibition Building, on Tuesday evening, and was a great success. Rossini's "Stabat Mater," and Mr. G. O. Rutter's new sacred cantata, "The Second Advent," comprised the entertainment. We have not room to speak in detail of the particular excellences of the new work; but we may say that while susceptible of some slight improvement, it is a composition possessing merit of no ordinary character. There is much in it that fairly entitles it to claim originality. It was arranged and scored for the whole band and chorus by Mr. Thomas Reed, whose labours have received the highest encomiums.

ASSOCIATIONS: George Oswald Rutter (composer)


Sands, Kenny & Co.'s commercial and general Melbourne directory for . . . 1860, 257 (DIGITISED)

Reed, Thomas, house agent, 24 King William-street, Col[lingwood].

17 January 1860, annual general meeting, Melbourne Philharmonic Society, Mechanics' Institution, Melbourne

"PHILHARMONIC SOCIETY", The Argus (18 January 1860), 5 

The annual meeting of the Melbourne Philharmonic Society took place last evening at the Mechanics' Institute. Mr. Justice Barry occupied the chair. The Secretary read the sixth annual report and balance-sheet, the important portions of which were as follows: . . .

"During the year the following additions have been made to the library: Handel's 'Messiah,' complete; Mendelssohn's cantata, 'Praise Jehovah,' complete, and a selection of glees and choruses, by Bishop, Beethoven, and Weber; also Martin Luther's 'Hymn,' with band parts complete, a donation from Edward Wilson, Esq.; and Mozart's 'Calm is the glassy ocean,' with full band parts, presented by a member . . .

"The Committee submit that the best thanks of the society are due to Mr. G. O. Rutter for his valuable original cantata, 'The Second Advent,' performed with much success at the Society's third subscription concert . . .

Mr. J. D. Pinnock moved, and Mr. Reed seconded, the adoption of the report and balance sheet . . . The Chairman then announced that Major General Macarthur had presented the Society with a piano, a notification which was received with loud applause. On the motion of Mr. Pinnock, seconded by Mr. Reed, a vote of thanks was accorded to Major-General Macarthur for his present . . .

ASSOCIATIONS: Edward Macarthur (vice-president; commander of the forces); John Denham Pinnock (member)

[Advertisement], The Argus (21 February 1860), 8 

TO LET, 2 Swiss terrace, six ROOMS, Fitzroy-street. T Reed, 24 King William-street, Collingwood.

10 May 1860, concert, Musical Union, George-street Chapel, Fitzroy; Thomas Reed (cello)

[News], The Argus (11 May 1860), 5 

The members of the newly-formed Fitzroy Musical Union gave their first concert last evening, at George-street chapel, George-street, before a very numerous audieneo, and with an amount of success, all things considered, which does thom much credit. Haydn's "Creation" was the oratorio selected for performance, and, with the exception of Miss Octavia Hamilton, and a few professional instrumentalists, the members ventured upon the task relying solely on their own resources. The result evidenced careful organization and rehearsal; and the applause bestowed upon this, their first effort, will doubtless encourage the subscribers to enter upon their musical career with confidence and energy. It is not necessary for us to remark upon the circumstances from which the Fitzroy Musical Union is said to have taken its rise, nor to contrast its claims to public support with those of the Philharmonic Society. A schism in the musical world is as likely to happen as not, if small jealousies are allowed to find their way among those whose business it is to cultivate the "concord of sweet sounds," and so that the public benefit it matters little. Competition is the soul of business, and emulation may be good for musical bodies. The present is quite a case in point. It is, moreover, a gratifying circumstance that the rivalry is not so pronounced but that many persons are members or assistants of both societies - a fact which will at least give them opportunities for the more constant practise of their art, and is another ground for congratulation. As we have said, the execution of the "Creation" last night was very creditable, the choruses especially being taken with great spirit throughout . . . The tenor music was alloted to Mr. Beaumont, a young singer of no great style or power of voice, but with qualities which culture will develop into usefulness. He gave the air, "In native worth," with a good deal of sweetness and expression, and was most deservedly encored . . . We must not omit, however, a word of praise to the violincello modulation of Mr. Reed, in the air, "In Native worth;" nor was the flute accompaniment wanting in merit. Altogether much praise is due to the society, and to Mr. Pringle, the conductor, and former organist of the Philharmonic Society, for the care bestowed upon its organization; and we look forward with pleasure to the developement of its future career.

ASSOCIATIONS: Armes Beaumont (tenor vocalist)

MUSIC: In native worth (Haydn, from The creation)

5 June 1860, concert, Geelong Harmonic Society, Machanics' Institute, Geelong; Thomas Reed (string player)

[Advertisement], Geelong Advertiser (5 June 1860), 3 

The Concert will commence with the First and Second Parts
of HAYDN'S SEASONS, Never before performed in the Colonies.
MR. REED And several other Talented Instrumentalists have been engaged to strengthen the String Band.
And in addition by kind permission of Lieutenant Colonel Leslie, the entire
Conductor - MR. I'ERSON,

ASSOCIATIONS: Thomas I'Erson (conductor); John Gabb (leader)

28 August 1860, subscription concert, Melbourne Philharmonic Society, Thomas Reed (cello)

[News], The Argus (29 August 1860), 5 

The Philharmonic Society's fourth subscription concert for the year took place last night, in the Exhibition Building, the attendance being above the average. Handel's "Alexander's Feast" was, upon the whole, very creditably performed, although little enthusiasm was manifested. Miss Hamilton gave the rather difficult air "He sung Darius" with considerable taste and energy, qualities still more perceptible in "The prince, unable to conceal," which was very nearly being encored. Mr. Ewart was perfectly successful in "Softly sweet, in Lydian measure," which he rendered with much flexibility and expression. Mr. Blanchard took the bass music with much care, though he hardly did full justice to the fine air "Bacchus, over fair and young." A duet between Miss Hamilton and Miss S. Mortley, "Let's imitate her notes above," was encored, probably by way of encouragement to the younger lady. The choruses were, most of them, effectively delivered. Mr. Reed's violoncello accompaniment to Mr. Ewart's air, "Softly sweet," was cleverly executed, and received its meed of applause. The band generally we have often heard to more advantage than last night. It was as occasionally out of tune. Mr. Lewis presided at the organ with care. Romberg's "Lay of the Bell" formed the second part of the concert, and detained the audience rather too long. It was executed with tolerable evenness throughout.

ASSOCIATIONS: Charles Blanchard (bass vocalist); Sarah Mortley (vocalist); Louis Lewis (organist)

MUSIC: Softly sweet in Lydian measure (Handel, from Alexander's feast)

[Advertisement], Geelong Advertiser (31 October 1860), 3 

GEELONG Harmonic Society. -
The Committee of the above have great pleasure in announcing to the public of Geelong that it is their intention to give a
In aid of the Fund for the Widows and Orphans of our Troops engaged in the New Zealand War . . .
The first part will consist of
HAYDN'S IMPERIAL MASS, (First time in Geelong).
Second Part: Selections from HANDEL'S "SAMSON."
Principals: - Miss Octavia Hamilton; Miss Mortley; Mr. Ewart; Mr. Hinchcliff
The Band will be supported by Mr. Johnson of the 40th, Mr. Reed, Franz Kohler, Mr. Weston, &c., &c.
Conductor, Mr. I'Erson. Leader, Mr. Gabb . . .


27 February 1861, George Pringle's concert, Mechanics' Institution, Melbourne, Thomas Reed (cello)

[Advertisement], The Argus (27 February 1861), 8 

Under the PATRONAGE of His Excellency Sir HENRY BARKLY, K.C.B., and Lady BARKLY.
Mr. G. R. G. PRINGLE Has the honour to announce that be will give a
On which occasion, Madame STUTTAFORD Will make her first appearance in Victoria.
The members of the ORPHEUS UNION, (Who have kindly given their services,) will also make their first appearance.
Violin, Mr. A. J. Leslie.
Violoncello, Mr. T. Reed.
Pianoforte, Mr. G. R. G. Pringle.
PROGRAMME. Part 1. Grand trio - Pianoforte, violin, and violoncello, Reissiger, Op. 56. Allegro Moderato . . .
Part 2. Grand trio - Pianoforte, violin, and violoncello, Reissiger, Op. 56, Andante. Rondo . . .

ASSOCIATIONS: Alexander Leslie (violin); Charlotte Stuttaford (vocalist), sister of George Pringle (piano); Orpheus Union (founded 1860)

MUSIC: Piano trio op. 56 (Reissiger)

18 April 1861, Albert Alexander's concert, Town Hall, St. Kilda, Thomas Reed (cello)

[Advertisement], The Herald (18 April 1861), 8

Mr. LESLIE, and Mr. REED.
PART I. Grand Trio, in G major - op. 24 (Hummell) - Mr. A. Alexander and Messrs. Leslie and Reed . . .

[News], The Argus (19 April 1860), 4 

Mr. Albert Alexander's concert at the Town Hall, St. Kilda, last night, was but poorly attended, a circumstance partly owing, perhaps, to the high prices charged for admission. The vocalists were Madame Stuttaford and Herr Strauch, a gentleman whom we have not had the pleasure of hearing before; and the instrumental performers were Messrs. Reed and Leslie. Mr. Alexander himself presided at the pianoforte, and performed in Hummell's grand trio in G major, with violin and violoncello; Pauer's "La Cascade," which was encored; Beethoven's sonata for pianoforte and violin, Opera 23; and Mendelssohn's "Andante and Rondo Capriccioso." Mr. Alexander appears to possess considerable command of the instrument, but his touch is occasionally heavy. From the delicacy, however, which he exhibited in the treatment of piano passages, this fault, we should imagine, might be remedied. He is a young and a promising player. Madame Stuttaford sang the scena, "Dearest Companions," from "La Sonnambula," without removing the impression formed of her on her first appearance in Melbourne. Mr. Leslie's solo on the violin might have been omitted with advantage.

ASSOCIATIONS: Albert Alexander (piano); Gustavus Strauch (vocalist)

MUSIC: Piano trio in G (Hummel)

22 May 1861, Musical Union concert, Exhibition Building, Melbourne

[Advertisement], The Argus (22 May 1861), 8 

in aid of the Fund for Relief of the Widows and orphans of the Soldiers of the 40th Regiment who have fallen in New Zealand, will be given in the
Programme will consist of
Overture - "Ruy Blas" - Mendelssohn.
And Mr. Henry Leslie's JUDITH.
All for the first time In Victoria.
(The latter work composed expressly for, and performed at, the Birmingham Musical Festival, Sept. 1863.)
Principal Vocalists: Madame STUTTAFORD, Mrs. HANCOCK, Mr. BEAUMONT, And Mr. S. KAYE.
Principal Violin - Mr. A. J. LESLIE.
Conductor - Mr. G. R. G. PRINGLE.
First Violins. - Messrs. Leslie, A. J.; Edwards; Fischer; Levy; Peters; Strebinger; Smith; Zeplin.
Second Violins. - Messrs. Ryder; Fredlein; Lewis, R. E.; Lewis; Megson; Pringle, A.; Putman; Spensley.
Violas - Messrs. Thomas; Cousins; Hines; Izard; Jolly.
Violoncellos. - Messrs. Reed; Jones; Kent; Montague.
Double Basses. - Messrs. Hardman; Gover; Peters; Thorne . . .

ASSOCIATIONS: Alfred Montague (cellist); Henry Gover (double bass); Henry Izard (viola); Carl Fischer (violin); Barnett Levy (violin); Samuel Kaye (vocalist)

14 June 1861, Mendelssohn's Elijah, Geelong Harmonic Society, Thomas Reed (cello)

"CURRENT TOPICS", Geelong Advertiser (15 June 1861), 2 

Not since the departure of Anna Bishop has such an audience assembled in Geelong as last night responded to the call of the Harmonic Society; and certainly the unusual attractions offered warranted the response. Mendelssohn's Elijah constituted the performance, a daring thing for the society to attempt, but the result showed that they did not miscalculate their powers and means, for a more complete performance was never given in Geelong . . . Madame Stuttaford made her first appearance in Geelong, and won triumphs in the various solos and quartetts which fell to her share . . . Three members of Lyster's Opera Company assisted, namely, Madame Lucy Escott, Miss Georgina Hudson [sic], and Mr. Squires . . . Mr. Farquharson was absent from illness, and his place was kindly filled by Mr. Lyster, who probably suffered by comparison with the gentleman whose substitute for the night he was. The remaining principals were Mr. Ewart, Mr. Lissignol, and Master Cooke, while the band was strengthened by Mr. Johnson, of the 40th, Mr. Reed, Mr. King, and Mr. Gover, from Melbourne. Mr. Plumstead presided at the organ. Mr. Gabb (for whose benefit the concert was) led, and Mr. H. B. Moore conducted, a task for which he proved himself on this, as on former occasions, peculiarly fitted.

ASSOCIATIONS: Lucy Escott (soprano vocalist); Georgia Hodson (contralto vocalist); Henry Squires (tenor vocalist); Eugene Lissignol (vocalist); Henry Byron Moore (conductor); Henry Plumstead (organ); Geelong Harmonic Society

MUSIC: Elijah (Mendelssohn)


22 February 1862, Charles Edward Horsley's first chamber concert, Thomas Reed (cello)

{News], The Argus (24 February 1862), 5 

On Saturday afternoon, the first of a series of four instrumental concerts, arranged by Mr. Horsley, a gentleman lately arrived in Melbourne, took place at the Mechanics' Institute, Collins-street. The first piece selected was one of three quartets composed by Mozart, in G minor, in which the piano is one of the instruments. It was performed by Messrs. Horsley (piano), King (violin), Thomas (viola), and Reed (violoncello). The music is of a character rather classical than generally pleasing, though in the rondo movement the ear is delighted with the beauty of the modulations introduced. The piece, on the whole, was well played, but would have been better for more distinctness and less sound in the piano passages. The violin part had scarcely justice done to it. The piano generally was too loudly played, and Mr. Horsley does not seem entirely free from the very general error to which pianists are liable of forgetting the greater power and compass of their instrument as compared with the others', and by which these last are placed at a disadvantage. The difficulty and art of stringed instrument playing is to bring out the tone satisfactorily, whereas the greatest amount of tone, or noise, with the piano, is often exhibited by the most inexperienced performers. While making these comments, however, we must not omit to state that many passages in this and the other pieces were played by Mr. Horsley with much delicacy and neatness. The next pieces were selections from Mendelssohn's beautiful "Songs without Words," played on the piano by Mr. Horsley. The selections were, No. 3 of book 2, an andante; No. 5 of book 4, an allegro; and No. 6 of books 3 and 5. As a pianist, Mr. Horsley possesses an immense amount of execution, and he plays his slow passages with great taste; but he lacks the brilliancy of finish and elasticity of touch so requisite to a great and impressive performer. The third piece was a quartet for two violins, viola, and tenor, a selection in which, next to the quintet, the most perfect balance of sound is preserved. It was one of Haydn's in G major, known as including the best of all his minuets and trios. The quartet was performed by Mr. King, first violin; Herr Strebinger, second violin; Mr. Thomas, viola; and Mr. Reed, violoncello, and would have gone off much better, to our thinking, had the second violin changed places with the first. It is difficult to perceive why so accomplished a violinist as Herr Strebinger should play "second fiddle" to any artist at present in Melbourne, and although such arrangements may sometimes be done simply that each performer may have a turn, yet the public have a right to expect the best man will be placed foremost, as they do not meet to hear how this or that gentleman can do this or that, but how the composer's music may be best rendered. The next piece is known as the "Moonlight Sonata" of Beethoven. Mr. Horsley's rendering of this difficult piece was very fair, but the most brilliant and finished touch is required to bring the creation of the composer's genius to the mind's eye. The concert concluded with Mendelssohn's trio in D minor, by Messrs. Horsley, Strebinger, and Chapman. Here, as before, many of the passages admirably given by the violin and violoncello were nearly lost through the predominance of the piano. However, the full tone and effective bowing of Herr Strebinger had due effect. Before finishing our notice of the concert, we cannot but express our admiration of the artistic style of this performer, whose easy and erect attitude, and free and elegant movement of arm and hand, prove how vastly important such acquirements are to the violinist. The last movement of the trio, the allegro assai, is a complete composition of itself. We sincerely hope the present series of concerts will be well supported by the public, as a foundation of best class musical entertainments amonsgt us. The public taste must be first led, and then it will support musical talent. We wish Mr. Horsley every success, and hope by the remarks we have made to insure it, by assisting him to weed out incipient errors. The attendance was large and encouraging.

"TOWN TALK", The Herald (24 February 1862), 5 

The first of a series of four chamber concerts of instrumental music, announced to be given by Mr. C. E. Horsley, took place on Saturday afternoon, at the Mechanics' Institution. The attendance was fashionable and tolerably numerous, and the entertainment, which was strictly limited to the performance of classical pieces, appeared to be greatly relished by those present, of whom many were well known professional and amateur musicians. The programme indicated a first-rate selection consisting of Mozart's quartet in G minor and Haydn's in G major, two pianoforte solos, performed by Mr. Horsley, and Mendelssohn's fine trio in D minor. This last was splendidly played by Messrs. Horsley, Strebinger, and Chapman, the rendering of the andante movement being particularly admired. The other instrumentalists who took part in the entertainment, Messrs. King, Thomas, and Reid were similarly praiseworthy in what fell to their charge. In this endeavour to inculcate a taste for this hitherto neglected class of compositions, Mr. Horsley, who by the way proved himself a sound musician as well as a skilful executant, has done good service, and all admirers of the chamber works of the great masters of instrumental music will feel indebted to him for his spirited attempt to supply a void long felt by them. Mr. Horsley himself, as we hear, comes of a genuine musical stock, and by the sample he exhibited of his own professional qualifications on Saturday, is evidently entitled by merit to the patronage of the musical public. The solos performed by him - Mendelssohn's lovely "Lieder ohne Worte," and Beethoven's elegant moonlight sonata, were interpreted with all the skill and delicacy of the accomplished musician. A brochure, containing the programme and a brief memoir of Haydn, which the visitors could obtain at the concert-hall, was an innovation on precedent both welcome and novel, the contents being entertaining and instructive. The second concert of the series takes place on Saturday afternoon next.

"THE NEWS OF THE DAY", The Age (24 February 1862), 5 

The first of a series of afternoon concerts was given by Mr. C. E. Horsley at the Mechanics' Institute, on Saturday afternoon. There was a good though not an overflowing attendance, and upon the whole a favorable commencement was made. The programme embraced Mozart's quartet in G minor, admirably rendered by Mr. Horsley, pianoforte, Mr. King, violin, Mr. Thomas, Viola, and Mr. Reid, violoncello; Mendelssohn's "Song Without Words," Haydn's quartet in G major, and Beethoven's sonata solo; concluding with Mendelssohn's trio in D minor, in which the parts were taken by Mr. Horsley, Mr. Strebinger, and Mr. Chapman. Unquestionably the concert was one of the highest class of musical entertainments that has yet been given in Melbourne, and Mr. Horsley must have been gratified with the appreciation manifested by the audience. The musical portion of our citizens have now an opportunity of again hearing the genius of the great composers satisfactorily rendered, and it remains with them to reward Mr. Horsley's deserving experiment with success.

ASSOCIATIONS: Charles Edward Horsley (piano, composer)

MUSIC: Piano quartet in G minor (Mozart, K 478)

8 March 1862, Horsley's second chamber music concert, Mechanics' Insitution, Melbourne

"TOWN TALK", The Herald (10 March 1862), 5 

The second of Mr. Horsley's series of chamber concerts took place in the Mechanics' Institute, on Saturday afternoon, in the presence of a numerous audience, in which we noticed several of the leading musical professors and well-known dilettanti of Melbourne. The programme was as much distinguished for the variety as for the excellence of the compositions to which it referred. First came Beethoven's quartette in E flat - a charming work, admirably interpreted by Messrs. Horsley, Strebinger, Thomas, and Chapman. The pianoforte was well subdued in all instances in which it became simply an accompanying instrument, and the executants generally seemed to be completely at one in their determination to play the music as well as it could be played. This quartette was, to our mind, unquestionably the gem of the concert. Next followed two pianoforte solos - "The harmonious blacksmith" of Handel, and Scarlatti's celebrated "Cat's fugue," found in Clementi's "Practical Harmony." The variations on the air of the former piece we thought performed too fast, and with too much inequality in time. Handel's scholastic and exercise-like compositions will scarcely bear the rubato style of performance which is so effective in many modern works for the pianoforte. The fugue (by no means an easy one) was played with great accuracy and with as much effect as can be given to such contrapuntal contrivances. The performance of Mendelssohn's very beautiful quartett in E minor gave evidence of careful and diligent rehearsal. Here, again, the executants had clearly made up their minds to present to their hearers a perfect and completely effective interpretation of the work before them, and if they did not quite succeed, they failed by so little that another rehearsal would, it may be conceived, have made them perfectly successful. Although it may be invidious to particularise, yet we cannot refrain from remarking that Mr. Strebinger's "first violin" was one of the best specimens of quartett-playing we have heard for many a day. The next piece was Beethoven's Sonata in A flat. Mr. Horsley's pianoforte-playing is not so much that of one who has made the instrument his chief study, as it is that of a musician (we use the term in its most comprehensive sense) who has a perfect acquaintance with the compositions of the best masters, and who is himself a composer in the best school of the art. And yet we have heard him play some movements, his execution of which certainly could not be surpassed by that of the most skilful and refined pianist of modern times. For instance, nothing could have been more perfect than his "Funeral March" in the Beethoven sonata. The fine performance of so sublime a composition on so good an instrument was eminently calculated to rivet the attention, as it apparently did, of all Mr. Horsley's auditors. In allegro movements Mr. Horsley displays great vigour and manipulatory powers, and when he makes his, evidently natural impulsiveness, subserve his judgment, as he did on Saturday, it certainly would be difficult, in justice, to place him elsewhere than in the first rank of pianoforte executants. This delightful and instructive concert was brought to a close by the performance by Messrs. Horsley, King, and Reed, of Weber's trio in G minor; a work, to our mind, the least interesting of all the concerted pieces, for, although it was exceedingly well played, the music gave one the notion of feebleness in respect of artistic connection. Weber seems to have had, generally, little regard for that nicety and regularity of form which most of the other distinguished masters of the science have observed, and to have respected little the rules which, with common consent, they adopted in musical construction. He has produced many very delightful and truly fine works, apart from his compositions for the Theatre, several of which are nearly perfect, but the trio of this concert cannot, in our opinion, be included in the category. Altogether the concert of Saturday was one of the best musical performances ever given in Melbourne, and we certainly hope that Mr. Horsley's zeal will be rewarded as it undoubtedly deserves.

MUSIC: Piano trio (Weber)

15 March 1862, Horsley's 3rd concert, Thomas Reed (viola)

"THE NEWS OF THE DAY", The Age (17 March 1862), 5 

Mr. C. E. Horsley's third concert took place at the Mechanics' Institute, Collins street, on Saturday afternoon, and was, as regards the number of persons present, more successful than either of the two previous ones. In addition to Messrs. Strebinger, King, Thomas, Read [sic], and Chapman, string instrumentalists, with Mr. Horsley at the pianoforte, the attractiveness of the concert was considerably enhanced by the performance of Mr. Lundborg on the clarionette. The various selections were performed with that precision which alone renders music of a classical order agreeable to the listener. Mozart's trio in E flat was admirably executed, and gained for Messrs. Horsley, Lundborg, and King, the warmest plaudits of the audience. The performance of a quintette, for two violins, two violas, and a violincello, also evoked unanimous applause. The concert altogether may be pronounced highly satisfactory.

"TOWN TALK", The Herald (17 March 1862), 5 

A numerous and attentive audience attended Mr. C. E. Horsley's third concert of classical music, which took place at the Mechanics' Institution, on Saturday afternoon, and we have to notice with much pleasure the increased amount of interest shown by the public with regard to performances of the chamber music of our greatest composers. It is not to be expected that a relish for concerts of instrumental music of this nature can at once be established among the general public, who cannot feel so deeply interested in such compositions as the musical student; but we congratulate Mr. Horsley on this step in the right direction, and trust we may often have to record that his efforts to elevate the taste for music have been thoroughly appreciated. The programme which on this as on former occasions, shewed care in the selection of the pieces to be performed, opened with a trio for the pianoforte, violin, and violincello, by Hummel, and which was well executed by Messrs. Horsley, Strebinger, and Chapman; then followed a lovely sonata by Beethoven, dedicated to Haydn, in C major, which was played by Mr. Horsley in a manner to convince the audience that he thoroughly understood the ideas of the great composer. This sonata ranks as one of the finest of its class, and modern pianists will do well to make themselves acquainted with such works. A quintett, by Mozart, for two violins; two violas and violoncello, introducing Messrs. King, Thomas, and Reed, with Messrs. Strebinger and Chapman, was next performed, but we think, failed to make so good an impression as the composition merits; a more careful rehearsal on its next presentation would be desirable. Two of Mendelssohn's "Songs without words," numbers 1 and 2, fourth book, followed by a pleasing rondo by Weber, were next given by Mr. Horsley, with taste, vigour and delicacy of touch. The last piece in the programme was a trio, by Mozart, for piano, clarionet, and viola. Mr. Lundberg acquitted himself very creditably with his clarionet, his tones being remarkably pure and devoid of harshness. The concert thus came to a satisfactory termination. The fourth and last of the series will take place in the afternoon of Saturday, the 29th inst.

ASSOCIATIONS: John William Lundborg (clarinet)

MUSIC: String quintet, otherwise unidentified, but probably the Quintet in D major (Mozart)

"PUBLIC AMUSEMENTS", The Herald (25 March 1862), 7 

Mr. C. E. Horsley has given three concerts of classical instrumental music at the Mechanics' Institution, to audiences rather too select in a numerical sense, but still, to use a gold mining phrase, "payable." His professional co-operatives were Messrs. Strebinger and King, violin; Thomas, viola; Reed, violoncello; Chapman, bass; and Lundborg, clarionet. The pieces were selections from the chamber works of Mozart, Haydn, Beethoven, Mendelssohn, Weber, and others of the great masters.

29 March 1862, Charles Edward Horsley's concert, Thomas Reed (cello)

"THE NEWS OF THE DAY", The Age (31 March 1862), 4 

The last of Mr. Horsley's first series of concerts took place at the Mechanics' Institute, Collins street, on Saturday afternoon. The programme consisted of the most classical works of Beethoven and Mozart, which were admirably rendered by the instrumentalists. A quartett composed by Mr. Horsley, and performed for the first time on this occasion, gained for its executants, Messrs. Strebinger, King, Thomas, and Reed, a considerable amount of applause. The attendance, although not numerous, was select, and the concert was very successful.

[News], The Argus (31 March 1862), 4-5 

The fourth and last of Mr. Horsley's concerts of classical music took place on Saturday afternoon, before a select audience, at the Mechanics' Institute. The selection of pieces was marked by the usual good taste - a trio in C minor, by [illegible . . . ? Mendelssohn, . . . a fan-] [5] -tasia and sonata, of Mozart's, followed, played by Mr. Horsley himself on the pianoforte. The next piece was an original composition by Mr. Horsley, played for the first time in public. It was a quartet for two violins, viola, and violoncello, performed by Messrs. Strebinger, King, Thomas, and Read [sic]. To this very meritorious and striking work scarcely justice was done by the instrumentalists, and it was but too evident that they had enjoyed but few opportunities for practice. As it was, however, the piece may be said to have been a decided success, and won considerable applause. Beethoven's beautiful andante in F was played by Mr. Horsley on the piano with great delicacy and feeling, and with a power of execution which left but little to be wished for. Weber's Invitation a la Valse, also played as a solo, and Mendelssohn's great quartet, dedicated to Goethe, closed the afternoon's performance.

MUSIC: String quartet no. 1 in C major (Horsley, first performance); see complete recording by the Australian String Quartet (2020)

[Advertisement], The Argus (25 November 1862), p8 

SIX-ROOMED COTTAGE, furnish or unfurnished, Swiss-Terrace, Fitzroy. T. Reed, 24 King William-street, Fitzroy.

24 December 1862, oratorio, Messiah (Handel), Theatre Royal, Melbourne

[Advertisement], The Argus (17 December 1862), 8 

THEATRE ROYAL, Given by the Melbourne Musical Union, in conjunction with
Lyster's Royal Italian and English Opera Company.
The above sublime oratorio will be given on
In a manner every way worthy of the genius of its great cnmposer.
Herr Strebinger, Mr. E. King, Mr. Chapman, Mr. Reed, Mr. Leslie, Mr. Gover, Mr. Midman, Herr Siede,
Mr. Johnson, Mr. Kingley, Herr Kohler, Mr. Versoe, Mr. Rusteberg, Mr. Hoare, Signor Canna.
Conductor, Mr. G. R. G. Pringle . . .

ASSOCIATIONS: Julius Siede (flute); Joseph Verso (horn); Franz Kohler (horn); Pietro Canna (drums); Musical Union (Melbourne, founded 1860)


"THE GERMAN FESTIVAL", The Age (29 December 1863), 6 

The second German Gymnastic and Musical Festival commenced yesterday, in Cremorne Gardens at noon . . . Proceedings commenced at half-past twelve with the "Riegenturnen", of which the members of the various German gymnastic associations in Australia were at liberty to partake . . .

After a short interval, the first concert opened in the theatre, which had been ornamented and festooned for the occasion, and thus made presentable for public purposes. Nicolai's overture, "The Merry Wives of Windsor," was followed by the prologue, in German, composed for the occasion, and recited by the author, Mr. Theodore Mueller. The prologue was effectively delivered, and elicited warm applause. A fine song of praise, by Grauer, was then given by chorus and orchestra, and this was followed in succession by a lively march, composed for the festival by W. C. Fischer; Weber's overture, "Euryauthe;" a song of liberty, "Liedesfreiheit", by Marschner; and the march, "Quick, the whole company," by Becke.

The concert over, there followed the second part of the gymnastics . . . The second concert was held when the gymnastic exercises were over. The programme of the concert comprised the following pieces: - Overture (composed expressly for the festival, and dedicated to the Melbourne "Turnverein"), J. Siede; "Meeresstille und gluckliche Fahrt" (Goethe), C. L. Fischer; "Weingalopp", Kuntze; March (composed expressly for the festival), Huenerbein; "Kriegerchor" (Battle song), Kuecken; "Frosch Cantate" (Frogs' Cantata); Heunig; "Das Deutschen Vaterland" (German National Anthem), Reichardt; "God Save the Queen", Chorus and Orchestra. The overture was encored, a certain proof of its merit with a musical audience, and, we can only say, it well deserved the compliment. The other pieces were rendered with great spirit and effect; but it is not the custom of a German audience to multiply their encores, and, therefore, they were content in every instance but the first to evince their appreciation by hearty applause. Following the concert was the third part of the gymnastic exercises, termed "Turnspiele" . . . This afternoon the festivities will be continued at the Exhibition Building by a banquet, concert and ball.

. . . during the whole day Herr Schott acted as musical director, and in the orchestra the following volunteers took part: - Messrs. Siede, Strebinger, Fischer, King, Hughes, King, junr., Lewis, Littolf, Montague, Jones, Reed, Chapman, Gover, Thorn, Campbell, Koehler, Braithwaite, Tolhurst, Thomas and Richti . . .

ASSOCIATIONS: W. Carl Fischer (violin, composer); Julius Siede (composer); August Huenerbein (composer); Ernest King (junior) (violin); Francis Litolff (musician); George Tolhurst (musician); Carl Richty (musician)


Theatre Royal, Melbourne, interior (a Sunday religious meeting, 1873)

Theatre Royal, Melbourne, interior (a Sunday religious meeting, 1873) (DIGITISED)

[Advertisement], The Age (16 July 1864), 8 

THIS EVENING, SATURDAY, 16th JULY, And Every evening until futher notice.
The public are informed that in honor of the Illustrious Dead,
THE UNRIVALLED ORCHESTRA of this Theatre will devote itself, this evening,
exclusively to the rendering of Selections from the Choicest Works of the above Immortal Composer . . .
BAND. - Violins, Professor Hughes, Conductor; Mr. E. King, Junr. Mr. J. Reed [sic]
Viola - Mr. A. King; Violoncello - Mr. Montague; Contro-basso, Mr. Chapman; Flute - Herr Siede; Clarionet - Mr. Johnson; Cornets - Mr. J. Hore, Mr. R. Hore; Horns - Mr. Verso; Trombone and Bombardon - Mr. Berg; Drums - Mr. Canna . . .

ASSOCIATIONS: Giacomo Meyerbeer (composer, died Paris, 2 May 1864); Barry Sullivan (actor, manager); Alfred King (viola); Henry Hughes (violin, conductor); Charles Berg (trombone); JHore brothers (cornets)

[Advertisement], The Argus (19 December 1864), 8 

The Annual FANCY DRESS AND MASK BALL, In the Vestibule of the Theatre Royal, Will take place on FRIDAY, DECEMBER 23.
The hall will be splendidly decorated for the occasion, The numerous and accomplished band of the Theatre Royal, under the conductorship of Herr Siede, will be in attendance.
Violin - Mr. King, Sen.
Do. - Mr. E. King, Jun.
Viola - Mr. Reed.
Do. - A. King, Jun.
Violoncello - Mr. Montague.
Bass - Mr. Chapman.
Flute - Mr. Siede.
Clarionet - Mr. Clarke.
Cornet-a-Piston - Mr. J. Hore.
Saxhorn - Mr. R. Hore.
French Horn - Mr. Verso.
Trombone - Mr. Berg.
Piccolo - Mr. Siede.
Drums - Mr. Canna.
Doors open at half-past 11. Admission, tickets, 5s.

THIS EVENING, Solos will be played by the Eminent Instrumentalists,
SIEDE, SCHOTT, JOHNSON, BERG, Accompanied by The Theatre Royal Band.
Admission, 1s.

ASSOCIATIONS: James Arthur Schott (oboe)


[Advertisement], The Argus (30 November 1865), 8 

FOUR-ROOMED COTTAGE. Swiss-terrace, Fitzroy-street. Thomas Reed, 24 King William street, Fitzroy.


June 1866, Lyster's opera company, winter season, Theatre Royal, Melbourne

[Advertisement], The Argus (30 May 1866), 8 

Mr. HOSKINS has the honour to announce that he has made arrangements with Mr. W. S. Lyster for an opera season, which will far exceed any previous effort for the production of grand opera in this city.
All the first instrumentalists in Australia have been engaged, a powerful and most effective chorus organised, and the services of the first scenic artistes secured . . .
Conductor and Composer - Herr Siede.
Leader - Mr. J. Hall. Chorus Master - Mr. Ford . . .
First Violins. - Mr. Hall, Mr. Levy, Mr. King.
Second Violins - Mr. Devereaux, Mr. Reed.
Violas - Mr. Jager, Mr. E. King.
Violoncello - Mr. Hart.
Double Basses - Mr. Brown, Mr. Chapman . . .

ASSOCIATIONS: John Thomson Hall (violin, leader); John Devereux (junior) (violin); Ernest Jager (viola)

29 May 1866, death of Amelia Ann Reed

"DEATHS", The Argus (31 May 1866), 4 

REED. - On the 29th inst., Amelia Ann, wife of Thomas Reed, of Fitzroy, formerly of Islington, London, aged forty-three.

"ALARMING FIRE IN LATROBE TERRACE", Geelong Advertiser (1 November 1866), 2 

At two o'clock yesterday morning - just as the town clock was striking - the "fire bell" rang out a sharp alarm, and in a few minutes afterwards all the prominent buildings of the town were lit up with the lurid glare of what appeared to be a large conflagration. On proceeding to the spot we found that a large row of wooden buildings, at the rear of the residence of Mr. Guthrie, in Latrobe Terrace, were envoloped in flames . . . A valuable piano was removed from Mr. D. Harrison's house, and the whole of the other properties in the room were replaced on the premises by the praiseworthy exertions of the police, instructed by Inspector Downing . . .


[Advertisement], The Argus (30 January 1867), 8 

A Six roomed COTTAGE. Swiss terrace, Fitzroy-street. Apply T. Reed, 24 King William-street.

An Assessment to the East Collingwood Borough Rate made this [13 February 1867]; City of Collingwood; Public Record Office Victoria (PAYWALL)

[Rate no.] 103 / [person rated] Reed / Thomas / Gentleman / [owner of property rated] C. A. Mater / vacant land / [Gross annual value / [£] 110 / [rate at 12d in pound] [£]5 10[s] . . .

ASSOCIATIONS: Owner of the property was Reed's erstwhile colleague, the musician Charles Mater

21 October 1867, letter to the press, from company of the Theatre Royal, Melbourne, in reply to a letter from George Coppin dated 20 June 1867

"THE DRAMA", Leader (22 February 1868), 19 

With relation to an advertisement inserted some months since by Mr. Coppin in the Era, the following reply has been published in that journal: -

"Theatre Royal, Melbourne, 21st October, 1867. - With reference to an advertisement (signed George Coppin) in the London Era, and copied into Melbourne's Bell's Life of 19th October, asserting that -

'All members of the (Theatre Royal) company, down to the poor ballet girls, are compelled to contribute two-thirds of their salaries towards temporary losses, without the least participation in ultimate profits, even to the receipt of arrearage, is indignantly condemned by all members of the profession, including those unfortunates that are forced, through circumstances, to accept 6s 8d in the pound until something better turns up,'

we, the members of the Theatre Royal company, musicians, ballet girls, and employes of that establishment, most distinctly contradict the above statement; inasmuch that during the present spirited and successful management, viz., from 13th February to 21st October, 1867, we have never been offered one-third of our salaries, as above stated, but, on the contrary, have received for thirty-two consecutive weeks full salaries to present date, and the other three weeks at the commence ment of the season, respectively 12s, 10s and 15s in the pound, although in many instances the management have been very heavy losers: -

[signed] . . . [members of the orchestra Etc.] . . .
Benjamin Levy [sic], Julius Siede, Samuel Chapman, C. R. Berg, Edward L. Bentley, James Hore, Thomas Reed, Thomas Howard, Robert Ilsley . . .

ASSOCIATIONS: George Coppin (manager, agent); Joseph Charles Lambert (lessee of the Theatre Royal); Barnett Levy (violin, leader)

December 1867, Lyster's opera company, Theatre Royal, Melbourne

[Advertisement], The Argus (7 December 1867), 8 

THEATRE ROYAL. Engagement for 12 Nights.
LYSTER'S Royal Italian and English OPERA COMPANY.
Under the Special Patronage of H.R.H. the DUKE OF EDINBURGH, K.O. . . .
Grand production, for the First Time in Australia, of Rossini's world-renowned Opera,
GRAND ORCHESTRA. 1st Violins - Mr. Hall, Mr. Levy, Mr. White, Mr. King, Mr. Fischer.
2nd Violins - Mr. Devereaux, Mr. Filhon, Mr. Read [sic], Mr. Cousins.
Violas - Mr. Jager, Mr. E. King, Mr. Bentley.
Celli - Mr. Hart, Mr. Montague.
Contra Bassi - Mr. Brown, Mr. Chapman, Mr. Gover . . .
Conductor, Mr. JULIUS SIEDE . . .


[Advertisement], The Argus (18 November 1869), 3 

TO FURNITURE DEALERS.- A consignment of ladies' WORKTABLES (German), T. Reed, 55 King William-street, Fitzroy.

[Advertisement], The Argus (28 December 1869), 8 

Splendid German PIANO-FORTES, full compass, modern improvements, unsurpassed for power, brilliancy, and durability, unprecedented low cash prices.
Thos. Reed, 55 King William-street, Fitzroy.

1871 and after

19 July 1871, death of Thomas Reed

"DEATHS", The Argus (20 June 1871), 4

REED.- On the 19th inst., at his residence, King William-street, Fitzroy, Thomas Reed, formerly of Islington, and of the Haymarket Theatre, London, aged 76.

"THE LATE MR. THOMAS REED, THE VIOLINCELLIST", The Herald (21 June 1871), 2 

The musical world of Melbourne has suffered a great loss in the death of the above gentleman, at the ripe ago of seventy-six, which sad event took place on Sunday last at his residence in Fitzroy. For some years his connection with the Philharmonic Society was of the utmost advantage to that body, more particularly during the earlier years of its existence. Mr. Reed was generally considered by his professional associates as an artist of the highest culture, and until late years he was always connected with one or other of the Melbourne theatres. The late gentleman was the father of Mr. German Reed, whose entertainments, in conjunction with his wife, nee Priscilla Horton, have been popular institutions for many years in London.

"NEWS AND NOTES", The Ballarat Star (22 June 1871), 2 

Mr. Thomas Reed, who expired on Monday, at his residence in King William street, Fitzroy, at the advanced age of 70, was one of the oldest and most respected members of the musical profession in the colony. The deceased gentleman was formerly "first violin," at the Theatre Royal, Haymarket, in London, and he has also occupied a leading position in colonial orchestras.

Probate, will of Thomas Reed, 22 July 1871; Public Record Office Victoria (PAYWALL)

This is the last Will and Testament of me Thomas Reed of King William street Fitzroy near Melbourne in the colony of Victoria, Estate Agent. I Wish my just debts and funeral and testamentary expenses to be discharged with all convenient speed. I give and bequeath all my household furniture, utensils, plate, linen, china and other household articles (except pianofortes and other musical instruments and manuscript and other music and music books and all my other books and pictures) unto Daniel Harrison of Warrnambool in the colony of Victoria Newspaper Proprietor, Henry Heath of Brunswick street Fitzroy near Melbourne in the said Colony, Oil and Color Merchant, and my daughter Louisa Reed of King William street, Fitzroy aforesaid Spinster their executors and administrators upon trust for the sole and separate use and benefit of my daughter Amelia Jane during her life . . .

[2] . . . I give and bequeath unto the said Daniel Harrison Henry Heath and Louisa Reed . . . all the rest residue and remainder of my personal estate and effects whatsoever and wheresoever including all my stock in trade of pianofortes and other musical instruments and the music thereof . . .

[7] . . . [dated 12 May 1871 and signed]

[Advertisement], The Argus (26 October 1871), 8 

SHOP and Dwelling, with yard and stabling, &190, R. H. Reed, agent, King William street, Fitzroy.

ASSOCATION: Business carried on by Thomas's Australian-born son, Richard Harrison Reid (1853-1912)

"Deaths", The Argus (7 May 1888), 1

REED. - On the 21st March, at St. Croix, Upper East Sheen, Surrey, England, Thomas German Reed, aged 70, eldest son of the late Thomas Reed, King William-street, Fitzroy.

31 December 1902, death of Daniel Harrison

"AN OLD VICTORIAN JOURNALIST. DEATH OF MR. DANIEL HARRISON", Geelong Advertiser (2 January 1903), 4 

In the death of Mr. Daniel Harrison on Wednesday, at Kensington, at the age of 84 years, Victoria loses one of her pioneer journalists. The veteran press man was born in Glasgow in 1818 . . . Mr. Harrison married, soon after his arrival, in Melbourne, a sister of the late German Reed, who survives him with a family of three sons. - "Age."

7 March 1915, death of Emma Martha Reed Harrison

"DEATHS", The Australasian (20 March 1915), 53 

HARRISON - On the 7th March, Emma Martha, relict of the late Daniel Harrison (late of Geelong), aged 84 years.

Alfred Montague, "SEVENTY YEARS OF MUSIC. A VETERAN'S MEMORIES. EARLY PLAYERS AND SINGERS. No. 1", The Argus (19 September 1925), 8

. . . I first saw Melbourne in December, 1852 . . . I had brought with me a letter of introduction from Costa to Mr. Reed (better known to me afterwards as "Daddy" Reed), who was the autocrat of the musical world in Melbourne. He was well known in London as a teacher of music and 'cello player in the Opera, but better still as the father of T. German Reed, one of the most popular men in London. I waited on him at his house in Fitzroy one hot morning in January, about 11 o'clock, and was shown into the music room. After waiting some time I noticed some music on the piano, and found it to be the duets of Mozart and Beethoven for four hands. Written on the music pencilling were these blunt criticisms of young Melbourne on the great masters - "a halfpenny for Mozart," "a farthing for old Beethoven;" "Stuff! Rubbish! Nonsense!" When Mr. Reed appeared he read my letter, asked no questions, and said, "There is a rehearsal tomorrow night for Winterbottom's concert. Be down there before eight." Thus my acquaintance with the music of Melbourne commenced . . .

ASSOCIATIONS: Alfred Montague (musician); Michael Costa (English composer, conductor); John Winterbottom (conductor, first arrived Melbourne, 20 December 1852)

Bibliography and resources

"Reed, Thomas German", Dictionary of national biography 47 (1896), 394-96,_Thomas_German_(DNB00)

George Grove (ed.), A dictionary of music and musicians . . . [vol. 3] (1900), 90,_German 

"WHEN MELBOURNE DANCED THE--", The Herald (11 November 1950), 4 

Fredric Woodbridge Wilson, "Reed, Thomas German", Grove music online (PAYWALL)

Jane W. Stedman, "Reed, Thomas German", Oxford dictionary of national biography (version 2008) (PAYWALL)

"Thomas German Reed", Wikipedia 

Thomas Reed, Find a grave 

© Graeme Skinner 2014 - 2021