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A biographical register of Australian colonial musical personnel–A (Allen-Az)

Dr GRAEME SKINNER (University of Sydney)


To cite this:

Graeme Skinner (University of Sydney), "A biographical register of Australian colonial musical personnel–A (Allen-Az)", Australharmony (an online resource toward the early history of music in colonial Australia):; accessed 28 February 2024

- A - (Allen - Az)

Introductory note:

The primary focus of the biographical register is musical personnel first active before the end of 1860, with a secondary focus on members of their circles - families, pupils, colleagues, and other important contacts - first active after 1860.

Beyond that, there has been no systematic attempt as yet to deal with musical personnel first active after 1860, and so far the coverage is selective.

Major upgrades of the contents of this page were completed in February 2020 and January 2023, and newly added documentation (including genealogical data) and Trove tagging now brings the page content up to the end of 1860 close to completion.

Only such biographical information as can be confirmed from standard national databases or original documentation presented is entered at the head of each person entry in this page. Where no certain evidence of a person's birth year has yet been identified, the assumption is that we do not and cannot yet know with sufficient certainty to propose one. Years of birth or death, and sometimes also names and spellings of names, thus sourced and presented here, will often differ more or less substantially from those given (but often merely hazarded) in standard Australian and international bibliographic and biographical records.

The texts given in gold aim for the most part to be diplomatic transcriptions, wherever practical retaining unaltered the original orthography, and spellings and mis-spellings, of the printed or manuscript sources. Occasionally, however, some spellings are silently corrected (for instance, of unusual music titles and composers, to assist identification), and some orthography, punctuation and paragraphing, and very occasionally also syntax, editorially altered or standardised in the interests of consistency, clarity, and readability.

ALLEN, Mr. (Mr. ALLEN; ? Mr. H. ALLEN)

Amateur vocalist, ? scene painter

Active Sydney, NSW, 1836 (shareable link to this entry)


[Advertisement], Commercial Journal and Advertiser (18 May 1836), 1 

MR. JOHN PHILLIP DEANE, Member of the Philharmonic Society, and Professor of Music,
BEGS to announce to his Friends and the Public generally of Sydney, and its vicinity,
that he will give a CONCERT of Vocal and Instrumental Music, at the Royal Hotel,
THIS EVENING, May 18, 1836, on which occasion the following talent will render their valuable assistance:
PRINCIPAL PERFORMERS - Mr. Cavendish, Mr. Allen, Mr. Stubbs, Mr. Sippe, Mr. Wilson, Masters John & Edward Deane, Miss Deane, several Gentlemen Amateurs, Mr. Aldis, and Mrs. Chester.
PART I . . . Song - Death of Nelson, Mr. Allen - Bishop [Braham] . . .
Glee - The Foresters, Amateurs - Bishop
PART II . . . Glee - My sweet Dorabella, Mrs. Chester, Mr. Deane, & Amateurs - Mozart . . .
Glee and Chorus - Away, away, the morning freshly breaking, by all the Vocalists - Auber . . .

ASSOCIATIONS: John Philip Deane and children (musicians, vocalists); William Joseph Cavendish (musician); Thomas Stubbs (musician); George Sippe (musician); Mr. Wilson (musician); William Henry Aldis (vocalist); Marian Maria Chester (vocalist); Royal Hotel (Sydney venue)

MUSIC: The death of Nelson (by John Braham)

"CONCERT", The Sydney Herald (19 May 1836), 3

. . . Mr. Allen, an amateur, sung the "Death of Nelson;" his voice is musical but weak, and would have sounded much better in some of the simple Scotch Melodies, which would have been graced by his strong Scotch idiom; it was not, however, sufficiently strong to give effect to the song he sang . . .

"MR. DEANE'S CONCERT", The Australian (20 May 1836), 2 

. . . The next song, the Death of Nelson, was one, we think, as little suitable as could be selected for Mr. Allen; a more simple ballad would be better suited to his voice . . .

"MUSIC AND THE DRAMA", The Sydney Gazette and New South Wales Advertiser (21 May 1836), 3 

. . . The "Death of Nelson" awakened many old associations, which have long been sleeping. It was sung by Mr. Allen, though in a voice naturally weak, and rather tremulous, yet, with peculiarly good taste and appropriate feeling . . .

? "THEATRICALS", The Sydney Gazette and New South Wales Advertiser (7 July 1836), 3

The admirers of spectacle and romance have been afforded ample opportunities of enjoying their gusto during the present week, in the exhibition of "Timour the Tartar," and the "Drovers." "Timour" is well got up, with appropriate and in some respects even splendid costumes, good scenery, and suitable accompaniments . . . Mr. Allen has painted one or two new scenes, a fortress scene and another, very creditably . . .

ASSOCIATIONS: Theatre Royal (Sydney venue)

Bibliography and resources:

? "H. Allen", Design & Art Australia Online (DAAO)

ALLEN, Mr. (Mr. ALLEN; ? Mr. W. ALLEN)

1 or more musicians, cellist, violincello player, organist, harmonium player, conductor, singing leader

Active Adelaide, SA, 1850-59 (shareable link to this entry)


"ADELAIDE CHORAL SOCIETY", Adelaide Observer (25 January 1850), 4 

The annual meeting of this society was held at the Freemasons' Tavern, on Wednesday evening, Dr. Kent in the chair . . . The following officers were elected, Mr. Allen, Treasurer; Mons. Paris, Secretary; and Mr. Brenton, Librarian . . .

ASSOCIATIONS: Benjamin Archer Kent (chair); Eugene Paris (secretary); Adelaide Choral Society (association)

[Advertisement], South Australian (9 July 1850), 3

INSTRUMENTAL. Conductor - Mr. Wallace . . . Violoncellos - Messrs. Tilly, Allen, Smith, and Thurlow . . .

ASSOCIATIONS: Spencer Wellington Wallace (conductor); George Tilly (cello); John R. Smith (cello); Charles Thurlow (cello)

"WESLEYAN CHAPEL, PIRIE-STREET", South Australian Register (14 February 1855), 3 

The services in connection with the reopening of the Wesleyan Chapel, Pirie-street, were brought to a close last evening by a public meeting in the Chapel . . . The meeting was occasionally enlivened by the performance of selections of sacred music by the choir, which was ably conducted by Mr. Allen . . .

"ORGANIST AT PIRIE-STREET CHAPEL", South Australian Register (5 November 1855), 3 

Tenders for the appointment of organist at the Pirie-street Chapel, have, we understand, been sent in by Messrs. Linger, Allen, and Dawes. The choice is at present in abeyance. The new organ, recently imported from England, is in course of erection by Mr. Shakespeare.

ASSOCIATIONS: Carl Linger (organist); Robert Daws (organist); Joseph Shakespeare (organ builder)

"ADELAIDE CHORAL SOCIETY", South Australian Register (28 March 1856), 3 

The annual general meeting of the subscribers and members of this Society was held yesterday evening in the Exchange . . . Dr. Wyatt was re-elected President; Mr. G. Stevenson was requested to act as Vice-President; Mr. Smyth, Treasurer; Mr. Allen and Mr. Hunt, Librarians; Mr. W. Thompson, Secretary; Mr. Whittington and Mr. D. Harwood, Auditors; and Messrs. Addison, Clisby, Lower, C. Mitchell, J. Mitchell, Rainsforth, Harris, Bettridge, Sholl, and Rodemann were appointed the Committee . . .

ASSOCIATIONS: William Wyatt (president); Thomas Plummer Addison (member); Redford Clisby (member); Henry Betteridge (member); Maximillian Rodemann (member)

"ADELAIDE CHORAL SOCIETY", South Australian Register (23 May 1856), 3 

. . . Beethoven's overture to "Men of Prometheus" was decidedly well performed, as was also the trio by Hummel for the violin, violoncello, and piano, performed by Mr. Chapman, Mr. Allen, and Herr Linger. We must confess, however, that this latter composition appeared rather too heavy for the concert-room . . .

ASSOCIATIONS: William Chapman (violin); Adelaide Choral Society (association)

"HANDEL COMMEMORATION FESTIVAL", South Australian Register (18 April 1859), 5 

The centenary of the decease of the immortal Handel was seized by the members of the Adelaide Sacred Harmonic Society as a befitting opportunity for bringing before the music-loving portion of the community two of that eminent composer's principal oratorios . . . The "Messiah" and "Alexander's Feast" were the compositions selected . . . The total number of the choir was close upon 70. The following is a list or the instrumental performers with the instruments which they severally played upon: - Violins - Chapman, White . . . violoncellos - Lillywhite, Allen, Marshall; double bass - Betteridge . . . Mr. Linger was the conductor and Mr. Chapman leader . . .

ASSOCIATIONS: William Lillywhite (cello); Adelaide Sacred Harmonic Society (association)

[Advertisement], South Australian Register (11 May 1859), 1 

Mr. R. B. WHITE begs to announce he will give a Grand Concert of
VOCAL and INSTRUMENTAL MUSIC on Tuesday, the 17th Inst, assisted by
. . . Mr. Chapman, and Mr. Allen.
Full particulars in future advertisements.

ASSOCIATIONS: Richard Baxter White (pianist); the work in which Allen was probably to appear was the Chamber trio, op. 26 by Sterndale Bennett; but in the event Henry Betteridge was billed to play cello, see [Advertisement], The South Australian Advertiser (16 May 1859), 1 

"BIBLE CHRISTIAN CHAPEL, YOUNG-STREET", South Australian Register (23 August 1859), 3 

On Sunday last three sermons were preached in the chapel, commemorative of the first anniversary of its opening. On the Monday evening a tea meeting was held in the chapel, followed by a public meeting, at which Mr. Samuel Bakewell presided . . . Several pieces of sacred music were performed by the choir, which was led by Mr. W. Allen on the harmonium . . .

"ORATORIO", The South Australian Advertiser (4 April 1861), 3 

A selection from Jackson's Oratorio of the "'Deliverance of Israel from Babylon," was performed in Young-street Chapel, last evening, by the choir of this place of worship, assisted by some members of the North Adelaide Choral Society . . . The choruses generally were very well sung indeed; excellent time was kept in the hymn, "Thou Great Supreme," and the chorus, "In God, our God, we put our trust;" and credit is due to Mr. Holden, who conducted, for the success attained in this particular. Mr. Allen presided at the harmonium . . .

ASSOCIATIONS: William Holden (conductor)

"BIBLE CHRISTIAN CHAPEL", South Australian Register (5 March 1862), 2 

On Tuesday evening a tea meeting was held at the Bible Christian Chapel, Young-street, in connection with the inauguration of the powerful church harmonium, purchased for the services of the chapel. There were about 150 persons present at the tea-tables, and a considerably larger number at a musical entertainment held afterwards in the chapel. Mr. Compton presided at the instrument, and Mr. W. Allen officiated as conductor. The choir consisted of about 20 ladies and gentlemen, who sustained their several parts with great credit to themselves. Several solos were sung during the evening by the lady vocalists, all of which were most warmly applauded. Without wishing for a moment to flatter the young ladies who thus distinguished themselves, we must say it has been but very seldom we have had an opportunity in the colony of hearing so many sweet and well cultivated soprano voices since the dissolution of the Choral Society, some two or three years ago. The difficult air from the "Creation," "On mighty Pens," in particular, was sung with very great taste and accuracy by a lady who seldom appears as a vocalist in public . . .

ASSOCIATIONS: Charles Henry Compton (musician)

"TOPICS OF THE DAY", The South Australian Advertiser (20 March 1862), 2 

The anniversray of the St. Andrew's Church, Wakefield street, was celebrated on Wednesday, March 19. At 6 o'clock about 200 persons sat down to tea . . . The choir sung "When the Lord shall build up Zion" . . . Mrs. Smart sung a solo, which was loudly applauded . . . During the evening the choir, led by Mr. Allen, who kindly lent his own harmonium for the occasion, performed several pieces of sacred music in a highly satisfactory manner.

ASSOCIATIONS: Mary Ann Smart (vocalist)

"BIBLE CHRISTIAN CHAPEL, YOUNG-STREET", South Australian Register (2 September 1862), 2 

The anniversary services of the Bible Christian Chapel, Young-street, were held on Sunday, the 31st ult. . . . On the following evening a tea meeting was held in the chapel and the adjoining schoolroom . . . A public meeting followed . . . During the evening some choruses and other compositions from Handel's "Judas Maccabaeus" and the "Messiah" were well performed by a small but evidently well-trained choir. Mr. W. Allen presided at the harmonium . . .

ALLEN, David (David ALLEN; Mr. D. ALLEN)

Vocalist, convict

Born England, c. 1816
Tried Salford, Lancaster, England, 25 October 1841 (sentenced to 7 years transportation)
Arrived Hobart Town, VDL (TAS), 19 December 1842 (convict per Triton, aged 26, from London, 26 July) (TROVE tagged by Australharmony) (shareable link to this entry)


According to the Colonial Times, a tenor singer Mr. D. Allen was one of five "young men of the Hebrew religion" who formed the choir for the opening ceremonies of Hobart Synagogue on 4 July 1845. Some of the music sung at the service survives in keyboard arrangements made by Joseph Reichenberg and later published as Ancient Hebrew melodies (Hobart: Thomas Browne, [1847]).

He was almost certainly David Allen, convict per Triton, a serial re-offender whose original 7-year sentence of 1841 was extended to 1853, or even later.


Convict record, David Allen, per Triton, departed London, 17 August 1842; Tasmanian names index; NAME_INDEXES:1368606$init=CON33-1-33p5 (DIGITISED)

Allen David . . . Jew. Can read French / Trade: Coach painter - perfect / . . . Age 26 . . . Cert. of Freedom 29 June 1853

[News], Colonial Times (8 July 1845), 2

THE interesting ceremony of the dedication of the Synagogue took place on Friday the 4th instant . . . The ceremony commenced with one of Haydn's most favourite symphonies admirably performed by a choice orchestra led by Monsieur Gautrot, Mr. Reichenberg presiding at the piano. The choir was admirable, and singing of very first order; the melodies beautiful, and the harmonies perfect. A procession composed of the officers of the congregation circumambulated the avenues formed by the visitors seven times, at each interval the choir, accompanied by the orchestra, singing select passages of appropriate Psalms, but arranged to beautiful melodies. The procession was composed of the Rev. Mr. Jones (the reader, a gentleman recently arrived from London), Mr. Nathan (the President of the Committee), Mr. Judah Solomon (the Treasurer), Mr. Moss (the Secretary), Mr. D. Moses, Mr. Heckscher, Mr. Hart, Mr. S. Moses, Mr. Friedman, Mr. P. Levy, Mr. Isaac Solomon, and some other Israelite gentlemen . . . The 39th Psalm was then chaunted by the choir with great taste and effect. Another prayer then followed, after which the 150th Psalm was sung by the choir, the Hallelujahs particularly beautifully, indeed it is only due to the gentlemen who formed the choir to say that their performances would have done credit to any London Concert of Sacred Music . . .

ASSOCIATIONS: Joseph Gautrot (musician); Joseph Reichenberg (musician); Henry Jones (reader); Isaac Solomon (singer); Synagogue music (subject)

"THE SYNAGOGUE", Colonial Times (11 July 1845), 3

In answer to numerous enquiries as to whether the gentlemen composing the choir at the opening of the Jewish Synagogue last Friday were professionals, we can inform our readers that the whole of them (consisting of Messrs. M. S. Simeon, treble; D. Allen, tenor; E. Isaacs, counter tenor; Isaac Solomon and H. Nathan, bass;) were young men of the Hebrew religion, one of whom (Mr. Simeon) had assisted in a similar ceremony at home, and remembering the melodies, sung them to Mr. Reichenberg, who most felicitously melodized them. Mr. R. attempted, and it must be admitted, accomplished the teaching five persons to sing in parts, and acquiring himself sufficient Hebrew to comprehend what he had to teach, in a manner which must increase the already high opinion entertained by the Tasmanian public of his professional superiority . . .

ASSOCIATIONS: Michael Simeon (singer); Edward Isaacs (singer); Henry Nathan (singer)

"THE SYNAGOGUE", The Observer (15 July 1845), 3 

In our last a paragraph was omitted in which we sought to do justice to some whose names were not mentioned with that praise which was due to them for the part they performed in the opening service at the Synagogue. The music we learn was brought to this colony by Mr. Simeon, whose melodious voice was so much admired in company with the voice of Messrs. Edward Isaacs, Henry Nathan, David Allen, and Isaac Solomons. The vocal attraction at the Synagogue is likely to draw many visitors from time to time, whose interest is not likely to stop with that gratification, or benefit be confined to the hearing of the ear.

"Hobart Town Police Report", Colonial Times (14 October 1845), 3 

David Allen, for the robbery at Messrs. Nathan, Moses, & Co., was fully committed on Saturday to take his trial at the Supreme Court, on a charge of stealing two table covers and a surtout coat, the property of that firm. The evidence of a shopman, since discharged, named Evans, went to show, as did that of the other shopmen, that they never sold the articles in question, nor did they know how they left the shop. The depositions of Constable Goldsmith and Taylor (not Brown, as we before stated) disclosed the mode of apprehending the prisoners, as also the manner in which he carried off the property, the latter being explained by the prisoner, in answer to questions put to him by Mr. Nathan. From this it appears, that the prisoner took away the articles, concealed by the coat he usually wore, and conveyed them to Alcock's, where he pledged them. The prisoner, who appeared much dejected, declined to question the several witnesses, and said he would reserve his defence for his trial.

Trial of David Allen, P. per Triton, 21 October 1845; Tasmanian names index; NAME_INDEXES:1505611$init=SC32-1-5p192jpg 

6th Case / David Allen / 7926. Triton. P. / Guilty - stealing from his master Louis Nathan . . .

? "TASMANIA. HOBART TOWN MEMS", Geelong Advertiser [VIC] (23 February 1859), 2 

David Allen, a prisoner of the Crown, was charged with absconding in October, 1852, from the service of the Rev. Mr. Williams, at Launceston, and remaining illegally at large until apprehended in January last in the colony of Victoria. He was sentenced to 12 months' imprisonment, with hard labor.

ALLEN, Miss E. A. (Miss E. A. ALLEN; Miss ALLEN; ALLAN)

Vocalist, actor

Active Bathurst, NSW, by August 1858; Maitland, NSW, 1859 (TROVE tagged by Australharmony) (shareable link to this entry)


"BATHURST . . . THE PRINCE OF WALES THEATRE", Northern Times [Newcastle, NSW] (18 August 1858), 3 

After an interval of upwards of twelve months, during which the Bathurst public have been favoured with nothing in the shape of theatrical performances, the Prince of Wales Theatre will be opened on Monday next, under the management of Mr. J. L. Byers, from the principal theatres of California, late manager of the Prince of Wales Theatre, Sydney. Among the company are - Miss Julia Hudson, lately arrived from England, where she was engaged at the principal London Theatres; Mr. W. Andrews, from the Theatre Roya1, Melbourne; and Miss E. A. Allan, the celebrated ballad singer, also of the Theatre Royal, Melbourne. The opening will be Bulwer's Lady of Lyons, followed by a comic afterpiece . . .

ASSOCIATIONS: James Lucas Byers (actor); Julia Hudson Byers (actor); Prince of Wales Theatre (Bathurst venue); Prince of Wales Theatre (Sydney venue)

"PRINCE OF WALES THEATRE", Bathurst Free Press and Mining Journal (21 August 1858), 2 

The performances of this house during the past week have been attended with a success as marked as it was merited. On Wednesday last Kotzobue's play of "The Stranger" was presented, and the plaudits of the audience gave ample testimony in its favour . . . The interval between the drama and the afterpiece was agreeably varied by Miss Allen's singing of the beautiful ballad "Home, sweet home," which, although the lady was suffering from a severe cold, which impaired her voice, resulted in an encore, when she gave "Annie Laurie" very pleasingly. Miss Julia Hudson also performed the Highland Fling, but her efforts were completely nullified by the wretched accompaniment, which set all attempts to preserve the time of the dance at defiance. Apropos to this, we understand that Mr. Byers, who imagined, fond man, that he would find sufficient members of the musical profession resident in Bathurst, from which to construct an orchestra, has sent to the metropolis for sufficient asistance in this department, which is expected to arrive daily. Until this very desirable consummation be achieved, he desires the indulgence of the "Gods" for any shortcomings in his attempts to cater to their gratification . . .

"PRINCE OF WALES THEATRE", Bathurst Free Press and Mining Journal (25 August 1858), 2 

Last Saturday evening witnessed a very crowded house at this temple of the Drama. Shakespere's magnificent play of "Richard the Third " was selected for the occasion . . . Miss Hudson's presentment of the unhappy Queen, was all that could be desired, that is, characterised by the same feminine, graceful and lady-like bearing which seem her inseparable attribute. Miss Allen was not less successful as the "gentle Lady Anne," and gave us a proof that when required, she has at her command an amount of force and verve, for which we confess we hardly gave her credit . . . Between the pieces, Miss Allen sang the popular ballad "Bobbing Around," which, we confess, is a specimen of a school, which originated in the person of Mrs. Barney Williams, the delineator of American character, and which we regard with unmitigated dislike. The song, however, appears to be possessed of considerable charms for the "Gods," who demanded its repetition most vociferously . . .

MUSIC: Bobbing around (comic song)

"PRINCE OF WALES THEATRE", Bathurst Free Press and Mining Journal (15 September 1858), 2 

The performances at this place of amusement on Saturday evening were attended by a larger assemblage than we have yet seen congregated there. The selection for the evening was the popular melodrama, "Rob Roy," which, considering the difficulties attendant upon the production of such a piece, was very effectively rendered. We need hardly say that Mr. Byers and Miss Hudson were, to use a colonial phrase, "all there," and gave the greatest satisfaction to the audience . . . The music incidental to the piece, which comprises many well known Scotch airs, was very fairly executed, and Miss Allen's sweet voice materially added to its success . . .

"PRINCE OF WALES THEATRE", Bathurst Free Press and Mining Journal (18 September 1858), 2 

. . . Between the performances, Miss Allen sang "I'm leaving thee in sorrow" with her accustomed grace, and on a demand for an encore, "Scenes that are brightest," from the Opera of Maritana, both songs being admirably adapted to her voice and powers. Miss Constance also obtained the honours of an encore in a medley dance which she executed very prettily . . .

MUSIC: I'm leaving thee in sorrow, Annie (George Barker); Scenes that are brightest (by William Vincent Wallace, from Maritana)

"ROYAL VICTORIA THEATRE", Bathurst Free Press and Mining Journal (16 October 1858), 2 

. . . The lovers of the Drama will be glad to hear of the engagement of Miss Allen and Miss Constance at this Theatre. They will add considerably to the ability at present displayed. The performances for tonight comprise the well-known farce, entitled "The Wager," to conclude with the "Dumb Maid of Genoa," and a musical entertainment by the Buckingham Family.

ASSOCIATIONS: George Buckingham and family (entertainers); Royal Victoria Theatre (Bathurst venue)

"THE DRAMA", Bathurst Free Press and Mining Journal (1 December 1858), 3 

. . . On Monday last the Prince of Wales Theatre opened, under the lesseeship of Miss Julia Hudson, and although the rain had descended in torrents during the day, a very tolerable house greeted the rising of the curtain. The Theatre has been thoroughly cleansed, and now presents a more prepossessing appearance than of yore, the boxes having been redecorated, and other judicious improvements, including new scenery &c., carried out. The company, among whom we observed our old favourites, Miss Allen and Mr. Andrews, acted with great spirit, and the performances went off very creditably. We are glad to observe that Miss Hudson has engaged the services of a professional orchestra, a most obvious deficiency in the former management . . .

"VICTORIA (LATE QUEEN'S) THEATRE, WEST MAITLAND", Northern Times (2 March 1859), 2 

For some time back this theatre has been opened, under the able management of Miss Hudson and Mr. Byers. The company is an efficient one, but we should should consider the performers, as a whole, better adapted for comedy and farce than for tragedy . . . The ladies, Miss Hudson and Miss Allen, have been always well prepared, and we cannot omit noticing Miss Allen's songs of "Minnie," and "Comin' thro' the Rye" . . .

ASSOCIATIONS: Queen's Theatre (Maitland venue)

ALLEN, Edward (1) (Edward ALLEN; Mr. ALLEN)

Amateur (and semi-professional) musician, tenor vocalist, theatrical dancer, actor, tailor, draper

Born (? London), England, c. 1801
Married Mary Ann HARRISON (d. 1877), St. Pancras Old Church, London, England, 6 June 1826
Arrived Sydney, NSW, 4 January 1839 (per Eweretta, from London, 28 August 1838)
Arrived Hobart Town, VDL (TAS), 13 December 1843 (per Mary Ann, from Sydney, 25 November)
Died Hobart Town, TAS, 27 August 1875, aged "74" (TROVE tagged by Australharmony) (shareable link to this entry)

ALLEN, Edward (2) (Edward ALLEN; Master Edward ALLEN; Master ALLEN; Edward ALLEN, jun.)

Boy soprano vocalist, merchant tailor, draper

Born England, 10 December 1830; baptised (1) St. Luke's Chelsea, England, 12 January 1831; baptised (2) [sic] St. Andrew's, Sydney, 2 October 1842 [sic]; son of Edward Allen and Mary Ann ALLEN
Arrived Sydney, NSW, 4 January 1839 (per Eweretta, from London, 28 August 1838)
Arrived Hobart Town, VDL (TAS), 13 December 1843 (per Mary Ann, from Sydney, 25 November)
Married Elizabeth WILSON, Hobart, TAS, 18 August 1858
Died Petersham, NSW, 5 October 1910 (TROVE tagged by Australharmony) (shareable link to this entry)


Edward Allen, and his wife Mary Ann, and two sons, arrived in Sydney on the Eweretta on 4 January 1839. Having found work during 1839 as a tailor's assistant (probably for Samuel Scrase and his brother, who arrived in the same party), Edward set up in business himself in January 1840, advertising his 16-years' past experience in London. He was probably also the Mr. Allen who first appeared around the same time as a stage dancer, a performer of tableaux vivants and poses plastiques, and in minor acting roles in John Lazar's company at the Royal Victoria Theatre, continuing there for most of 1840, and perhaps also informally engaged as a costumier. Ahead of Sydney's August fancy ball, he advertised again to the public as a supplier of suitable costumes.

As "Mr. Allen" and "Master Edward Allen", the two Edwards both sang in Isaac Nathan's oratorio, at St. Mary's cathedral, Sydney, on 30 June 1841.

Edward, senior, sang with George Worgan and William Griffiths, in Isaac Nathan's new glee, Drink, and a fig for all sorrows, in October 1841. He was also a soloist in the first complete Sydney performance of Handel's Messiah for James Johnson and Thomas Leggatt in August 1842; and is last documented appearing in Sydney for John Philip Deane in September 1842.

Father and son were probably the Mr. and Master Allen who arrived in Hobart from Sydney in December 1843, and Edward junior was first reported singing for the Hobart Town Choral Society in October 1844. Reporting in January 1845 on Master Allen's singing of "O thou that tellest" from Messiah for the Hobart Town Choral Society , The Courier feared he

. . . will probably soon be lost to the musical world in the parts he now takes, accomplished very neatly, though wanting in mellowness of tone and evidently deficient in the delicate refinements of the art . . .

Nevertheless, a year later, the Colonial Times could not:

. . . pass over the singing of Master Allen, who is almost a colonial 'phenomenon'. His style is good, chaste, and tasteful, and his intonation distinct and perfect. He reminds us a good deal of Master Longhurst, so much admired many years ago at Covent Garden and the London concerts.

Edward senior was a vocal performer for the Gautrots' concert in November 1844. For them again in December 1845 he sang Barker's The white squall and Isaac Nathan's Byron setting Tambourgi.

He also appeared in Charles Packer's May Day concert in 1848, and sang Haydn's In native worth for the Hobart Choral Society in November 1848. According to his obituary he was also an active member of the Hobart Town Glee Club.


Marriages solemnized in the Parish of Saint Pancras in the County of Middlesex in the Year [1826]; register 1824-28, page 443; London Metropolitan Archives, P90/PAN1/062 (PAYWALL)

no. 332 / Edward Allen of this parish bachelor and Mary Ann Harrison of the Parish Spinster were married in this Church by Banns this [6 June 1826] . . .

Baptisms solemnized in the Parish of St. Luke Chelsea in the County of Middlesex in the Year 1831; register 1829-57, page 214; London Metropolitan Archives, P74/LUK/170 (PAYWALL)

No. 1706 / [1851 January 12] / B. Dec. 10 1830 / Edward Son of / Edward & Mary Ann / Allen / Exeter Street / Tailor . . .

Sydney, NSW (from 4 January 1839 to 25 November 1843):

"ARRIVALS", The Sydney Gazette and New South Wales Advertiser (5 January 1839), 2

From London via the Cape of Good Hope, yesterday, having left the former port the 28th August, and the latter the 14th November, the ship Eweretta, 356 tons, Captain Gilmore, with merchandise. Passengers . . . Steerage, Mr. E. Scrase, Mr. H. Scrase [sic] . . . Mr. and Mrs. Allen and two children . . .

ASSOCIATIONS: Samuel and Edwin Scrase (tailors, amateur vocalists)

[Advertisement], Commercial Journal and Advertiser (8 January 1840), 1 

EDWARD ALLEN, TAILOR, &c., BEGS to acquaint his friends and the Public generally, that having established himself in Hill's Buildings, Pitt street, nearly opposite the Mechanics' School of Arts, he has commenced business upon his own account in the above line, in all its branches; and trusts, that after a fair trial he will be found economical, attentive, and expeditious, trusting to CASH payments.
From his former superintendence of some of the first houses in London during a period of sixteen years, and in a first rate line, together with a considerable colonial experience; he flatters himself that he will be found second to none in ability, neatness, and superior workmanship.

"THE THEATRE. TO THE EDITOR OF . . .", The Sydney Monitor and Commercial Advertiser (20 January 1840), 2 

SIR, - The present theatrical campaign having fairly opened, it becomes a matter of some little interest to enquire what prospects our play-going community have for the season. Mr. Wyatt has been frequently spoken of as a liberal manager by your contemporaries; let us see how far he is now liberal to that public who have so handsomely supported him. What company has he engaged, and what pieces has he selected for the entertainment and instruction of those who attend the Victoria! The best of our performers he has either discarded, or allowed to slip through his fingers. No one wishes Mr. W. to engage a company whose services would not remunerate him, but at the same time, if his parsimony, or any other inferior feeling, cause him to disappoint the public, the public will probably disappoint him. What performers have we lost? Mr. Knowles, Mrs. Taylor, Mrs. Knowles, Mr. Lee, Mrs. Cameron, Mr. Winters, Mr. Simmons, and others of less note; and who are we treated to in return? Mr. Meredith, Mr. Palmer, Mr. Allen, Mr. Riley, and Mrs. Arabin. This is the present amount of talent to satisfy the public for the next four months . . .

ASSOCIATIONS: Joseph Wyatt (proprietor); Conrad and Harriet Knowles (actors); Maria Taylor (actor, vocalist); John Herman Selwyn Lee (actor); Cordelia Cameron (actor); Joseph Simmons (actor); John Meredith (actor); Frances Arabin (actor); Royal Victoria Theatre (Sydney venue)

"THEATRICALS", The Australian (12 May 1840), 2 

It is with extreme reluctance that we notice the misconduct of Messrs. Falchon and Allen during the representation on Saturday evening . . . which is neither more nor less than appearing on the stage in a state of helpless intoxication. Mr. Falchon fell down, and required the assistance of three or four persons to carry him off. Mr. Allen lost his perpendicularity, and made a somerset into the orchestra . . .

ASSOCIATIONS: Arthur Falchon (actor)

[Advertisement], The Sydney Herald (21 August 1840), 1 

Plain and Fancy Dresses. Cheapness & Expedition,
EDWARD ALLEN, TAILOR, (From Silver and Co., Cornhill, London,)
BEGS most respectfully to return his grateful acknowledgements for the patronage so liberally bestowed on him, since his commencement in business; and from his experience in the best shops in the West End of London, for the space of sixteen years, he without fear of contradiction from any person in the trade, in Sydney, boldly asserts, he is capable of making any garment (Fancy or Plain) with which he may be intrusted . . .
Perceiving by advertisement, that a Fancy Ball is about to be got up, under the patron age of the respectable Traders and Operatives of Sydney, he further begs to inform the public generally, that he has had the honor of making some of the most splendid and difficult dresses worn at the late Fancy Ball . . .
E. Allen, Hill's Buildings, Pitt-street south, (opposite Huggett's General Store,) between Park and Market Streets. August 18, 1840.

[Advertisement], The Colonist (5 September 1840), 3 

Royal Victoria Theatre. MR. KNOWLES' BENEFIT . . .
MONDAY EVENING next, September 7 . . . To be succeeded by a series of
To conclude with thle Grand Comic Pantomime of THE DEMON KING; OR, Harlequin and the Fair Star.
Clown - Mr. Lee. Pantaloon - Mr. Allen.
Harlequin - Mr. Fitzgerald. Columbine - Miss Lazar . . .

ASSOCIATIONS: Dennis Fitzgerald (dancer); Rachel Lazar (dancer, actor)

[Advertisement], Commercial Journal and Advertiser (30 September 1840), 3 

Thursday, Oct. 1, 1840 . . . Favourite Comic Dance from the Pantomime of Mother Goose, by MESSRS. ALLEN and FITZGERALD.
An entire New Indian Dance from the celebrated Drama of Robinson Crusoe, by MR. ALLEN . . .
J. LAZAR, Manager.

ASSOCIATIONS: Charles Fenton (actor); John Riley (actor); John Lazar (actor, manager)

[Advertisement], Commercial Journal and Advertiser (7 October 1840), 3 

Royal Victoria Theatre. TICKET NIGHT.
For the Benefit of Mr. Allen and others. THURSDAY, OCTOBER 8, 1840
WILL be presented, for the first time at this Theatre, a Melo-drama, entitled Valentine and Orson.
After which, a DANCE by Miss LAZAR.
The comic Song of THE LADY'S DARLING, by Mr. LEE.
To conclude with the Dramatic Romance, called THE LADY OF THE LAKE.

[Advertisement], The Sydney Herald (12 October 1840), 1 

A new senes of Bronze Statues - Mr. Allen . . .

[Advertisement], Australasian Chronicle (5 June 1841), 3

ORATORIO. MR. NATHAN has the honor to announce that on Wednesday, June 30th, 1841, will be given, at St. Mary's Cathedral, a GRAND ORATORIO . . . Vocal Performers . . . Mr. Allen, Mr. Falchon . . . Master Edward Allen . . .

ASSOCIATIONS: Isaac Nathan (conductor); St. Mary's cathedral (Sydney venue)

"CHARITY SERMON", Australasian Chronicle (5 October 1841), 2 

High mass was celebrated in St. Mary's on Sunday last by the Vicar General . . . Mozart's grand mass No. 12 was very effectively performed by the choir, in addition to which Misses Jane and Rosetta Nathan sung with great taste on exquisite duett, arranged as an offertory, from Marcello, by an amateur member of the choir. During the collection Mr. Griffiths sung Clifton's "Ecce Deus" with much skill, and this part of the service concluded with Zingarelli's brilliant "Laudate," the solo by Mr. Allen . . .

ASSOCIATIONS: Frances Murphy (vicar general); Jane and Rosetta Nathan (vocalists); William Griffiths (vocalist)

MUSIC: Laudate pueri dominum (Zingarelli, arr. Novello)

[Advertisement], The Sydney Herald (27 October 1841), 1 

THIS EVENING, WEDNESDAY, the 27th of October, 1841 . . .
SOPRANOS and TREBLES . . . Master Tuohy, Master Reilly, Master Allen, and Master Temple Nathan.
TENORES. Mr. Worgan, Mr. Allen, Mr. Falchon, Mr. Boyce, and Mr. Nathan . . .

ASSOCIATIONS: George William Worgan (vocalist)

"Mr. Nathan's Concert", The Sydney Gazette and New South Wales Advertiser (30 October 1841), 2 

We had a rich musical treat on Wednesday evening . . . "Drink and a fig for sorrow," a new composition of Mr. Nathan's followed . . . The glee to the same words, (composed for the Sydney Harmonic Club,) was rich in melody and harmony, and gave us great delight - it was well sung by Messrs. Griffiths, Worgan, Allen, &c. &c. . . .

ASSOCIATIONS: Australian Harmonic Club (association)

[Advertisement], The Sydney Herald (27 May 1842), 1 

The Spacious Hall, Sydney College,
WILL be performed THIS EVENING, the 27th May, 1842.
The Overtures and the whole of the Music, expressly arranged . . . by Mr. Nathan.
SOPRANOS AND TREBLES . . . Master Allen, Master Richards, Master Riley, Masters Tuohy, Master Nathan, and the Masters Weavers.
TENORS. Monsieur Gautrot, Mr. Worgan, Mr. Whitfield, Mr. Allen, Mr. Richards, Mr. Kelly, and Mr. Nathan . . .

ASSOCIATIONS: Master Tuohy (vocalist); Master Weavers (vocalist); Joseph Gautrot (musician, vocalist)

[Advertisement], The Sydney Morning Herald (31 August 1842), 1 

GRAND ORATORIO in aid of the funds of the Benevolent Society . . .
THIS EVENING, the 31st of August, HANDEL'S GRAND ORATORIO of the MESSIAH . . . in the Royal Victoria Theatre . . .
on which occasion the following professional performers have kindly offered their gratuitous assistance -
Mrs. S. W. Wallace, Messrs. Leggatt, Johnson, Deane, E. Deane, Griffiths, Allen, Worgan, and Egerton . . .
PRINCIPAL VOCAL PERFORMERS. Mrs. Bushelle, Mrs. S. W. Wallace, Mrs. Curtis, Mr. Bushelle, Mr. Waller, Mr. Griffiths,
Mr. Allen, and Master Weavers . . .
Conductor - Mr. Leggatt.
Leader - Mr. S. W. Wallace.
Chorus Master - Mr. Johnson.

ASSOCAITIONS: James Johnson (chorus master); Thomas Leggatt (conductor); Spencer Wellington Wallace (leader); John Philip Deane (violin); Edward Smith Deane (cello); Samuel Edgerton (musician); Eliza and John Bushelle (vocalist); Caroline Wallace (vocalist); Mary Curtis (vocalist); James Waller (vocalist)

"THE ORATORIO", Australasian Chronicle (1 September 1842), 2 

At last the immortal "Messiah" has been performed in Sydney. We are so rejoiced at this revival of our finest recollections of "harmony divine," that we are much inclined to forget our duty of critic and praise every thing in the performance. Glad we are to say, there was much to praise. Of the recitatives and arias, it is true, we can say but little, with the exception of "How beautiful are the feet," by Mr. Allen, and another by an amateur, both of which displayed taste and feeling . . .

"THE ORATORIO", The Sydney Morning Herald (2 September 1842), 2 

. . . It is not our intention to particularise each solo - the best of the evening were undoubtedly Mrs. Bushelle's and Mr. Allen's . . . Mr. Allen took us by surprise - we must confess that we never listened to him with even comfort till now - but the sweetness and evenness of tone, and correctness of style with which he sang "How beautiful are the Feet," pleased much, and gave proof of considerable practice and good teaching . . .

"ORATORIO", The Colonial Observer (3 September 1842), 6 

. . . Of the recitativos and arias our praise must be more qualified. "How beautiful are the feet," by Mr. Allen, and "I know that my redeemer liveth," by Mrs. Curtis, were performed with genuine taste and feeling, although the latter evidently cost a severe effort . . . The same party of musicians and amateurs, are about to get up Haydn's Creation.

[Advertisement], The Sydney Morning Herald (14 September 1842), 1

VOCAL PERFORMERS. Mrs. Bushelle, Madame Gautrot, and Mrs. Wallace; Mr. Bushelle, Mr. Griffiths, Mr. Allen, and several other gentlemen amateurs . . .

ASSOCIATIONS: Madame Gautrot (vocalist)

Hobart Town, VDL (TAS) (from 13 December 1843):

"SHIPPING INTELLIGENCE", Colonial Times [Hobart, TAS] (19 December 1843), 3

DEC. 13. - Arrived the schooner Mary Ann, Brown, master, from Sydney 25th ult., with a general cargo. Passengers - Mr. Jones, Mrs. Wells, Mr. Allen, Master Allen . . .

"HOBART TOWN CHORAL SOCIETY", The Courier [Hobart, TAS] (22 October 1844), 2

The second public performance of this highly useful society took place on Tuesday evening last, in the Hall of the Mechanics' Institute . . . the whole of the vocalists were amateurs, as were also many of the instrumental performers; this branch received considerable aid from the exquisite playing of Mrs. Elliott on the piano, Mr. Duly, Monsieur Gautrot, and Mr. Russell on violins, and Mr. W. H. Howson at the double bass, together with several of the excellent band of the 51st regiment . . . The first part was Romberg's delightful ode, "The Transient and the Eternal" . . . The second part was of a mixed character, comprising detached pieces from the works of Mozart, Handel, Haydn, and other esteemed composers . . . Mr. Curtis, the conductor (a perfect musical enthusiast,) is entitled to the warmest thanks of the society and the public for his untiring exertions in maturing so useful an institution . . . Our attention was particularly called to the beautiful manner in which some of the solos were sung; but as the vocalists, with the exception we have named, are all amateurs, we fear to offend by making particular mention of names. We must, however, break through this rule in favour of Masters Allen and Phillips, whose singing, considering their ages, was really delightful . . .

ASSOCIATIONS: Caroline Elliot (pianist); Abraham Philip Duly (musician); Joseph Gautrot (musician) William Wilkins Russell (musician); William Howson (musician); Band of the 51st Regiment (military); Richard Curtis (conductor); Hobart Town Choral Society (association)

[Advertisement], Colonial Times (16 November 1844), 1

The following Ladies and Gentlemen have kindly tendered their valuable assistance: -
Mrs. Stirling, Mrs. Rogers, Mrs. Curtis, Mr. Reichenberg, Mr. J. Howson, Mr. F. Howson, Mr. H. Howson, W. Howson, A. Howson, Mr. Russell, Mr. Curtis, Mr. Duly, Mr. Singer, Mr. Pyecroft, Mr. G. F. Duly,
Mr. Allen, Master Allen, and several Amateurs . . .
PROGRAMME . . . PART II . . . Duet - "Say, Rover, say" - Mad. Gautrot & Mr. Allen . . .

ASSOCIATIONS: Madame Gautrot (vocalist); Theodosia Stirling (vocalist); Emma Rogers (vocalist); Emma Curtis (musician); Joseph Reichenberg (musician); John Howson (vocalist); Frank Howson (vocalist); Henry Howson (musician); Alfred Howson (musician); John Macdonald Singer (musician); Joseph Pycroft (musician); George Frederick Duly (musician)

"CHORAL SOCIETY", The Courier (23 January 1845), 2

. . . We must confess that, in attending the third Oratorio of the Society, given on Tuesday evening, we could not but feel some apprehension lest, in so young an institution, little justice would be done to the exquisite beauties and elevated character of this matchless production [Messiah] . . . The air, "O thou that tellest," Master Allen, who will probably soon be lost to the musical world in the parts he now takes, accomplished very neatly, though wanting in mellowness of tone and evidently deficient in the delicate refinements of the art. He succeeded still better in the subsequent air, "He shall feed his flock," which he gave with considerable feeling . . .

"THE CHORAL SOCIETY", The Courier (18 October 1845), 2

THE introduction of Judas Maccabaeus to the acquaintance of the musical amateurs of Hobart Town, furnishes another pleasing proof of the characteristic spirit and zeal of this excellent society. Their sixth public performance, on Tuesday evening, consisted entirely of selections from this fine Oratorio . . . The exquisitely beautiful songs with which this Oratorio abounds, were given in a style that, from the circumstance just named, we should have considered it unreasonable to expect, by Messrs. McGregor, Allen, Cresswell, and Williams. To Master Allen a high meed of praise must be awarded. His voice possesses much sweetness; he has been well trained; and, throughout the evening, he furnished proofs of a remarkable precocity of musical taste and talent. Nor must we omit to notice the unobtrusive merits of Mrs. Elliott, evinced not only in her piano accompaniments, but in the style of unaffected and beautiful simplicity with which she took a part in some of the duets. "O lovely peace," sung by Mrs. Elliott and Master Allen, was one of the "gems" of the evening . . . Of Mr. Curtis we may add that he appears to be the "animating soul" of the society . . .

ASSOCIATIONS: John McGregor (vocalist)

"MONSIEUR AND MADAME GAUTROT", The Courier (20 December 1845), 2

The result of the Concert on Tuesday evening could not but be gratifying to our old favourites . . . Mr. Allen gave the "White Squall" and Lord Byron's fine song "Tambourgi," both of which received their due share of applause . . .

MUSIC: The white squall (Barker); Tambourgi (Isaac Nathan)

"THE ORATORIO", The Observer (20 January 1846), 3 

This amusement takes place this evening in the Hall of the Mechanics' Institute . . . At the last rehearsal the Hallelujah Chorus was ably performed . . . The contra-alto solo, "Oh! thou that bearest glad tidings to Sion," of Master Allen, is a chaste performance, but the rehearsal was overpowered by the accompaniment, and the performer should be elevated when singing the solo. His voice is musically sweet, but too weak for such an accompaniment . . .

"CHORAL SOCIETY", Colonial Times (23 January 1846), 3 

This admirable institution held its seventh oratorio on Tuesday evening last, at the Hall of the Mechanics' Institute in Melville-street. We regret that the limits of our present number will not admit of a lengthened critique of the performances, which were conducted in a style of great excellence and spirit, the vocal parts particularly. We cannot, however, pass over the singing of Master Allen, who is almost a colonial "phenomenon." His style is good, chaste, and tasteful, and his intonation distinct and perfect. He reminds us a good deal of Master Longhurst, so much admired many years ago at Covent Garden and the London concerts. With care and application, Master Allen will become a proficient in the art. The attendance was numerous and of the first respectability, including a majority of ladies. Madame Gautrot, Mrs. Elliott, who presided at the piano, and Messrs. McGregor and Allen, exerted themselves with much effect, and the choruses were well performed.

"THE ORATORIO", The Observer (27 January 1846), 3 

Want of space prevents our giving a lengthy report of this entertainment. The hall was filled with a most respectable audience, who appeared to be highly delighted. Mr. Duly profited by the advice given in our notice of rehearsal by leading the sopranos, and the accompaniments to Master Allen's solos were sufficiently subdued to admit of his voice being distinctly heard . . . Mr. Allen's contra alto was particularly distinguishable for its sweetness and tone . . .

"ST DAVID'S CHURCH, HOBART TOWN", The Courier (4 February 1846), 2

Balance Sheet of the Accounts of the Churchwardens of St. David's Church, from 1st day of January to 31st day of December, 1845, both inclusive . . .
EXPENDITURE . . . Sundry disbursements for Oil, Candles, Fuel, Washing, Allen for Singing, and Fees for Counsel - 32 18 8 . . .

ASSOCIATIONS: St. David's cathedral (Hobart)

"THE ORATORIO", The Courier (23 May 1846), 3

We are compelled to restrict our notice of the excellent performance of the Choral Society, on Tuesday evening, to little more than the expression of general commendation . . . The choruses were well sustained, and the solos were executed with taste and skill, by Madame Gautrot, Mr. McGregor, Mr. Allen, and Mr. Belbin . . . The duet, "O Lovely Peace," was very sweetly sung by Mrs. Elliott, and Master Allen . . .

"THE CHORAL SOCIETY", The Courier (18 July 1846), 2 

. . . In this general summary, however, it would be unjust not to particularize the admirable style in which Mr. Allen gave the beautiful air, "Come, ever-smiling Liberty!" . . . and the superior character of the spirit-stirring trio, "Disdainful of danger," by Messrs. Allen, Creswell, and Allen jun., who well sustained their local reputation . . .

"JUVENILE FETE", The Courier (15 August 1846), 3 

On Wednesday evening last, the Music Hall, Collins-street, was tolerably well filled with a host of juvenile parties, to witness a medley entertainment, commencing with instrumental and vocal performances. The overture comprised several well-known and popular airs, and was succeeded by "The London Cries," a glee performed by Messrs. Duly, Allen, and Pyecroft, in which Mr. Allen came nearest in character to the peripatetic venders of "milk" and other commodities . . . The quartette of "Little Jack Horner" was sung in a corner, thereby losing much of its effect . . . Mr. Russell's constant and earnest endeavours to please the public are praiseworthy, but the present juvenile fete seems to have been got up with too much haste, it is susceptible of much improvement, and if well managed, an exhibition of the kind occasionally given, would doubtless prove both attractive and profitable.

"THE CHORAL SOCIETY", The Courier (5 December 1846), 2

THE Tenth Oratorio of this Society, consisting of selections from Handel's Samson and Gardiner's Judah, was performed on Thursday evening, November 26, in the Lecture Hall of the Mechanics' Institution . . . Mr. Allen displayed his usual taste . . .

MUSIC: Judah, a sacred oratorio . . . written, composed, and adapted to the works of Haydn, Mozart, and Beethoven (by William Gardiner)

"LOCAL", The Courier (22 April 1848), 2 

THE HOBART TOWN CHORAL SOCIETY gave their fifteenth oratorio in the hall of the Mechanics' Institute, Melville-street, on Tuesday evening last . . . The programme consisted of selections from "Judas Maccabeus," "Israel in Egypt," Glover's "Song of Hope," and a splendid ode, "The transient and the Eternal," of Andreas Romberg. Of these selections the most difficult was sung by Messrs. Allen and Belbin, Mrs. Elliott and Miss Duly . . . We do not forget to express our approbation Mr. Allen in the air, "Sound an alarm" . . .

ASSOCIATIONS: William Belbin (vocalist); Agnes Duly (vocalist)

"CONCERT", Hobarton Guardian, or, True Friend of Tasmania (25 March 1848), 2 

Mr. C. S. Packer's concert at the Music Hall, was, considering the unfavourable state of the weather, well attended. We were gratified to see so many of the most respectable of our citizens patronizing Mr. Packer, whose talents as a musician have, in the mother-country, gained him a niche amongst the first musical talent in Europe. His performance on Monday night, of some of his own splendid compositions, fully establishes his fame both as a composer and performer. He also sang most pleasantly, and was encored no less than three times. To particularise any part of his performance would be doing him injustice, for all was good. A debutanti, Madame Callagarri, who is we believe a pupil of Mr. Packer, made her appearance and was well received . . . Mr. Allen sang very pleasingly, and was well received. We must not omit Mr. Howson's performance on the violin . . . Upon the whole the concert gave great satisfaction, both as to the pieces selected, and manner in which they were gone through. The finale "Viva Enrico," crowned the pleasing sensations of the audience, and they left the hall well pleased with the treat afforded them by Mr. Packer, and his assistants.

ASSOCIATIONS: Charles Sandys Packer (musician); Madame Callegari (vocalist); Henry Howson (violin)

[Advertisement], Colonial Times (25 April 1848), 2

VOCALISTS. Madame Callegari, Mr. Duly, Mr. Allen, Charles S. Packer.
On this occasion will be presented some curious Madrigals composed during the 14th, 15th, and 16th Centuries,
to give effect to which several Amateurs have kindly proffered their assistance . . .

"STREET ROBBERY", The Britannia and Trades' Advocate (14 September 1848), 3 

Another robbery in Melville-street, which makes people ask "where were the police," occurred on Sunday night. Mr. Allen, of the Choral Society, proceeding to his residence, was knocked down by a blow under the ear from behind, and robbed of his watch.

"CHORAL SOCIETY", Colonial Times (17 November 1848), 2

The seventeenth oratorio of this most useful Society took place on Tuesday evening last . . . The music selected for the performance was from Haydn's Oratorio, many parts of which were given with much taste and feeling, and with exquisite effect. The air "With verdure clad," by Miss Duly and "On mighty pens," by Miss Callow, elicited much and well deserved applause; and the solo parts in the terzetto, "Most beautiful appear," were exceedingly well given by Miss Duly and Messrs. Allen and Belbin. The air "Now Heaven in fullest glory," by Mr. Belbin - "In native worth," by Mr. Allen - and the singing of Miss Edwards in the trio "On thee each living soul awaits," afforded much pleasure. The duett and chorus, "By thee with bliss," was perhaps the gem of the evening, and gave unqualified satisfaction . . .

ASSOCIATIONS: Miss Callow (vocalist)

"TRADESMEN 'BY APPOINTMENT'", The Hobart Town Daily Mercury (6 December 1858), 3 

We are certainly progressing in refinement: two of our shopkeepers, who have been honored with the patronage of His Excellency, have announced the same, after the mariner used in London, by affixing to the front of their business premises the British coat of arms, with the inscription in large and legible letters: By Appointment." One is Mr. R. Hood, in Liverpool street, who has been appointed Picture Frame Maker and Print Seller to His Excellency, and the other is Mr. Allen (late Fryer and Allen) in Murray Street, who is patronised as Clothier and Hatter. The "signs" so to speak, are both the workmanship of Mr. Hood, and are commendable specimens of Colonial manufacture.

ASSOCIATIONS: Robin Vaughan Hood (shopkeeper)

"ORCHESTRAL UNION", The Tasmanian Times (6 May 1868), 3 

The members of the Orchestral Union gave their second concert last evening, at Del Sarte's Rooms . . . Mr. Tapfield acted as conductor, presiding over a large and well-trained orchestra. Between thirty and forty ladies and gentlemen constituted the chorus . . . A solo by Mr. Allen, "O 'tis a glorious sight," from Oberon, was very fairly sung and very well received.

ASSOCIATIONS: Samuel Tapfield (conductor); Hobart Town Orchestral Union (association)

Deaths in the district of Hobart, 1875; Tasmanian names index; NAME_INDEXES:1152233; RGD35/1/8 no 2962 (DIGITISED)

2962 / 28th August 1875 / Edward Allen (Died Liverpool Street) (Born England) / Male / 74 years / Gentleman / Senilis / . . .

"ONE MORE GONE", The Mercury (2 September 1875), 2 

We learn with much regret of the death of Mr. Edward Allen, sen., son of Mr. E. Allen [sic], of the late firm of Fryer and Allen, in this city. Deceased was an old colonist, deservedly and universally respected in the circle of those who had many opportunities of knowing his worth - old members of the Choral Society, Glee Club, and St. David's Cathedral Choir - will read this announcement with sincere sorrow, Mr. Allen being enthusiastically devoted to the musical art, always willingly contributing the aid of his pleasing tenor voice, in choral gatherings, and more especially at the meetings of the associations alluded to.

ASSOCIATIONS: A confusion of father and son, Edward senior's father was never in Australia; Hobart Town Glee Club (association)

"DEATHS", The Mercury (17 July 1877), 1 

ALLEN. - On the 14th July, at Liverpool-street, aged 82, Mary Ann, relict of the late Edward Allen. The funeral will move from her late residence THIS DAY, at half-past 2.

"DEATHS", The Sydney Morning Herald (5 October 1910), 10 

ALLEN. - October 5, 1910, at his residence, Norwood-street, Petersham, Edward Allen, in his 80th year, late of Launceston Tas., and many years in Adelaide, S.A. Beloved father of Albert G. H. Allen, Crystal-street, Petersham. At rest Adelaide and Tasmanian papers please copy.

ALLEN, Edward (3) (Edward ALLEN)

Music lithographer, (? amateur choral singer), grocer, brewer, surveyor

Born England, c. 1821
Married Annie LEITH, Launceston, TAS, 24 August 1854
Died Latrobe, TAS, 19 November 1877, aged "56" (TROVE tagged by Australharmony) (shareable link to this entry)


1854, marriages in the district of Launceston; Tasmanian names index; NAME_INDEXES:852631; RGD37/1/13 no 926 (DIGITISED)

No. 340 / 926 / August 24th 1854 / Trinity Church Launceston / Edward Allen / of age / Grocer
Annie Leith / of age / - /

[Advertisement], The Cornwall Chronicle (13 June 1857), 1

MR. ALLEN having established a Lithographic press in connection with his Land Mart, is now prepared to print maps, plans, drawings, circulars, &., &c. Charles-street, Feb. 14.

"MUSIC FOR THE MILLION", Launceston Examiner (9 April 1859), 2

The prospects of the scheme appear to be improving; nearly two hundred and fifty tickets were disposed of last night, and the classes (with the members of the Philharmonic Society) filled the Assembly Room. - The lessons last evening were introductory ones in notation, to and which Mr. Adams furnished each member with the notes lithographed by Mr. Allen, which will be a great advantage to pupil and teacher.

ASSOCIATIONS: John Adams (singing class instructor); Launceston Philharmonic Society (association); Cornwall Assembly Rooms (Launceston venue); Music for the million (subject)

See also "To the Editor . . . MUSIC FOR THE MILLION", The Cornwall Chronicle (21 May 1859), 5

Sir, - I herewith send you a copy of our first song, which our conductor says is from the pen of the Rev. R. K. Ewing . . .: A fair day's work for a fair day's wage / We gladly give, we ask no more . . .

ASSOCIATIONS: Robert Kirkwood Ewing (words)

"TOWN TALK AND TABLE CHAT", The Cornwall Chronicle (25 May 1859), 5

We stated in our last that we had received from Mr. Adams a piece of music composed for his class. The music itself is excellent, and well adapted for the purpose: - that is to give the time. We shall not comment upon the verses more than to observe that it is wonderful how Mr. Adams could find music for them so harsh and discordant as they are. The music is beautifully lithographed we believe by Mr. Allen, of Charles-Street, and may be had for 6d. each piece.

"SONGS FOR THE MILLION", Launceston Examiner (2 July 1859), 2 

We have to acknowledge receipt of Nos. 2 and 3 of Songs for the Million, by Mr. Adams; the words of No. 2 by Mr. Bennell, and of No. 3 by Mr. Brooke . . . The songs are lithographed by Mr. J. J. Gwynne, of the Land Mart (late Allen's) . . .

ASSOCIATIONS: Warren Auber Brooke (words); Joseph James Gwynne (lithographer)

1877, deaths in the district of Port Sorrell; Tasmanian names index; NAME_INDEXES:1210386; RGD35/1/46 no 734 (DIGITISED)

No. 1204 / 734 / Nov'r 19th 1877 / Edward Allen / Male / 56 Years / Surveyor / Paralysis . . .

"DEATH", The Cornwall Chronicle (23 November 1877), 2 

ALLEN. - On the 19th November, at his late residence, Latrobe, Mr. Edward Allen, aged 56 years.

ALLEN, Francesca (Francesca ALLEN; Madame ALLEN; Madame ALLAN [sic])

Musician, soprano, mezzo-soprano vocalist

Born Madeira, Spain, ?
? Arrived Adelaide, SA, 27 October 1850 (per William Hyde, from London, 22 July)
Arrived Sydney, NSW, 25 November 1850 (per William Hyde, from Adelaide, 19 November)
Active Adelaide, SA, March 1851 to February 1852
Active Melbourne, VIC, February to September 1852
Active Sydney and Maitland district, NSW, May and June 1853 (TROVE tagged by Australharmony) (shareable link to this entry)


A native of Madeira, Spain, but sent to England early in her life, where she was a pupil of Domenico Crivelli and Joseph de Pinna, Francesca Allen, "from the London concerts", announced on 14 December 1850 that she would shortly give her first Sydney concert. This took place of 20 December, with the assistance of the leading local vocalists.

A selection of songs from her concerts are among the only items of sheet music known to have been issued by John Gibbs during his shortlived publishing venture (with George and Elizabeth Hudson) as J. Gibbs and Co..

She was in Adelaide by March 1851, and, after having sung in Catherine Jupp's concert in April 1851, was incorrectly identified in a review as "Madame Caradori Allen", the great veteran London soprano. She may have been connected in some way with Maria Caradori-Allan (1800-1865), however, since in 1853 Francesca sang in several concerts with Harriet Fiddes, who, as Miss H. Cawse, had regularly appeared with Caradori Allan in London.

In Adelaide her repertoire included a cavatina by Bellini and Jenny Lind's "favorite song" My fatherland. And by February 1852, when she sailed for Melbourne, the Register was calling her "The Australian Nightingale".

She sang in concerts in Melbourne from March through to September 1852.

By early May 1853 she was in Sydney, singing in John Winterbottom's Jullien concerts. At the last two of these, on 19 and 20 May, she sang with Harriet Fiddes and Flora Harris, with Henry Marsh conducting. Fiddes and Allen then toured the Maitland district in May and June, after which she disappears from Australian record.

She briefly reappeared in press advertisements in Scotland in December 1859 and January 1860, and again, thereafter, disappears.


Adelaide, SA (to 19 November 1850):

[Advertisement], Adelaide Times (12 November 1850), 2 

2. Song - "A Youthful Knight," - Balfe - Mrs. Allen . . .

ASSOCIATIONS: Andrew Moore (musician, violin)

MUSIC: Woman's heart (romance: "A youthful knight . . .") (Balfe)

"CONCERT", Adelaide Times (13 November 1850), 3 

. . . Mrs. Allen and Mr. Walsh, who were announced to appear were non est, from that description of epidemic, we suppose, which appears to be spreading alarmingly in the musical world of Adelaide . . .

ASSOCIATIONS: Charles Walsh (vocalist)

"MR. MOORE'S CONCERT", Adelaide Observer (16 November 1850), 4 supplement 

. . . In consequence of the absence of Mrs. Allen, who was severely indisposed, Miss Lazar sang "The Cavalier," and did so extremely well, and with great archness and expression . . .

ASSOCIATIONS: Rachel Lazar (vocalist)

Sydney, NSW (25 November 1850 to 21 January 1851):

"ARRIVALS", The Shipping Gazette and Sydney General Trade List (30 November 1850), 310 

November 25. - William Hyde, barque, 533 tons, Captain Applewhaite, from Adelaide the 19th instant. Passengers . . . Mr. and [sic] Mrs. Allen . . . and twenty-six emigrants.

[Advertisement], The Sydney Morning Herald (14 December 1850), 1

MADAME FRANCESCA ALLEN, pupil of Signor Creveli and Signor Pinna, from the London concerts,
begs to inform the public of Sydney, that she purposes giving a GRAND CONCERT on the above Evening.
Further particulars will be duly announced.

ASSOCIATIONS: Domenico Crivelli (vocalist); Joseph de Pinna (vocalist); Royal Victoria Theatre (Sydney venue)

[Advertisement], The Sydney Morning Herald (18 December 1850), 1 

Under the immediate patronage of His Excellency SIR CHARLES FITZ ROY, K.C.B.
By the kind permission of Colonel Bloomfield, the splendid BAND of H. M. 11th Regiment will be in attendance.
First appearance of MADAME HETZER, a celebrated Pianiste, from Germany, who has generously offered her gratuitous services.
National Anthem - Madame F. Allen, Miss Sara Flower, Mrs. Guerin, Madame Carandini, Messrs. F. and J. Howson, and Military Band
Overture - Semiramide, (Rossini), Military Band
Quartette - Ye spotted Snakes, Mrs. Guerin, Miss Sara Flower, Mr. J. Howson, and Mr. F. Howson
Recitative and Air - Italian, (Mozart), Madame F. ALLEN
Scena - The Maniac, (Russell), Mr. F. Howson
Scena- Io non ti posso, (Donizetti), Miss Sara Flower
Canzonet- When I met thee first in May, (T. Williams), Mr. J. Howson
Ballad - The Irish Emigrant, (Barker), Madame Carandini
Fantasia, Pianoforte - Sur des motifs del Opera Les Huguenots, Madame HETZER
Ballad - Woman's Heart, Enchantress, (Balfe), Madame FRANCESCA ALLAN
Ballad - Child of the Sun, Bondman, (Balfe), Mrs. Guerin
Fantasia, Flute - From L'Ambassadrice, (O.P. 75 Tulou). Mons. Longchamps
Duet - Bright lovely image -Semiramide, Miss Sara Flower and Mr. F. Howson
Overture - Lestocq, Auber - Military Band
Quartette - Mrs. Guerin, Miss S. Flower, Mr. J .Howson, and Mr. F. Howson
Ballad - We yet may meet again, (E. L. Hime), Madame F. ALLEN
Song - The Englishman, (Blockley), Mr. F. Howson
Song - The Lute Song, from Anna Bolena, Miss Sara Flower
Divertissement - Flute, from the Ballet of Giselle, Monsieur Longchamps
Comic Duet - Senza tanti complimenti, Miss Sara Flower and Mr. F. Howson
Ballad - The Winter Tree, (Blockley), words by Eliza Cook - Madame Carandini
Ballad - There is a Flower that Bloometh, (Maritana), Mr. J. Howson
Ballad - They say there is some Distant Land, (Bondman) Balfe, Madame F. Allen
Ballad - The Old Arm Chair (by desire), Miss Sara Flower
Trio - Through the World, (Bohemian Girl), Mrs. Guerin, Mr. J. Howson, and Mr. F. Howson
Finale - Railway Gallop, Military Band.
Doors open at halt-past seven-Concert to commence at eight o'clock precisely.
Boxes £2 each; single ticket 6s.; pit stalls 6s.; pit 4s.; upper boxes 3s. each; to be had of Mr. Grocott, Mr. Piddington, Mr. Ford, George-street, and of Messrs. Kern and Mader.
Boxes may be secured of Mr. F. Howson, William-street, Woolloomooloo, Mr. Wyatt, Victoria Hotel, Pitt-street,
and of Mr. Allen [sic, John Allan, lithographer], No. 10, Bridge-street.

ASSOCIATIONS: Charles Fitzroy (governor); Thekla Hetzer (pianist); Maria Carandini (vocalist); Sara Flower (vocalist); Theodosia Guerin (vocalist); Jean Francois Lonchamp (flute); Frank Howson (vocalist); John Howson (vocalist); William Stanley (pianist, accompanist); Band of the 11th Regiment (military)

MUSIC: We yet may meet again (E. L. Hime); They say there is some distant land (Balfe, from The bondman);

"MADAME FRANCESCA ALLEN'S CONCERT", Bell's Life in Sydney (21 December 1850), 2

But brief space is left us for noticing the eclat of this evening's "MUSICALE," patronized by His Excellency and a distinguished party, The Right Worshipful the Mayor, and by the leading families of the metropolis. Carriages began to set down at an early hour, and long before the rising of the curtain the house was bumper-full. No fewer than twenty-six pieces were announced in the programme - two Overtures, Quartettes, Recitatives, Arias, Canzonets, Scenas, eight Ballads!!! Duetts, &c. in which a new Flute player and Pianofortiste with hard names, made most successful debuts. The admirable song of "The Englishman," by F. Howson, "The Old Arm Chair" of Miss Flower, and the novelty of the night, the singing of Madame (of which we purpose saying more in our next), were the gems of the evening, not omitting mention of that beautiful melody, "Ye Spotted Snakes." The band of the 11th Regiment was in attendance, and Mr. Stanley presided with his accustomed ability at the pianoforte.

[Advertisement], Bell's Life in Sydney (21 December 1850), 3

Music, Music, Music. JUST PUBLISHED. - The following Songs,
as sung at Madame Francesca Allen's Grand Evening Concert, with unbounded applause.
The Irish Emigrant
They Say there is Some Distant Land
The Old Arm Chair, &c. &c.,
60 Sixty Polkas, 1s. each.
J. GIBBS & CO., 377, Pitt-street, Sydney.

ASSOCIATIONS: John Gibbs (musician, publisher)

"MADAME ALLEN'S CONCERT", The Sydney Morning Herald (23 December 1850), 2 

It is always with pleasure that we welcome the debut of a new cantatrice at our musical re-unions, and that of Madame Allen on Friday evening was in many respects a happy one. In the first place the fair beneficiare had an excellent and fashionable audience, and her performances were very warmly greeted. Madame Allen is certainly an acquisition to the musical world of Sydney, as by study we have no doubt she will become a very meritorious performer, possessing, as she undoubtedly does, very great physical capabilities. Her voice is a fine rich soprano, of great power, her personal appearance is much in her favour, and though we cannot think her selection of songs was very favourable for the display of her abilities, she acquitted herself creditably . . . On the whole, we do not recollect to have ever been at so very excellent a concert in Sydney, the only ground for complaint being that there was something too much of it. Concerts should not be prolonged beyond two hours, or two hours and a half.

"MADAME ALLEN'S CONCERT", The Sydney Morning Herald (23 December 1850), 2 

It is always with pleasure that we welcome the debut of a new cantatrice at our musical re-unions, and that of Madame Allen on Friday evening was in many respects a happy one. In the first place the fair beneficiare had an excellent and fashionable audience, and her performances were very warmly greeted. Madame Allen is certainly an acquisition to the musical world of Sydney, as by study we have no doubt she will become a very meritorious performer, possessing, as she undoubtedly does, very great physical capabilities. Her voice is a fine rich soprano, of great power, her personal appearance is much in her favour, and though we cannot think her selection of songs was very favourable for the display of her abilities, she acquitted herself creditably . . . On the whole, we do not recollect to have ever been at so very excellent a concert in Sydney, the only ground for complaint being that there was something too much of it . . .

"MADAME FRANCESCA ALLEN", Bell's Life in Sydney and Sporting Reviewer (28 December 1828), 2 

Of this lady's singing it is not in the "maturity of our mind" to give any present opinion, especially upon a first appearance: and conscientiously we refrain from doing so when so much promises in her for future commendation. A liberal public at once sees, and their generosity always allows, fair play; for Fame is a ticklish Bell-dame to be "patted" on by, and we are of that school that teaches us to inquire into a matter before instructing others by experimental assertions, or settled criticism. Whatever self-interest may do with professional concert-singers, concerning their pursuit in life, it nevertheless is the fact, that the pleasure derived is all on one side, for their life is one of incessant toil, envy, risk of voice, and uncertainty of its continuance. How much also is to be allowed when accompanied by a single instrument without having the assistance of any classical or dramatic contrivances. They are, moreover, as a loss for all that delicate accuracy which orchestral aid gives to vocal power. A person must be insensible to all common feeling not to make allowances upon any one's first appearance, at a public theatre, unassisted by a leader and a proper band. Then, in speaking of this lady's ability, we cannot conceive she has given us a fair sample of her powers yet, either, as a singer or a musician. If, she be not of that sparkling genius or bravura brilliancy which some are born with, she, to a certainty, has a good voice, and much may be done within the range of twenty notes. No doubt by applying herself closely to those good sound rules of the old school, which teach music as a science; and by practising the exercises of the best masters twelve hours every day, Mad. F. Allen will soon learn the art of uniting sound and sense, and perfect herself mechanically in those forms and rules which must be studied in order to make the tone express the sentiment, and be the echo of nature - as, for instance, "The Old Arm Chair," by Miss Flower. In fine, by fixing the quality of the voice exactly within the compass of the quantity required, the scale is accomplished, and the singing rendered as perfect as can be, in whatever range the voice may take. And, with all due deference, and without the slightest idea of invidious comparison, we must say that examples of good singers are already in this Colony. These remarks, will (it is to be hoped) be taken con amore, and in good part. We never write under the influence of advertizing motives, but rather prefer to adopt as an authority, the dictum of the great professor, who says - "Critical justice requires every bird of the muse should have its proper feather."

"MADAME FRANCESCA ALLEN'S EVENING CONCERT", Bell's Life in Sydney and Sporting Reviewer (28 December 1850), 2 

This lady's debut, on Friday evening last, was marked by many advantages in her favour. First - there was the fullest programme given we ever remembered - the whole vocal strength of the profession assisting her - and a capital audience to applaud her. The military band, too, of the 11th Regiment set the ear to tune by their superb style and finish of Rossini's overture to Semiramide. Madame F. Allen commenced with a recitative and aria. She was evidently much agitated, and did not appear, at all used to singing on the public boards. She, however, in the second part of the concert, in a ballad, "We yet may meet again," at once showed her compass of voice, and received a generous encore. There is much in this lady's favour; she is of genteel, prepossessing appearance, good manners, and no doubt an accomplished singer. We have been informed that Madeira claims the honor of her nativity; but that in early life she was sent to England, most likely for musical education; and now New South Wales is to have the benefit of her skill and science as one of the stars in the southern musical sphere . . . All we have to wish for now is, that the fair Cantatrice may have derived benefit from notes substantial as well as fame from those musical.

Adelaide, SA (13 February 1851 to 31 January 1852):

"SHIPPING INTELLIGENCE", Adelaide Times [SA] (13 February 1851), 2 

Feb. 13 - The brig Wild Irish Girl, 125 tons, W. R. Todd, master, from Sydney, 24th January . . . Passengers per Wild Irish Girl . . . Mrs. Allen . . .

"CONCERT", South Australian Gazette and Mining Journal (1 March 1851), 3 

We perceive that Madame Allen, a lady who has been very favourably noticed by the Sydney Herald, is to give a concert here on the 12th of March next; and have been informed that this musical re-union will be under distinguished patronage. All the talent which the colony possesses in this department will assist at Mrs. Allen's debut on the occasion.

[Advertisement], South Australian Register (12 March 1851), 1 

Exchange Rooms, This Evening, 12th March, 1851.
PROGRAMME: - PART I. Overture - "Zampa" - Orchestra.
Ballad - "We yet may meet again (E. L. Hime) - Mr. F. Allen.
Song - "Albion, the Gem of the Sea" (Nelson) - Mr. Daniels.
Grand Aria (Meyerbeer) - Mad. Cranz.
Grand Rondo Pianoforte, "Le Serment" (Auber) - Mr. Ellard.
Song - "In Happy Moments" (W. V. Wallace) - Mr. C. Walsh.
Aria - "oh Disciuso e il Firmamento" (Verdi) - Mad. F. Allen.
Song - "The Merry Gipsy Band' (Cooper) - Mr. Daniels.
Duet - "I know a Bank" - Cornopean - Messrs. McCulloch & Harward.
PART II. Overture - "La Gazza Ladra" (Rossini) - Orchestra.
Song - "Mother's Farewell,'' Norma (Bellini) - Mad. F. Allen.
Aria - "When sad Thoughts are o'er me stealing" - Anna Bolena (Donizetti) - Mr. Daniels.
Aria - (Kucken) - Mad. Cranz.
Solo - Violin - Mr. Wallace.
Song - "Trab, Trab, Trab" (Kucken) - Mad. F. Allan.
Song - "Exile's Farewell" - Mr. C. Walsh.
National Anthem - Orchestra.
Accompanist - Mr. G. BENNETT.
Doors open half past 7 - Concert commence at 8 precisely.
Tickets to be had of Mr. Platts, Hindfey-street; Mr. Wigg, Rundle-street; and Mr. Parrott, Exchange-rooms.

ASSOCIATIONS: Josiah Wyke Daniel (vocalist); Mathilde Cranz (vocalist); Frederick Ellard (pianist); Robert McCullagh (cornopean); William Harward (cornopean); Spencer Wellington Wallace (violin, leader); George Bennett (pianist, accompanist); Exchange Rooms (Adelaide venue)

MUSIC: Trab trab trab (Kücken)

"MADAME FRANCESCA ALLEN'S CONCERT", South Australian Register (13 March 1851), 2 

There was a highly respectable, but not a crowded attendance at the Exchange last evening. The latter fact we noticed with some regret, as, in the paucity of female vocalists, we had hoped to find all lovers of music eager to witness the debut of a lady whose reputation as a singer had preceded her. Madame F. Allen fully realized last evening the most sanguine expectations formed by those who read the favourable notices which appeared in the Sydney papers. Her voice is sweet and powerful, and capable of further improvement; her articulation singularly distinct - a cardinal virtue in a vocalist - and her personal appearance is highly attractive; altogether, she is the most fascinating singer we have heard in South Australia, and, with judicious culture, her fine voice may long put rivalry at defiance. The ballad, "We yet may meet again," was given with force and feeling, and Verdi's "Oh dischiuso e il firmamento," as sweetly as if no language harsher than Italian ever flowed from her lips. The song, "Mother's Farewell," from Norma, contrasts well with the livelier translation from Kucken, which was sung with spirit and an appropriate assumption of arch humour, and both songs were deservedly encored . . .

"MADAME FRANCESCA ALLEN'S CONCERT", South Australian Gazette and Mining Journal (13 March 1851), 3 

Madame Francesca Allen appeared for the first time at a Concert given yesterday evening in the Exchange. Although the Concert on the whole went off with less spirit than many that have recently been given, Madame Allen herself was highly successful, and was encored in three out of the four songs which she sung during the evening. Her voice was full and powerful, and though perhaps less cultivated than that of some other of our principal singers, few have been received with more applause than greeted her last night. Her general manner and appearance too were highly in her favour . . .

"LOCAL NEWS", South Australian (14 March 1852), 3 

A numerous though not an overflowing company welcomed Madame Francesca Allen, on Wednesday evening, and certainly a first appearance could hardly have been more successful. The fair debutante depends less on any high pretension to science than on a sweet, clear, and flexible voice, distinct intonation, and an arch, lively style, which form a very pleasing tout ensemble. We should do her injustice were we not to add that her personal appearance is very much in her favor. Perhaps this ought not to influence an audience, but it has always done so, and it always will. There is no old admirer of Malibran, Grisi, or Mrs. Wood, who retains not almost as enthusiastic a remembrance of her countenance as of her voice. Madame Francesca Allen sang four songs, in three of which she was encored. In the first she appeared slightly nervous, but soon recovered herself and proceeded with perfect ease. Should she remain among us, it is not difficult to predict, that whatever other singers we may possess, hers will always be a welcome name in a concert bill. She was accompanied by Mr. Bennett on the piano forte . . . For some unexplained reason, the National Anthem, though announced in the bills, was omitted, to the evident annoyance of the company, most of whom retained their seats for a considerable time, as a hint to the performers that they noticed the disloyal slight. We hope we shall not again have to mention so disagree able an innovation.

"MADAME F. ALLEN'S CONCERT", Adelaide Times (14 March 1851), 2 

Madame Allen's concert took place on Wednesday evening, at the Exchange. We were sorry to find that our anticipations, so far as regarded the attendance, were not realised; empty seats being far more prevalent than we could have either wished or imagined. The orchestral department was very meagre, but the little the instrumentalists had to do was performed satisfactorily, although the programme was not adhered to, a fact to be so far lamented, that instead of the Gazza Ladra Overture, which was set down to open the second part, the audience was treated to a hackneyed galop of Gung'l's, which has been already done to death at the Theatre. The vocal portion of the entertainment was not, we think, judiciously arranged, inasmuch as it consisted entirely of solos. Madame F. Allen, who made her debut to a South Australian audience, was flatteringly received, and by her singing fully sustained the reputation acquired by her in the sister colony. Her appearance is highly prepossessing, and she sang the songs allotted to her without any of that nervousness which often depreciates the exertions of a vocalist on a first appearance. Her voice from what we heard of it we should say was a mezzo soprano of good register, full and clear as a bell, in the upper and lower notes, but of inferior quality in the middle ones, which in addition, are rather nasal. She was encored in a petite aria by Verdi, and a similar compliment was paid her other solos, Jetty Treffz's favourite song "Trab Trab Trab," being in particular beautifully given by her. Madame Allen is unquestionably a great acquisition to the vocal corps of the colony, and her rich but feminine voice, and unaffected style must in evitably render her a favourite with any audience . . .

ASSOCIATIONS: Jetty Treffz (German vocalist)

[Advertisement], South Australian Register (9 April 1851), 1 

MRS. EDWARD JUPP has the honour to inform her friends and the residents of Adelaide generally that her
CONCERT of Vocal and Instrumental Music, under the direction of Mr. S. W. WALLACE, will take place
THIS EVENING (Wednesday), April 9th, in the Commercial Exchange, King William street,
when she will be assisted by Madame Allen, Mons. Del-Sarte (who has kindly offered his valuable assistance on this occasion),
Mr. S. Wallace, Mr. F. Ellard, Mr. J. W. Daniel, Mr. C. Walsh, Herr Linger, Mr. Bennett, Herr Mater . . .
PROGRAMME. PART I . . . 5. Jenny Lind's favourite Song - "My Fatherland" - Mad. Allen . . .
PART II . . . 5. Cavatina - "Do not Mingle," - Bellini - Madame Allen . . .
9. National Anthem - By Madame Allen, Mrs. Jupp, Mr. Daniel, and full strength, Vocal and Instrumental . . .

ASSOCIATIONS: Catherine Jupp (vocalist); Camille Del Sarte (vocalist); Carl Linger (musician); Charles Mater (musician)

"MRS. JUPP'S CONCERT", South Australian Register (11 April 1851), 2

This lady's concert took place on Wednesday evening at the Exchange. We congratulate her on the crowded state of the room, and hope that the receipts of the concert will recompense her for the liberal manner in which her arrangements for affording a musical treat were carried out. Indeed, the principal fault to be found with the evening's entertainment was "l'abondance des richesses;" the programme set forth 19 pieces, comprising nearly all the available talent in the colony; but whatever the audience may have thought, the wax candles determined the point by putting an extinguisher on the performances before the second part of the programme was completed . . . Madame Caradori Allen's voice is clear, of a sweet tone, and of good compass; but the absence of animation and expression in a degree mars the effect of her singing . . .

DISAMBIGUATION: She was not Maria Caradori-Allan (vocalist active in Britain)

"MRS. JUPP'S CONCERT", South Australian (11 April 1851), 2 

. . . Mrs. Jupp was very successful in "Wanted, a Governess," a brisk little thing of Parry's; and Madame Allen, in "The Cavalier," which she gave in lieu of repeating "Do not mingle" . . .

[Advertisement], South Australian Register (10 April 1851), 2 

his BENEFIT will take place THIS EVENING (Thursday), April 10 . . .
And upon which occasion Shakspeare's celebrated Tragedy of MACBETH, with all the Original Music, will be produced . . .
Madame ALLEN has kindly given her services . . .
Mad. Francesca Allen will sing Jetty Treffz's celebrated song of "Trab, trab, trab."
Mr. C. Walsh will sing, by desire, "The Old Colonists' Song."
The celebrated Bavarian "Buy-a-Broom" Duet, by Mrs. Moore, and her Sister Mr. G. Coppin . . .

ASSOCIATIONS: Morton King (actor); Rachel Moore (formerly Miss Lazar, actor, vocalist); George Coppin (actor, vocalist); Royal Victoria Theatre (Adelaide venue)

"CONCERT AT GAWLER TOWN", South Australian Register (26 April 1851), 2 

Mr. Bennett's Concert at the Court-House, Gawler Town, on Wednesday evening, was well attended, and gave much satisfaction. Madame Allen was rapturously received in one or two of her favourite songs, and Mr. Walsh was very effective in his "Tubal Cain," "Old Colonists' Song," and "Anthem" . . .

"KOORINGA (FROM OUR OWN CORRESPONDENT) . . . KOORINGA CONCERTS", South Australian Register (30 April 1851), 3

Mr. George Bennett's concert on Friday the 25th instant, at the Burra Hotel, Kooringa, was well attended. The programme was judiciously selected, including the favourite "Old Colonists' Song," "Adelaide Polka," and Jetty Treff's celebrated song, "Trab, Trab, Trab," as well as many other charming songs, duets, and an overture, all of which gave the utmost satisfaction to the auditory. Madame Francesca Allen's vocal performances were rapturously received and encored. "The Mother's Farewell," from Norma, she sung in a strain which seemed to delight all those who heard it . . . and Madame Allen's happy manner of delivery and prepossessing appearance imparted additional interest to her several vocal performances . . . Mr. Bambrick's second concert took place on Saturday, the 26th instant, when Madame Allen again appeared. Her reception on this occasion was most triumphant; one universal feeling of inexpressible rapture prevailed; every song was loudly encored, and the lady resumed her seat amidst great applause . . . This little Jenny Lind of the Burra seems to have quite infatuated the elite of the North.

But see "MR. BAMBRICK'S CONCERT", South Australian Register (7 May 1851), 2 

We desire to correct an error in the notice of Mr. Bambrick's second concert at the Burra Hotel . . . and in which Madame Allen's name was inadvertently introduced instead of that of Madame Otto.

ASSOCIATIONS: Robert Bambrick (presenter); Madame Otto (vocalist)

[Advertisement], Adelaide Times (26 June 1851), 2 

OHIO SERENADERS. GRAND EVENING CONCERT, THTS EVENING, Thursday, June 26th, at the Exchange Rooms, at which Madame F. Allen, Mr. Chas. Walsh, Mr. Stevens, and others will appear . . .

ASSOCIATIONS: Ohio Serenaders (troupe)

[Advertisement], South Australian Gazette and Mining Journal (6 September 1851), 1 

ROYAL VICTORIA THEATRE. Monday, September 8 . . .
for the Benefit of MESSRS. WALLACE, MATER, & HUENERBEIN . . .
Under the Patronage of the Committee and Members of the Licensed Victuallers' Society.
Madame F. Alien, and the German Amateur Chorus (under the direction of Herr Cranz),
and the Adelaide Amateur Band (Leader - Herr Huenerbein) have given their valuable services on this occasion.
The performances to commence with the Melo-Drama of BLACK EYED SUSAN; or, All in the Downs.
Overture to "William Tell" by the full Orchestra) by desire.
Pas de Deux - Miss and Master Chambers.
After which, A GRAND CONCERT.
PROGRAMME: 1. Overture "La Gazza Ladra" - Rossini - Full Orchestra1.
2. Song - Madame Francesca Allen
3. German Chorus - Amateurs
4. Duet, Clarionet and Tuba Basso - Herrn. Mater and Huenerbein
5. Galope. - Mater - Orchestra.
6. Solo, Flute (first time) - Mr. S. W. Wallace
7. Song - Madame Francesca Allen.
8. Grand German Chorus - Amateurs.
9. The Sparrow Polka - Orchestra . . .

ASSOCIATIONS: August Huenerbein (musician); August Cranz (director); Deutsche Liedertafel (Adelaide association)

[Advertisement], South Australian Register (17 September 1851), 4 

THIS EVENING (Wednesday, September 17th) . . . PROGRAMME.
PART II . . . 2. Song, "The Pretty Swiss," by G. Linley - Made. Francisca Allen . . .

"CONCERT IN AID OF THE GERMAN AND BRITISH HOSPITAL", South Australian Register (19 September 1851), 3

. . . Madame Francesca Allen was exceedingly pleasing, even after Madame Caperre's brilliant performance; and she manifested a correct judgment in the choice of pieces adapted to her musical powers . . .

ASSOCIATIONS: Madame Caperre (vocalist)

"GRAND CONCERT", Adelaide Times (20 September 1851), 5 

. . . Madame F. Allen's sweetly musical voice we have seldom heard to better advantage than in the morceaux allotted to her. This lady has one of the mast genuine voices we have ever heard, her intonation is good, and the compass is extensive; her upper notes being a-s clear as a bell. If she would confine her practice to the beautiful melodies of her native land, we do not know where even in England she could meet with a superior. We once had the great satisfaction of hearing her sing "Wapping Old Stairs," and trust the public will be afforded an opportunity of sharing with us the delight we experienced. Madame Allen is no scientific vocalist, and in our opinion, decidedly fails, whenever she attempts the difficult and elaborate productions of the modern Italian and German Schools, not from any defect in her organ, but from lack of experience . . .

"MR. BANCROFT'S CONCERT", Adelaide Times (17 October 1851), 2 

This affair, the expected excellence of which had been noised abroad for several weeks past, came off on Wednesday night, and was a dead failure. The performance of most of the morceaux, in the programme, was below mediocrity, and in one or two instances execrable. Madame Allen's rendering of that pretty song from Balfe's Bondsman, "They say there is some distant land," was the only redeeming feature in the concert . . .

ASSOCIATIONS: Richard Bancroft (vocalist)

"SHIPPING INTELLIGENCE . . . CLEARED OUT", South Australian Register (2 February 1852), 2 

Saturday, January 31 - The barque Competitor, 390 tons, M. Young, master, for Melbourne. Passengers - Mrs. Emmett, Miss Blackham . . . in the cabin; Madame Allan, and the Misses Wakon, Scrivener, and Woolcombe, in the intermediate . . .

"THE AUSTRALIAN NIGHTINGALE", South Australian Register (2 February 1852), 3

Madame Allen's name figures amongst the passengers hence to Melbourne by the Competitor. We hope she may live golden opportunities of profiting by her warbling notes.

Melbourne, VIC (February 1852 to . . .):

"MUSICAL", The Argus [Melbourne, VIC] (20 February 1852), 2 

Amongst the latest arrivals from Adelaide we observe, with pleasure, the name of Madame Francesca Allen, for some time past the first soprano singer in that colony. We hope the pubic will soon have an opportunity of judging of Madame Allen's talents, and we feel convinced that she will be hailed as a valuable addition to the musical strength of the colony.

[Advertisement], The Argus (23 February 1852), 3 

FAREWELL CONCERT, In the Hall of the Mechanics' Institution,
Ou MONDAY EVENING, February 23, 1852, On which occasion he will he assisted by
MRS. TESTAR, And all the available Talent of the Town;
and has also the pleasure of announcing the first appearance in Melbourne of the Favorite Adelaide
and MR. S. W. WALLACE, Brother to the celebrated Composer . . .
PROGRAMME. PART I . . . Ballad - "The Mother's Farewell," Madame F. Allan - Bellini . . .
PART II . . . Song - "Oh hear my pretty Swiss," Madame F. Allan - Linley . . .

ASSOCIATIONS: Henry Frederick Hemy (musician); Elizabeth Testar (vocalist); Mechanics' Institution (Melbourne venue)

"THE WEEKLY CONCERT", The Argus (26 February 1852), 2 

In the multiplicity of concerts this week our readers must not forget their old friend, the Thursday concert, the originator of them all . . . The following is the bill of fare for this evening:
PART I. Overture - Don Giovanni.
Ballad - We yet may meet again - Madame Allen . . .
PART II . . . Song - Trab, Trab - Madame Allan

ASSOCIATIONS: Thursday Concerts (Melbourne series)

"THE WEEKLY CONCERTS", The Argus (4 March 1852), 3 

The following is the programme for this evening's concert:
PART I . . . Ballad - "They say there is some distant land" - Madame Allan . . .
PART II . . . Song - "The Cavalier" - Madame Allan . . .

"IS IT AN ERROR", Bell's Life in Sydney [NSW] (6 March 1852), 2

We observe the following paragraph in the Melbourne Argus: -

MUSICAL. - Amongst the latest arrivals from Adelaide we observe, with pleasure, the name of Madame Francesca Allen, for some time past the first soprano singer in that Colony."

Surely it must be a misprint, and the "first" is meant for "worst." But if she really is the best soprano singer the South Australians have had amongst them for some time, they must have been badly off, indeed, for music. The accompanying, taken from the Melbourne Herald, would lead us to infer that she had electrified the Port Phillippians -

"The Concert, last night, for the benefit, of Mr. Hemy was crammed to suffocation . . . Mrs. Testar, as usual carried all before her, and deservedly so . . . By the way, who is that very respectable old lady who accompanied Mrs. Donna Francisco Roderigo Cataliniero and some other CO-ALLEN on the piano? The sooner she changes her style of dress to something approaching Evening Costume the better."

"THE CONCERT", The Argus (13 March 1852), 5 

The following is the programme of the Concert this evening: -
PART I . . . Song - Our parting is near, Madame F. Allan . . .
Song - Will you love me then as now, Madame F. Allan . . .
PART II . . . Song - The Swiss Girl, Madame F. Allan . . .

"THE CONCERT", The Argus (20 March 1852), 5 

The following is the programme of the Concert this evening: -
PART I . . . Song - The Keepsake - Madame F. Allan . . .
PART II . . . Song - Wapping Old Stairs, Madame Allan . . .

"SATURDAY'S CONCERT", The Argus (17 April 1852), 5 

The following is the programme of tonight's concert: -
PART I . . . Song - I dreamt I dwelt in Marble Halls, Madame Allan . . .
PART II . . . Song - You'll remember me, Madame Allan . . .
Song - Madame Allan . . .

"THE SATURDAY CONCERT", The Argus (1 May 1852), 5 

The following is the programme for this evening's concert: -
PART I . . . Song - My Fatherland, Madame Allan . . .
PART II . . . Song - Spring is blooming, Madame Allen . . .

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

The following is the programme of this evening's Concert: -
PART I . . . Song - My Fatherland, Madame Allan . . .
PART II . . . Song - The heart is a treasure, Madame Allan . . .
Song - Spring is blooming, Madame Allan . . .

"THE CONCERT", The Argus (1 July 1856), 4 

The following is a programme of the Concert for this evening: -
PART I . . . Song - The Way to be Happy - Madame Allen . . .
PART II . . . Song - The Syren's Invitation - Madame Allan . . .
Ballad - Auld Robin Gray - Madame Allan . . .

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

The following is the programme for this evening: -
PART I . . . Ballad. "The Lowly Youth," Madame Allan . . .
PART II . . . Ballad. " Will you love me then as now," Madame Allan . . .
Ballad. "John Anderson my jo," Madame Allan . . .

"THURSDAY'S CONCERT", The Argus (22 July 1852), 5 

The following is the programme for this evening: -
PART I . . . Song, "The Vesper Dream," Madame Allen . . .
PART II . . . Ballad, "Lass o' Gowrie," Madame Allen . . .

"THE WEEKLY CONCERTS", The Argus (29 July 1852), 3 

We are very glad to notice signs of vigorous measures in reference to the weekly concerts, consequent upon the placing them under the entire control of Herr Mater. Those who have so long been in the habit of visiting them, will be glad to see the names of their old friends Mrs. Testar and Mr. Buddee again. The splendid piano, lately the property of the latter, has been purchased by the Committee, and will form no inconsiderable item in the capacity of the class to deserve the continuance of public support. The programme for to-night is as follows:
PART I . . . Song - By the Sad Sea Waves, Madame Allan . . .
Aria - Do not mingle, Madame Allan . . .
PART II . . . Aria - Al dolce guidami castel natio, Madame Allan . . .

ASSOCIATIONS: Julius Buddee (pianist)

[Advertisement], The Argus (31 July 1852), 5 

QUEEN'S THEATRE, Saturday Evening Concerts.
MR. MEGSON has the honor to announce . . . The first Concert will take place THIS EVENING, JULY 31.
Principal Vocal Performers - Madame Francesca Allen, Mr. Young, Mr. Cooze, Mrs. J. P. Hydes, Mr. Charles Walsh, and Mr. Wheeler . . .
Pianiste - Mrs. Wheeler.
PROGRAMME. Part I . . . Ballad - "A Lowly Youth," Madame Allan - WALLACE . . .
Part II . . . Song - "Katty Avourneen," Madame Allan - CROUCH . . .
Part III . . . Song - "The Swiss Girl," Madame Allan - LINLEY . . .

ASSOCIATIONS: Charles Young (vocalist); William Joseph Cooze (vocalist); Augusta Huttmann Willis ("Mrs. Hydes", vocalist); Stephen and Mary Wheeler (vocalist, accompanist); Queen's Theatre (Melbourne venue)

[Advertisement], The Argus (7 August 1852), 3 

QUEEN'S THEATRE. Saturday Evening Concerts.
MR. MEGSON . . . The second Concert . . . This Evening, August 7 . . .
PROGRAMME. PART I . . . Song - Who'll Have Me, Madame Allan - Hodson . . .
PART II . . . Song - The Cavalier, Madame Allan . . .
Duet - When a Little Farm, Madame Allan and Mr. C. Young . . .

[Advertisement], The Argus (14 August 1852), 3 

QUEEN'S THEATRE. Saturday Evening Concerts.
MR. MEGSON . . . The third Concert . . . this evening, August 14 . . .
Programme. Part I . . . Duett - What are the wild waves saying, Madame Allan and Mr. Wheeler . . .
Song - The Syren's Invitation, Madame Allan . . .
PART II . . . Song - We pretty young girls have the way, Madame Allan . . .
Duet - When a little farm we keep (by desire), Madame Allan and Mr. Young . . .

[Advertisement], The Argus (21 August 1852), 5 

PRINCIPAL VOCAL PERFORMERS: Madame Francesca Allan . . .
PROGRAMME. Part I . . . Duet - What fairy like music - Mad. Allan and Mrs. Hydes . . .
Song - I welcome thee with gladness, Madame Allan - Bellini . . .
Part II . . . Cavatina - Roberto (from Robert le Diable), Mad. Allan - Meyerbeer . . .
Song - Wapping Old Stairs, Mad. Allan - Dibdin . . .

"TO-NIGHT'S CONCERT", Geelong Advertiser and Intelligencer (28 August 1852), 2 

A rich treat will be afforded to the patrons of the Muses, in the Theatre Royal this evening. Every available talent has been secured, amongst which the names of Mesdames Testar, Allan, and Pellatt, from Melbourne, appear. We can assure the public that no expense has been spared, on the part of the spir[it]ed manager, Mr. Coppin, to render this Concert well deserving of public patronage.

ASSOCIATIONS: Isabella Pellatt (vocalist); Theatre Royal (Geelong venue)

[Advertisement], The Argus (4 September 1852), 5 

QUEEN'S THEATRE. Saturday Evening Concerts.
MR. MEGSON . . . Sixth Concert . . . this Evening, September 4.
Programme. Part I . . . 2. Duet - What are the wild waves saying, Madame Allan and Mr. C. Wheeler [sic, ? Walsh] . . .
5. Song - Will you love me then as now, Madame F. Allan - Sporle . . .
Part II . . . 2. Song - Down where the Blue Bells Grow, with orchestral accompaniments, Madame F. Allan - A. Lee . . .
7. Song - Wapping Old Stairs, by desire, Madame Allan - Incledon . . .

[Advertisement], The Argus (11 September 1852), 5

MR. MEGSON . . . THE SEVENTH CONCERT, This Evening, September 11 . . .
Principal Vocal Performers. Madame Francesca Allan; Mrs. J. P. Hydes, Mr. Young, Mr. Charles Walsh, Mr. Cooze, Mr. Wheeler . . .
Programme. Part I . . . 3. - Ballad, Farewell, my fatherland, Madame Allen - Gantier . . .
8. Song, In this Old Chair, Madame Allen - Balfe . . .
Part II . . . 2. Song, The lost Heart, Madame Allen - Jeffries . . .
7. Song, The Keepsake (an answer to the Cavalier), Madame Allen . . .

Sydney, Maitland, and Singleton, NSW (May-June 1853):

[Advertisement], Empire [Sydney, NSW] (9 May 1853), 1 

Vocalist, MADAME ALLEN, from the London Concerts - her first appearance . . .
Conductor, Mr. Winterbottom . . .
PROGRAMME. Part I . . . Song- "Oh Chide me Not," - Balfe - Madame Allen . . .
Part II . . . Song - "Trab Trab" - Allemande - Madame Allen . . .

ASSOCIATIONS: John Winterbottom (conductor); Royal Hotel (Sydney venue)

[Advertisement], Empire (19 May 1853), 1 

MR. H. MARSH has the honour to announce his intention of giving a
GRAND EVENING CONCERT . . . Winterbottom's unrivalled Orchestra . . .
PROGRAMME. PART I . . . Vocal Duet - We are Wandering - Mrs. Fiddes and Madame Allen - W. V. Wallace . . .
PART II . . . Song - The Swiss Girl - Madame Allen - Linley . . .

ASSOCIATIONS: Henry Marsh (musician, manager); Harriet Cawse Fiddes (vocalist)

[Advertisement], The Sydney Morning Herald (20 May 1853), 1

ROYAL HOTEL. LAST NIGHT BUT ONE . . . THIS EVENING . . . [program as above]

[Advertisement], The Maitland Mercury and Hunter River General Advertiser [NSW] (25 May 1853), 3 

Grand Vocal Concert.
MRS. FIDDES (late Miss H. Cawse), assisted by Madame Allan, &c. has the honor to inform the inhabitants of Maitland and its vicinity that in addition to the CONCERTS before notified, she will give TWO at SINGLETON, viz., May 26th and May 27th; on her return to Maitland, on SATURDAY, May 28th, and May 30th, at the Northumberland Hotel; and at Morpeth, on TUESDAY EVENING, May 31.
The Concerts will comprise Selections from the most Celebrated Composers of the day, and commence at 8 o'clock in the evening.
Admission Three Shillings.
GRAND CONCERT. MRS. FIDDES begs to return her sincere thanks to the inhabitants of Newcastle for the kind patronage she received on the occasion of her Concert, on the 23rd instant, and hopes that they will again favor her with their patronage on the evening of the 1st of June next.

"MRS. FIDDES' CONCERT", The Maitland Mercury and Hunter River General Advertiser (28 May 1853), 2

Mrs. Fiddes and Madame Allen have this week been giving a series of concerts in this district. On Tuesday evening their concert, at the Northumberland Hotel, West Maitland, was moderately attended, the firework celebration of the Queen's birthday no doubt keeping many away. Both ladies prove to be very fine singers, as was expected, but there is quite a difference of opinion in the town as to their relative merits, most of the gentlemen preferring Madame Allen's voice, but admitting that Mrs. Fiddes is beyond doubt a very fine musician and artist; while most of the ladies declare their preference of the superior and cultivated voice of Mrs. Fiddes. All unite in thinking that the duets executed by the two ladies were very beautiful, and that they have seldom heard some of the fine old songs which formed part of the selection so perfectly sung. Madame Allen was encored in two of her songs. The pianist, Mrs. Bently, is spoken of as a fine performer. As the artists give concerts at the Northumberland again this evening (Saturday) and Monday, and on Tuesday at Morpeth, our musical readers who have not yet heard them will have the opportunity of doing so.

ASSOCIATIONS: Mrs. Bentley (pianist)

[Advertisement], The Maitland Mercury and Hunter River General Advertiser (28 May 1853), 1 

Grand Vocal Concert. MRS. FIDDES (late Miss H. Cawse), assisted by Madame Allan, &c., has the honor to inform the inhabitants of Maitland and its vicinity that in addition to the CONCERTS before notified, she will give TWO on her return to Maitland, on SATURDAY, May 28th, and May 30th, at the Northumberland Hotel and at Morpeth, on TUESDAY EVENING, May 31.
The Concerts will comprise Selections from the most Celebrated Composers of the day, and commence at 8 o'clock in the evening. Admission Three Shillings.

"SINGELTON . . . MRS. FIDDES' CONCERT", The Maitland Mercury and Hunter River General Advertiser (1 June 1853), 2 

This highly talented lady gave two concerts here on Thursday and Friday evenings, assisted by Madame Allen; Mrs. Bently presiding at the piano. The concerts were held in the saloon of the Rose Inn, and were attended by a highly respectable audience. The first concert had a larger attendance than the second, owing to the showery state of the weather on Friday. Both concerts however went off with considerable eclat, and the songs and duetts were received with loud bursts of applause. Several of them were encored. Mrs. Fiddes is certainly a lady of highly cultivated musical talent, and her performance was greatly admired, her voice being of great compass, yet sweet and melodious; her songs were given with great pathos; her duetts also with Madame Allen were much admired. Madame Allen is a captivating singer, and ballads appear to be her forte. Most of her songs were rapturously encored. She seemed most au fait in "Trab Trab," "Who'll have me?" and "I want to be a Bloomer;" which songs in particular were most relished. Mrs. Bently is without doubt quite an artiste at the piano, and her style was brilliant, showing a vast deal of talent. Both concerts gave great satisfaction, and at the conclusion of the one on Friday the following address was presented to them, with a purse containing a considerable sum: -

"Ladies - We are sorry that from unforeseen causes, namely, the unpropitious state of the weather, and so many families being confined to their homes through the prevailing epidemic, we have seen so moderate an attendance at your concerts at Singleton; and as we are aware that travelling to and fro entails a heavy expense, we request your acceptance of the enclosed trifle, collected at the spur of the moment by a few friends who greatly admire your highly talented performances, sincerely hoping that at a future period we may have the extreme pleasure in again welcoming you to Singleton, under more auspicious circumstances."

Mrs. Fiddes received the address and present, and returned her thanks to the donors.

After Australia:

[Advertisement], Dumfries and Galloway Standard [Scotland] (26 October 1859), 1 (PAYWALL)

GRAND OPERATIC CONCERT (in Character), the Evening of FRIDAY, 28th instant,

[Advertisement], Glasgow Free Press (7 January 1860), 3 (PAYWALL)

MISS LIZZIE MAGEE, The well-known Soprano from the City Hall Concerts; MISS FLORENCE BALFE, The Favourite Vocalist;
MADAME FRANCESCA ALLEN, Operatic Vocalist; . . . SIG. OTTO MONTRICE, The Great Tenor . . .

? "MADAME ALLENE'S CONCERT, MYDDELTON", Islington Gazette [London, England] (5 January 1861), 3 (PAYWALL)

This lady (a pupil of Madame Greiffenhagen) gave concert on Thursday evening last at this Hall. It was well attended, and passed off in every way very satisfactorily. During the evening, Madame Allene sang "I dreamt I dwelt in marble halls," The Power of Love," and other popular melodies, and was well received and repeatedly encored . . .

ASSOCIATIONS: Helen Condell Greiffenhagen (vocalist); see Kurt Ganzl, Victorian vocalists (London: Routledge, 2017), 167-73 (PREVIEW)

ALLEN, George Benjamin (George Benjamin ALLEN; Mr. G. B. ALLEN)

Musician, professor of music, conductor, pianist, organist, composer

Born London, England, 21 April 1822; baptised St. Martin-in-the-Fields, 8 August 1822; son of Benjamin and Mary ALLEN
Arrived (1) Melbourne, VIC, June 1870 (per Suffolk, from England)
Departed (1) Melbourne, VIC, 28 February 1874 (per Omeo, for New Zealand)
Arrived (2) Melbourne, VIC, March-April 1875 (en route to Adelaide)
Departed (2) Melbourne, VIC, 10 August 1875 (per Pera, for Point de Galle and tour of India)
Arrived (3) Melbourne, VIC, 7 May 1887 (from England)
Died Brisbane, QLD, 30 November 1897 (TROVE tagged by Australharmony) (NLA persistent identifier),_George_Benjamin (IMSLP) (shareable link to this entry)


ALLEN, Alice ("Miss Alice MAY"; "Mrs. G. B. ALLEN", Louise ALLEN)

Musician, vocalist

Born Yorkshire, England, 1847
Arrived (1) Melbourne, VIC, June 1870 (per Suffolk, from England)
Departed (1) Melbourne, VIC, 28 February 1874 (per Omeo, for New Zealand)
Arrived (2) Melbourne, VIC, March-April 1875 (en route to Adelaide)
Departed (2) Melbourne, VIC, 10 August 1875 (per Pera, for Point de Galle and tour of India)
Separated from George ALLEN, 1883
Married Louis W. RAYMOND, USA, 1884
Died St. Louis, Missouri, USA, 16 August 1887, aged "40" (Wikipedia) (shareable link to this entry)



[Advertisement], The Argus (19 March 1870), 8

MR. G. B. ALLEN, the composer and professor of singing, being about to visit Melbourne for the benefit of his wife's health, will be prepared to give INSTRUCTION for a few months to a limited number of pupils in SINGING, and the cultivation and production of the voice, &c.
Mr. Allen hopes to arrive in Melbourne about the middle of May by the ship Suffolk. London, January, 1870.

[News], The Argus (8 June 1870), 5

Among the passengers by the Suffolk we find the name of Mr. G. B. Allen, and we understand that this eminent composer intends remaining for a time in Melbourne for professional purposes, principally as a teacher of singing, in which branch of musical art he has achieved much success, and claims the honour of calling such well-known celebrities as Madame Rudersdorff, Madlle. Liebhart, and Mr. Wilbye Cooper, pupils. Mr. Allen's ballad "Who Can Tell?" happens just now to be one of the most popular ones in Melbourne, and many of his anthems are sung in our churches. It is stated that he intends to produce his opera "Castle Grim," which was performed 40 consecutive nights in London, as an opera di camera.

"COMMUNICATED", The Australasian (14 May 1887), 27 

Mr. G. B. Allen, Mus. Bac. Oxon, who was in these colonies a good many years ago, and who has since been pursuing a highly successful musical career in England, both as composer and teacher, arrived in Melbourne on Saturday last. It is understood that Mr. Allen is a candidate for the appointment of the new professorship of music in the University of Melbourne.

"DEATH OF MR. G. B. ALLEN", The Brisbane Courier (1 December 1897), 7

Mr. G. B. Allen, Mus. Bac, passed away at his residence, West End, South Brisbane, early yesterday morning. Mr. Allen, who was a distinguished musician, was aged 75 years . . . As a boy of 8 years he sang in the choir of St. Martin's Church, London, and at 10 he entered the Westminster Abbey as chorister, taking precedence to many older boys. At 12 he had the honour of taking Clara Novello's place at a grand concert in Her Majesty's Theatre, and there sang through a new mass at sight. On the subsequent change of voice he deputised at St. Paul's Cathedral until appointed at Armagh Cathedral. During his stay in Ireland he created and conducted a large choral society in Belfast, producing the great oratorios for the first time in the Ulster Hall, which was built expressly for his society. He afterwards returned to London, and occupied himself with original composition. In conjunction with R. Reeve he composed the music of a comic opera - not a burlesque - entitled "Castle Grim", which was very successful. Mr. Allen was a fertile composer of all descriptions of music, operas, anthems, songs, &c. His opera "Wicklow Rose" was first produced by Madame Soldene in Manchester, while some of his anthems are very often sung in Westminster Abbey. Since his arrival in Brisbane he composed an opera, "Fayette", to Mr. Brunton Stephens's libretto, on entirely Australian subjects, which has as yet only been heard as an "opera di camera". The music is charming and highly descriptive . . . The deceased gentleman, who came to Queensland about nine years ago, leaves a widow and young family.

Selected musical works:

Castle Grim (comic opera; London, 1865; first Australian performance, Melbourne, 1875)

"THE OPERA-HOUSE. CASTLE GRIM", The Argus (12 June 1875), 7

"Castle Grim "is called a comic opera by the composer - Mr. G. B. Allen - and there is no reason throughout the whole of the work to doubt the serious earnestness of his intention to make it so . . . The music has an air of old fashioned respectability about it. The concerted pieces in their style bring to mind Shield and Attwood, Calcott and Spofforth - they are very English, and very nice to listen to. All the solos are tuneful, and some of them of a superior kind, especially that sung by Ravenswood on receipt of the letter announcing the coming of his ward and cousin Flora. This air is the principal theme in the overture. It is graceful, and finely harmonised in the orchestral accompaniment, and displays Mr. Allen's talent for composition in a very fair light . . .

A wild night (poetry: Henry Kendall; music composed expressly for and sung by Mrs. Cutter by G. B. Allen) (Melbourne: Lee & Kaye, [1870]) 

[Advertisement], The Argus (28 July 1870), 3

NOW PUBLISHING, "A WILD NIGHT," ballad, composed for Mrs. Cutter by G. B Allen, poetry by Henry Kendall. Lee and Kaye. 17 Collins-st east.

O paradise (hymn, arranged and partly composed by George B. Allen) (Melbourne: Wilkie, Webster, & Allan, [1871]) 

[Advertisement], The Argus (25 March 1871), 4 

O PARADISE - G. B. Allen's now hymn is now published by Wilkie, Webster, and Allan.
O PARADISE, the new hymn, can be had of the principal music sellers. Price 6d.

Fayette; or, Bush revels (an original Australian comic opera, in three acts written by J. Brunton Stephens; composed by G. B. Allen) (Brisbane: Watson, Ferguson & Co., 1892) 

"A QUEENSLAND OPERA. FAYETTE; OR, BUSH REVELS", The Brisbane Courier (1 February 1892), 6

"FAYETTE: A QUEENSLAND OPERA. MR. G. B. ALLEN'S BENEFIT CONCERT", The Brisbane Courier (24 March 1892), 5

Bibliography and resources:

Clay Djubal, "G. B. Allen", Australian Variety Theatre Archive

Clay Djubal, "G. B. Allen", AustLit

ALLEN, Henry (Henry ALLEN; Mr. ALLEN; alias of amateur vocalist)

Amateur vocalist

Active Sydney, NSW, 1862 (TROVE tagged by Australharmony) (shareable link to this entry)


[Advertisement], Freeman's Journal (9 August 1862), 6 

THE FIRST MONTHLY CONCERT will be given on WEDNESDAY Evening, the 13th instant,
in the Hall of the Sacred Heart, Darlinghurst, in aid of the Organ Fund.
On this occasion the Ladies and Gentlemen of the Choir will be assisted by the following eminent artistes: -
MRS. W. J. CORDNER, MR. F. TREVOR, (By the kind permission of W. S. Lyster, Esq.)
MR. LEVESON, MR. HENRY ALLEN, and MR. W. J. CORDNER, with several talented amateurs . . .
PROGRAMME. Part I . . . Aria - "Let me like a Soldier Fall" - (Maritana) - Mr. Allen - Wallace . . .
Part II . . . Duett - "Love and War" - Mr. Leveson and Mr. H. Allen - T. Cooke . . .
Scena - "All is lost now" - (Sonnambula) - Mr. Henry Allen - Bellini . . .

ASSOCIATIONS: Ellen Cordner (vocalist); Frank Trevor (vocalist); John Leveson (vocalist); William John Cordner (pianist, accompanist); Sacred Heart Choral Society (association)

"CONCERT - SACRED HEART, DARLINGHURST", Empire (15 August 1862), 5 

The entertainment given by the members of the choir of this Church on Wednesday, in aid of the Organ Fund, was decidedly successful . . . Mr. Henry Allen, under whose nom de concert we recognised one of our most gifted amateur vocalists, whose beautiful voice has often been heard in the musical reunions of this city. This gentleman sang the aria from Maritana, "Let me like a Soldier fall," with great power, and in Cook's charming duett, "Love and war," with Mr. Leveson, raised the enthusiasm of the audience to the highest pitch, in each case provoking a most genuine encore . . . Mr. W. J. Cordner presided at the pianoforte, and his artistic accompaniments conduced very materially to the general success of the concert . . .

"SACRED HEART CHORAL SOCIETY", Freeman's Journal (16 August 1852), 6 

The first concert of the Sacred Heart Choral Society was given in the school-room on Wednesday evening to a very crowded auditory. In addition to the members of the Society, several professionals had, with the greatest kindness, volunteered their services . . . It is well known with what readiness Mr. and Mrs. Cordner assist when they can promote the interest of any Catholic institution . . . and Mr. Leveson and Mr. Henry Allen also contributed greatly to the success of the concert . . . Mr. Allen sang "Yes, let me like a soldier fall," "When other lips," "All the world over," and the duet, "Love and War," with Mr. Leveson: the duet was given with great spirit, and encored by acclamation . . .

ALLEN, James (James ALLEN; Mr. ALLEN; ALLAN [sic])

Musician, drum major (96th Regiment), fifer, serpent player, band leader, teacher, composer, arranger

Born Lambeth, Surrey, England, c. 1809
Enlisted (96th Regiment), London, England, 5 March 1824
Active with regiment NSW, 1841-43; VDL (TAS), 1843-49
Disharged 96th Regiment, Launceston, VDL, 28 July 1849
Died Cressy, TAS, 28 April 1858, aged "49" (TROVE tagged by Australharmony) (shareable link to this entry)

ASSOCIATIONS: Band of the 96th Regiment (military band); St. Joseph's Band (temperance band)


Proceedings of a regimental board, discharge, James Allen, drum major, 96th regiment, Launceston, 28 February 1849; UK national Archives, WO 97/1038/3 (PAYWALL)

Launceston 2'd Feb'y 1849 . . . that No. 359 James Allen Drum major by trade a labourer was born in the parish of Lambeth . . . and was attested for the [96th] Regiment of foot at London . . . on 5 March 1824 at the age of 15 years . . .
his service up to 28th instant . . . amounts to [21] years 363 days . . . during which period he served Abroad [19] years, viz.
at Bermuda, [3] years; in Nova Scotia [8] years; in Australia [8] years . . .
that his discharge proposed is in consequence of being unfit for further service and proposes to settle in Van Diemen's Land . . .
his character has been good . . .

Drummer / 4th March 1824 / to 3 March 1827 / Underage
[Drummer] / 4 March 1827 / to 24 Sept. 1828 / 1 year 205 days
Private / 25 Sept'r 1828 / to 31st July 1840 / 11 years 311 days
Promoted / Drum Major / 1 August 1840 / to 28 Feb'y 1849 / 8 years 212 days

ASSOCIATIONS: James Allen was never strictly a band musician of the regiment in Australia; however, as drum major he was closely associated with the Band of the 96th Regiment (military band)

"SUBSCRITION BALLS", Launceston Examiner (4 May 1850), 5

The quadrille band under the management of Mr. Allan, formerly drum-major of the 96th regiment, has been engaged to play at the subscription balls, and their leader is actively employed in arranging sets of entirely new quadrilles for the occasions.

"THE BAND AT THE SHOW", The Cornwall Chronicle (14 December 1850), 904 

At the Horticultural Show the other evening, the admired negro melodies, which Mr. Allen has set for an instrumental band, were greatly applauded, particularly "Ole Virginnie," the air of which is sweetly pretty. But the most remarkable part of the band's performance was the justly styled "Laughing Quadrilles," which were partly vocal, and which realized the name by exciting the risibility of the entire audience - they were twice encored. Mr. Allen is an excellent copyist of music, and disposes of his Negro Melodies set for the piano.

"The Gardeners' and Amateurs' Horticultural Society", The Cornwall Chronicle (5 April 1851), 212 

The Autumn Show of this excellent Society occurred on Thursday last, at the Cornwall Rooms. It was rather thinly attended in the afternoon, but exceedingly well in the evening. The Show of flowers, fruit, and vegetables for this advanced season, was perhaps better than might have been expected. The music too, under the direction of Mr. Allen is much improved, and forms a considerable attraction to the Show . . .

ASSOCIATIONS: Cornwall Rooms (Launceston venue)

"ADVENT OF THE GOVERNOR", Launceston Examiner (2 August 1851), 7 

. . . His Excellency on his arrival in town was accompanied by about thirty horsemen, including Mr. Sams and several government officers, and fourteen vehicles - all the cabs being in requisition. A few of the inhabitants assembled on the footpaths as witnesses, but took no part in the proceedings. An application, accompanied with a promise of liberal reward, had been made to the teetotal bands, but both declined the engagement. Eventually two of St. Joseph's and six of the Tasmanian band consented to receive the bribe, and to place themselves under the leadership of Mr. Allen, of the Sheriffs Office, and were stationed at the corner of Brisbane and Charles-streets. As the procession approached, they moved into the middle of the street, and commenced playing the "Grenadiers' March" . . .

ASSOCIATIONS: William Denison (govrenor); St. Joseph's Band (temperance band); Tasmanian Band (amateur band)

[Advertisement], Launceston Examiner (9 August 1851), 7

A LETTER appeared in Wednesday's Chronicle (of the 6th instant) detailing an account of grievances suffered by Mr. Allan, formerly fifer of the 96th regiment, and now messenger of the sheriff's office. It is a gross falsehood, as far as relates to St. Joseph's Band, except two statements. They are as follows. The letter alluded to, as giving the sentiments of the committee, that the band would not play on a political occasion, is true; the drummer did receive £1, at nine o'clock, on Friday night; he, the drummer, did not know that he was to get anything to that moment; he never was promised any reward for not playing; the pound he got was nearly all subscribed by the band, not one penny of it was got from any of the League or government party; the words ticket-of-leave were never mentioned or alluded to; the band do not know whether the drummer holds a ticket-of-leave or not. In justice to Mr. Dowling, I am bound to state that he never interfered on the occasion referred to, nor did any member of the League. Other statements are well known to be invented falsehoods, and not worth contradicting.
Now for Fifer Allen's loyalty that the Chronicle speaks of. He, the said fifer, played for the delegates, and would do so to-morrow again for one half-crown. So much for his loyalty. He was discharged from the St. Joseph's Band for want of ability to teach them, although he found it very convenient to pretend friendship to the members of the band. His being dismissed is the only possible reason he could have for trying to slander them.
JOHN McKENZIE, August 9, 1851.
N.B. - If I shall hear any more of Mr. Allen's nonsense I shall explain a little more in a future period.

ASSOCIATIONS: John Mackenzie (correspondent)

[Advertisement], The Cornwall Chronicle (20 August 1851), 526

SIR, An attack upon me having appeared in the Examiner newspaper of the 9th instant, in the form of a letter, subscribed John McKenzie, I beg leave (for the information of my friends, the greater part of whom are in ignorance of the existence of a biped of that name) to describe the wonderful properties of the animal, and the locality of the caravan, in which he is exhibited. He is a "Great Grass Lion" (an animal with long ears) who is exhibited daily in a wooden shed, opposite a tannery in Wellington-street. He the said "Grass Lion" is a journeyman blacksmith, and he is also a member of the St. Joseph's Band, in which he is of neither use nor ornament. I will further describe him - he is a huge slop made fellow, with a hump on his back, somewhat like a camel; this "Grass Lion" has presumed to answer some remarks, which appeared in the Chronicle of the 6th instant, and volunteered some abuse of me, which is not worth my notice, except as to his assertion, in the face of the whole community, that I was only fifer in the 96th regiment, every person being perfectly aware (even the "Grass Lion" himself) that I was drum major of that regiment, and as a natural consequence - a master of my profession. I deny my readyness to play for half a crown at any time, but am ever willing to oblige as the "Grass Lion" is fully aware, and with regard to his assertion that I was discharged from the St. Joseph's Band for inability, I leave that matter to the opinion of the members of the society, and would merely state that to the contrary, I have been solicited to join that band again, as they were not certain how long their present master would be with them. I have been so terrified Mr. Editor as to the woeful threat held out in the "Grass Lion's" very queer nota bene, that I was induced to consult my solicitor on the subject, who reminded me of the home-made adage of sueing a beggar and catch a l---.
- I am Mr. Editor your obedient servant,
JAMES ALLAN, Musician and late drum major of the 96th regt.
N.B. - If the "Grass Lion" be wise, he will give up all pretensions to wind instruments, except the bellows at the back of his forge, for certainly nature never moulded him for a musician, Aug. 19.

[Advertisement], Launceston Examiner (27 August 1851), 2

To the Editor of the Launceston Examiner.
MR. EDITOR, - With gladness I embrace the chance Fifer Allan has afforded me of thus explaining some of his merits. He may style himself a musician: so is a pig when his leg is caught in a gate. I would not have noticed his letter only on account of the false attacks he made upon me and some respectable citizens as to bribing the band of the St. Joseph's Society, and in duty bound I contradict the lie. Now this said fifer complains of that title, but what was he termed when as flagellator he used the cat-o'-nine-tails. For practising with the above fashionable instrument in Bermuda some of his comrades put him down an opening of a certain description, which cannot boast of its perfume. Again, this paragon of a musician has in his way been setting forth my qualifications. As to his, I know none; but his description is as follows: -
This most wonderful of nature's productions is to be found in a most fashionable resort for the lower order, viz., opposite the Cross Keys Inn, York-street, in a caboose, where he sometimes takes a fancy to a little snobbing, otherwise shoe cobbling. At other times he may be seen perambulating the town, with a music book under his arms - a blind to make the public believe he has a large practice in the teaching line. - But this said book contains only serenaders' songs, which he tries to dispose of. He has a head stuck on his neck, but boss inside. This animal states that he was frightened at my threats so much as to consult a lawyer. I suppose he means he dropt his tail. I never intended nor do I now so pollute my hands by touching any such carrion. And, as he states he consults his solicitor, I have heard him say many came to the animal to consult him in those matters, but he must always paw the fee 2s. 6d into his pouch before be would open a book. He states at the end of his letter that he was solicited to join the band again; that I know to be a downright falsehood, and only becoming the ring-tailed tribe. -
I beg to remain, Mr. Editor, your obedient servant,

"ODD FELLOWSHIP. First Anniversary of the Loyal Cornwall Lodge", The Cornwall Chronicle (27 September 1851), 614-16 

The brethren of thin highly popular and very well conducted Lodge, met on Wednesday evening last, the 24th inst., at the Star Inn, Charles-street, to celebrate its first anniversary . . .
"Victoria, our Queen." This toast was responded to by the most enthusiastic cheering. Air - National Anthem . . .
"Prince Albert and the rest of the Royal family." Air - Prince Albert's March . . .
"Sir William Thomas Denison, the Lieutenant Governor of Van Diemen's Land," (Drunk with the honors in the most enthusiastic manner.) Air - Old English Gentleman . . .
"The officers and board of directors of I. O. of O. F., M. U.," was next given with the honors. Air - Old House at Home . . .
"Our absent brethren," was then drank with honors. Air - Oh Susannah don't you cry for me . . .
"The past and present officers of the Hobart Town District of I. O. of O. F , M. U." Air - Woodman spare that tree . . .
"The Loyal Southern Star Lodge of the I. O. of O. F. M. U." Air - Auld Lang Syne . . .
"Past and present Officers and Brethren of the Loyal Cornwall Lodge . . ." Air - Green Hills of Tyrol . . .
"The Universal Independent Order of Odd Fellows" . . . Air - For we'll get married dear Johnny to-day . . .
"Our Visitors," Air - Meet me by Moonlight Alone . . .
"Army and Navy," Air - British Grenadiers and Rule Britannia . . .
The "Press," Air - Marseilles Hymn . . .
"Lady Denison, and the Ladies of Van Diemen's Land," Air - To all you lasses now on land
Which was responded to by Brother Roberts in a very gallant style. "Sweethearts and Wives."
. . . followed up by the band playing - Home sweet Home . . .
"The Stewards" . . . Air - For they are jolly good fellows . . .
"The Hostess" . . . Air - A traveller stop'd at a widow's gate . . .
"The Chairman" . . . Air - Hearts of Oak . . .
An excellent band under the direction of Mr. Allen, added much to the pleasures of the evening by its spirited execution of several beautiful selections of music.

"ST. ANDREW'S DINNER", Launceston Examiner (6 December 1851), 5-6 

On Tuesday evening the patriotic sons of Scotia assembled to celebrate the annual commemoration of their patron saint. Altogether the members of the society and their guests numbered about sixty. The dinner was spread in the large upper room of the Cornwall . . . This circumstance also rendered it necessary to station the band too close to the company, and the noise was occasionally unpleasant . . . [6] . . . the toasts were followed by appropriate airs, played by the band, under the management of Mr. Allen.

"DEATHS", The People's Advocate or True Friend of Tasmania (27 August 1855), 2 

At Cressy, on the 26th instant, ANN, the beloved wife of JAMES ALLEN, formerly Drum-Major of the 96th regiment, aged 45 years.
The funeral will leave the residence of William Wilson, jun., at 1 o'clock, on Wednesday 29th. Friends are respectfully invited to attend.

"DEATH", Launceston Examiner (29 April 1858), 2 

Suddenly, at Cressy, on the 28th, Mr. James Allen, formerly Drum Major of H. M. 96th Regiment of Foot, aged 49 years.
Friends are respectfully invited to meet at Mr. Wm. Robins', upper Brisbane-street, at one o'clock on Saturday, the 1st of May.

"ST. JOSEPH'S BAND", Launceston Examiner (6 July 1895), 3 

On Monday, 22nd inst., the members of St. Joseph's Band will celebrate the jubilee of the organisation . . . St. Joseph's Band was formed in July, 1845, in connection with St. Joseph's Total Abstinence Society, and may therefore be said to be the oldest association of its character in the colonies. The original members met for the sake of a pleasurable diversion as well as for the purpose of becoming useful as a band of musicians . . . The first bandmaster was the late Mr. John Agnew, of the 96th Regiment . . . When Mr. Agnew left with his regiment for India he was succeeded by Mr. Michael Dillan [sic], solo clarionet player of the 11th Regiment band, and after him Mr. Drum-Major Allen, who had retired from the 96th Regiment and remained at Launceston. Mr. Allen was the father of Mr. C. W. Allen, a member of the present Westbury Council. He was succeeded by the late Mr. Charles Galvin, one of the founders of the institution . . .

ASSOCIATIONS: John Agnew (musician); Michael Dillon (musician); Charles Galvin (musician); Band of the 11th Regiment (military); Charles Winnett Allen (son)


One of the regular daily visitors at Elphin this week is Mr. Wm. Walker, of Deloraine, who first played in a brass band in England at the age of eight years. He is keenly interested in the competitions, but between whiles yesterday he chatted with an "Examiner" reporter, to whom he gave some interesting particulars of band music here in the early days. He is one of very few now left who can relate any incidents of the bands that were of note half a century ago.

"I landed in Launceston," said Mr. Walker, "on March 25, 1855, and immediately joined what by old residents is now occasionally known as the "old teetotal band," of which my brother, the late G. W. Walker, was bandmaster. My brother George won the first contest at Werribee encampment, in Victoria, many years ago, at which Geordy Chapman was the judge of music . . .

Has there been much advance made in band instruments since then?

"Yes, undoubtedly. The bass instrument called the serpent was then very much in vogue. Old Mr. Robins, who came out with the band of the 99th Regiment [sic], played one for years, and a Mr. Allen, who was a fellow-bandsman in the 99th [sic], also performed on the same instrument. The flat saxe bass now takes its place, and the valve trombone has come into existence, but it is not by any means the equal of the slide trombone . . .

ASSOCIATIONS: George and William Walker (civilian bandsmen); George Chapman (musician, judge); William Robins (former bandsman, 96th Regiment)


Eighty years old on Sunday, and almost all that time a musician - nearly eighty years of melody flowing through one's veins. Such a man is William Stoneham, who may claim to be one of the fathers of music in Australia - certainly the father of the Australian volunteer bands. Just 80 years ago he saw the light of day in Hobart, born of a good old English stock. Almost before he could walk the call of music was with him, and as a mere toddler his ear was already almost perfect, and he would walk miles to hear a band. His first instructor was Drum-Major Allan of the old 96th Regiment, in Launceston, and the drum was his first instrument. Upon it he soon became efficient, so that when at the age of 13 years, he arrived in what was then known as Port Philip with his parents, he was able immediately to take his place in the Town Band . . .

ASSOCIATIONS: William Stoneham (musician)

"AUSTRALIA'S OLDEST BAND. St. Joseph's, Launceston, Founded 84 Years Ago . . .", The Mercury (5 August 1929), 8 

EARLY BANDMASTERS. Early in its history the band lost its bandmaster, when the 96th Regiment was ordered to India. Mr. Agnew was replaced by Mr. Michael Dillon, a noted clarinet player in the 11th Regiment Band. Later Drum-Major Allen, who had retired from the 96th Regiment, became bandmaster. It is interesting to recall that Mr. C. W. Allen, so many years a councillor of the Westbury Municipal Council, was a son of Drum-Major Allen. The band having become firmly established it was held that the bandsmen should wear uniform, but when the cost of instruments had been met it was found impossible to provide uniforms, so French caps, trimmed with gold braid, were worn on parade. On the resignation of Mr. Allen Mr. Chas. Galvin became bandmaster . . .

Bibliography and resources:

The cyclopedia of Tasmania: an historical and commercial review, volume 2 (Hobart: Maitland and Krone, 1900), 65 

. . . It was formed in 1845 in connection with St. Joseph's Total Abstinence Society, the first bandmaster being John Agnew, of the 96th Regiment, and its original members Messrs. Charles Galvin, John McKenzie, W. Mainsbridge, Andrew Skafe, Arthur McIver, Francis McIver, Morgan O'Meara, William O'Meara, David O'Keefe, Thomas Keogh, Thomas Leary, John Leary, John Murphy, and Bernard Lynch. The late Dean Butler was first president of this band . . . Michael Dillon succeeded John Agnew and bandmaster, and he again was followed by Drum-Major Allen . . .

ALLEN, John Harward (John Harward ALLEN; J. H. ALLEN; also incorrectly ALLAN)

Musician, singing master, music master (Model Schools)

Born England, 16 October 1825; baptised St. Cuthbert, Wells, Somerset, 8 September 1826; son of Robert ALLEN and Mary HARWARD
Married Dinah PHILPOT (d. 1888), St. Thomas, Pendelton, Lancashire, England, 30 December 1847
Arrived Melbourne, VIC, 1852
Died Sydney, NSW, 18 July 1890, aged "64" (TROVE tagged by Australharmony) (shareable link to this entry)

John Harward Allen (Royal Historical Society of Victoria)

John Harward Allen (Royal Historical Society of Victoria)


Baptisms solemnized in the parish of St. Cuthbert, Wells, in the county of Somerset in the year 1826; Somerset Archives & Local Studies (PAYWALL)

No. 72 / 1826 8th September / John Harward son of / Robert [and] Mary / Allen / Tucker Street / Labourer . . .

1847, marriage solemnized in St. Thomas, Pendleton, in the parish of Eccles . . .; Manchester Libraries, Information and Archives (PAYWALL)

No. 103 / Dec'r 30th / John Harward Allen / 22 / Bachelor / Schoolmaster / Pendlebury / [father] Robert Allen / Servant
Dinah Philpot / 25 / Spinster / Schoolmistress / Pendlebury / Samuel Philpot / Miller . . .

Baptisms solemnized in the Parish of Eccles in the district church of St. John the Evangelist [Pendelbury] in the County of Lancaster in the Year 1851; register 1842-62, page 76; Manchester Libraries, Information and Archives (PAYWALL)

No. 608 / 1851 13th Oct'r / Arthur Harward / [son of] John Harwood & Dinah / Allen / Pendlebury / Schoolmaster . . .

[Advertisement], The Argus (21 December 1852), 5 

IF Frederick Boardman, painter, does not fetch away his things within seven days from this day, they will be sold to pay his debts.
J. H. Allen, 133, Little Bourke-street.

[Advertisement], The Argus (17 October 1853), 1 

JOHN HARWARD ALLEN, has removed from 133 Little Bourke street east to Great Oxford-street, Collingwood. Vacancies for two or three steady men at 30s. per week.

"DENOMINATIONAL SCHOOLS", The Age (21 December 1855), 6 

Yesterday afternoon the Exhibition Building was the scene of a highly interesting display of the musical ability of a large number of young Victorians, as developed under the able direction of Mr. G. L. Allan, singing-master to Denominational Schools. The whole of the basement storey was occupied by the children, (near upon twelve hundred in number,) selected from about thirty schools of all denominations in Melbourne, Collingwood, Richmond, Prahran, Emerald hill, St. Kilda and Brighton, and with two exceptions {St Mark's boys' school and St Kilda school, in which the children are taught by their respective masters), under the musical instruction of Messrs. Hadfield, G. L. Allan, and J. H. Allen . . . The music performed consisted of part songs and rounds by Hullah, Crampton, and others, which were sung with a precision of time and tune alike creditable to the children, their teachers, and their director . . . His Excellency the Governor and Lady Hotham were present in the gallery, and their entrance was greeted with the national anthem carolled forth by a thousand little throats . . .

ASSOCIATIONS: George Leavis Allan (singing master); Benjamin Hadfield (singing master); John Hullah (English singing master and composer); Charles and Jane Hotham (governor and wife); Exhibition Building (Melbourne venue)

"DENOMINATIONAL SCHOOLS SINGING. To the Editor of . . .", The Argus [Melbourne, VIC] (26 December 1855), 7 

Sir, - In reference to your report of the performance of the Denominational Schools at the Exhibition on Thursday, I hope you will correct an error. Instead of Mr. G. L. Allan being the teacher of the whole of the schools, there are three singing masters - G. L. Allan, B. Hadfield, and J. H. Allen, who each brought about an equal number of children. There were also present the St. Mark's boys, taught by Mr. Brunton; and the St. Kilda Church Schools, taught by Mr. J. Hadfield.
Trusting you will correct the error into which you have fallen,
I am, Sir, yours, &c., J. H. ALLEN,
Singing Master to Denominational Schools. December 21st, 1855.

ASSOCIATIONS: John Hadfield (school master); Alfred Brunton (school master)


. . . November 1855 . . . report of their proceedings during the year 1854, and ten months of the year 1855 . . .
The Board were enabled, during the current year, to obtain additional masters for teaching singing in their schools, and on the 5th March last appointed Messrs. Hadfield and Russell as singing masters in Melbourne and its vicinity, and Mr. I'Erson as singing master at Geelong; and upon the resignation of Mr. Russell they appointed Mr. J. L. Allen as his successor on the 1st October last. The number of schools in which singing lessons are now given by the masters appointed by the Board amounts to about fifty, besides which there are some wherein the schoolmasters themselves teach their pupils singing . . .

ASSOCIATIONS: Thomas William I'Erson (singing master); John Russell (singing master)

"DENOMINATIONAL SCHOOLS. ANNUAL MUSICAL FESTIVAL", The Age [Melbourne, VIC] (12 December 1857), 5 

Yesterday afternoon, at two p.m., was held in the Mechanics' Institution, the Annual Musical Festival and Exhibition of Drawings of the Children from Denominational Schools in and near Melbourne. Last year nearly 1500 children were assembled in the Exhibition building, but owing to that edifice being pre-engaged, the Mechanics' Institution was chosen instead, though it was found necessary to curtail the number of children engaged to 450. These were closely packed in the body of the Hall and upon the music stage belonging to the Philharmonic Society . . . His Excellency arrived punctually at two o'clock, when Mr. G. L. Allan ascended the rostrum, and gave the signal for commencement. The programme, which was divided into two parts, included a capital selection of part songs, glees, and choruses, from the works of Crampton, Bennett, Calcott, Mozart, Stevenson, Arne, Hullah, and others, all of which were most creditably executed by the numerous and shrill-voiced choir . . . Those assembled were under the musical tuition of Messrs. G. L. Allan, B. Hadfield, and J. H. Allen, singing-masters to the Denominational Board. The schools under the charge of Mr. Kaye having only just commenced a course of instruction, and not sufficiently advanced, were not present at the festival. All the masters we have mentioned were present, and assisted the children with the bass parts, when they were required.

ASSOCIATIONS: Samuel Kaye (singing master); Mechanics' Institution (Melbourne venue)

"DENOMINATIONAL SCHOOL FESTIVAL", The Age (23 December 1858), 5 

The annual singing festival of the children attending the schools, under the management of the Denominational School Board, came off yesterday. It commenced at the Exhibition Building, William street, at half-past eleven in the morning. About six hundred children of both sexes, and a much larger number of visitors were gathered in the building . . . At the time mentioned his Excellency arrived; and at a sign from Mr. Allan, the musical conductor, at the front of the platform, the children rose and saluted him by singing the National Anthem. It was not given with very good effect. In fact they experienced some sluggishness in getting off, and the manner of their conductor did not appear very encouraging. A number of pieces were, for the most part, very tamely executed, and that most beautiful piece, "The death of the just," was altogether a failure. The following pieces - "Now, Speed my Gallant Vessel," " When the Shallows Homeward go," were tolerably executed; and "The Crocus" was applauded. The "Bonny Christchurch Bells," a very difficult piece, was fairly executed; although Mr. Allan expressed some dissatisfaction with it, "Annie Laurie" was sung in excellent time, and with good feeling. And, "Gather ye Rosebuds," well delivered, completed the first part. The singing masters are G. L. Allan, B. Hadfield, J. Allen, and S. Kaye . . . The children then executed the second part of the programme. The singing was in most cases superior to the first part, and would have done honor to an adult assemblage. The "Cottager's Evening Song," was given excellently; "Youth and May," "Delight Spring," "The Evening Hymn," "Farewell to Winter," followed in succession. "Come Fairies Trip it on the Grass" was sung particularly well; "Home, Sweet Home," not so well; but "Rule Britannia" wound up the programme with an accuracy of time and hearty vigor that must have satisfied the most fastidious. Mr. Allan then addressed his Excellency, offering some apology for the imperfections in the earlier part of the singing, arising from the impossibility, more especially in consequence of the unanticipated bad weather, of getting the children together to practise, and the fact that many of the children had been unable able to attend so great a distance until the festival day . . .

ASSOCIATIONS: Henry Barkly (governor)

[News], The Argus (22 December 1859), 4 

The Exhibition Building yesterday, at noon, presented a very gay and animated appearance. About one thousand children, from the different schools in and near Melbourne under the Denominational Board of Education, were assembled in holiday trim, the occasion being their annual musical festival and exhibition of drawings . . . The programme, although rather long, contained a tasteful selection of songs and choruses, particularly adapted to the age and voices of the performers; and the children, led by Mr. Allan, and with the assistance of a piano accompaniment, acquitted themselves very creditably. One little girl, about 14 years of age, sang "Bonny Eloise" very sweetly, and was loudly applauded. "The Grave of Lilly Dale," a solo with a chorus by all the children, was vociferously encored. "Willie, we have missed you," and other melodies of a like character, formed a portion of the morning's entertainment, which reflected no little credit upon the perseverance of Mr. George L. Allan, Mr. B. Hadfield, Mr. J. H. Allen, and Mr. S. Kaye, by whose instruction the children have profited . . .


The annual musical festival of the children attending the various Denominational schools about Melbourne was held yesterday, in the Exhibition Building, and, in addition to some 900 children, there must have been considerably over that number of spectators, the greater portion being ladies. His Honour Mr. Justice Pohlman presided . . . On a stage alongside Mr. Justice Pohlman stood Mr. George L. Allan, under whose superintendence, assisted by Messrs. B. Hadfield, John Allen and S. Kaye, the children have been taught. The whole of the proceedings were conducted by Mr. Allen [sic, Allan], who, baton in hand, gave the signal to commence, and kept the time throughout. Mr. Pringle presided at the piano, and Mr. G. O. Rutter and Mr. John Russell also gave valuable assistance. The performance commenced at noon, and lasted for about three hours, an interval of 15 minutes between the two parts being devoted to affording the public an opportunity of judging of the skill of the children in singing from music at first sight, a feat which, considering that they did not average more than about 11 years of age, they accomplished with the greatest success. Amongst the songs which appeared particularly to please the audience were, "The Friends of Other Days," sung by Master Cook, of St. Mark's School;" "Let Me Kiss Him for His Mother," by Miss Harriett Lee, of Emerald Hill; "Nymphs of the Ocean," "Evangeline," by Miss Mortimer, "A Baby Song," composed expressly for the occasion by Mr. G. O. Rutter; "Oh Hear Ye Not Maidens, the Lark's Merry Lay," "Ladybird," &c. Many of the songs were loudly applauded, and a universal feeling prevailed amongst those present that Mr. Allan's endeavours had been crowned with the most complete success. In addition to the boys and girls whose names we have particularized, we may mention Miss Little [Liddle], who in several pieces in which she took part received a considerable share of applause . . .

ASSOCIATIONS: George Robert Grant Pringle (pianist); George Oswald Rutter (composer, vocalist); John Cook (vocalist); Maggie Liddle (vocalist)

[News], The Argus (19 December 1862), 5 

St. George's Hall was again crowded to excess yesterday afternoon when the singing and drawing masters under the Board of Education held their final annual festival. The dais at the upper end and a considerable portion of the floor of the room, were occupied by about 500 children, who were under the directorship of Mr. George L Allan. Those went through a regular programme of vocal performances, which were - as had been always the case on such occasions - of marked excellence. There were pieces in which only a few of the children look part, and others in which all joined, and the effect was then inexpressibly sweet and impressive. The first peice was the united performance of a trio by "G. F. R.," appropriately commencing
"Oh! merry goes the time
When the heart is young;"
and those which followed were of a kindred character. "What are the wild waves saying?" was also admirably sung in unison. Several solos were given; but a single juvenile voice is not powerful enough to fill so large a room notwithstanding that its acoustic properties are remarkably good. During the afternoon the capacity of the children to sing at sight was tested by Mr. Rutter, who professed himself entirely satisfied with the soundness of the basis of the children's achievements. Purday's parting song, "Good night! and peace be with you," and the National Anthem concluded the proceedings, which were witnessed by his Excellency the Governor, Lady Barkly, Sir Thomas and Lady Pratt, and about 1,500 visitors, who, at the conclusion of each performance, loudly testified their approbation. The singing masters, who are supposed to have now made their final appearance under existing conditions, are Messrs. G. L. Allan, B. Hadfield, J. H. Allen, and S. Kaye . . .

ASSOCIATIONS: St. George's Hall (Melbourne venue)

"MUSICAL FESTIVAL", The Herald (19 December 1862), 6 

Yesterday afternoon the final musical festival and exhibition of drawings of children in schools under the Board of Education, in and near Melbourne, was given in St. George's Hall, Bourke street. The hall was well filled with a fashionable audience . . . The music was performed by about 500 boys and girls, selected from various denominational schools, and mostly between the ages of ten and fourteen. These had all been taught in the public schools by Messrs. G. L. Allan, J. H. Allen, B. Handfield [sic], and S. Kaye, singing masters under the Educational Board. The whole were under the superintendence of Mr. G. L. Allan, who discharge the onerous duties of conductor, Mr. Pringle, presiding at the piano, and leading with considerable ability. The children displayed a very marked degree of proficiency in part music, in a number of choruses and duets they were called upon to perform, and kept marvellously good time, when it is taken into consideration there had been no opportunity for a rehearsal by the young performers together. The individual singing of a few young ladies was far beyond the average of amateurs, and several duets in particular were loudly applauded. The chorus singing appeared to be without fault, and the favourite pieces were very warmly received by the audience. The most noticeable feature in the festival was the singing of music at sight, a very severe test of the thorough knowledge of the pupils. Messrs. Horsley, Russell, and Rutter undertook to act as judges. A difficult piece, a canon in two parts in the key of B, was written on the spot, on a black board, by Mr. Rutter, and the thorough knowledge of the art possessed by the children at once put to the test. Though neither teachers nor children had ever seen the music before, it was sung at sight with as much apparent facility as the pieces already given, which had, of course, been diligently practised . . .

ASSOCIATIONS: Charles Edward Horsley (musician)


The distribution of Christmas prizes at the common school known as the Model Schools took place on Friday at noon. The exhibition room was filled with the children and numerous parents and friends who came to witness the proceedings. His Excellency the Governor, Sir Charles Darling, was present, and Sir Jas. Palmer, chairman of the Education Board, one of the local patrons of the school, presided. The proceedings were commenced by the singing of the National Anthem by the children, under direction of Mr. John Allen, the music master. "God Save the Queen" was very creditably performed, and in the subsequent pieces sung by the children they displayed a pleasing degree of efficiency in the art . . .

"THEATRICAL CRITICISM. HARWOOD V. FIEGL", The Argus (24 August 1874), 6 

. . . John H. Allan, teacher under the Education department. - I have seen the Duvallis dance. The pictures of the dancing are tolerably correct. I should rather not see any of my friends in that position. His Honour. - But none of your friends are public dancers. Witness. - No, they are not; but I do not consider such a posture decent for a woman on the public stage. It is not calculated to improve public taste or public morals. I don't wish to express any opinion on those performances, so far as regards the people who go to the theatre. I have seen a similar performance at the Alhambra Theatre, London. The licence was withdrawn from the place. I know this from the newspaper reports, and I also know that the style of entertainment was altered . . .

"SINGING IN STATE SCHOOLS", The Age (12 April 1874), 3 

. . . There appears to be a general agreement that the tonic numeral system should be the system adopted in State schools, and the remarks made by Messrs. Bonwick, Allan [sic], and Ford on this point are so forcible that we reproduce their report on that head, together with observations made by them regarding work done and mode of payment: -

There can be no doubt but that in our schools only one system of teaching vocal music should be tolerated. The importance of this was some years ago acknowledged, when it was ordered that the tonic numeral system only should be used. But of late a diversity of practice has gradually crept in, and the desired uniformity lost. And with respect to systems, there are in reality only two, that of Mr. Hullah being virtually abandoned by himself. These are the tonic sol-fa and the tonic numeral systems; and of these two we are decidedly of opinion that a far greater result can be produced in a given time with the numeral than with the sol-fa system. And the reason for this is self-evident. The sol-fa are mere arbitrary syllables, having no necessary or natural connection with what they are intended to represent. Consequently novices have to learn to attach a value to them, and the mere order of succession takes with children a considerable time to accomplish, leaving out of consideration the difficulty of attaching to each its proper sound whatever may be the interval. Now, with the numeral system some of these difficulties are altogether avoided, and others reduced to a minimum. Any child knows, without the assistance of the singing master, that number two follows number one and precedes number three, consequently that has not to be learnt. But he has to learn that re follows do and precedes mi. He knows at once that from 1 to 5 is five notes, whereas he must learn that from Do to Sol is five notes, so that it is evident in the one case the learner commences with a considerable amount which he already knows which in the other case he has to acquire by a long practice. Another reason for the adoption of the numerical over the sol-fa system is that it exhibits music as it is universally written. While in ordinary literature different alphabets are in use in different countries, only one set of characters is used in music. In Russia, Germany and Englund different alphabets are used but only one musical character. And while we are of opinion that no one would attempt to alter the one, we think that no one should alter the other, the disturbance of an universal character, unless for some overwhelming reasons, being utterly unadvisable. And this breach of an universal practice is in our opinion an argument against the tonic sol-fa system, which very commonly writes music by letters instead of notes. We may also add that with its advocates it is not always used. No one ever adopts it for instrumental music, the old characters being always used. The numeral system has been proved efficient by nearly twenty-five years of successful cultivation in Melbourne.

The result system applied to singing classes is surrounded with difficulties. Results do not depend entirely upon the skill and energy of the teacher. He is dependent on the discipline of the schools, and over this he has no control. Very frequently the behavior of the children is the reverse of good. His plan of instruction from the numbers in the classes, must necessarily be collective. He could not in one lesson spend half a minute with each child. Should not then the style of examination be chiefly collective? It would be unfair to hold individual examination where the teaching is altogether necessarily collective. To ascertain the actual amount of work done by the teachers would involve a regular inspection, and the consequent appointment of a staff of inspectors for that purpose, which would be a considerable expense. The difficulty might be surmounted by appointing a limited number of experienced teachers in class singing, whose duty it should be to visit the classes and report on the lessons given; the average amount of knowledge derived by the pupils; the general discipline of the classes, &c., from which reasonable opinion might be formed as to the industry or otherwise of the teacher in the discharge of his duties. The system of payment by results would involve the necessity of a full and regular inspection. Assuming, however, that the suggestions, as set forth in Clause 7, or in some modified form, be acted upon, the principle of payment by results should be of very limited extent, and in the form of a percentage, bonus, or deduction, as the case might be. We are of opinion, therefore, that the present stated salaries should be maintained, and according to the report (as per clause 7) if "generally good," a small bonus added; if "excellent," a bonus somewhat larger. In like manner, for any manifest inefficiency, carelessness or other fault on the part of the teacher, an adequate fine should be imposed. Such an arrangement as this would be ample for securing from the teachers the faithful and zealous discharge of their duties, and would at the same time inspire a feeling of emulation on the part of the teachers individually.

ASSOCIATIONS: Walter Bonwick (singing master); Thomas Ford (singing master); see also "TO THE EDITOR OF . . .", The Age (28 April 1888), 4 

"THE EDUCATION COMMISSION", The Age (20 June 1883), 6 

. . . John H. Allan, singing master under the Board of Education, said he had to give instruction to the children attending five schools in the metropolitan district. This duty also included the imparting of instruction in the art to a class of State teachers. He was required to give a couple of lessons a week in his schools. The number of children in each of his singing classes varied from 60 to 120. It would be advisable to limit the number [to] 70. He generally found that the children took a lively interest in the art of singing . . .

Teacher record, John Harward Allen; Public Record Office Victoria (DIGITISED)

Allen John Harward / Born 16 Oct '25 /
St. Mark's Ass't / 1 April 1854 to 31 March 1855
St. Peter's / 23 April 1855 to 30 Sep. 1855
Singing Master [Denominational Schools Board] 1 Oct. 1855 to 31 Aug. 1862
Singing Master [Board of Education] 1 Sep. 62 to 31 Dec. 62 . . .

"Deaths", The Argus (20 October 1888), 1 

ALLEN. - On the 19th inst., at Grove-road, Hawthorn, Dinah, the wife of John Harward Allen, aged 65 years.

"Deaths", The Age (19 July 1890), 5 

ALLEN. - On the 16th July, at Sydney, John Harward Allen, of Grove-road, Hawthorn, late senior singing master under the Department of Education, aged 64 years.

[News], The Argus (21 July 1890), 7 

A large assemblage yesterday attended the obsequies of the late Mr. John Harward Allen, formerly senior singing master under the Board of Education of Victoria. Mr. Allen's death took place at Sydney under peculiarly sad circumstances. He had gone to that city on a holiday visit in the company of two daughters, and after a few days spent in apparently good health and spirits, he was suddenly stricken down with apoplexy, and death ensued on Friday morning last. Yesterday afternoon the body, which had been brought over from Sydney, was taken to St. Peter's Church, Eastern Hill, with which the deceased had been connected in various capacities for many years, and thence to the place of interment in the Kew Cemetery, the Rev. Canon Handfield officiating in the church and at the grave. The late Mr. Allen was an old colonist, having arrived in Melbourne in 1852. After a few years spent in school teaching under the old Denominational Board he was appointed singing master in 1855, being the first who obtained a Government appointment by competitive examination. With three short interruptions, due to political changes, he continued in this capacity until 1889, when he retired from the service, his brother officers marking the event by the presentation of an appreciative testimonial. Mr. Allen was one of the first founders of the Philharmonic Society, and one of the originators of the East Collingwood Volunteer Rifles, in which he rose to the rank of captain. The deceased gentleman was regarded as a man of sterling character, and endeared to his numerous friends by a uniformly kind and amiable disposition. In his long career as a teacher he had the opportunity of imparting the rudiments of musical education to many who have since obtained distinction in the musical profession, and had won the attachment of his pupils in an unusual degree.

ALLEN, Mary Ann (Mary Ann ALLEN; Mrs. John LIMB)

Amateur vocalist, choir singer

Born Dorset, England, 1847; daughter of John ALLEN (d. 1894) and Jane PARKER (d. 1904)
Arrived Adelaide, SA, 2 December 1854 (with family per Lord of the Isles, from Southampton, 29 August, aged "7")
Married John LIMB, Gawler, SA, 2 May 1871
Died Gawler, SA, 18 November 1914, aged "67 years 7 months" (TROVE tagged by Australharmony) (shareable link to this entry)


"MARRIAGE", Gawler Times (5 May 1871), 2 

LIMB. - ALLEN. - On the 2nd May, at the Wesleyan Church, Gawler, by the Rev. S. T. Withington, Mr. John Limb to Miss Mary Ann Allen, both of Gawler.

"DEATHS", The Express and Telegraph (18 November 1914), 1 

LIMB - On the 18th November, at Finniss-street, Gawler, Mary Ann, dearly beloved wife of John Limb, aged 67 years.

"CONCERNING PEOPLE", The Register (19 November 1914), 4 

Mrs. John Limb, who died at Gawler on Wednesday, was 67 years of age, and spent 60 years in the town. She came from Dorsetshire, England, with her parents, Mr. and Mrs. John Allen. She had been married for 43 years, and had brought up a family of 13 children. The deceased was a prominent church worker, particularly in connection with the Tod Street Methodist Church and Sunday School. She will be greatly missed by all classes, for she did untold good among the poor and sick. The record of the family in church affairs is probably unique. Both Mrs. Limb and Mr. Limb were in the choir for 50 years. Mr. Limb has been teaching in the Sunday school and been superintendent for a similar period, and 11 of the 13 children have been in the same choir, and three are now conducting choirs in this and other States. The family consists of seven daughters - Mesdames G. Young (W.A.), T. Wiltshire (Blyth), L. Davey (Moonta), H. L. Morris, (Unley), J. Rebbeck (Prospect), and Misses Hannah and May Limb, and six sons - Messrs. Mozart and Hubert (W.A.), George (Tas.), Parker, and Arthur (Gawler), and Allan (Port Adelaide).

"Our Sainted Dead. MARY ANN LIMB", Australian Christian Commonwealth (29 January 1915), 13 

The church at Tod Street, and also the town of Gawler, have suffered a severe loss by the passing of the wife of Mr. John Limb, who is one of our oldest and most honoured workers. For upwards of half a century Mrs. Limb played a varied and important part in Gawler Methodism. As a member of the choir she for fifty years rendered devoted and effective service . . .

"MUSICAL NOTES. By John Dempster", The Mail (18 February 1939), 15 

MRS. J. L. Davey, the contralto who in 1935 distinguished herself at Ballarat Eisteddfod by winning the Australian song prize and sacred solo, is a link with that period when the foundations of our musical culture were laid by Carl Linger; for Mrs. Davey's mother as Mary Ann Allen (later Mrs. John Limb) sang the "Song of Australia," with others, at its first performance at Gawler on December 12, 1859 . . .

ASSOCIATIONS: Carl Linger (composer); advertisements and reports suggest, however, that there were only four singers involved in the Gawler first performance, Louisa Jane Rowe (vocalist), Caroline Peryman (vocalist); Josiah Wyke Daniel (vocalist), and Hermann Oelmann (vocalist), and that there was no separate chorus for the 12-year-old Mary Ann might to have been part of; see, for instance, "GRAND CONCERT AT THE GAWLER INSTITUTE", The South Australian Advertiser (20 December 1859), 4 

. . . The verses were sung as solos. - Miss Rowe, Miss [sic, Mrs.] Perryman, Mr. Daniel, and Mr. Oehlmann each taking a verse alternately, and all collectively singing the chorus as a quartette . . .

MUSIC: The song of Australia (Linger)

ALLEN, Thomas Henry (Thomas Henry ALLEN)

Musician, fiddler, violin player, shoemaker, sly grog supplier, publican

? Born c. 1819
Active Adelaide, SA, by 1845
? Died Adelaide, SA, 9 July 1882, aged "63" (shareable link to this entry)


"RESIDENT MAGISTRATE'S COURT . . . Friday, 24th October. CUSTOMS' INFORMATION", South Australian Register (25 October 1845), 2 

Thomas Henry Allen was charged on the information of Capt. Lichfield, with illegally distilling. The penalty claimed not less than £100, nor more than £500, and the still and utensils as forfeited. The defendant, under the advice of Mr. Poulden, pleaded "guilty," and was fined £100. He stated what little goods he had, a mere nothing, were mortgaged to Dr. Rankine. In reply to the court he said be could not pay it if a week's time were given. The court sentenced him to three months' imprisonment, and condemned the still and utensils as forfeited to the crown.

"CONVICTION OF A SLY GROGSHOP-KEEPER", South Australian Register (11 September 1854), 3 

An information was laid before Capt. Davison, at Mount Barker, on Wednesday, 16th inst., by Mr. Hill, the police officer in charge of the Macclesfield Station, against Thomas Henry Allen, of Strathalbyn, for keeping one of those social nuisances called "a sly grogshop," which resulted in his being amerced in the penalty of £20 and costs. It appears that Allen has been carrying on his vocation for some considerable time, but, from his shrewdness and caution, it had been a matter of some difficulty to get sufficient evidence against him to ensure a conviction.

"INSOLVENCY COURT", South Australian Register (19 April 1878), 3

In re Thomas Henry Allen, late of Adelaide, shoemaker; first hearing. Insolvent allowed to retain his earnings to the extent of £2 a week.

"POLICE COURT. ADELAIE. WEDNESAY, APRIL 23", The South Australian Advertiser (24 April 1879), 7

Thomas Henry Allen was charged with having played on a certain musical instrument, namely a violin, after having been requested by a constable and by Mr. W. T. Flint to depart from the neighborhood of Mr. Flint's shop, on account of its interfering with his business, on April 19 . . . The defendant made lengthy address to the Bench, in which he said the case must fall through because Mr. Flint had not proved that he was a householder or that he had any right to order him away. The fact that such a large crowd had gathered together showed that his music had been appreciated. Mr. Flint being a harsh unsympathetic kind of character, could not appreciate it - (laughter) - and he would ask the Bench, as Mr. Flint was in such a decided minority, to dismiss the case. Being an old colonist and a John Bull, he had as much right to play in the streets as any foreigner.

"POLICE COURT. ADELAIDE. Wednesday, June 4", The Express and Telegraph (4 June 1879), 2 

Thomas Henry Allen was charged with playing on a violin in front of the premises of Thos. Hocart after having been requested to desist from so doing. The defendant having promised Mr. Hocart not to offend again, the information was withdrawn.

ALLEY, George Underwood (George Underwood ALLEY, "G. U. A.")

Songwriter, surgeon, journalist

Born Ireland, c. 1801 / c. 1804; son of John ALLEY and Jane UNDERWOOD (m. Dublin, 27 February 1804)
Married Catherine Amelia SMITH (d. 1890), Dublin, 8 July 1830
Arrived Sydney, NSW, 12 December 1838 (per City of Edinburgh, from London, 31 July)
Died Araluen, near Queanbeyan, NSW, 24 June 1879, aged "78" [sic] (TROVE tagged by Australharmony) (shareable link to this entry)


"MELANCHOLY CASE", Roscommon & Leitrim Gazette [Ireland] (8 October 1836), 4 (PAYWALL)

Died, on the 2d instant, perfectly free from disease, or sickness George, son of George Underwood Alley. Esq. The mother, from illness, was unable to nurse him, and the father, from poverty, unexpected as unavoidable, could not procure that nourishment necessary for a baby. There are four others, the eldest five years old, who are daily exposed to a similar fate, as well as their parents, notwithstanding every effort on the father's part to obtain any, the most humble, employment. The scanty fare which was alone provided by the kindness of a few friends, to whom, in the moments of absolute distress alone, such a state was made known, was unfitted for a baby, but ill adapted for the other children, and but for the smiling themselves, barely able to sustain nature. If this should meet the eye of the benevolent stranger, or friend already ignorant as this distress, is it too much to ask assistance to rescue this family from starvation.

[Advertisement], Saunders's News-Letter [Dublin, Ireland] (4 May 1837), 2 (PAYWALL)

THE Deputation having returned from London, after making preliminary arrangements with the Commissioners, a Meeting the Proprietors will be held the Office, TO-MORROW, (Friday) . . . to those who contemplate joining this Community, that the share list for Ireland will be closed on the 21st June, in order that final preparation may be made previous to sailing in August next.

"DEATHS", Saunders's News-Letter (19 July 1837), 3 (PAYWALL)

On the 17th instance, Frances Jane Smith, aged six years, eldest daughter of George Underwood Alley, Esq.

Report of a barque arrived in Port Jackson this [12 October 1838), City of Edinburgh . . . from London, 31st July; State Records Authority of NSW (PAYWALL)

. . . George Alley, surgeon, Mrs. Alley & four children . . .

"Shipping Intelligence. ARRIVALS", The Sydney Gazette and New South Wales Advertiser (13 December 1838), 2 

From London, yesterday, whence she sailed the 31st July, the barque City of Edinburgh, 366 tons, Captain Thompson, with a cargo of merchandise. Passengers, cabin - . . . Mr. George Alley, Surgeon, Mrs. Alley and four children . . .

See also [3 advertisements], The Sydney Monitor and Commercial Advertiser (26 December 1838), 3 

"LIBEL", The Sydney Morning Herald (20 April 1846), 2 

On Saturday, Mr. George Underwood Alley was committed for trial, for writing a libel in a pamphlet entitled the Extinguisher, reflecting upon the character and reputation of Mr. George Brown, of Dapto. The defendant did not endeavour to deny the authorship; but contended that several of the inuendoes alluded to in the information did not necessarily apply to Mr. Brown. The Bench thought differently, and committed the defendant for trial; but accepted bail, himself in the amount of £40, and two sureties of £20 each.

[Advertisement], The People's Advocate and New South Wales Vindicator (31 August 1850), 13 

May be had of Mr. Macdonnell, confectioner, and Mr. P. Daly, general dealer, Wollongong; Mr. Henderson's store, Charcoal Road; the Post Office, Dapto; Mr. Gray's store, Jamberoo; and Mr. Hyam's store, Greenhills, Shoalhaven.

"ILLAWARRA . . . MUSIC", The People's Advocate and New South Wales Vindicator (26 October 1850), 7 

I see by your advertisement sheet that Mr. B. Waterland announces to the "country" that he intends visiting all the towns from Sydney to Goulburn. Has he any particular objection to this vale of song and beauty? Why not visit Wollongong, Dapto, Kiama, and Shoalhaven? Perhaps if you will be so good as to inform him that the population of this district is considerably above 4000, and much concentrated, and that we are most of us from the land of Moore and Burns, he may be tempted to favour us with his presence; he may rest assured that he will reap a goodly harvest, and be better pleased with his visit and the patronage he will receive at our hands, than from any other part of the "country." Ours is "the land flowing with milk and honey." - G. U. A.

ASSOCIATIONS: "Blythe Waterland", alias of Henry Burton

[Advertisement], Illawarra Mercury (8 August 1859), 3 

READ! READ!! READ!!! A PAMPHLET, now in the Press,
and will shortly be published, by authority of the Public Meeting, held at the Nowra Hotel, on the 25th July last.
CONTENTS - The Terara manifesto against Nowra; By Simon Surface and Other Celebrities,
and, The Tables Turned; By George Underwood Alley.
To be had at all the Stores, Greenhills; Mr. Ringland, Greenhills; Mr. Tory, Nowra; Mr. Watt, Bomaderry Ferry; and from the Committee.

"DEATH OF DR. ALLEY", Illawarra Mercury (8 July 1879), 2 

Dr. George Underwood Alley, who many years ago was a prominent public character in this end of the district, and subsequently at Shoalhaven, died at Araluen on Tuesday last. Many of the old residents in Wollongong and other parts of Illawarra will remember that the deceased was a frequent writer in the press, his usual signature being "G. U. A." He also contested the general election for this constituency on the occasion that Mr. John Marks and the late Mr. Robert Owen were returned, the electorate then extending from Bulli to the Shoalhaven River. He was the lowest on the poll, however, 39 votes only having been recorded for him. In the course of his contributions to the press, he frequently aimed at accomplishing public good, but his ever-prevailing weakness for bitter personalities invariably nullified the efforts of his ready pen. During the last twelve or fourteen years he has resided at Araluen, where his death took place. It is here worthy of notice that the deceased maintained that he was the first person that directed any attention to the existence of coal at Mount Keira, and the advantage that that mineral was certain to become to Wollongong and Illawarra generally.


Original songs; George Underwood Alley (Sydney: Printed by Hawksley & Cunninghame, 1850) 

[Contents]: Shamrock; Illawarra; Wollongong Races; There is some luck at last; Tho' twined around my heart; Holiday fun, or Laughing chorus; Mountain coal; Racing man

The extinguisher; or, Illawarra faction unmasked . . . George Underwood Alley ([1846]) (DIGITISED)

Includes 3 new songs to old tunes, "written for the occasion" - a Masonic ball, 30 December 1845; see "ILLAWARRA", The Sydney Morning Herald (13 January 1846), 3 

[9-10] . . . the following song, composed for the occasion, was sung by an amateur.
AIR - The Emerald Isle.
Of all the orders we have upon earth,
The Freemasons doth truly excell,
For friendship, for union, and truth,
From all others it bears off the bell.
The members are loyal and true,
And this the whole world can prove,
And the reason, I'll tell it to you,
Their secret is brotherly love.
Chorus. - May our friendship be without guile,
And truth in each heart full abound,
May peace and prosperity smile
O'er every true Mason around . . . [5 more verses]

[11-13] . . . during the silence of the instruments, a song was proposed, and the following, written for the occasion enlivened the moment.
AIR - All London is quadrilling it.
Oh what a row, what a rumpus and rioting,
All Illawarra at the ball, cutting such a shine,
Oh such a route there ne'er was seen,
And given by the Masons too, all their bands and aprons dressed so fine.
There's Addison, the W. M., not him they call tins poet tho',
And Captain Sheaffe, and William Way, and in the rear comes Georgy Row;
There's Menzies too, from Jamberoo, and little Bate so quizzical,
And Tweedie, Sharp, and Georgy Brown, him they call so whimsical.
CHORUS - Oh what a row, what a rumpus and rioting . . . [5 more verses]

[15-18] . . . The now popular song since named:-
AIR - Hey for Bob and Joan.
Were you at the ball, did you see the Masons
All so very grand, decked in their bands and aprons;
Did you see the ladies, dressed in silks and satins
All so blooming fair, like nuns, at early matins.
Fal la, la la la . . . [10 more verses, plus 6 more "since added"]

ASSOCIATIONS: William Sheaffe (1798-1860), father of Percy Sheaffe (Indigenous song reporter)

MUSIC: The emerald isle (? tune); Bob and Joan (country dance tune); Quadrilling, a favorite song (1820)

The Terara manifesto against Nowra by Simon Surface and others; The tables turned by George Underwood Alley (Wollongong: Thos. Garrett, General Letterpress Printer "Illawarra Mercury", 1859) 

Other published songs:

"ILLAWARRA", The People's Advocate and New South Wales Vindicator (1 September 1849), 3 

. . . the following song, written for the occasion, was sung with great applause: -
Others may talk of their golden sands,
Their mineral wealth and a' that,
And boast if they will of alluvial lands;
We have better than they for a' that.
Tho' some may doubt, to me it seems
We have mines of wealth in store;
Tho' we find not gold in our running streams,
We've a diamond that's better than ore,
Chorus. - Oh there's luck in store in ev'ry way,
There's luck in store at last ;
The district's hopes eclipse to-day
The mem'ry of the past . . . [5 more verses]

"ILLAWARRA", The People's Advocate and New South Wales Vindicator (25 January 1851), 6-7 

A more brilliant gala day than that of the Exhibition of Fruits and Flowers, on the 16th, was never before witnessed in Wollongong . . . [7] . . . At five o'clock twenty-eight members of the Society and others sat down to dinner, at Mr. Russell's, Royal Marine Hotel . . . The following song - "Have you seen the show" - was well received.
Air: "Will you come to the Bower."
Tell me, tell me, tell me, tell me, have yon seen the show,
Tell me, tell me, tell me, tell me, have you seen the show:
'Twas there you would have seen of our fam'd fairy land,
The fairest, and the rarest, ever form'd by nature's hand . . . [3 more verses] - G. U. A.

MUSIC: Will you come to the bower (Thomas Moore)

"CHRISTMAS DAY IN AUSTRALIA. BY G. U. A.", Illawarra Mercury (29 December 1856), 2 

Christmas comes but once a year,
Bringing with him all things queer,
No ice, nor snow, nor mistletoe cheer,
In the bright, sunny lands of Australia!
No tippets, nor muffs, nor fur-lined coats;
No petticoats double, nor muffled throats;
No, no, by St. George! the "native" boasts
Of a different day in Australia!
CHORUS - Hip, hip, hurra! for Christmas Day,
Cricket and Cupid are out at play;
Oh, there never was seen such a jolly day
In the bright, sunny land of Australia! . . . [3 more verses]

"NEW YEAR'S DAY IN AUSTRALIA. BY G. U. A.", Illawarra Mercury (5 January 1857), 1 

The old year's gone, and with it may each sorrow
Find a grave, nor trouble hearts so true;
May the sun shine brighter every morrow,
Blessing the morn that ushers in the new.
[CHORUS] Cheer, boys, cheer, we've met in social gladness;
Cheer, boys, cheer, our happy meeting cheer;
Cheer, boys, cheer, forget all cause of sadness,
Hang dull care, let's be merry once a year! . . . [2 more verses]

Bibliography and resources:

George Underwood Alley, Find a grave 


Musician, professor of music, conductor, pianist, organist, vocalist, music seller, music educator, composer

Born Kellinghusen, Holstein, Germany 26 October 1842; son of Joachim ALPEN and Christiana Sophia Ida VENDT
Arrived Melbourne, VIC, 14 December 1858 (per Java, from Gothenberg, 25 August)
Married Sarah Mary Josephine BROWN (1848-1902), St. Brigid's church, Albury, NSW, 12 August 1868
Died Strathfield, NSW, 20 June 1917, aged "73" ("75") (TROVE tagged by Australharmony) (NLA persistent identifier) (Wikipedia),_Hugo (IMSLP) (shareable link to this entry)

Hugo Alpen, c. 1890s; National Library of Australia

Hugo Alpen, c. 1890s; National Library of Australia (DIGITISED)

Summary (early years, to 1879, only):

Hugo Alpen was born in Kellinghusen, Holstein, near Hamburg, on 26 October 1842, a son of Joachim Alpen, a Lutheran organist and schoolmaster, and his second wife, Christiana Sophia Ida Vendt, who had married at the Evangelische Kirche, Meldorf, on 28 December 1837.

His elder half brother, Gustav Ernst Heinrich Alpen (1834-1888), a son of Joachim's first wife and Christiana's late sister, Louise, had arrived in Victoria as a settler in 1853, and by 1860 or earlier was at Ballarat.

According to his naturalisation record, Alpen arrived in Melbourne on board the Dutch ship Java, in December 1858, though, at the time, the ship was reported to be carrying no passengers.

Little is known for certain of Alpen's first years in the colonies, spent in Victoria. Either he or his brother Gustav was the "Mr. Alpen . . . excellent as a pianist" at Clunes on the Victorian goldfields in February 1861. If it was Hugo, it may have been there, or in nearby Ballarat, during that year, that he first made contact with Eugenio Bianchi and his touring opera company. By late 1861 he was in Sydney, singing tenor in Bianchi and Frank Howson's opera season, billed as the courtier Matteo Borsa in Rigoletto at the Lyceum Theatre in November 1861, and as Gaston in La Traviata at the Royal Victoria Theatre in January 1862.

By late 1862 or early 1863, Alpen had left Sydney for rural Tumut in the NSW southern highlands. There, in mid 1863 he contributed 5 shillings to the Catholic community's fundraising for the O'Connell monument in Sydney, and in December 1864, his first two years in the town was celebrated in a testimonial from All Saints' (Anglican) church, where he had recently served as organist and choir leader.

By early in 1865, he had settled in Albury, where he married in 1868. In 1873 he joined the NSW Council of Education, first serving as an itinerant singing master for the Albury District. He and his family finally left for Sydney at the end of 1879.


"CLUNES (From our own Correspondent) 13th February", The Star [Ballarat, VIC] (16 February 1861), 4 

A concert was given yesterday by the amateurs of Clunes, for the benefit of the sufferers by the late fire on Ballarat . . . It was a matter of surprise to most of the audience that many difficult pieces could be so admirably presented by our juvenile professionals. Mr. Alpen was very excellent as pianist. Mr. Lancashire was conductor . . .

"CLUNES (From our own Correspondent) 28th June", The Star (29 June 1861), 1 supplement 

The benefit given by the Amateur Musical Club on behalf of the funds of the Fire Brigade, passed off very satisfactorily on Tuesday last . . . Miss Jennings sang some ballads very tastefully . . . This lady received several complimentary encores, as also did Messrs. S. & J. Lambie, Lancashire, Allen, and Alphen. Mr. Alphen as pianist, played the overture to Zampa, and a fantasie pour le piano in beautiful style. In the National Anthem Mr. Alphen introduced some very good effects on the harmonium . . .

ASSOCIATIONS: Samuel and Thomas Lamble (vocalists)

[Advertisement], The Sydney Morning Herald (25 November 1861), 1 

First night of Verdi's celebrated Opera, RIGOLETTO . . .
Third week of the GRAND OPERA, under the direction of Signor BIANCHI.
THIS (Monday) EVENING, November 25th . . .
Rigoletto - Mr. F. Howson
Duca di Mantova - Signor Bianchi
Spara Fucile - Signor Grossi
Monterono (by favour, on this occasion) - Mr. John Gregg
Borsa - Mr. Alpen
Monillo - Mr. Benham
Giovanna - Miss C. Howson
Gilda - Signora Bianchi
Maddalena - Miss E. Howson . . .

ASSOCIATIONS: Eugenio and Giovanna Bianchi (vocalists); Frank Howson (vocalist); John Gregg (vocalist); Enrico Grossi (vocalist); Henry Benham (vocalist); Emma and Clelia Howson (vocalists); Lyceum Theatre (Sydney venue)

[Advertisement], The Sydney Morning Herald (9 January 1862), 1 

THIS EVENING, Thursday, January 9th . . . LA TRAVIATA! . . .
Violetta Vallery - Signora Bianchi
Flora - Miss C. Howson
Amina - Miss Henry
Alfredo Germont - Signor Bianchi
Gaston - Mr. Alpen
Georgio Germont - Mr. F. Howson
Dr. Grenville - Signor Grossi
Baron - Mr. Mitchell . . .

ASSOCIATIONS: Royal Victoria Theatre (Sydney venue)

"LAST NIGHT OF THE BIANCHIS", The Sydney Morning Herald (10 January 1862), 4 

. . . The part of the luckless Violetta was sustained by Signora Bianchi with her usual artistic talent, Alfredo being interpreted with much grace, energy, and feeling by Signor Bianchi. Miss Howson, Miss Henry, Mr. Alpen, Mr. F. Howson, Signor Grossi, and Mr. Mitchell assisted in the representation of the opera, which appeared to give satisfaction to every one . . .

[Advertisement], Freeman's Journal (19 September 1863), 7 

TUMUT . . . H. Alpen - 0 5 0 . . .

Certificate of naturalization, Hugo Alpen, 19 December 1864; State Records Authority of NSW (PAYWALL)

. . . that Hugo Alpen is a native of Kellinghusen, Holstein: is twenty two years of age, and is a Teacher of Music and that having arrived by the Ship "Java" to Melbourne in the year 1858 he is now residing in Tumut and withing to become a British subject . . . GIVEN . . . this Nineteenth day of December [1864] . . .

"TESTIMONIAL", The Tumut and Adelong Times (29 December 1864), 2 

A very pleasing acknowledgment of Mr. Alpen's professional services, as organist at All Saints' Church, was made to him on Wednesday by some of the congregation, when a purse, containing about £8, accompanied with a neat address, expressive of the thanks of the donors for the attention and perseverance manifested by him in discharge of his ill-requited duties, was presented to him. This token of appreciation must be vary gratifying to Mr. Alpen, as a proof that by some his services in the choir are not lightly estimated.

[Advertisement], The Tumut and Adelong Times (29 December 1864), 3 

MR. ALPEN, GRATEFUL for the favours and patronage bestowed on him during his past two years' residence in Tumut, begs to announce that he will resume his duties about the 1st FEBRUARY NEXT, when he hopes to meet with the same encouragement as hitherto.
Mr. ALPEN would also embrace this opportunity of publicly expressing his thanks for the handsome and unexpected Testimonial and accompanying address presented him by some of the congregation of All Saints' Church.

"MR. ALPEN'S ENTERTAINMENT AT THE INSTITUTE", The Albury Banner and Wodonga Express [NSW] (14 January 1865), 2 

The entertainment given by Mr. Alpen at the Mechanics' Institute last week deserves more than an ordinary word of passing comment, it being a treat which Albury perhaps has never yet received before. Mr. Alpen is an instrumentalist of superior ability, and gave his illustrations of "The Music of Many Nations" with the skill and the fervor of one who knew and felt what he was doing and at the same time carried his audience, which was a full one, perfectly along with him, not only on the score of his talent, but by his earnestness and simplicity. Being a German, it was, perhaps, natural, and not far from the truth if he leaned to his own country's music and gave the Faderland [sic] credit for more solid harmony, although possessing perhaps less melody, than other countries. The illustrations were from the great Der Freischutz, Les Huguenots &c., for grandeur and Abt's "When the Swallows" and a marching song of Kuchen's for lighter styles. Italy was represented by Bellini's March from Norma and a scene from Il Trovatore, while the lighter music of France found an illustration from Gounod's Faust. Mr. Alpen contrasted the Marseillaise with "Partant pour la Syrie" but did not do justice to the royal Hortense in the latter. Ireland's Music was illustrated by "the Harp that once in Tara's halls" and "Love's Young Dream," and Scotland had Auld Robin Gray, und "Cam Ye by Athol," words by James Hogg, the Ettrick Shepherd set to music by Neil Gow, junior; which remark may save Mr. Alpen saying in future that both author and composer are unknown. Both were excellently rendered, although Mr. Alpen does not pretend to a first-class voice but sang very pleasingly and only as a musician can. England's music was shabbily treated. No one will say that Russell's "Gambler's Wife" and the comic song of "Alonzo the Brave" with the namby pamby sentimentalism of "When other lips" represent England's music, which includes the scores of Bishop, Barnett, Braham, Callcott, Nelson, Lee, Dibdin, Linley, Haynes Baley, Stevens, and a host more of her ballad and glee writers and composers of concerted pieces. Passing this by we have pleasure in saying that we have seldom spent a more enjoyable evening than with Mr. Alpen, and we regard his announcement of staying in the town as something to be appreciated in the future.

"THE CHOIR AT THE CATHOLIC CHURCH [TO THE EDITON OF THE BANNER]", The Albury Banner and Wodonga Express (28 April 1866), 2 

SIR, - As a good deal of mystery exists in reference to a matter which ought to, and justly does, come under the province of those interested, I, as one, beg leave to enquire through the medium of your journal how it is that for some time past the congregation worshipping at the Catholic Church have been deprived of that portion of musical harmony usually contributed by Mr. Alpen? How is it that the party who was supposed to have been appointed to fill Mr. Alpen's place only attended on one occasion, thus leaving the congregation entirely without that sacred harmony which tends so much to elevate the thoughts and feelings of those who devoutly meet to worship their God? I have heard the names mentioned of a few officious individuals who have been the means of bringing matters to this pass, and I would simply state that, in my opinion, it was very presumptuous on their part, for they have guilty of an interference quite unjustifiable; and I, as one interested, call upon them to lose no time in repairing the injury they have done, or it may be that the seeds of disaffection may be sown to an extent that may blight the present existing communion.
I remain, Sir, yours, &c.,
Albury, 24th April, 1866.
P.S. - I would also wish to ask if the gentlemen who defrayed the expenses connected with Mr. Alpen's services were at all consulted; and, also, if the members of the choir were informed of the change made on the occasion.

"MUSICAL SOIREE", The Albury Banner and Wodonga Express (19 October 1867), 2 

On Wednesday evening, the Albury Mechanics' Institute presented as delightful a picture of a Christian reunion as it is possible to have, not only in Australia, but, we may add with equal truth, in any favored part of dear old England. When it was made known that the ladies of St. Matthew's Church had resolved to devote their energies to give a musical soiree in aid of the Parsonage Fund, the liveliest interest was created throughout the district, and the occasion wss looked forward to as one that would not be quickly forgotten. The evening was highly favorable for the event, and the large hall of the Institute was densely filled . . .
Duet, Piano - William Tell - (Hertz.) Mr. Alpen and his pupil, Master C. Foster . . .
The chorus of "The Friar of Orders Grey" (Calcott) was given by lady and gentlemen amateurs . . .
after which a gentleman sang Longfellow's "Village Blacksmith," (Weiss). This was succeeded by the duet of "The Elfin Call," (Glover).
A pianoforte solo followed, in honor of H.R.H. the Duke of Edinburgh, entitled the "Galatea Mazurka," composed by Mr. Alpen . . .
The chorus of "The Curfew" (Attwood) followed; after which Mr. Alpen sang "Hear me, gentle Maritana" (Wallace) . . .

ASSOCIATIONS: Alfred (duke of Edinburgh, royal visitor)

[News], The Albury Banner and Wodonga Express (28 November 1868), 3 

"VINE LEAVES" is the title of a very pretty set of Waltzes for the pianoforte composed by Mr. H. Alpen, of Albury, and performed weekly at the Melbourne botanical gardens by the military band. The Argus speaks of it as a charming composition. The piece, which consists of seven pages of music, is illustrated with an appropriate title page in colours and is dedicated to Mr. J. T. Fallon.


From an early hour visitors began crowding into Albury on Sunday morning last, in such force as it seldom seen except on the occasion of our annual race meeting, and for some hours before the time appointed for the opening ceremony, the neighborhood of the new Roman Catholic Church was densely thronged by the unusual influx . . . At the conclusion of the rites peculiar to the dedication, the Bishops and clergymen returned to the High Altar, and High Mass was celebrated . . . The choir sang the "Gloria" and "Kyrie," from Haydn's Mass No. 16, while the "Credo," "Sanctus" "Benedictus," and "Agnus Dei," were from a Mass composed by Mr. Alpen, the distinguishing characteristic of which is a very nice flow of melody, in which some original changes of harmony are introduced. Perhaps (musically speaking) the best parts of the Mass were the "Benedictus," a soprano duet, concluding with the full chorus "Hosanna;" and the solo, "Incarnatus est," in the "Credo," which was rendered by a young lady in a most creditable manner . . .

"OPENING OF THE NEW CATHOLIC CHURCH, WODONGA [By our own reporter]", Ovens and Murray Advertiser [Beechworth, VIC] (6 June 1876), 5 

. . . Mass was celebrated by the Very Rev. Dean Tierney, who accompanied the Bishop of Sandhurst on his visitation, the Very Rev. Dr McAlroy, Vicar-General of the diocese of Goulburn, also taking part in the celebration. The music chosen was Mr. Alpen's mass in C. Miss Dwyer sang "Regina Coeli" with great sweetness and excellent effect, and the whole of the musical portions of the service were admirably given . . .


The Right Reverend Dr. Crane, Lord Bishop of Sandhurst, consecrated the above church yesterday, (Sunday) . . . Mr. Hugo Alpen presided at the harmonium. Mrs. Wigmore was absent, owing to indisposition. The music performed was The Kyrie, Agnus Dei, and selections from a mass by Mr. Alpen . . .

"MR. H. ALPEN", The Albury Banner and Wodonga Express (22 November 1879), 13 

We understand that Mr. H. Alpen purposes leaving Albury at the end of the year, with a view to commencing the practice of his profession in Sydney. If in the larger field which will be there open to him his undoubtedly great abilities meet the recognition they deserve, the change can hardly fail to be of service to him in a pecuniary point of view. For his own sake, therefore, it is not to be regretted. Mr. Alpen's place here, however, will be very hard to fill, and for many reasons the public of Albury will have good cause to regret his determination to sever his connection with the "Federal City."

Teacher record, Hugo Alpen, 1883; State Records Authority of NSW (PAYWALL)

No. 456 / Alpen, Hugo / R[oman] C[atholic] / Born 26 Oct. 1842 / [1883] Appointed Teacher of Music Hurlstone Training College . . .

"PERSONAL", The Sydney Morning Herald (26 October 1912), 22 

Many happy returns of the day to Hugo Alpen, who was born at Kellinghusen, near Hamburg, on October 26, 1842. A more active, energetic, happy-hearted septuagenarian than Herr Alpen it would be hard to find. He entered the Education Department of New South Wales in 1873, rose to the high position of Director of Music, and occupied it for 30 years with distinction before his retirement.

"DEATH OF MR. HUGO ALPEN", The Sydney Morning Herald (22 June 1917), 8 

The death of Mr. Hugo Alpen, which occurred on Wednesday night at the Sacred Heart Hospice, at the age of 75 years, removes a genial and esteemed musician who passed the greater part of a long life in this country. He entered the Education Department of New South Wales in 1873, and ultimately held the position of Director of Music for more than 30 years, retiring under the Civil Service Act after the October examinations of 1908. He was thus personally known to thousands of former school-children, who now, in later life, recall with pleasure the melodies he composed for the Patriotic Cantata for the Countess of Jersey's "Song of Empire," and other tuneful pieces rendered by massed choirs of children on State occasions.

The late Mr. Alpen's first public appearance was at the Sydney International Exhibition of 1879 (the Garden Palace, Botanic Gardens), where he gave pianoforte recitals. His first Sydney composition was a cantata for the opening of the Glebe Town Hall, and later his compositions were for the opening of the First Australian Children's Exhibition, for the Centennial Celebrations ("Patriotic Cantata"), for the farewell of Lord and Lady Carrington (now Marquis and Marchioness of Lincolnshire), and for the inauguration of the Commonwealth.

In 1910, after 52 years of uninterrupted work as teacher and director, Mr. Aplen revisited Europe, and saw again his birthplace, Kellinghusen, near Hamburg, where he was serenaded by the local liedertafel, which his father has conducted in the early 'Thirties. He then visited many famous opera-houses in Paris, London, Brussels, and elsewhere, staying for some time in the Belgian capital, where his son George was then in business. He made his reappearance in Sydney as conductor of the massed school choirs at the St. Patrick's Day concert in 1911 in the Town Hall, when also he was the principal accompanist. Since that occasion, although he continued to teach for a time with unabated buoyancy and energy of spirit, he retired from public life. This year he was attacked by acute neuritis, and from various causes he passed away after severe suffering, surrounded by the members of a large and devoted family of sons and daughters.

For many years Mr. Aplen resided at "Mozart," The Avenue, Strathfield, where his wife predeceased him ten years ago. He has left a family of two sons and seven daughters - Mr. Geo. Alpen, now a prisoner of war at Ruhleben Camp, in Germany; Mr. Hugo Thomas Alpen, employed by Goldsbrough, Mort, and Co.; Mrs. Geo. Crisp, of "Matong," Cooma; Mrs. T. Dunn, of Mosman; Mrs. W. P. Humphreys, of Mosman; and Miss Dagmar Alpen, Miss Marie Alpen, and Miss Elfreda Alpen. A requiem mass will be said at the Sacred heart Church at 7 o'clock this morning and the funeral will leave the church at 1 p.m. for Rookwood Cemetery.

See also "DEATH OF MR. HUGO ALPEN", The Catholic Press (28 June 1917), 15 

"DEATH OF MR. HUGO ALPEN", The Daily Telegraph (22 June 1917), 5 

The death of Hugo Alpen which took place yesterday at St. Vincent's Hospital, breaks another link with that interesting period in Sydney's musical history when Vogrich conducted the Sydney Liederiatel, Henri Kowalski the Philharmonic Society, and Ashcroft Edwards the Metropolitan Liedertafel; when Sydney Moss was styled the "Leschetitzky of Sydney," and the Kellermans and Horace Poussard formed the Sydney Quintet Society; when Colbourne Baber was one of the sopranos, and Charles Huenerbein was the favorite accompanist; when Edward Strauss was the principal 'cellist in the days before Gerard Vollmor came and conquered. These and many others of the old brigade - Hallewell, Montague Younger, Neville Burnett, Lardelli, Leon Caron, Delany - are only names to the rising musical generation. Yet it is on the foundation laid by these men and their immediate successors that the goodly edifice of music to-day is being built.

Among the foundation men the name of Hugo Alpen will always find an honored place. His musicianship was backed by a genial, kindly nature and an inexhaustible energy and enthusiasm which eventually found its most congenial opportunity among the public schools of the State, for which he was superintendent of music. When he was retired at the regulation ago some years ago he fretted keenly over his enforced inaction, and of late years, in consequence, he had entirely dropped out of the musical circle and its activities. Hugo Alpen had a natural gift of melody, and his school songs found much favor. His larger works, particularly his masses, had the gracious quality of Mendelssohn, of whom he was ever a staunch admirer. He was a splendid example of the musician who is always in earnest in doing his best.

At the proclamation of the Commonwealth he conducted a chorus of 20,000 children in Centennial Park, when his own composition, "Federated Australia," was sung. He leaves seven daughters and two sons. Early in the war Mr. George Alpen, who was in Brussels, was taken prisoner by the Germans when that city fell, and he is imprisoned in Ruhleben Camp.

"NOTES ON CURRENT EVENTS", The Albury Banner and Wodonga Express (29 June 1917), 27 

During the past week there passed away a former highly-respected resident of this town in the person of Herr Hugo Alpen. Forty years ago he was the only professional musician in Albury, and most of the middle-aged matrons of to-day received their first instruction from the old gentleman who has passed away. For many years he was the head centre of musical circles. He founded the Philharmonic Society, he conducted the performance of "H.M.[S.] Pinafore," by amateur vocalists, among whom old residents will remember the "Buttercup" of Mrs. Willis, and the gorgeous Lord High Admiral of dear old Walker Jones. Herr Alpen was indeed the life and soul of social life in the old days, a thorough and conscientious musician, his departure for a long time left a gap hard to fill. At the opening of St. Patrick's Church in the early 'seventies of the last century he conducted a mass of his own composition.

Musical sources (selected):

Vine leaves, suite of valses, composed and dedicated to J. T. Fallon, Esq're., Albury, by Hugo Alpen ([Melbourne}; H. G. De Gruchy & Co., lithographers, [1868]) (DIGITISED)

ASSOCIATIONS: Henry George De Gruchy (lithographer, printer)

Mass in D major, composed by Hugo Alpen [Kyrie, Gloria (incomplete at beginning)]; MS, National Library of Australia (DIGITISED)

Mass in G major, composed by Hugo Alpen [Credo; Sanctus, Benedictus; Agnus Dei]; MS, National Library of Australia (DIGITISED)

Other sources:

Papers of the Alpen family, 1864-1971; MS 5710, National Library of Australia (FINDING AID)

Bibliography and resources:

R. S. Stevens, "Hugo Alpen - New South Wales Superintendent of Music, 1884-1908", Unicorn 19/3 (September 1993) (DIGITISED)

Deborah Crisp, "Amateurs and professionals: a snapshot of musical life in a country town, 1860-1865", Australasian Music Research 1 (1996), 103-140

Graeme Skinner, "Alpen, Hugo", Dictionary of Sydney (2008)

Howard C. Jones, "Hugo Alpen - Albury's first Mr. Music", Albury history, posted 2021 (DIGITISED)

ALLPORT, Mary Morton (Mary Morton CHAPMAN; Mrs. Joseph ALLPORT)

Amateur musician, harpist, amateur artist

Born Birmingham, England, 17 May 1806; daughter of William CHAPMAN and Ann EVETT
Married Joseph ALLPORT (1800-1877), Aldridge, Staffordshire, England, 20 December 1826
Arrived Hobart Town, VDL (TAS), 11 December 1831 (per Platina, from London, 30 July)
Died Hobart, TAS, 10 June 1895, aged "89" (NLA persistent identifier) (Wikipedia) (shareable link to this entry)

Mary Morton Allport playing the harp at Aldridge Lodge, c. 1860s (detail); Tasmanian Archive and Heritage Office

Mary Morton Allport playing the harp at Aldridge Lodge, c. 1860s (detail); Tasmanian Archive and Heritage Office


"SHIP NEWS", Colonial Times (14 December 1831), 2

Dec. 11. - Arrived the barque Platina, W. S. Wilson, Commander; from London the 30th July with a general cargo. This vessel touched at the Cape and sailed from there on the 31st October. Passengers for New South Wales, Mrs. Wilson, Mr. and Mrs. Ball and child, Mr. and Mrs. Chapman and child, Mr. and Mrs. Allport and child . . .

"Deaths", The Mercury (12 June 1895), 1

ALLPORT. - On June 10, at "Aldridge Lodge," Hobart, Mary Morton Allport, widow of the late Joseph Allport, of Hobart, solicitor, aged 88.

"Tasmanian Letter", Australian Town and Country Journal (22 June 1895), 37

Old colonists who may know Tasmania and her people personally will be sorry to hear of the death of one who knew Van Diemen's Land in the very early days. I refer to Mrs. Allport, widow of Mr. Joseph Allport, the well-known solicitor, who died at her residence, in Holebrook Place, on Monday, 10th, at the very great age of 89. The old lady's friends in this part of the island are very numerous, and the names of her sons and grandsons are so well known in the different branches of their professions that any remarks of mine would be superfluous.

Bibliography and resources:

Joanna Richardson, An annotated edition of the journals of Mary Morton Allport (Ph.D thesis, University of Tasmania, 2006) (RESTRICTED)

Joanna Richardson, "Introducing Mary Morton Allport and her journals", Tasmanian Historical Research Association: Papers and Proceedings 54/1 (April 2007), 34-49 (PAYWALL)

Ian Henderson, "Eyeing the lady's hand: the concealed politics of Mary Morton Allport's colonial vision", Journal of Australian Studies 66 (2000), 104-115 (PAYWALL)

"Mary Morton Allport", Design & Art Australia Online (DAAO)

Henry Allport, "Allport, Joseph (1800-1877)", Australian dictionary of biography 1 (1966)

ALLPRESS, George Rivers (George Rivers ALLPRESS; Mr. G. Rivers ALLPRESS)

Musician, violinist, pianist, professor of music, teacher of violin, viola and piano

Born Sandhurst, VIC, 1864; son of Charles ALLPRESS and Emma DAVY
Died Johannesburg, South Africa, 8 April 1918 (TROVE tagged by Australharmony) (NLA persistent identifier) (shareable link to this entry)


George Rivers Allpress, c. early 1870s; National Library of Australia

George Rivers Allpress, c. early 1870s; National Library of Australia (DIGITISED)


"A YOUNG MUSICIAN", The Maitland Mercury (28 September 1876), 3

A musical genius in embryo, in the person of Master George Allpress, is (says the Daily Telegraph) at present on a visit in Melbourne. Master George is little more than ten years old, and is a violinist and pianist of extraordinary capacity. His father, Mr. Charles Allpress, of Kangaroo Flat, Sandhurst, noticing his very early bias for music, has had him for the last two or three years taught the violin, and he plays on a tiny one made for him, with wonderful skill for so small a child, his bowing and fingering are specially noticeable for their ease and finish, and as he is a fluent reader, his appearance, as he stood in Messrs. Allan and Co.'s rooms, before a select number of musical people, playing a brilliant fantasia on airs from "Lucrezia Borgia," was that of a little maestro. About twelve months since he commenced to display a predilection for the piano, and his father at once placed him under the tuition of Herr Edward Calon, a Sandhurst teacher of note, who has advanced him in his studies so rapidly that, although he did not know a note of bass when he commenced, he is now able to execute Beyer, Lange, Farmer, Oesten, and other authors' compositions. His execution of Beyer's "La Fille du Regiment," and West's fantasia on airs from "Guillaume Tell," was astonishing, the great feature being the extraordinary amount of expression introduced by him, and the judgment he evinces in his use of the pedals. Herr Calon is very proud of his child-pupil, and he may well be so. There is a great future in store for the little fellow, if he is treated wisely.

ASSOCIATIONS: Edward Calon (teacher)

"A popular Sydney Musician. MR. G. RIVERS ALLPRESS", Australian Town and Country Journal (13 April 1889), 28

Mr. G. Rivers Allpress, the well-known violinist, was born in Sandhurst (Victoria) in 1864, and began to learn the violin when 7 years of age, and the pianoforte when 10 years. He practised both assiduously, and also studied harmony and composition, and frequently appeared as a boy soloist at the various concerts and entertainments given for charitable purposes in the Bendigo district. In 1879 he
WENT TO NEW ZEALAND, where he travelled for about twelve months as an orchestral performer. He then settled in Wellington as a teacher of the violin and pianoforte. He also gave concerts of chamber music very successfully. He was compelled, however, to return to Australia by ill health; and on his arrival
IN MELBOURNE IN 1883 he accepted an offer to become leader of the orchestra for the Montagu-Turner Opera Company, then playing in the Gaiety Theatre, Sydney. He travelled with the company through the country towns of New South Wales as conductor, and on the termination of this engagement became first violin in the Bijou Theatre, Melbourne, for three months, when he again joined the Montagu-Turner Company. On leaving this company Mr. Allpress
RETURNED TO SYDNEY with the intention of settling. He was associated with Herr Vogrich in his concerts in the Old Masonic Hall as viola player in chamber music; and then he accepted an engagement as leader and conductor in the Opera House. This lasted for about eight months. Since then he has been actively engaged as soloist, accompanist, &c., and the many favorable notices he has received testify to the appreciation of his talents by the public. At the grand ceremonies in connection with the establishment of the United Grand Lodge of Freemasons of New South Wales, Mr. Allpress conducted with a chorus of sixty voices in an able manner. At present he is one of the managing committee of the Orpheus Glee Club (the professional chamber music society of Sydney). His latest appointment was to the conductorship of the Metropolitan Liedertafel, for which position he was selected out of over twenty applicants. Mr. Allpress has a just conception of the meaning of the music he plays; and he plays it accordingly. His fingers divide the strings of his instrument with
MATHEMATICAL PRECISION. In dreamy andantes and larghettos he plays with exquisite tenderness and feeling, and in vivacious and sprightly music, and more especially in prestissimos he is brilliant and captivating. Staccato passages flow from his bow like a shower of musical pearls; and in variations his time is so perfect that the ear of the listener can always discern the outlines of the varied themes. Our portrait is from a photograph by Messrs. Holm and Company, of George-street, Sydney.

"DEATH OF RIVERS ALLPRESS", The Sydney Morning Herald (27 July 1918), 14

Mr. A. E. O'Brien, general secretary of the Musicians' Union, hears from the Musicians' Union in South Africa, that Mr. Rivers Allpress died in Johannesburg on April 3 of this year. Mr. Rivers Allpress will be remembered by many musicians as an Australian violinist of exceptional ability during his long residence in Sydney. Becoming a confirmed sufferer from asthma, he was imperatively obliged to leave for change of climate.

Other sources:

George Rivers Allpress, portrait by Tom Roberts (c. 1895); National Gallery of Vivtoria (DIGITISED)


Music lithographer, printer

Born London, England, 9 December 1826; baptised Irvingite chapel, Stepney, 17 January 1830; son of David ALVAREZ and Rachel RODRIGUES
Married (1) Zipporah BENSABAT (d. VIC, 1859), London, England, 1854 (2nd quarter)
Arrived Melbourne, VIC, by 1859
Married (2) Sarah Eleanor JOHNSTON, Hobart, TAS, 7 October 1863
Died Sydney, NSW, 17 May 1903, aged "78" (TROVE tagged by Australharmony) (shareable link to this entry)


Register of baptisms, Old Artillery Ground chapel (Irvingite), Parliament Court, Bishopsgate, 1829-1840; UK National Archives, RG 4/4375 (PAYWALL)

1830 January 17 / John Solomon / Mile End Old Town / [born] December 9, 1826 / [son of] David Alvarez [and] Rachel Rodrigues / 39 Gurr Street / Clerk . . .

England census, 30 March 1851, South Hackney, Middlesex; UK National Archives, HO 107/1506 (PAYWALL)

Albert Grove, Grove Street / David Alvarez / Head / 57 / Retired Missionary / [born] Holland
Rachel [Alvarez] / Wife / 58 / [born] Middl's'x . . .
John Solomon [Alvarez] / Son / 23 / Lithographer / [born Middlesex] . . .

"NEW INSOLVENTS", The Argus [Melbourne, VIC] (20 June 1860), 5

John Alvarez, of Emerald Hill, printer. Causes of insolvency - Pressure of creditors and being unable to work.
Liabilities - £61 10s.; assets, £10; deficiency, £51 10s. Mr. Jacomb, official assignee.

"INSOLVENT COURT. WEDNESDAY, 16TH MARCH, 1864", The Mercury [Hobart, TAS] (17 March 1864), 2

In re JOHN ALVAREZ. This was a first meeting for proof of debts. Mr. Graves, for insolvent. The following debts were proved: . . .
J. Walch & Sons, £53 16s. 8d. (Crisp and Gill) . . .

"ASSINGNMENTS", South Australian Register [Adelaide, SA] (8 October 1880), 4

John Alvarez, of Adelaide, formerly printer, now out of business.


E. H. Murray sued the Boomerang Newspaper Company, Limited, for £81 17s. 6d., being wages, &c., due . . .
John Alvarez, a lithographer, manager for Messrs. Gordon and Gotch, and a workman of forty-six years' experience, deposed that he had known the plaintiff for about three years; he had frequently done drawing work for his firm; while Murray was on the Figaro he did work for Messrs. Gordon and Gotch, and did it well and quickly; Murray was a good all-round man; overtime was usually paid time and a half-that had been the custom wherever he had been employed; after 12 o'clock double time would require to be paid; the working week varied in different establishments - in Messrs. Gordon and Gotch's it was thirty-nine hours for draftsmen; in Melbourne and Sydney it was forty-two and forty respectively; £3 per weok was paid for a good man.
By his HONOUR: He knew something about superficies, but could not say how many inches a man could do in a week; he estimated that it would take about seventy hours to do the cartoon work in to-day's Boomerang [produced]; it would take about the same number of hours to complete the work in the Christmas number of 1887; seventy-five hours to do that in the number of 28th January, 1888, and in that of 3rd March of the same year about seventy-four hours.
Cross-examined: Comparing the number of 3rd March, 1888, with that of to-day, there was more work in the former than in the latter; forty hours a week he considered a fair time for an artist like Mr. Murray to work . . .

"DEATHS", The Sydney Morning Herald (19 May 1903), 4

ALVAREZ - May 17, at Ashbrook, Denham-street, Glebe, John Alvarez, aged 78.

Musical editions:

Caller herrin (1861)

Caller herrin, the celebrated Scotch song as sung by Mr. J. R. Black, with symphony from Knapton's variations (Hobart Town: G. Rolwegan; printed by J. Alvarez, [1861]) (DIGITISED)

"NEW MUSIC", The Mercury [Hobart, TAS] (31 December 1861), 2

We have received a copy of the celebrated Scotch song "Caller Herrin," which Mr. Black, the Vocalist, rendered so popular in Hobart Town. It is published by Mr. Rolwegan, of Collins Street, having been lithographed by J. Alvarez, of Warwick Street. The frontispiece is a beautiful specimen of illuminated lithography, and contains a vignette of St. Giles, Edinburgh, whilst in another vignette is a "Scotch lassie," vending "Caller Herrin." As a specimen of colonial art, it is highly creditable, and we can only hope that both the publisher and the lithographer may meet with that success which their enterprise deserves.

"MUSIC", Launceston Examiner (2 January 1862), 5

We have to acknowledge the receipt of a lithographed copy of the song "Caller Herrin," sung here by Mr. Black. It has an illuminated lithographed frontispiece containing a vignette of St. Giles' Church, Edinburgh, and also one of a Scotch girl selling "Caller Herrin." The lithographer is Mr. J. Alvarez, of Hobart Town, and the publisher Mr. G. Rolwegan, of the same town.

ASSOCIATIONS: John Reddie Black (vocalist); George Rolwegan (publisher)

The Tasmanian Yacht Club polka (1862)

The Tasmanian Yacht Club polka, respectfully dedicated to the members of the club by Miss Mary Oldham (Hobart: J. Walch & Sons; J. Alvarez & Co., printers, [1862]) (DIGITISED)

"THE TASMANIAN YACHT CLUB POLKA", Launceston Examiner (26 June 1862), 5

This is the name of a very pretty polka just published at Hobart Town, and now on sale at the establishments of Messrs. Walch and Sons. It is composed by Miss Mary Oldham, and dedicated by her to the members of the club. The music is lively and spirited, and the piece will doubtless become a great favorite. The lithographers, Messrs. J. Alvarez and Co., are entitled to notice, for the creditable manner in which they have printed it.

ASSOCIATIONS: Mary Oldham (composer); J. Walch and Sons (publisher)

AMERY, Edwin (Edwin AMERY; Mr. E. AMERY; Mr. AMERY; later performed as Edward AMERY)

Musician, vocalist, bass, baritone, minstrel, clerk, bricklayer

Born Newington, Surrey, England, 11 November 1833; baptised St. Mary, Newington, 8 December 1833; son of William Amery and Mary Ann HEATON
Arrived Melbourne, VIC, 24 June 1855 (per Ballarat, from London, 18 March, aged "21")
Married Ellen BRIANT (BRYANT) (c. 1836-1885), VIC, 1857
Died North Fitzroy, VIC, 3 September 1887, aged "54" (TROVE tagged by Australharmony) (shareable link to this entry)


Baptisms solemnized in the Parish of Saint Mary Newington in the County of Surrey in the Year 1833; register 1829-40, page 85; London Metropolitan Archives, P92/MRY/038 (PAYWALL)

No. 680 / Dec'r 8th / Born Nov'r 11 1833 / Edwin son of / William & Mary Ann / Amery / Friar Street St. George's / Bricklayer . . .

England census, 30 March 1851, St. George, Southwark, Surrey; UK National Archives, HO 107 / 1563 (PAYWALL)

51 Great Suffolk Street / William Amery / Head / 44 / Bricklayer & his own 2 Sons employees, 1 man / [born] Surrey Chumleigh
Mary Ann [Amery] / Wife / 40 / - / [born] Surrey Christ church
William [Amery] / Son / 18 / Bricklayer / Surry Newington
Edwin [Amery] / Son / 17 / Bricklayer / Surry Southwark [sic]
Thomas / 15 // Henry / 12 / Robert / 11 // Samuel / 7 / Mary / 5 // Ebenezer / 3 // James / 1

Names and descriptions of passengers per Ballarat, from London, for Port Phillip; Public Record Office Victoria (DIGITISED)

. . . London / Amery Edwin / 21 / Bricklayer . . .

[Advertisement], The Argus [Melbourne, VIC] (12 December 1859), 8 

A miscellaneous CONCERT, under the patronage of G. M. Stephen, Esq, M.L.A.; C. J. Don, Esq., M.L.A., and the Municipal Council of East Collingwood,
will be held in the National Hall, King William-street, THIS (Monday) EVENING, December 12.
Principal soloists - Miss S. Mortley, Master Johnson, Mr. Izard, Mr. Amery, and Mr. Wilson.
Pianist - Miss Smith. Doors open at 7 o'clock; to commence precisely at half-past.
Tickets, 2s, each; reserved seats, 3s. 6d.

ASSOCIATIONS: Thomas Oates (musician); Sarah Mortley (vocalist); Master Johnson (vocalist); Henry John Izard (vocalist); Emilie Smith (pianist)

[Advertisement], The Argus (5 July 1860), 8 

MR. OATES'S CONCERT, under the patronage of His Excellency the Governor, in aid of the debt on St. Mark's Church,
on Friday next, July 6, in the Schoolroom, George-street.
Principal vocalists: Miss S. Mortley, the Misses B. and E. Watson, Messrs. Izard, Amery, and Wilson.
Pianists. - Messrs. Ashton and Litolff.
Tickets. - Reserved seats, 5s.; unreserved, 2s 6d. to be had of the managing trustees.
Doors open at 7 o'clock.

ASSOCIATIONS: Bertha and Eleanor Watson (vocalists); Michael Ashton (pianist); Francis Litolff (pianist)

[News], The Argus (18 September 1862), 5 

The members of the Orpheus Union gave the first concert of their second season at the Mechanics' Institution, Melbourne, last night, and it passed off with great eclat. The society was established for the purpose of cultivating a taste for part-singing, and the programme comprised a selection of part songs and madrigals by Mendelssohn, Hiller, Kücken, Hartel, and other composers. Though the strength of the performers was not numerically large, there being only about twenty, the voices were evenly balanced, and were quite sufficient for the dimensions of the room. The able manner in which the whole of the pieces were executed testified to the care and pains with which the vocalists had been trained. They sang both with a just appreciation of harmony and of the spirit of the songs with which they were entrusted; and the audience complimented them with repeated expressions of approbation. Some of the selections were encored, including "The Wreath," a madrigal by Jules Benedict, and "Tears of Anguish," a canzonetta by Reichardt, which was one of the gems of the evening. The solo part in the canzonetta was taken by Mr. S. Angus, and in some of the other pieces solos were sustained by Miss Mortley, Mr. E. A. Beaumont, Mr. Ford, Mr. Amery, Mr. Adams, Mr. Davis, and Master Cook. The madrigals and part songs were agreeably interspersed with the singing of "Sweet Spirit, Hear my Prayer," from the opera of "Lurline," and the touching ballad of "Little Nell." Both of these were rendered by Miss Octavia Hamilton with her accustomed power, andreceived encores. Mr. G. R. G. Pringle played a solo on the pianoforte, "L'Invitation a la Valse," in which he displayed much taste as well as skilful manipulation, and it was rapturously redemanded. There was a very respectable audience, though not so large a one as at some of the previous concerts of the Orpheus Union. The entertainment, in a musical point of view, deserved to have been honoured with a full room. The society has evidently done some service in the good cause which it is intended to foster, and its efforts deserve every encouragement from the lovers of music. We must not omit to mention that Mr. S. Kaye, to whom a large portion of the credit for the successful manner in which the vocalists acquitted themselves belongs, officiated as the conductor of the concert, and performed his onerous duties very satisfactorily.

ASSOCIATIONS: Silvanus Angus (vocalist); Armes Beaumont (vocalist); Thomas Ford (vocalist); John Cook (vocalist); Octavia Hamilton (vocalist); George Robert Grant Pringle (pianist); Samuel Kaye (conductor); Orpheus Union (association); Mechanics' Institution (Melbourne venue)

[Advertisement], The Star [Ballarat, VIC] (3 October 1863), 3

QUADRILLE BAND, Under the Leadership of Mr. Schraeder.
MISS PILKINGTON, MRS. JAS. BUNCE, MISS LIDDLE, MR. AMERY, And other Ladies and Gentlemen will assist.
MR. AH COON, Chinese Interpreter, has kindly consented to Sing a Comic Song in the Chinese Language, accompanied by full CHINESE BAND.

ASSOCIATIONS: Samuel Frederick Schrader (musician); Anna Alicia Pilkington (vocalist); Charlotte Bunce (vocalist); Maggie Liddle (vocalist); Hugh Ah Coon (vocalist)

"THE NEWS OF THE DAY", The Age (6 October 1863), 5 

A grand concert and art union, given by a number of well-known musical professors and amateurs, on behalf of Mr. S. Greenwood, organist at St. Johns, who has recently sustained a heavy loss, came off at St. George's Hall, last night. The hall was crammed, and the efforts of the artistes, who gave their services, received warm recognition. The programme included a pleasing selection of choruses, part songs, ballads, duets, &c., and the music was all excellently performed. The principal vocalists were Miss Octavia Hamilton, Miss Liddle, Miss Budden, Miss Young, Mr. W. H. Williams, Mr. E. Exon, Mr. C. A. Donaldson, Mr. Silvanus Angus, Mr. C. Amery [sic], and Mr. Kursteiner. The instrumentalists who distinguished themselves were Herr Schott and Mr. Hornidge, who performed respectively, several solos upon the oboe and flute in a very meritorious manner. Herr Elsasser presided at the pianoforte, and, in addition to being an accomplished pianist, this gentleman proved himself a successful conductor. Several of the pieces had to be repeated, and the whole selection was most favorably received, as, from its unexceptionable rendering, it deserved to be. In the interlude, Mr. T. P. Hill gave his reading of Tennyson's "Charge of the 600." The prize in the Art Union, a grand piano by Erard, fell to to Mr. Detmold, of Swanston street. At the conclusion of the concert and art union, the benches were cleared from the hall, and dancing followed. The party did not break up until a late hour.

ASSOCIATIONS: Samuel Greenwood (musician); William Henry Williams (vocalist, printer); Edwin Exon (vocalist); Charles Alexander Donaldson (vocalist); Alfred Frederick Kursteiner (vocalist); James Arthur Schott (oboe); John Pryce Hornidge (flute); Charles Elsasser (pianist, accompanist); St. George's Hall (Melbourne venue)

[Advertisement], The Age (1 September 1864), 8 

TO-NIGHT (THURSDAY), 1st SEPTEMBER. In Aid of the Shakspeare Statue Fund.
Principal Vocalists: Miss Octavia Hamilton, Miss Mortley, Mrs. Fox, Mr. W. H. Williams, Mr. Amery.
In addition to many favorite, as well as some less-known songs, ballads, &c., rendered by the principals, the whole of Locke's Music from "Macbeth," and a great variety of popular glees (all to Shakspeare's words) will be performed by a chorus of 50 selected voices.
A Band of 25 performers, kindly supplemented (by the kind consent of Barry Sullivan, Esq.) with some of the principal solo-players from the Theatre Royal Band, will perform several overtures, &c.
Leader: Mr. E. King. Pianist: Mr. G. Tolhurst.
Conductor: Mr. G. R. G. Pringle.
To commence at Eight o'clock. Reserved seats, 4s.; unreserved seats, 2s. 6d.; Balcony, 1s.
Tickets at Wilkie, Webster & Co.'s.
W. H. WILLIAMS, Hon. Sec.

"MR. MOORE'S CONCERT", The Herald [Melbourne, VIC] (26 May 1864), 2 

A benefit concert to Mr. Moore, a gentleman who has long enjoyed a highly favourably local reputation in the Mount Blackwood district, was given last night at St George's-hall, before a rather numerous audience. Mr. Moore, being afflicted with opthalmia, is unable to follow his occupation, and a committee of friends arranged the entertainment with the object of supplementing a fund raised by subscription to frank him to England, where he hopes to be in a position to obtain the necessary medical advice. A very enticing programme, the only fault of which was a somewhat superabundant liberality - a circumstance which a determined proclivity on the part of the audience to encore all they heard made more apparent than probably otherwise would have been the case - received full justice from an unusually strong vocal corps, including the very clever Howson family . . . Several part songs of the modern German school were nicely sung by Messrs. Williams, Amery, Donaldson, and Angus . . .

ASSOCIATIONS: Emma and Clelia Howson (vocalists, pianists); Frank Alfred and John Jerome Howson (musicians)

"THE NEWS OF THE DAY", The Age (2 September 1864), 4 

A concert of vocal and instrumental music, in aid of the Shakspeare Statue Fund, was given at St. George's Hall, last night. The building was about three parts filled. The entertainment, which bore the rather ambitious title of "A Shakspearian Musical Festival," was distinguished by the peculiarity that all the music performed was set to the words of the great dramatist. Under this head several very beautiful compositions will readily occur, and it is much to be regretted that on such an occasion, by an amalgamation of the musical talent of Melbourne, a concert more worthy of the commemoration was not produced. The vocalism, for the most part, was inferior, arising as much from the lack of numbers as any other cause. Mr. G. R. G. Pringle, the conductor, however, made the best disposition of his forces possible, and some of the glees were rendered with very pleasing effect. The instrumental music was very good, the band including many professionals, and Locke's music to "Macbeth," Mendelssohn's "Midsummer Night's Dream" overture and "The Wedding March," were rendered in first-rate style. The principal vocalists were Miss O. Hamilton, Miss Mortley, Mrs. Fox, Mr. W. H. Williams, and Mr. Amery. Mr. E. King led the band, and Mr. G. Tolhurst presided at the pianoforte. The most successful vocal effort of the evening was the duet from "A Midsummer Night's Dream," "I know a Bank," sung by Miss Hamilton with Mrs. Fox, and encored. Mr. Williams delivered Nelson's song, with band accompaniment, "My bliss too long," very effectively. Miss Mortley acquitted herself very creditably, and Mr. Amery did good service in the music from "Macbeth." Mrs. Fox also sung "Bid me discourse" remarkably well.

ASSOCIATIONS: Sarah Hannah Fox (vocalist); Edward King (violin, leader); George Tolhurst (piano)

[News], The Herald (13 April 1866), 2 

The Emerald Hill Philharmonic Society gave their first extra concert for the year last night in the Mechanics' Institute, Cecil street, on which occasion the oratorio "The Messiah," was performed, in a very satisfactory manner. Mrs. J. C. Ellis, Miss Liddell, Mr. Exon and Mr. Amery were entrusted with the solos, etc., which they rendered in a style that would have done credit to the metropolitan society. Mr. David Lee officiated as conductor, Mr. Durrant as leader, and Mr. Walter Bee as organist. The attendance, we are sorry to say, was not so numerous as such a high class entertainment merited.

ASSOCIATIONS: Marie Kramer Ellis (vocalist); David Lee (conductor); James Joseph Durrant (leader, violin); Walter Bee (organist); Emerald Hill Philharmonic Society (association)

[News], The Argus (27 October 1868), 5

A "grand musical service" is to take place this evening, at the Independent Church, Prahran, of which the Rev. W. Moss is the pastor, in aid of the choir fund. As the performances of this choir have already been well spoken of, it is not surprising to find the programme somewhat ambitious. It includes Spohr's cantata "God, thou art great;" Mendelssohn's "As the hart pants;" and a selection of sacred music, all performed by a band and chorus of sixty performers, with Mr. Julius Herz as conductor, and Mr. W. H. Tolhurst as leader. Mr. J. A. Edwards is to be the organist, and among the soloists are Mr. A. Ford, Mr. Amery, and other artists, mostly amateurs, more or less known to fame.

ASSOCIATIONS: Julius Herz (conductor); William Henry Tolhurst (violin, leader); John Ashcroft Edwards (organist); Alfred Ford (vocalist)

"THE NEWS OF THE DAY", The Age (12 June 1872), 2 

Under the direction of Mr. Adam Clarke, bandmaster of the Emerald-hill Artillery, a concert of vocal and instrumental music was given last evening in the Emerald-hill mechanics' institute. The vocalists comprised Miss Amelia Bailey, Miss B. Watson, Miss Florence Bassett, and Messrs. Stewart and Amery. An excellent orchestral band took part in the proceedings, which consisted of fifteen performers, and included the Durrant Brothers, - who contributed largely to the evening's amusement as bellringers.

ASSOCIATIONS: Adam Clerke (musician); Amelia Bailey (vocalist); Florence Bassett (vocalist)

[Advertisement], The Sydney Morning Herald [NSW] (30 March 1887), 2 

EDWARD AMERY [sic], recognised as the Leading Basso of the Minstrel Stage . . .

"Deaths", The Argus (5 September 1887), 1 

AMERY. - On the 3rd inst, at his residence, Southwark-cottage, St. George's Road, North Fitzroy, Edward Amery [sic], the dearly beloved father of Charles, Samuel, and Emma Amery, and of Mrs. Bull, of North Fitzroy, aged 54 years.
A peer amongst vocalists. Sydney and home and New Zealand papers please copy.

"COMMUNICATED", The Australasian (10 September 1887), 27 

On Saturday last Mr. Edward Amery died, at his residence in St. George's road, North Fitzroy, at the age of 54 years. For some time this gentleman has been prominently associated with what are known as minstrel companies, but a good many years ago he was well known as a regular concert singer, and was frequently heard in oratorio. He had an excellent baritone voice, whose power remained unimpaired until within a few weeks of his death. He was a sound musician, and a very effective member of the several companies with which he was from time to time connected. To the public his personal qualities were necessarily unknown, but by members of his profession he was greatly respected and liked, and his death has occasioned general and sincere regret.

"CURRENT NOTES", Melbourne Punch (22 September 1887), 2 

POOR old Edward Amery is dead and [in] his obituary friends describe him quaintly as a "peer among vocalists." The meaning of the phrase is not [? very] clear; rather may it be said that he had few [? enemies]. A real old cathedral basso, he will be a valued accession to the ranks of the angels' choir.

Probate and administration, Edwin Amery, vocalist, 1887; Public Record Office Victoria (DIGITISED) (DIGITISED) (DIGITISED)

AMNER, William (William Sandilands AMNER; William Sunderland AMNER; William AMNER)

Bellringer, change ringer, carpenter, shipwright, ship builder and owner, publican

Born Harwich, Essex, England, 27 October 1803; baptised St. Nicholas, Harwich, 20 November 1803; son of Timperly AMNER (1751-1828) and Sarah SANDILANDS
Married (1) Mary Ann WAYLING (1799-1856), St. Michael, Ramsay, Essex, England, 4 November 1824
Arrived Sydney, NSW, 6 January 1833 (per Edward Lombe, from London, via Hobart Town)
Married (2) Elizabeth Mary STREET (1819-1902), Sydney, NSW, 1 October 1859
Died Marrickville, NSW, 20 March 1884, aged "81" (TROVE tagged by Australharmony) (shareable link to this entry)


William Sandilands Amner was born at Harwich, Essex, on 27 October 1803, a son of Timperly Amner, shipwright, and his second wife Sarah Sandilands, who had married on 6 October 1802. It was presumably in his native Harwich, where William was also active as a shipbuilder by the late 1820s, that he acquired his knowledge of bell-hanging and bell-ringing, perhaps at his parish church, St. Nicholas, where his own children Esther (b. 1827) and Thomas (b. 1830) were baptised. St. Nicholas, newly built in 1821-22, was fitted out with a tower and peal of eight bells.


Baptisms solemnized in the Parish of Harwich St. Nicholas in the County of Essex in the Year 1803; register 1794-1812; Essex Archives (PAYWALL)

20 November 1803 / born 27 October 1803 / William Sandilands / [son of] Timperly [and] Sarah / Amner / Shipwright . . .

Marriages, Ramsey, Essex, 1824; England, select marriages database (PAYWALL)

4 November 1824 / William Sandeland Amner / Mary Ann Wayling . . .

List of steerage passengers by the barque Edward Lombe, from London and Hobart Town, January 1833; State Records Authority of NSW (PAYWALL)

[No.] 181 / William Amner / Carpenter // Mary Amner / his wife
William Amner / 7 years of age // Thomas Amner / 2 // Ester Amner / 5

"SHIPPING INTELLIGENCE. ARRIVALS", The Sydney Herald (7 January 1833), 2 

. . . yesterday . . . From London, via Hobart Town, same day, having sailed from the former port on the 25th of June, and the latter on the 28th of December, the barque Edward Lombe, 347 tons, Captain Freeman, with a general cargo of merchandise. Passengers . . . William Amner, carpenter; Mary Amner, William Amner, jun., Thomas Amner, and Esther Amner . . .

"THE NEW PEAL AT SAINT PHILIP'S", The Sydney Morning Herald (26 July 1859), 5 

YESTERDAY morning, at daybreak, most of the good citizens of Sydney, and especially those resident in the more northern parts of the city, were very agreeably surprised out of their matutinal slumbers by the unwonted music of eight tuneful bells, - rung with an admirable skill and science, and irresistibly recalling to the minds of many who heard them reminiscences of happy bye-gone days amid the hills and valleys of Old England. Even those who were strangers to such half sad, half joyous, recollections - and upon whose ears the clear and mellow tones also fell for the first time, listened delightedly to the loud and harmonious carillon; realising in some degree those numerous sentiments to which, from age to age, the waiters of our common Fatherland have given utterance in the matter of church bells, - renowned alike in history, in romance, and in song. From the top of the battlemented tower of St. Philip's Church which, situated on a commanding eminence, at once adorns and overlooks the city, its harbour, and the adjacent country - both the red flag of Britain and the pale blue starry cross of the ensign of New South Wales waved to and fro; telling to the eye, as the bells did to the ear, that the day was some festival - obviously, a not unmusical one. What was the occasion? It did not appear to be generally known. Nevertheless it was at once remarked that the peal was a new one - another addition to that stock of ideas and customs to which we cling as common both to us and the people of the mother country.

The peal of bells yesterday inaugurated, or to use the technical phrase, " opened" at St. Philip's, are the munificent gift of Mr. John Campbell, M.L.A., of Campbell's Wharf, to that (his native) parish; having cost the donor as much as much as £850, and coming from the foundry of Messrs. Charles and George Meares, of Whitechapel, London. They arrived here in the Lovestein from England, about three months ago, and have been hung in the tower by an old and respected parishioner, Mr. William Amner. The difficult and tedious task of "hanging" them is understood to have been satisfactorily completed some days ago, but the ceremony of ringing them for the first time was purposely postponed by the church wardens until yesterday, the 25th instant, the birthday of the Donor; it being considered that no day could by any possibility be selected which would be equally appropriate. The weights of these bells are respectively as follows: cwt. qr. lbs.
The tenor - 20 1 12
7th - 13 1 14
6th - 10 1 27
5th - 9 1 12
4th - 8 0 20
3rd - 7 0 27
2nd - 6 1 6
The treble - 6 0 7
Total - 81 1 13
The bells were opened by the following professed ringers: -
Mr. William Amner (who hung them) rang the treble, Mr. William Westbrook the second bell, Mr. William Wood the third, Mr. Arthur Wood, junior, the fourth, Mr. James Wood the fifth, Mr. Richard Skinner the sixth, Mr. Simeon Henry Pearce the seventh, with Mr. Henry Geering and Mr. William Davidson as tenor-men.
Besides the foregoing the following ringers kindly volunteered their services during the day: -
Messrs. Arthur Wood, senior, John Copp, Richard Jewell, W. Taylor. Richard Freeman, Charles Barker, W. Ashton, and Norman Self.

The ceremony of opening the peal was under the immediate supervision of the churchwardens of the parish, Mr. John A. Mathews, Mr. Henry Allen, and Mr. Edward Porter. About noon, Mr. Campbell, accompanied by the last named gentlemen and others, paid a visit to the belfry, where he was received by the ringers and several visitors there assembled with loud cheers, and other hearty demonstrations of cordial esteem and respect. He remained some time, during which a sample peal was rung in true artistic style, and on his departure was again greeted with rigorous cheers. The bells rang merrily at intervals in the true old English fashion - singles and doubles - until three in the afternoon, when the bellringers adjourned to Mr. William Cole Ashton's inn - the Beehive, in Prince-street, where a substantial repast had been provided for them by the liberality of Mr. Campbell, who honoured the party with his presence on the occasion.

Besides the two sets of professional ringers, the churchwardens, some of the parishioners and other gentlemen were also present, amongst whom was Mr. S. S. Cowper, the youngest son of the late Venerable Archdeacon Cowper, for so many years the incumbent of St. Philip's parish. The chair was occupied by Mr. W. Amner, and the vice chair by Mr. Simeon Henry Pearce, of Randwick; the chairman being supported on either side by the churchwardens and by Mr. Campbell. About thirty persons were present. After the usual loyal toasts of the Queen, the Prince Consort and Royal Family, had been proposed and duly acknowledged, the health of his Excellency the Governor-General was proposed and responded to. The health of Mr. John Campbell, the donor of the peal of bells to St. Philip's parish, was then proposed by Mr. Amner, and drank with all the honours, Mr. Campbell returning thanks. Several other healths were also proposed in the course of the evening, and suitably responded to, appropriate airs being played to them on a chime of bells in the room by Mr. Westbrook. Amongst these concluding toasts were the following: "Mr. J. A. Mathews, senior churchwarden," "The Churchwardens generally," "The Press," "The Ringers," "The Chairman and Vice," and last, not least, "The Ladies." The last toast having been acknowledged in a neat speech by Mr. S. S. Cowper, the party broke up shortly alter six o'clock, some wending homewards, and some adjourning to the church, where they rang another merry peal. It is remarked that the bells are hung in a very workmanlike and skilful style, the ringers being unanimous in their good opinion as to the manner in which they have been put up.

ASSOCIATIONS: Charles and George Mears (bell founders), see also Whitechapel Bell Foundry (Wikipedia); John Campbell (donor); Richard Lord Skinner (ringer); St. Philip's church (Sydney)

"MARRIAGE", The Sydney Morning Herald (4 October 1859), 1 

On Saturday, the 1st instant, by special license, by the Rev. Dr. Lang, M.P., at No. 1, Bent-street, Sydney, Mr. William Sunderland Amner, shipbuilder, Cumberland-street, Sydney, to Ellzibeth Mary, second daughter of Mr. Henry Streat, Giltspur-street, London.

"GENERAL NEWS", The Adelaide Express [SA] (2 September 1864), 2 

The Albert Bells Committee met on Thursday, September 1, Mr. Thomas English in the chair. Letters were read from Messrs. G. S. Walters and F. H. Faulding, stating that subscription-lists had been opened in London for persons interested in the colony to enter their names as subscribers to the Bells Fund, and hoped they should be able to report satisfactorily. A further letter was received from Messrs. Warner & Sons; also one from Messrs. Naylor, Vickers, & Co., steel bell manufacturers; and an extract of a letter on the same subject (steel bells) was read from a friend of Mr. A. S. Clark, stating that the preference in England is given to the usual bell metal. Letters were also read from Mr. William Amner, of Sydney, and Mr. William Chrisfield, Melbourne, offering their services to hang, &c., the bells on arrival . . .

ASSOCIATIONS: William Chrisfield (bell ringer, Melbourne)

"Deaths", The Sydney Morning Herald (21 March 1884), 1 

AMNER. - March 20 at his residence, Emily-street, Marrickville, after a long and painful illness, Mr. William Sunderland Amner, aged 81 years.


Musician, bass drum player, "man of colour"

Active Melbourne, NSW (VIC), by c. 1840 (shareable link to this entry)


THE CHRONICLES OF EARLY MELBOURNE . . . NEW SERIES. BY GARRYOWEN [ = Edmund Finn]. CHAPTER XVIII . . . OLD TOWN BANDS", The Herald [Melbourne, VIC] (23 June 1883), 3 

The first Town Band in Melbourne was formed in 1839, and consisted of about a dozen players, the names and instruments of some of them being . . . Anderson (a man of color, y'clept, "Black Jack"), big drum . . .

ASSOCIATIONS: Melbourne Town Band (association); see also, The chronicles of early Melbourne, 1835 to 1851, by Garryowen (Melbourne: Fergusson and Mitchell, 1888), 489 (DIGITISED)


Musician, flute player, flautist, member of Adelaide Choral Society

Active Adelaide, SA, 1851 (shareable link to this entry)


"ADELAIDE CHORAL SOCIETY", South Australian Register (5 December 1851), 2 

Last evening, a Concert was given by the members of this Society in the large room in the Exchange. The attendance was most respectable, but, we are sorry to say, far from numerous. The Concert commenced with Rossini's Overture to "Cenerentola," which was well performed. . . . A "Flute Obligato," played by Mr. Anderson, and a glee, "Stay, Pry'thee Stay," in which Mrs. Murray took the principal part, were both well-received . . .

ASSOCIATIONS: Georgiana Murray (vocalist, pianist); Adelaide Choral Society (association); Exchange Rooms (Adelaide venue)


Musical instrument maker, pianoforte maker

Born Canongate, Edinburgh, Scotland, 16 February 1808; son of William ANDERSON and Marion WILSON
Married Anne AUCHTERLONIE (1806-1880), Scotland, by c. 1832
Arrived Melbourne, VIC, 12 February 1850 (per Clifton, from London, 14 November)
Died South Yarra, VIC, 14 September 1866, aged "58" (TROVE tagged by Australharmony) (shareable link to this entry)

ANDERSON, William (William ANDERSON)

Musical instrument maker, organ builder

Born London, England, 13 November 1832; baptised Scotch Church, London, 23 December 1832, son of Andrew ANDERSON and Anne AUCHTERLONIE
Arrived Melbourne, VIC, 12 February 1850 (per Clifton, from London, 14 November)
Died Brighton, VIC, 17 January 1921, aged "88" (TROVE tagged by Australharmony) (shareable link to this entry)


Baptisms, Canongate, Edinburgh, 1807; Scotland, select births and baptisms database (PAYWALL)

16 February 1807 / Andrew / [son of] William Anderson [and] Marion Wilson

Baptisms at the Scotch Church, Swallow Street, St. James, Westminster, 1832; UK National Archives (PAYWALL)

23d December / William, son of Andrew Anderson and of Ann his wife born on the 13th of November 1832, at No. 2 Brook street, New Road, in the parish of Saint Pancras . . .

Post office London directory 1843 (London: W. Kelly & Co., [1843]), 69 

Anderson Andrew, pianoforte maker, 83 Gt. Titchfield st

? [Bankrupts], The London Gazette (18 January 1848), 181 

EDWARD GOULBURN, Esq. one of Her Majesty's Commissioners authorized to act under a Fiat in Bankruptcy awarded and issued forth against Andrew Anderson, of No. 83, Great Titchfield-street, in the county of Middlesex, Piano Forte Maker, will sit on the 5th day of February next, at one of the clock in the afternoon precisely, at the Court of Bankruptcy, Basinghall-street, in the city of London (by adjournment from the 8th of January instant), in order to take the Last Examination of the said bankrupt; when and where he is required to surrender himself, and make a full discovery and disclosure of his estate and effects, and finish his examination.

But see also Andrew Anderson, pianoforte maker, later of New York (Groce 1991 below)

[Advertisement], The Melbourne Daily News (25 July 1851), 3 

begs to acquaint his friends, and the public, that he is prepared to undertake the repair of any description of Piano Fortes,
having been engaged in this business in London for upwards of twenty years, where he obtained a practical knowledge of every branch of it, and ensures all those who may favor him with their orders, that the same will be carefully, and expeditiously, executed.
Address, No. 244 Lonsdale-street, East.
Melbourne, July 23rd, 1851.

[Advertisement], The Argus (13 January 1854), 5 

ANDREW ANDERSON, Pianoforte Maker, formerly of 244, Lonsdale-street east, understanding that a parcel addressed to him has been brought by some one from home, will feel much obliged to the person in charge of the above to forward the same to his present abode, near the Albion Store, Collingwood.

[Advertisement], Geelong Advertiser and Intelligencer (12 June 1855), 1 

A. ANDERSON, Piano Forte Manufacturer, (formerly of London,) begs to intimate to his friends and the public, that he is prepared to execute the tuning and repairing of any description of Piano-forte, having been practically engaged for upwards of twenty years in every branch of this business, and ensures all those who may favor him with their orders, that the same will be carefully and expeditiously executed.
Address 88, Little Malop-street east.

[Advertisement], Geelong Advertiser (25 September 1855), 4

ANDREW ANDERSON Piano-forte Maker, (formerly of London,) begs to intimate to the public of Geelong that he is prepared to undertake the tuning and repairing of all descriptions of piano-fortes, &c., and hopes from his long experience in all the branches of this business, that he will be found to give satisfaction to those who may favour him with their orders.
Address - 86, Little Malop-street, east.

"CURRENT TOPICS", Geelong Advertiser (3 February 1860), 2 

We have much pleasure in bearing testimony that Geelong can boast of producing a first-rate pianoforte, altogether constructed by one of our townsmen. The maker of the instrument is Mr. Andrew Anderson, No. 25, Myers-street west. It is a cottage piano, having a compass of 6 3/4 octaves, with a fine elasticity of touch, and evincing a mellowness of tone, with considerable brilliancy and power. The case is neat, and the internal mechanical arrangements combine many of the latest improvements. The whole is well finished, and being made of long seasoned colonial wood, it is well adapted to the Australian climate. We would recommend all who are interested in colonial manufactures, and who amongst us in these times is not? - to inspect this home-made production of Mr. Anderson's practical ability and unremunerated perseverance.

"DEATHS", Geelong Advertiser (27 September 1866), 3 

Anderson - On the 14th inst, at Bond street, South Yarra, suddenly, of apoplexy, Mr. Andrew Anderson, late of London and Geelong, aged 58 years.

"Personal", The Herald (17 January 1921), 1 

Mr. William Anderson, 88, who died this morning at "Stanton," Wellington street, Middle Brighton, after a brief illness was born in London and came to Victoria 72 years ago. As an organ builder he supplied several public buildings in various parts of the Commonwealth. He leaves no family. The funeral will be conducted by A. A. Sleight at the St. Kilda Cemetery tomorrow.

Bibliography and resources:

H. Morin Humphreys (comp.), Men of the time in Australia, Victorian series, second edition (Melbourne: McCarron, Bird & Co. 1882), [iii]-[iv] (DIGITISED)

ANDERSON, WILLIAM. Born in London, and is the son of the late Mr. Andrew Anderson, and nephew to the late Mr. Duncan Anderson, who was for forty-three years instructor to the Deaf and Dumb Institute, Glasgow. Mr. Anderson, the subject of this notice, comes of a musical stock, for his father (who was trained under the late R. A. Smith, of Edinburgh, composer of the charming ballad, "Jessie, the Flower of Dumblane") was a musical enthusiast, and publisher of several volumes of anthems, chants, &c., which he had taken pains to collect. Mr. William Anderson came to Port Phillip with his family in the ship Clifton February, 1850, and amongst his fellow passengers were Dr. Lang, Madame Sarah Flower (the celebrated vocalist), and Messrs. C. J. Jenner and F. T. Sargood. Went to the diggings; grew tired of a miner's life, and soon rejoined his father, who had started piano-making at Geelong with a success which gained for him considerable fame at the time. Mr. William Anderson, some time afterwards, entered into partnership with Mr. Robert Mackie, and while with him commenced organ-building, a business which he continued until 1864. Since he commenced organ-building in Melbourne, he has constructed a number of instruments of repute, and remodelled others; amongst them may be mentioned the organs at St. Mark's, Fitzroy; St. Mary's, Hotham; Trinity Church, Kew; and Sts. Peter and Paul's, Emerald Hill. Mr. Anderson was a member of the jury appointed to adjudicate on [iv] musical instruments at the Melbourne International Exhibition of 1880-81. Mr. Anderson's father constructed the first piano ever put together in Victoria, and several instruments of his make were said at the time to be quite equal to European importations.

ASSOCIATIONS: Robert Archibald Smith (Scots musician); John Dunmore Lang (cleric); Sara Flower (vocalist); Frederick Thomas Sargood (musical amateur)

Enid Noel Matthews, Colonial organs and organbuilders (Melbourne: Melbourne University Press, 1969), 24 

Martha N. Clinkscale, Makers of the piano: 1820-1860 (1999), 8 (PREVIEW)

An Andrew Anderson was listed at 83 Great Titchfield Street, Oxford Street, London, from 1843-1850; but see also, on Andrew Anderson, piano maker of New York, Nancy Groce, Musical instrument makers of New York (1991), 4 (PREVIEW)

ANDERSON, James Henri (John AARON; James Henri ANDERSON; James Henry ANDERSON; J. H. ANDERSON, R.A.M.)

Musician, professor of music, pianist, organist, vocalist, composer, musicseller, music publisher

Born Sheerness, Kent, England, c. 1822; son of Samuel AARON and Sarah MICHAEL
Arrived Hobart Town, VDL (TAS), by 28 January 1842
Married Rachel SOLOMON (1825-1878), Launceston, VDL (TAS), 23 August 1845
Died Melbourne, VIC, 30 April/1 May 1879, aged "56"/"57"/"58" (TROVE tagged by Australharmony) (shareable link to this entry)

ANDERSON, Alfred (Abraham Frederick ANDERSON; Master A. ANDERSON; Master ANDERSON; Alfred ANDERSON; Mr. A. ANDERSON, R.A.M.)

Musician, pianist, composer, juvenile vocalist

Born Launceston, VDL (TAS), 23 December 1846; son of James Henri ANDERSON and Rachel SOLOMON
Departed (1) Sydney, NSW, ? early 1857 (for England and Europe)
Arrived (1) Sydney, NSW, August 1860 (per Rifleman, from London)
Departed (2) Sydney, NSW, 7 April 1868 (per Queen of the Nations, for Europe)
Arrived (2) Sydney, NSW, 12 July 1869 (per Norfolk, from England, 27 April)
Married Ilma di Murska, Sydney, NSW, 29 December 1875
Died Melbourne, VIC, 22 March 1876, aged "28 and 3 months" (TROVE tagged by Australharmony) (NLA persistent identifier) (Wikipedia) (shareable link to this entry)

James Henri Anderson (photograph: J. W. Lindt)

James Henri Anderson (photograph: "J. W. Lindt, 7 Collins Str. East, Melbourne")


James Henri (later Henry) Anderson, as he chose to style himself in Australia, was born John Aaron, either in Surrey, or, according to his death record, in Sheerness, Kent, in or around 1822, probably the first child of Samuel Aaron, merchant, and his wife Sarah Michael.

At the time of the 1841 census John Aaron, musician, aged 20, was, along with his parents, both 40, and younger sister, Frances, 15, living with his maternal grandparents, Jonas and Rebecca Michael, at 18, Great Union Street, Southwark. His maternal uncle, Samuel Michael, died in 1864, aged 77/78, at 3 Great Prescot Street, Stepney, near the Prescot Street (Ashkenazi) Synagogue.

He was unlikely to have adopted the surname Anderson while still in London, where it was notably then the "property" of Lucy Philpot Anderson, pianist to the queen, and her husband George Anderson; however, his decision to do so in Australia may well have been intended to suggest some association with them.

His claim to have been a pupil of Cipriani Potter at the Royal Academy of Music, London, never appears to have been challenged by other academicians in Australia (notably Charles Packer and Lewis Lavenu), and it can perhaps be safely assumed that he was a pupil of Potter there sometime in the mid to late 1830s. According to an apparently well-informed correspondent to the Sydney press in 1844, "Lycidas", he also studied under John Thomson, though whether in Edinburgh (where from 1839 to his death in 1841 Thomson was Reid professor of music), or earlier in London is not clear. By his own later account, Anderson also appeared to have some experience not only in synagogue singing of his native Jewish tradition, but also, professionally, in the singing class systems of Louis Bocquillon Wilhem and Joseph Mainzer.

There is no shipping record, either, of his arrival in Hobart Town, probably in mid January 1842, either under the name of Aaron or Anderson.

According to John Levi, author of These are the names, who presumably had access to Jewish records, in Launceston on 23 August 1845, Anderson married Rachel Solomon (1825-1877). A native of Tasmania, she was born in Hobart on 16 May 1825, a daughter of Mark and Catherine Solomon (or Solomons).

Confusingly, in Launceston on 29 December 1846 and again on 17 March 1847, James twice registered the birth of a son, respectively under the names of Augustus Abraham Anderson (born 23 November 1846), and Abraham Frederick Anderson (born 23 December 1846). Whether these were twins, born probably correctly on 23 December, or a single son twice registered under slightly different names and birthdays, is unclear. However, taken together with the list of offspring in James's death record, it seems likely that one or both of these records refered to their eldest surviving son later publicly known as Alfred. Alfred's given age at death, on 22 March 1876, of "28 and three months", indicates a birthday in December 1847; however, at that time both his parents were in Mauritius, whereas his reported place of birth was Launceston (and he was later consistently identified as a "native" Australian), which makes a birthday in December 1846 more likely, and a correct age at death of 29 and 3 months.

At Alfred's first appearances as a juvenile vocalist in Tasmania in July 1852 he was billed as being only 4 1/2 years of age; later however (in a report in Sydney in 1859) this was corrected to 5 1/2.

Alfred was reported to have taken his first music lessons with his father and Charles Packer while still in Tasmania in 1852-53, and therefore aged around 5 and 6. Packer and the Andersons having resettled in Sydney, NSW, within a month of each other late in 1853, Alfred lessons with Packer probably continued until his departure for London, reportedly early in 1857. The earlier birth date also probably fits more closely with his reported time spent in England, some or all of it at the Royal Academy of Music, from early 1857 to mid-1860, and thus aged between 10 and 13; and on his return to Sydney in 1860 he was variously reported to be aged "barely 14" and 15.

Alfred spent a second period in Europe in 1868, and returned to Sydney in July 1869 with a letter of recommendation from his teacher, the Austrian pianist Ernst Pauer, with whom he had perhaps also studied during his first London sojourn.

In Sydney on 29 December 1875, Anderson married the touring singer Ilma De Murska. Alfred died less than four months later, at his father's house, 1 Lansdowne-terrace, East Melbourne, on 22 March 1876. A letter to the editor of the Argus from Anderson senior addressed accusations printed in the earlier notice that De Murska had been barred access to her husband by his family. Many years later, De Murska's manager Diego De Vivo went into print in the New York Sun claiming that, during Alfred's final illness, the Anderson family had effectively swindled Murska of £2000. According to De Vivo, when she last tried to see her husband:

. . . she found the old Jewish father sitting at the door, a bottle of wine at his side, and when she attempted to enter the door he stretched out his cane and told her his son was too ill to receive her.

Less than two months after Alfred's death, while on tour in Dunedin, New Zealand, on 15 May 1876, De Murska remarried, her new husband Anderson's former Royal Academy colleague and friend, John Hill.

Alfred Anderson (photo: William Bardwell, Ballarat, 1875)

Alfred Anderson (photo: William Bardwell, Ballarat, 1875)


England census, 1841, St. George the Martyr, Southwark. Surrey; UK National Archives, HO107/1086/1/17/26-27 (PAYWALL)

18 Great Union St. / Jonas Michael / 74 / [Independent means] / [born in county]
Rebecca [Michael] / 70 / - / [born in county]
Samuel [Aaron] / 40 / - / [born in county]
Sarah Aaron / 40 / - / [born in county]
John [Aaron] / 20 / Musician / [born in county]
Frances [Aaron] / 15 / F. S. / [born in county]

"MUSIC", The Hobart Town Advertiser [TAS] (28 January 1842), 2 

It has been frequently regretted by those who take a delight in cultivating this pleasing and rational science, that so few public concerts are produced. In no community of equal extent can be found a greater quantity of musical people, and yet, since the departure of Mr. Deane and his family, concerts have been almost wholly neglected. It cannot, therefore, fail to be a gratifying announcement, that Mr. Anderson, the newly arrived professor, intends giving such entertainments occasionally, if conducted upon a proper footing, they are sure to be supported, as, with the exception of the Theatre, which has unfortunately fallen so much into disrepute the public are literally destitute of anything like recreation. We hear that Mr. Anderson is a composer, as well as performer, and that a set of quadrilles from his pen, and dedicated to Lady Franklin, are now in the press for publication.

ASSOCIATIONS: John Philip Deane (musician); Jane Franklin (musical patron, dedicatee)

[Advertisement], The Courier [Hobart, TAS] (4 February 1842), 3

on FRIDAY, the 11th instant, at Campbell Town. -
Mr. JAMES HENRI ANDERSON, late student of the Royal Academy of Music, Hanover Square, London,
(under the patronage of Her Most Gracious Majesty and His Royal Highness Prince Albert,)
has the honor to inform the Ladies and Gentlemen of Campbell Town and its vicinity, that he will give a
GRAND CONCERT of the most popular Music, as now performed at the principal places of fashionable report in London, which will take place as above.
Conductor and Accompanist Pianoforte, Mr. J. H. Anderson.
Principal Vocalist, Miss Woodyat.
Doors open at seven, to commence at eight.
[For particulars see programme.]
N.B. - On Mr. A.'s return from his tour, it is his intention to give occasional Concerts in Hobart Town as advertised.
February 4.

ASSOCIATIONS: Royal Academy of Music (London institution)

[Advertisement], The Hobart Town Advertiser (25 February 1842), 1 

GRAND MORNING CONCERT, OF Vocal and Instrumental Music,
Late Student of the Royal Academy of Music, Hanover Square, London,
under the patronage of Her Majesty and Prince Albert,
THANKFUL for the patronage bestowed upon him at his last Concert, begs most respectfully to inform the Ladies und Gentlemen of Campbell Town and its vicinity that he purposes, under the distinguished patronage of the Committee of the Subscription Ball at Campbell Town, to give a morning Concert prior to the Ball in the evening, and, aided as he now is by the assistance of
Mons. De la Martini,
From the Italian Opera, Paris, its being the first of his appearance in this Colony,
and with the assistance of other professionals he hopes to produce an entertainment worthy of public patronage.
Overture, Massaniello - AUBER.
Song - Mr. Hunt - "The Light of other Days," Solo part piano - J. H. Anderson - BALFE.
Solo Guitar - Mons. Martini - "Det de la Contessi," - LOUISA PAGET.
Grand Scena - Mr. J. H. Anderson - "All is lost now," (La Somnambula) - BELLINI.
Duet - Miss Lee and Mr. Hunt - "List, dearest, list," by particular desire from the romantic opera of Keolanthe - BALFE.
Song - Mons. Martini - "Du pre aux Clercs," - MEYERBEER.
Soto Flute - Amateur - NICHOLSON.
Duetto - Mr. J. H. Anderson and Mons. Martini - "Deh Con-Tente," from the celebrated opera Norma - BELLINI.
Divertimento - J. H. Anderson - Piano-forte - MOSCHELLES.
Duet - Grand Piano-forte - Mr. J. H. Anderson and Mons. Martini - CZERNY.
Song - Mr. Hunt - "The White Squall," - BRAHAM.
Aria - Mons. Martini - "Doux ciel de L'Italie," accompanied by himself on the guitar - par CINTI.
Song - Miss Lee - "Pretty Star of the Night." - BISHOP.
Song - J. H. Anderson - "Farewell to the Mountain," as sung by Mr. H.Phillips in the grand opera of the Mountain Sylph. - BARNETT.
Concertante - Piano, J. H. Anderson; flute, an Amateur. - CHATIEU.
Song - Mon. Martini - "La dame Blanche," - AUBER.
Solo Fantasie - J. H. Anderson - "Semeramidie" - De ROSSINI.
Finale - " God save the Queen," verse and chorus.
Pianist and Accompanist, Mr. J. H. Anderson, who will accompany the vocal Music.
Tickets - Front seats, 7s. 6d.each; Back ditto, 5s, to be had at the Assembly Rooms.

ASSOCIATIONS: ? Antonio Martini (vocalist, pianist, guitarist, publican)

[Advertisement], The Austral-Asiatic Review, Tasmanian and Australian Advertiser (8 April 1842), 1 

MR. JAMES HENRI ANDERSON, Late Student of the Royal Academy of Music,
BEGS leave most respectfully to acquaint the Inhabitants of Hobart Town and its vicinity, that he intends giving instructions in Music, Piano Forte, English Singing, and thorough Bass.
Mr. ANDERSON flatters himself to afford satisfaction to those who may favour him with their kind patronage.
Terms to be had at the " Courier" office and Temple House. April 5,1841.

[Advertisement], Colonial Times (12 July 1842), 1 

ON WEDNESDAY, JULY 13, 1842, The evening's performance will commence with the Petite Opera entitled
The Spirit of the Rhine. INNA, with the song "My Beautiful Rhine," MRS. CLARKE.
After which the favourite Drama THE MAZURKA, By Miss YOUNG, MRS. F. HOWSON, & SIGNOR CARANDINI.
The two scenes from JACK SHEPPARD, With the Songs of "Jolly Nose" and "Nix my Dolly."
"Paddy's Wedding," - MR. FALCHON.
The whole to conclude with THE KING'S GARDENER; Or, Nipped in the Bud.
Director of the Music - Mr. F. HOWSON.
Leader - Mr. LEFFLER.
Pianist - Mr. ANDERSON.
Doors open at Seven, commence at Half-past Seven.
Dress Circle and Private Boxes 4s. 4d.; Lower Boxes 3s. 6d.; Pit 2s.
[VIVAT REGINA!] July 12, 1842.

ASSOCIATIONS: Anne Remens Clarke (vocalist, actor, theatre proprietor); Emma Young (dancer); Emma Howson (dancer); Gerome Carandini (dancer); Arthur Falchon (vocalist, actor); Frank Howson (actor, music director); Edmund Leffler (leader, violin); Royal Victoria Theatre (Hobart venue)

[Advertisement], The Austral-Asiatic Review, Tasmanian and Australian Advertiser (15 July 1842), 1 

ON MONDAY, JULY 18, The entertainment will commence with The Beggar's Opera,
Director of the Music - Mr. F. HOWSON.
Leader - Mr. LEFFLER.
Pianist - Mr. ANDERSON . . .

[Advertisement], The Cornwall Chronicle [Launceston, TAS] (25 March 1843), 3 

GRAND CONCERT. Under Distinguished Patronage.
MR. AND MRS. BUSHELLE, with MR. J. H. ANDERSON, (Student of the Royal Academy of Music),
beg to announce that they purpose holding their
first CONCERT of Vocal and Instrumental Music at the Court-house, on THURSDAY, the 30th March.
VOCAL PERFORMERS: Mrs. Bushelle, Mrs. Richards, Mr. Leffler, Mr. Turner, Mr. Bushelle, and several amateurs.
INSTRUMENTAL PERFORMERS: Mr. Kowarzik, Leader and Conductor of the Orchestra,
Grand Pianoforte, Mr. Anderson, Mr. Leffler, Mr. Megson, Mr. Richards, Mr. McDonald, Mr. Beckford,
and (by permission of Colonel Cumberland) the Orchestra will be strengthened by a selection from the excellent Band of H. M. 96th Regiment.
Programme. PART I. Overture, "Fra Diavolo," Full Band.
1. Grand Air from Norma, "Gentle Goddess," with full orchestral accompaniments, Mrs. Bushelle.
2. Song from the Somnanbula, "As I view these scenes so charming," with orchestral accompaniments, Mr. Bushelle.
3. Ballad, Mrs. Richards.
4. Song, The Smuggler King, Mr. Turner.
5. Grand Concerto, Violin, De Beriot, with orchestral accompaniments, Mr. Kowarzik.
6. Ballad, Black-eyed Susan, Mrs. Bushelle.
7. The celebrated air, "Non piu Andrai," from Mozart's Figaro, with full orchestral accompaniments, Mr. Bushelle.
5. Concerto, Grand Pianoforte, with orchestral accompaniments, Hummel, Mr. J. H. Anderson.
9. Grand Aria, "Sommo Cielo," from Pacini's "Schiava in Bagdad," violin obligato, Mr. Kowarzik, Mrs. Bushelle.
PART II. Overture, Full Band.
1. Buffo Duet, from the Barber of Seville, Rossini, Mr. and Mrs. Bushelle.
2. Ballad, Mrs. Richards.
3. The favorite Song, "When time hath bereft thee," Auber, Mr. Turner.
4. Song, "I'm afloat," Mrs. Bushelle.
5. Duet, "List, dearest, list," Balfe, Mrs. Bushelle and Mr. Leffler.
6. Song, "Let others rejoice." Mr. Bushelle.
7. "Wanted a governess," Mrs. Bushelle.
8. Grand Buffo Song, from the Barber of Seville, "Lo the factotum," Rossini, with orchestral accompaniments, Mr. Bushelle.
9. Grand Finale, from Cinderella, "Now with grief no longer bending," Rossini, Mrs. Bushelle.
"God save the Queen."
Tickets 7s. 6d. each . . .

ASSOCIATIONS: John and Eliza Bushelle (vocalists); Dorothea and Henry Richards (vocalist, musician); Mr. Turner (vocalist); Francis Frederick Kowarzik (musician); Joseph Megson (musician); Alexander McDonald (musician); Thomas Leaman Beckford (musician)

"CONCERT", Launceston Advertiser (6 April 1843), 3 

The first of Mr. Bushelle's Concerts was held on Thursday last, and went off with great eclat. The audience was numerous and more select then any we ever saw assembled at a place of public amusement in Launceston. All the leading families in the town were present . . . Mr. J. H. Anderson, a student of the Royal Academy of Music, London, favoured the company with a Fantasia of Hummel, and displayed immense execution, with a distinctness and rapidity of fingering, seldom exhibited before a Colonial audience. His style is correct, brilliant and tasteful . . . The second Concert will be held to-night . . .

[News], Launceston Examiner (8 April 1843), 4 

Mr. Bushelle gave his second concert on Thursday last, at which a very considerable proportion of the ladies and gentlemen who attended the previous one were present; evidently showing that the higher classes in this town fully appreciate the value of his superior performances . . . The performances of Mr. Kowarzik and Mr. Anderson gave unqualified satisfaction, and added not a little to the enjoyment which the performances, as a whole, were calculated to produce . . . Mr. Bushelle intends giving another concert in the Court House, next week.

[News], Launceston Examiner (19 April 1843), 4 

THE proceeds of the oratorio which was given in at St. Joseph's church, on Tuesday evening, by Mr. and Mrs. Bushelle, will assist in no inconsiderable degree in liquidating the debt on that neat and highly ornamental building, as the number who attended must have been upwards of three hundred. The "Messiah" was played with more skill and better effect than might have been expected in so young a colony; but notwithstanding the praiseworthy exertions of the instrumental performers, their numbers were not by any means sufficiently strong to do justice to the sublime strains of Handel. A good powerful-toned organ would have been a very great improvement; in fact it is indispensibly necessary in such pieces as the Messiah. Mr. Anderson's skilfil execution on the grand pianoforte must have been admired by every one present; indeed the powerful tone of the instrument, and the masterly style in which it was played, rendered the want of an organ less felt than it would otherwise have been. But the principal attraction of the evening was the vocal performances of Mrs. Bushelle . . . - Communicated.

"THE GRAND ORATORI[O]", Launceston Advertiser (20 April 1843), 3 

. . . We forgot to mention, though not to notice Mr. Anderson's most effective Grand Pianoforte accompaniments to Mrs. Bushelle's "Laudate and chorus," and Balde's "Grand Mass." [sic, Baldi] They fully justified this gentle man's high reputation as a pianist, and were so much admired, combined with the vocal performance, as to lead to a request being made by several distinguished judges for its repetition. This was no small compliment where there was so much to admire . . .

[Advertisement], Launceston Advertiser (24 August 1843), 1 

Student of the Royal Academy of Music, Hanover-square, under Cipriani Potter, Principal,
BEGS leave to announce his intention of entering upon his profession in Launceston, to the study of which, he has devoted the greater part of his life under the above celebrated master.
Instructions given in the various branches of composition, the theory of music, singing, and the piano-forte.
In the event of Mr. Anderson obtaining a sufficient number of pupils to form a class at any Academy, he will devote an hour each week, gratuitously, to illustrate the theory of music, under the much admired system introduced by Logier, and universally adopted.
Cards of Terms, &c. to be had at the Stationery Warehouse, Brisbane-street. August 16, 1843.

ASSOCIATIONS: Cipriani Potter (English musician)

[News], Launceston Examiner (30 August 1843), 3 

MR. JAMES HENRI ANDERSON, whose superior performance on the piano delighted the audiences at the concerts lately given, has announced his intention of pursuing his profession in Launceston. There is no person in the island more competent to communicate a knowledge of the theory of music, singing, and the pianoforte.

[Advertisement], Launceston Advertiser (19 October 1843), 3 

IN acknowledging the favours by which he has been honoured since his residence in Launceston, begs most respectfully to intimate to those families and schools which have not yet patronised him, that he continues the practice of his profession.
From the tender years of infancy Mr. J. H. Anderson has been devoted to the acquirement of the Art of Music, having been a Student of the Royal Academy of Music, under its principal Cipriani Potter; and without the sin of egotism confidently believes that he can now impart to others that which it has taken him so long to learn.
INSTRUCTION Given on the pianoforte, the various branches of music, singing, and the theory of music.
J. H. Anderson furthermore intimates that nothing shall be wanting on his part to insure the attainment of this art by his pupils - their share being performed with diligence and attention.

[Advertisement], Launceston Examiner (20 December 1843), 4 

MR. J. H. ANDERSON, (late Student of the Royal Academy of Music, London,)
begs to inform his patrons, the ladies and gentlemen of Launceston and its vicinity, that he has removed from his late residence in Charles-street, nearly opposite Frederick-street, and still continues to give instructions in the several branches of his profession, viz., pianoforte, English singing and thorough bass, and hopes by strict attention to merit a share of public patronage.
Schools and Families attended.
Cards of terms to be had at the Stationery Warehouse, Brisbane-street.
Charles-street, Dec. 20.

Sydney, NSW (22 February 1844 to mid 1845):

"SHIPPING INTELLIGENCE", The Australian [Sydney, NSW] (24 February 1844), 2 

Feb. 22. - The brig William, 149 tons, Grant, master, from Launceston 10th Instant, with wheat, &c. Passengers, Mr. Cohen, Mr. Anderson . . .

[Advertisement], The Sydney Morning Herald (5 March 1844), 3 

MR. J. H. ANDERSON, late Student of the Royal Academy of Music, London, whose performances on the pianoforte in London, also during his visit in Van Diemen's Land, have been highly approved of, and who has given every satisfaction to his pupils and their friends in the style he imparts, begs to inform the gentry and inhabitants of Sydney, that he purposes giving instructions in the various branches of Music, Pianoforte, and Thorough-bass.
Mr. A. having studied several years under the distinguished professor of music, Cipriani Potter, principal of the above institution, flatters himself to afford satisfaction to those that may favour him with their kind patronage.
N. B. - Schools and families attended.
Cards of terms to be had on application at Mr. Ellard's Musical Repository, George-street; also at Mr. Anderson's residence, Bligh-street, directly opposite to Mr. Campbell's residence.

ASSOCIATIONS: Francis Ellard (musicseller)

"MUSICAL REGIASTER . . . SYDNEY", The Weekly Register of Politics, Facts and General Literature (9 March 1844), 476 

A late arrival has brought to our shores a Mr. Anderson from the Royal Academy of Music, who is stated to be a pianist worthy of his talented instructor Cipriani Potter. Nous entendrons.

ASSOCIATIONS: William Augustine Duncan (editor, reporter)


The New Synagogue, in York-street, being entirely finished, the ceremony of Consecration was performed yesterday afternoon, in the presence of a numerous and highly respectable congregation . . . At a quarter to five o'clock, the service commenced . . . [3] . . . the Procession proceed to circumambulate the Synagogue Seven times; during each circuit, one of the following psalms was chaunted by the Reader and congregation: -
(1.) Psalm xci. - "Dwelling in the secret place of the most high, &c." A pleasing and gracefully flowing strain, in D major, common time, composed in England by Mr. Moss.
(2.) Psalm xxx. - A Psalm at the Dedication of the House of David - "I will extol thee, O Lord!"
(3.) Psalm xxiv. - A Psalm of David - "The earth and the fulness thereof." Arranged by Mr. Moss in G, common-time, verse and chorus; the soli parts expressively sung by Mr. Anderson, a pupil of Cipriani Potter, of the Royal Academy of Music, and who has recently arrived here.
(4.) Psalm Lxxxiv. - "How amiable are thy tabernacles." - Solo by Mr. Anderson, the music by Mr. Leo, a pupil of Mr. Nathan, and who in this very effective composition proves himself worthy of his master . . .
The service concluded with a new Hallelujah Chorus, composed expressly for the occasion by Mr. Nathan. It is set in G major, common time, and is a delightful composition. There is in it a solo movement, sung with much spirit by Mr. Anderson, and replete with classical modulations and harmonious combinations and dispersion of chords. The hand of a master is visible throughout, and we hope Mr. Nathan will be induced to publish it . . .

ASSOCIATIONS: Matthew Moss (1795-1868, English composer, grandfather of Matthew Moss, NZ politician); Louis Leo (1809-1876, English composer); Isaac Nathan (composer, musician); Solomon Phillips (reader, singer); Synagogue music (subject)

"OPENING OF THE JEWS' SYNAGOGUE", The Sydney Morning Herald (3 April 1844), 2 

. . . The singing, which was in some parts extremely effective, particularly the hymn and chorus which we have given, was under the management of Mr. Nathan and Mr. Anderson . . .

"CONSECRATION OF THE NEW JEWISH SYNAGOGUE", The Colonial Observer (4 April 1844), 4-5 

. . . [5] . . . the ceremony concluded soon after seven, with a new Hallelujah Chorus, composed expressly for the occasion by Mr. Nathan. The singing of Mr. Anderson was much admired, as was that of Mr. Phillips, of Parramatta, in an anthem, composed by Mr. Leo . . .

"OPENING OF THE SYNAGOGUE", The Weekly Register of Politics, Facts and General Literature (6 April 1844), 519 

. . . The music was under the direction of Mr. Nathan and Mr. J. H. Anderson, the young gentleman from the Royal Academy, who arrived the other day, and whom we regard as a valuable accession to our musical corps. The music consisted partly of ancient Hebrew chaunts - not unlike the Gregorian chaunt, but less solemn - and partly of light, pleasing melodies and chorusses, by Louis Leo and Nathan, the last composed expressly for this occasion . . .

[Advertisement], The Australian (29 May 1844), 2 

THE FIRST PHILHARMONIC CONCERT In this colony, will take place at the Roynl Hotel,
THIS EVENING, the 20th MAY . . . The whole under the management and direction of MR. NATHAN . . .
PART SECOND . . . Solo, Pianoforte - Mr. Anderson, from the Royal Academy, his first public performance in Sydney, "Hummell's Rondo Brilliante," as performed by him [Hummel] at the Philharmonic Concerts - Hummell . . .
Tickets 5s. each . . .

ASSOCIATIONS: Australian Philharmonic Concerts (series); Royal Hotel (Sydney venue)

"THE PHILHARMONIC CONCERTS", The Sydney Morning Herald (31 May 1844), 3 

The first of these took place on Wednesday. As we anticipated, the high price prevented a large attendance, yet on the whole, the room presented a very respectable appearance . . . Mr. J. H. Anderson, the recently arrived pianist, made his debut with one of Hummel's rondos, in which he displayed a very equal touch, and no inconsiderable power of execution . . .

"MUSICAL REGISTER", The Weekly Register of Politics, Facts and General Literature (1 June 1844), 619 

. . . Among the other instrumental pieces, we must notice an elegant violoncello solo of Berger, by Mr. Thomson, an amateur of very fine musical feeling; also one of Hummell's brilliant piano pieces by Mr. J. H. Anderson, recently from the Royal Academy, and a very clever performer on that instrument . . .

ASSOCIATIONS: John Charles Thompson (cello)

"ORIGINAL CORRESPONDENCE. To the Editor of The Australian Daily Journal", The Australian (19 August 1844), 4 

Sir, - Understanding that the first number of a series of Hebrew Melodies is to be published early next week, and is to be continued at intervals, should sufficient encouragement be afforded to those interested, I trust that you will kindly allow me, although I am a stranger both to their publisher and to yourself, to say a few words in regard to them. I, as well as many others, was present at the opening and consecration of the New Synagogue, in York-street, a few months ago, and was highly gratified by the beauty of the interior of that building, by the attention shown by the congregation to the comfort of strangers, and by the powerful effect of the Jewish chaunts and chorusses. The music, although the greater part of it has been handed down for centuries from father to son among that peculiar people, was quite new to me, as well as to most others present, who were unconnected with the congregation, and we left the Synagogue much impressed with the simplicity and appropriate nature of the opening ceremonies, and with the singular character and beauty of the music. No female voices were permitted in the chorusses, but their places were amply supplied by the clear notes of a number of boys; and when all sorts of voices were blended together in the swelling chorusses, the effect was quite overpowering.
Having experienced so rich a treat on that occasion, I am happy to learn, that the whole of the music used at the opening service of the Synagogue, is to be consecutively published under the superintendence of Mr. Anderson, an eminent pianist, who took a leading part that day. As report speaks highly of the musical attainments of this gentleman, and as he has served long apprenticeships to the "gentle calling," under the direction of the late Professor Thomson, of Edinburgh, and Cipriana Potter, of the Royal Musical Academy, London, I confidently anticipate that the forthcoming publication will not only reflect great credit upon him, and upon the colony, but also be highly appreciated at home. Hebrew words, with English translations, I am told, are to accompany the Melodies, the first part of which, as I have already said, is to come out next week; and I would beg leave to suggest, for the consideration of Mr. Anderson, whether it would not greatly enhance the value of his publication, if he were to prefix to each composition a short sketch of its origin and history, and also mention the occasion on which it is generally used. The names of Leo and Phillips have recently been associated with Hebrew Melodies, and Lectures illustrative of them, in London, and the Rooms have been crowded, whenever the "Songs of Israel" were sung, or its ancient and spirited music performed. Might not Mr. Anderson, who, I am informed, is deeply versed in the literature, laws, customs, antiquities, and peculiar observances of the Hebrew nation, give a similar course of lectures in Sydney during the ensuing season? If he is as well qualified for the task, by his literary acquirements, as he is from his musical talents, lectures of this sort would be sure to succeed. The assistance of those, too, who formed the chorusses at the opening of the Synagogue, could easily be obtained, I should fancy, and would render the ancient melodies doubly effective. The institution of such lectures is worthy of consideration, at any rate. If it is thought that they would succeed, let them be tried; if failure is anticipated, the attempt to institute them should be abandoned. The melodies which are so shortly to be published, will act as a species of feeler, or pioneer, to try the minds of the people, and see if, they are desirous of obtaining a further acquaintance with Hebrew music; and I look forward with much pleasure to the forthcoming publication, and sincerely hope that it will answer, the desired end.
I remain, Sir,
Your very obedient servant,
LYCIDAS. August 16th, 1844.

ASSOCIATIONS: John Thomson (Edinburgh professor); Henry Phillips (English singer)

[Advertisement], The Sydney Morning Herald (17 September 1844), 3 

a selection of Hebrew Melodies, as sung at the Consecration of the Sydney Synagogue;
arranged for the pianoforte by J. H. Anderson, Professor of Music. Price 2s. 6d.
To be had of Mr. F. Ellard, Music Saloon, George-street.

"LITERARY NOTICES", The Weekly Register of Politics, Facts and General Literature (21 September 1844), 148 

The Lays of the Hebrews, as sung at the Consecration of the Sydney Synagogue arranged for the Pianoforte by J. H. Anderson. Sydney: F. Ellard, 1844.
The Hebrews were always a musical people, and this character they have carried into every country in which, since their dispersion, they have settled. The fabled lyre of Orpheus is not more celebrated, and hardly more wonderful in the effects attributed to it, than the real harp of David. Many of the traditional melodies of the Jews, as collected and published by Martini, Marcello, Burney, and latterly by Nathan, are truly beautiful. Of those used at the opening of the Sydney Synagogue, a portion of which are now before us, we expressed a more qualified but favourable opinion at the time; and to this we still adhere. In their present shape they are placed by Mr. Anderson, within the power of the youngest pianoforte player, being arranged in a very easy manner. We are bound to say, however, that in some of his harmonies the composer has widely departed from what we should assume to have been the lessons of his instructor in the science (Cipriani Potter, we believe). We would merely point to bars 3, 21, and 22 in page 1 as examples to eschew in his next publication; which, though they may not be visible to the vulgar eye, or noticed by the uncultivated ear, yet greatly detract in the estimation of the dilettanti from the merits of an otherwise beautiful and characteristic melody.

"THE LAYS OF THE HEBREWS", The Australian (23 September 1844), 3 

Our readers will remember that on the occasion of the Consecration of the new Sydney Synagogue in York-street on the 2nd of April last, we adverted in cordial terms of praise to the selection of Hebrew Melodies which were arranged and introduced into the ceremony. At the desire of several families a pianoforte arrangement of those Melodies has been undertaken by Mr. J. H. Anderson, a pupil of the Royal Academy, who assisted in the choir at the consecration; and the first number of this publication has just issued from the salon de concert of Mr. F. Ellard, George-street. A perusal of it has entirely confirmed our opinion of the taste and capabilities of Mr. Anderson, and all credit, with the warmest encouragement, is due to him for the feeling which has led him to the path in which he aspires to tread. That his first attempt is not without some faults, militates nothing against his prospect of ultimate excellence, which, with labor and stringent self-criticism, he will questionless attain. According to the rules of construction, there are one or two points in the working-out of the detail which we cannot reconcile with correct taste, but it is no trifling commendation to a young man that he has the courage to enter a difficult field, and profess himself an adherent to the classical and enduring in art.

"ORIGINAL CORRESPONDENCE. THE BAND. To the Editor of the Australian Daily Journal", The Australian (8 October 1844), 3 

. . . The bandmaster should strive to have as much variety as possible in his weekly programme, so that he may please all classes of listeners. He tells me, that on Thursday next he intends to introduce, among other novelties, the melodies lately published in Sydney, under the title of the "Lays of the Hebrews," and I anticipate a high treat from hearing them played on that occasion, as the music is beautiful, and must have a very rich effect, when performed by so powerful a band as that of the 99th regiment. By the way, does the gentleman who has arranged these melodies for the piano-forte, intend to favor us with any others of a similar description? There are enough of beautiful, thrillingly beautiful and expressive airs to be found among the ancient musical treasury of the Jewish people to fill a large volume, and a judicious selection from those would both gratify ever lover of music, and tend to the advantage of their compiler and publisher.
Trusting that the above suggestions may be acted upon,
I remain, Sir, Your obedient servant,
LYCIDAS. 5th October, 1844.

ASSOCIATIONS: Robert Martin (master); Band of the 99th Regiment (military)

Launceston, VDL (TAS) (from June 1845):

"MUSCIAL PROFESSION", Launceston Examiner (4 June 1845), 3 

Mr. Leffler, an old resident in Launceston, has again returned to reside amongst us, with the intention of practising his profession. Mr. Anderson has also returned from Sydney, to follow a similar vocation, having received an appointment from the members of the jewish persuasion to conduct the music of the new synagogue.

"MECHANICS' INSTITUTE", Launceston Advertiser (28 August 1845), 3 

The first lecture of the second session will be delivered at the lecture-room, Cameron-street, this evening, at seven o'clock, by Mr. J. H. Anderson, on music. The lecturer will illustrate his subject by performances on the piano-forte.

"LECTURE ON MUSIC", The Cornwall Chronicle (3 September 1845), 125-26 

On Thursday evening Mr. J. H. Anderson lectured on Music at the Mechanics Institute, to a numerous auditory - amongst which, were most of the elite of Launceston; Mr. Anderson is not fluent in his language and labours under some difficulty, which at times rendered him somewhat unintelligible. His lecture principally referred to first rate masters, and their peculiar style, which Mr. Anderson practically illustrated on the Piano, and there he certainly excelled. We are a lover of music, and have heard some first rate performers but, never in this colony, did we hear Mr. Anderson's equal on that instrument; his execution and taste, surpassed all we imagined, and we would advise parents and guardians, to avail themselves of this gentleman's abilities to instruct their children in an accomplishment which is so seldom attainable in our small community. His opening piece, was a concerto of Hummel's in A major, then followed a short passage from the same composer, that was succeeded by a sonata from Beethoven, in F minor, an adagio and allegro movement by Felix Mendlesohn Bartholdy, an arrangement of Czerny, Rondo of Moscheles, fantasia by Osborne, delightful [126] Scotch airs by Czerny, and it finished with some Hebrew melodies, composed by the lecturer for the consecration of the Sydney Synagogue; we repeat, the whole was performed in a most masterly style, and would have received the applause it merited even in the British metropolis; here it met with the most unbounded approbation, and every one seemed to be highly pleased with the lecture and the lecturer. We trust Mr. Anderson will not fail to furnish for another evening, a similar intellectual treat to that enjoyed by his audience on Thursday evening last.

"MUSICAL SOIREE", The Cornwall Chronicle (14 February 1846), 122 

Madame Gautrot gave an entertainment at the Olympic Theatre, on Wednesday evening. The excellent band of the 96th regiment attended by permission of Lieutenant Colonel Cumberland. We are sorry that owing to the shortness of notice, the audience, although highly respectable, was not numerous. Mr. Anderson presided at the piano-forte, and accompanied the vocal music . . .

ASSOCIATIONS: Madame Gautrot (vocalist); Band of the 96th Regiment (military); Olympic Theatre (Launceston venue)

"MADAME GAUTROT'S CONCERT", The Cornwall Chronicle (18 February 1846), 132 

Thanks to Madame Gautrot (not forgetting her patrons, the Brethren of St. John's Lodge) for an agreeable musical treat last evening, at the Olympic Theatre. There was a better attendance than on the former occasion ; the boxes shewed a good sprinkling of the elite of the town - but in the pit, we are sorry to say, there was room for a few more . . . Besides the military band, whose services merit much praise, we have pleasure to advert to the professional talents of Messrs. Anderson and Rolfe, both residents, and known as skilful pianists. These rendered able assistance last evening, and their perseverance and success as musical men, are known to many ladies and gentlemen of the neighbourhood . . . Mr. Howson, senior, performed several pieces on the violin, accompanied by Mr. Rolfe . . .

ASSOCIATIONS: Thomas Rolfe (pianist); Francis Howson (violin)

"MR. RUSSELL'S CONCERTS", Launceston Advertiser (12 March 1846), 2 

The entertainment on Friday evening last was a musical treat of no ordinary kind. Some members of the 96th band attended, by the kind permission of Colonel Cumberland . . . On Tuesday evening the members of the 96th band were absent; but Mr. Packer having consented to take a very great share in the evening's entertainment, the audience had nothing to regret . . . A duet concertacte (violin and pianoforte), by Messrs. Russell and Packer, and a duet by Anderson and Packer, were highly creditable performances.

ASSOCIATIONS: William Wilkins Russell (musician); Charles Sandys Packer (musician, convict)

"CONSECRATION OF THE NEW SYNAGOGUE", Launceston Examiner (28 March 1846), 6 

The new Synagogue in St. John-street was consecrated with the usual ceremonies on Thursday afternoon . . . The ceremony of the consecration commenced about half past three o'clock. A beautiful symphony selected by Mr. Anderson expressly for the occasion, in the performance of which several musicians from the band of the 96th lent their valuable aid, was executed in very effective style, during which the Reader, Mr. Jones, followed by the wardens, and some of the honorary officers of the congregation, brought the sacred scrolls of the law to the door of the Synagogue . . . The choir then sang "Come, let us sing unto the Lord, sing aloud to the Rock of our salvation. Let as approach his presence with thanksgiving, and sing joyful hymns unto him" . . . The service was said in Hebrew, but the visitors were accommodated with books containing the prayers in Hebrew with English translations. The choir performed its part of the service in a superior manner, exhibiting, indeed, what has been described as an inherent peculiarity of the Jewish constitution - a natural attachment for, and superior attainment in, the engaging art and sublime science of music. The greater part of the solos and chorusses were, we believe, composed by Mr. Anderson . . .

ASSOCIATIONS: Henry Jones (reader)

"THE JEWS. OPENING OF THE SYNAGOGUE AT LAUNCESTON", Launceston Advertiser (2 April 1846), 2 

. . . We ought to mention in this place that Mr. Jones, from Hobart Town, officiated as Reader, and conducted, the who whole in a highly efficient and most beautiful manner. Mr. Anderson presided at the pianoforte, and was assisted by Mr. Bishop, band-master of the 96th regiment, and two other performers. The musical performances were highly creditable . . . The services were commenced by the orchestra; performing an INTRODUCTORY SYMPHONY - Mozart . . .

[Untitled, incomplete at beginning: Ravac's concert], Launceston Advertiser (4 June 1846), 3 

. . . The audience last night listened with intense delight to the eloquent music of the instrument which Mr. Ravac controlled with so masterly a hand . . . Mr. Imberg, who accompanied Mr. Ravac, on the pianoforte, and performed in a most beautiful manner a Fantasia by Thalberg, and Mr. J. H. Anderson, who was deservedly applauded in his performance of a fantasia by Hunten, will not feel that we neglect them in so slight a notice . . .

ASSOCIATIONS: Leopold Rawack (violin); Julius Imberg (piano)

1846, births in the district of Launceston; Tasmanian names index; NAME_INDEXES:1107326; RGD33/1/23/ no 1536 (DIGITISED)

1536 / 23 November [1846] [sic, ? 23 December] / Augustus Abraham / Male / [son of] James Henri Anderson / Rachel Anderson formerly Solomon / Professor of Music / . . . Charles Street / [registered] 29 December [1846] . . .

1847, births in the district of Launceston; Tasmanian names index; NAME_INDEXES:1107388; RGD33/1/23/ no 1598 (DIGITISED)

1598 / [born] 23 December 1846 [sic] / Abraham Frederick / Male / [son of] James Henri Anderson / Rachel Anderson formerly Solomon / Professor of Music / . . . Charles Street / [registered] 17 March [1847] . . .

[Advertisement], Launceston Examiner (25 August 1847), 2 

Second evening CONCERT . . . Cornwall Hotel Assembly Room, on Monday evening, 30th August . . .
PROGRAMME. Overture to Waverley, (Berlioz), Military Band
Glee, "Come unto those yellow sands," Mr. Leffler at piano, and four voices
Fantasia, pianoforte, (Herz), Mr. Packer
Song, "The Sailor's Bride," (Purday), Mr. Packer . . .
Fantasia, pianoforte, Mr. J. H. Anderson . . .
Quintette, (from Beethoven), arranged for flute, cornet a piston, clarionet, bassoon, and piano forte - Mr. J. H. Anderson at piano . . .
Tickets 2s, 6d. each to non-subscribers . . .

ASSOCIATIONS: Band of the 11th Regiment (military)

"PROMENADE CONCERT", The Cornwall Chronicle (29 September 1847), 3 

The last of these concerts in connection with the Mechanic's Institute for the season took place on Monday evening, when the attendance was good, though not so numerous as at the previous concert; the Band of the Regiment gave their services, and Mr. Anderson and a young lady, one of his pupils, performed on the Piano Forte. Two or three songs, glees, &c., were tuag with much taste, and the company departed at ten o'clock, well pleased with the evening's entertainment.

Mauritius (? c. late 1847 to early 1848):

Melbourne, NSW (VIC) (17 April 1848 to February 1850):

"Shipping Intelligence", The Port Phillip Patriot and Morning Advertiser (18 April 1848), 2 

April 17. - Skern, brig, 121 tons, John Steel, master, from Port Lewis, Mauritius. Passengers - Mr. Mortimer, supercargo; Mr. and Mrs. Anderson, and child.

"MUSICAL", The Port Phillip Patriot and Morning Advertiser (20 April 1848), 3 

Mr. Anderson, professor of music has arrived at Melbourne, from Mauritius, per Skerne. His arrival could not have been more opportunely both for the public and himself. We understand it is his intention to shortly make his debut in the usual way, when we shall have an opportunity of forming some estimate of his abilities.

[Advertisement], The Port Phillip Patriot and Morning Advertiser (25 April 1848), 3 

A Card. MR. J. H. ANDERSON, Professor of Music, late Student of the Royal Academy, Music, London, begs to acquaint the inhabitants of Port Phillip, that having arrived per Skerne, from Mauritius, he is desirous of offering his services generally in the several departments of musical education.
Mr. J. HENRI ANDERSON having studied in the Royal Academy, and completed the period of the Studentship of a Royal Academician, during the same period (seven years) being the constant pupil of CIPRIANI POTTER, and having been admitted a Member of the Royal Academy, (London,) the diploma of which he holds, trusts that he has, in these particulars, the opportunity of affording every guarantee of professional efficiency, while soliciting the patronage of his friends.
N.B. - For circulars, containing full particulars as to terms, &c., application may be made to Messrs. Pullar and Co., or to Mr. Joseph Pittman, Stationers, Collins-street. Melbourne, April 25.

[Advertisement], The Port Phillip Patriot and Morning Advertiser (16 May 1848), 3 

GRAND CONCERT, Under the immediate Patronage of
His Honor the SUPERINTENDENT, His Honor the RESIDENT JUDGE, and His Worship the MAYOR.
MR. ANDERSON begs to announce that his introductory CONCERT of VOCAL and INSTRUMENTAL MUSIC,
will take place on THURSDAY EVENING May 18, in the Queen's Theatre,
on which occasion the amateurs connected with the Philharmonic Society have kindly given their services.
Mr. A. has also secured the services of Mr. Megson, and all the available musical talent of Melbourne.
Overture - "Les Diamans de la Couronne" - Auber.
Song - "The Mother's Farewell" (Op. Norma.) - Bellini.
Fantasia Briliianle - Pianoforte, (by Mr. Anderson) - Hummel.
Cavatina - "Sweetly o'er my senses stealing." - Zingarelli.
Solo- Violin- Op. 6.- with Pianoforte accompaniment - De Beriot.
Song - "As I view those scenes so charming" (Op. Somnambula) - Mr. Anderson.
Duct Concertante - "Di Tanti Palpiti"- Violin and Piano - Mayseder.
Overture - "Siege of Rochelle"- Balfe.
Song - "See'st thou at Even" - (Violin obligato) - Kalliwoda.
Solo - Pianoforte Airs varie, (Op. Semiramide.) Mr. Anderson - Dohler.
Duet - "List, dearest, list," (Op. Keolanthe) - Balfe.
Concertante - Violon and piano (Op. 3) - Mayseder.
Finale - "God save the Queen."
Tickets, 5s. each; upper boxes, 2s. 6d.; to be obtained from Mr. Anderson, at his residence, corner of William and Collins-street; also of Messrs. Pullar and Pittman, stationers, Collins-street.
The Concert will commence precisely at eight o'clock.
Application for reserved seats to be made to Mr. Anderson, at the Theatre, between the hours of 12 and 2 o'clock on Thursday, or by letter. May 16, 1848.

ASSOCIATIONS: Philharmonic Society (association); Queen's Theatre (Melbourne venue)

"THE CONCERT", The Port Phillip Patriot and Morning Advertiser (20 May 1848), 3 

On Thursday evening Mr. Anderson's Concert came off at the Theatre to, as we have previously stated, as respectable an audience as Melbourne can produce. The programme was full of novelty, and the selections extremely [? judicious]. The recommendatory reputation which had preceded Mr. Anderson's performance, raised expectation on tiptoe, the more especially as his vocation is one for which there is, especially at the moment, [ ? ] encouragement in the province. With respect to Mr. Andersons performance we cannot say that our expectations were realised. His style appeared [ ? ] and spiritless, and his time not very [ ? ] - his execution was fluent but in-[ ? ], and his efforts undramatic.
"We sigh, for SOUL was wanting there."
He is evidently as much master of his instruments (Piano) as practice can make him. Speaking thus candidly of abilities, or so far as they appeared on the evening of his debut, it is but justice to state, that the keys of his piano were very stiff - the situation bad for sound, and some of the scores [? given] to him perfectly illegible - these difficulties would have posed Thalberg himself. The vocal music was, from a variety of reasons, indifferent. Mr. Anderson in his duet with Mrs. Wallace, was so deploringly [ ? ] from a severe cold, that scarcely a note from his voice reached us. Mr. Megson acquitted himself with great ability, and was warmly applauded by the audience. Mr. Anderson was also very flatteringly [? received] and supported throughout. He will be heard to much greater advantage, [ ? ] juster grounds for criticism, in [ ? ].

ASSOCIATIONS: Caroline Wallace (vocalist)

"THE CONCERT", The Melbourne Argus (26 May 1848), 2 

A week or two ago the Patriot and the Herald were loud in their applause of Mr. Anderson's extraordinary musical abilities, and sweeping in their depreciation of the talent of our resident professors of the gentle art. Now the tables are turned, Mr. A., without any good reason that we can see, is being depreciated, and Mr. Megson is, for the nonce, lord of the ascendant. There is but little credit to be gained from such applause, and still less mischief to be dreaded from such criticism. As it is now with Mr. Anderson so was it with Mr. Megson himself when he first made his debut here. The best encomium he had from one of the very writers who are now lauding lum to the skies, was, that he was "a scrubbing brush performer, fit only to play in a stable." Mr. M. survived the killing sarcasm and felt none the worse for the attack; Mr. Anderson we have no doubt will be equally fortunate.

[Advertisement], The Melbourne Daily News and Port Phillip Patriot (9 October 1948), 3 

. . . MRS. CHESTER BEGS to acquaint the inhabitants of Melbourne, that she will have the honor to appear at an evening CONCERT, OF Vocal and Instrumental Music, to be held in the Hall of the Mechanics' Institute, To-Morrow, October 10th, 1848. On which occasion she will be assisted by Mr. Megson, Mr. Anderson, and Amateurs . . .

ASSOCIATIONS: Marian Maria Chester (vocalist)

"CONCERT", The Argus (17 November 1848), 2 

Mr. Megson's annual concert took place last evening, and was as numerously attended as could have been expected from the very unseasonable weather. The performance was creditable and included the overtures of the Bondman and Les Diamans de la Couronne; a beautiful flute solo, most admirably played by Mr. Pritchard, a very good duett by Messrs. Anderson and Megson, and two capital glees. Mrs. Wallace was the only female singer, and although often much out of tune, she acquitted herself better than on her last public appearance.

ASSOCIATIONS: Osgood Pritchard (flute)

[Advertisement], The Melbourne Daily News (1 May 1849), 3 

MR. J. H. ANDERSON, PROFESSOR OF MUSIC, (Late Student of the Royal Academy, Music, London,)
BEGS in acquaint the public of Melbourne and its vicinity, that he still continues offering his services in the following branches of Musical Education, viz.:
- Pianoforte and English singing; and from the patronage already received since his commencement, affords every guarantee of professional efficiency.
Ladies advanced can receive finishing lessons.
Terms may he obtained from Mr. A., Collins-street, opposite His Honor Judge a'Beckett's residence.
Communications left at Messrs. D. S. & M. Benjamin's, merchants, Collins-street; or at Mr. A.'s, as above, will have immediate attention.

"BINDING TO THE PEACE", The Argus (18 August 1849), 2 

Mr. Joseph Butterworth, of Swanston-street, was yesterday bound to keep the peace for six months, in the sum of £20, towards Mr. J. H. Anderson, music master.

[Advertisement], The Melbourne Daily News (20 February 1850), 3

FRIDAY, 22nd INSTANT. Unreserved Sale of Household Furniture.
EDWARD COHEN Having received instructions from Mr. J. H. Anderson, Professor of Music, will sell on
FRIDAY NEXT, the 22nd INSTANT, By public auction at his residence, Collins-street east, opposite Mr. Justice a'Beckett's, the whole of Mr. Anderson's household furniture, plate, &c., &c.,
Consisting of a Grand square brilliant toned PIANOFORTE, with metallic plates, circular corners, and all the new improvements . . .
E. C. is particularly requested to call attention to the above very excellent instrument, and to inform purchasers that it was selected by B. HEAPE, Esq. when in England for his own private use at a large cost . . .

Launceston, Hobart, Melbourne (2 March 1850 to 29 November 1853):

"SHIP NEWS", The Cornwall Chronicle [Launceston, TAS] (2 March 1850), 140 

MARCH 2. - TAMAR (schooner), 110 tons, James Skey master, from Melbourne . . . Passengers . . . Mr. J. H. Anderson, Mrs. Anderson and child . . .

[Advertisement], The Cornwall Chronicle (2 March 1850), 142 

A CARD. MR. J. H. ANDERSON, Professor of Music, late student of the Royal Academy of Music, London,
begs to intimate to the gentry and public of Launceston and its vicinity, that having returned to Launceston, purposes following his professional pursuits in the usual branches of music, viz., Piano-forte and English singing; and hopes by strict attention to receive the patronage has hitherto been honored with.
Card of terms to be obtained and all communications addressed to Mr. H. Dowling, stationer, will be strictly attended to.
*** Schools regularly attended. March 2.

"CONCERT", Launceston Examiner (31 August 1850), 6 

A promenade concert was given at the Cornwall Assembly Rooms on Thursday evening last. About four hundred persons were present. The music, which was of a varied and interesting character, was under the direction of Mr. Megson, and gave very general satisfaction, although the vocal performances, with the exception of the glees, were not so good as on a former occasion. Mr. Megson, on the violin, and Mr. J. H. Anderson, on the pianoforte, fully sustained their reputation, and the manner in which they executed some very difficult music does them much credit. The Ethiopian and Prince of Wales quadrilles were much admired: a vocal finale to the latter, composed by Mr. Megson, was rapturously received, and repeated at the general desire. The entertainments concluded with the Drum Polka, so successfully performed at Julien's concerts, and the company separated shortly before eleven o'clock.

ASSOCIATIONS: Cornwall Assembly Rooms (Launceston venue)

"TO THE EDITOR . . . PSALMODY", Launceston Examiner (4 September 1850), 4

SIR, - Public attention having been lately directed to the improvement of congregational singing, I may be excused, if I offer a few remarks on the subject. The most important method of imparting a correct intonation, with a pure and perfect style of singing, is the principles of M. Wilhems, having been most successful in France, that thousands of artizans and workmen have been heard singing together, and in parts, the effect of which was grand in the extreme. M. Maintzer, another workmen in the field of class-singing, has begun his labors in England, and instituted schools for class-singing in the suburbs of London, with very great success. It has often been wondered at and the reason asked "why is not the knowledge of the principles and practice of music more general among the middle and lower classes of the population in Van Diemen's Land?" the reason is that it has hitherto not been taught in our schools. My opinion is, that it should form an indispensable branch of the education in our national, grammar, and other schools; and that the knowledge of the notes, &c., should be taught with the alphabet. In Germany this practice has long been carried out, besides which, in the German schools, they obtain a practical knowledge of the violin, and other stringed instruments, so that every one more or less sings and plays in Germany. This method has been, until lately, entirely neglected, even in England. But now singing is becoming more general, and yet it is but in its infancy. This method of tuition in classes is so easy that almost any one acquainted with the principles can carry it out, and be enabled to teach hundreds of individuals. It is equally applicable to adults and children, males and females, at the same time. I hope to find, after a lapse of a few years, perhaps months, that a great many would be able to to take a part in an anthem, psalm, madrigal, glee, &c. In the days of Elizabeth no one was thought a perfect gentleman unless he could sing a part at sight, and if he could not, everybody wondered how he was brought up. In singing the examples the pupils must be divided into classes, and again into sub-classes, and no one must be permitted into the class next to the one he is singing in, unless he, or she be perfect in the examples, and understands the principles taught in the previous class. It would also be necessary to illustrate to the pupils the elementary parts on a black board, forming the treble clef, consisting of five horizontal lines, termed a stave. This board would be of vast importance, and would tend to inculcate to the student a concise treatise, and an easy and quick method of explaining musical characters and signs, which constantly occur in combining singing instruction. When the pupils are perfect in all the rules and examples, they must then be divided into high and low voices, and taught examples in two, three, and four parts. Having attained that object, they will then be prepared to take a part in a chorus - of one of Handel's oratorios, or a part in one of the anthems by the English masters. As a preliminary lesson, the pupils must be taught the important one, of producing the sound for each note from the chest, and not from the throat, or through the nose, which would, if produced from the throat, produce a guttural noise, and if through the nose, a nasal sound, neither of which is proper. And care must be taken that the pupils do not emit the sound through their teeth, but let them produce the notes from the chest, opening the mouth gradually, swelling each note, and then diminishing it. They must also be careful not to force the tone or the voice, or squall, or bawl, in attempting to sing. In regard to the application of words to sounds, they are so naturally applied that I have considered it unnecessary to devote a chapter to the subject; yet It may be as well to remark, that, in singing the solfeggios, or examples, the syllables in Italian be introduced, - viz., do, ri, mi, fa, sol, la, si, &c., and that the above syllables should never change their name in whatever key the example is likely to be in, otherwise the system becomes complicated. Those syllables produce an open and flowing sound and is the usual method of solmisation, and can be easily applied. I hope that I have endeavoured to satisfy a wish expressed in many quarters to enumerate and explain all contained herein, and also to render clear and intelligible a branch of education which is indispensable, with the wish that many may avail themselves of it, to ensure a well grounded, and at the same time, easy, and rapid acquirement of an agreeable, widely spread, and honorable art, for, "as the use so will be the gain."
Trusting that my lengthened subject will not encroach on your valuable columns,
I am, sir, your obedient servant,
St. John-street, August 20.

ASSOCIATIONS: Louis Bocquillon Wilhem (French singing instructor); system as also adapted by John Hullah (English singing master); Joseph Mainzer (singing master)

[Advertisement], Launceston Examiner (21 September 1850), 11 

Just Published, Price 3s. THE "FITZ ROY QUADRILLES," for the piano forte;
composed and dedicated by permission to His Excellency Sir Charles A. Fitz Roy, K.C.B.,
Governor of New South Wales, by J. H. ANDERSON, Professor of Music.
To be had of Mr. Henry Dowling, of Messrs. Simmonds and Huxtable, and of the composer. September 21.

ASSOCIATIONS: Charles Fitzroy (dedicatee, governor)

"FITZ ROY QUADRILLES", Launceston Examiner (25 September 1850), 6 

We have to acknowledge the receipt of a set of quadrilles with the above title; composed by Mr. J. H. Anderson, and dedicated by permission to his Excellency Sir Charles A. Fitz Roy. The melodies are pleasing, and the harmonies, though both simple and easy of performance, are yet full and complete. We hope the composer may be rewarded by a ready sale.

[Advertisement], The Cornwall Chronicle (4 October 1850), 634 

NEW MUSIC. Just Received, ex "Wycliffe." DIRECT FROM THE PUBLISHERS.
THE Cheapest Music ever offered on Sale, by J. H. Anderson, Professor of Music, at his residence, Brisbane-street, Launceston.
In shilling and sixpenny pieces, containing all the popular pieces of the day, printed in the full music size, and in every respect better got up than the ordinary music for which 2s. 6d. or 3s. per piece is charged; an allowance made to purchasers of one dozen pieces and upwards; the series comprise Overtures, Piano-forte Solos, Operatic Duetts (for two performers) Quadrilles, Waltzes, Polkas, Vocal Gems of Foreign Operas, Negro and Ethiopean Melodies, (arranged for one or three voices) Preceptors, by Jousse, &c., for every instrument - sacred pieces, vocal and instrumental, Goolitzka's, Mazurku's gallopades, contra-dances, little pieces for little players, manuscript books of all sizes, &c.
The cheapest and most useful of musical presents are The Musical Treasury Volumes, elegantly bound, with gilt edges, emblasoned title-pages, frontispieces, &c. contains the newest and best of Henry Russell's songs.
Opinion of the Press. - "We cannot but recommend it; for while it possesses the merit of cheapness, it has the still greater merit of being correct." - London Times.

[Advertisement], The Cornwall Chronicle (31 January 1852), 69 

MUSIC - Mr. J. H. Anderson, Professor of Music -
Begs to intimate to the ladies and gentlemen, also his numerous pupils and friends in Launceston, and its vicinity, that the holidays having terminated, will resume his professional avocations, on Thursday, 22nd instant.
For cards of terms, to be had on application to Mr. A., at his residence, Brisbane-street.
N.B. - Schools attended. January 21.
NEW MUSIC - Just received ex Potentate, and on sale at Mr. Anderson's residence Brisbane-street, all descriptions of vocal and instrumental music - consisting of popular piano-forte pieces, for school or home practice, overtures, duetts, waltses, quadrilles, polkas, &c., &c. also pieces for little players, and within the compass for small hands, the price of each piece one fourth of the usual charge.
Stimulated by the success which has attended these publications of correct and genuine music, is at a price that places it within the limit of the intellectual million.
An allowance made to a purchaser of 1 dozen or more pieces. Jan. 21.

[Advertisement], Launceston Examiner (3 April 1852), 7

Superior household furniture, brilliant-toned cottage pianoforte by Broadwood; quiet saddle-horse, with saddle and bridle; plate, glass, ornaments, &c., &c.
MR. J. C. PYLE has been instructed by Mr. Henry Anderson, professor of music, in consequence of his leaving this side the island, to sell, by
PUBLIC AUCTION, on the premises, Brisbane-street, known as Gilbert's Buildings, on
TUESDAY, 18th April, commencing promptly at one o'clock,
The whole of the very SUPERIOR HOUSEHOLD FURNITURE, comprising . . .
quantity of select new music, few volumes "Musical Treasury" . . .
The handsome brilliant toned semi-cottage piano-forte, 6 7-8 octaves, by Broadwood, with metallic bracing and strong plate, drilled bridge, repetition action, with all the latest improvements.
This instrument was imported by Messrs. Jackson & Co., and selected by Mr. Anderson regardless of expense, being for tuition purposes . . .
The house to let, Mr. Anderson intending to reside in Hobart Town.

[Advertisement], The Courier [Hobart Town, TAS] (17 April 1852), 4 

MR. J. H. ANDERSON, PROFESSOR OF MUSIC, Late Student of the Royal Academy Music, London,
BEGS most respectfully to inform the Gentry and inhabitants of Hobart Town and its environs that, having been promised the patronage of many influential families, it is his intention of residing in Hobart Town for the purpose of practising his profession in all its various branches.
The most respectable references, if required, can be obtained as to Mr. Anderson's capabilities.
On Mr. A.'s arrival due notice will be given by advertisement.

[Advertisement], The Courier (29 May 1852), 3 

Music for the Million. JUST RECEIVED, and on SALE at the
Musical Repository of Mr. J. H. ANDERSON, Professor of Music, Kelso Terrace, Elizabeth-street,
Music of all descriptions. The series comprise all the latest effusions, Vocal and Instrumental, issuing for EIGHT PENCE, what, under other auspices, would be chained Three or Four Shillings.

"GRAND CONCERT", Colonial Times [Hobart Town, TAS] (9 July 1852), 2

The public are promised a treat of vocal and instrumental music, rarely equalled in these colonies, by Mr. Anderson, professor, at the Mechanics' Institute, on Thursday next. The patronage of His Excellency has been secured, who, with the elite of Hobart Town, are expected to be present. The great attraction of the evening, we presume, will be the introduction of Master Anderson, an infant prodigy, only four and a-half years old. His musical talents have already been exhibited in private circles, and much astonished the observers. By reference to the Programme, in our advertising columns, it will he noticed that Mr. Anderson, a host in himself, has secured the first talent, and spared no expense to render the performance acceptable to the public.

[Advertisement], The Courier (10 July 1852), 4 

MR. J. H. ANDERSON HAS the honour to announce that a Choice Selection of Vocal and Instrumental Music will be performed on the above Evening, under the IMMEDIATE PATRONAGE of His Excellency Sir W. T. Denison, who has most kindly signified his intention of BEING PRESENT.
The Negro Melodies contained in the programme will be executed by Master Anderson, a child who, at 4 1/2 years of age, has exhibited musical talent.
Overture, L'Italiani in Algieri, by the Band - Rossini.
Glee, Hail, smiling morn - Spofforth
Negro melody, I'm going ober de Mountain, by Master Anderson, his first appearance - Russell
Song, The Husband's Dream, Mr. Jackson
Air varié, Pianoforte, Mr. Anderson - Herz
Ballad - Mr. Packer
[REDACTED] Song and Chorus, My Old Aunt Sally, Master Anderson - Russell
Grand Selection (Instrumental) from the Opera Semiramidie - Rossini
Overture, La Gazza Ladra, by the Band - Rossini
Glee, On yon blue river's tranquil breast - West.
[REDACTED] Song and Chorus, Uncle Gabriel, in Ethiopian costume, by Master Anderson.
Sturm, Marsch Galop, Instrumental - Jullien
German Song, The Grave-digger, Mr. Packer - Kalliwoda
Song, The celebrated Trot, Trot, Mr. Jackson - Kucken
[REDACTED] Song & Chorus, Sing, Sing, ye Darkies, Sing! - Master Anderson
Finale (Instrumental)
Leader of the Orchestra - Mr. Russell
Conductor - Mr. Anderson.
Doors open at Seven o'clock, Concert commences at Half-past Seven precisely.
Tickets 3s each; children half-price. To be obtained at Mr. Walch's Library, and Messrs. Huxtable, Stationers; and at the residence of Mr. Anderson, Kelso Terrace, Elizabeth-street.

ASSOCIATIONS: Note that the concert was postponed to Thursday 22 July; William Denison (governor); John Dettmer Dodds Jackson (vocalist)

"CONCERT", Hobarton Guardian, or, True Friend of Tasmania (24 July 1852), 3 

On Thursday evening last, Mr. J. H. Anderson gave a grand Concert, at the Hall of the Mechanics' Institution, and a grand affair it really was. The doors were thrown open at 7 o'clock, and a few minutes after, the spacious building was crowded to excess in every part, and, we hear, that about five hundred ladies and gentlemen were refused admittance for the want of accommodation. Amongst those present we noticed their Excellencies Sir W. T. Denison, Colonel Butterworth, (together with their ladies and families,) and suits, the Colonial Secretary, Colonial Treasurer, the Master of the Supreme Court, the Attorney and Solicitor Generals, Major Smyly, T. G. Knight, Esq., and, in fact, the whole of the elite (who could get room) of Hobart Town. The music and singing were both remarkably good. Master Anderson was most enthusiastically applauded, and, in addition to the four Negro Songs announced in the programme, he was requested to sing "My Pretty little dark eyed Maid," with which he readily complied, accompanying himself on the "bones," which he handled in a style that would reflect credit on a proficient of maturer years. He really is a most wonderful child. Mr. C. Packer was paid the compliment of being called upon to repeat the ballad of "The Blind Man's Bride," which was loudly applauded. As very great disappointment was felt by many parties, in not being able to obtain admission, we would suggest to Mr. Anderson the propriety of giving a series of Concerts, at the Victoria Theatre, which would pay him well, and afford amusement to the inhabitants of Hobart Town and its suburbs.
[Since the above was written, we find that Mr. Anderson has anticipated our suggestion. - See Advertisement.]

"SECOND CONCERT", Hobarton Guardian, or, True Friend of Tasmania (28 July 1852), 3 

To-morrow evening, Thursday, Mr. J. H. Anderson gives his Second Concert at the Royal Victoria Theatre, upon which occasion Master Anderson will make his second appearance. On referrence to our advertising columns, it will be seen that the Programme is selected with much taste, and that the fine band of the 99th Regt. will be in attendance. We doubt not Mr. Anderson will have a full house, as much disappointment has been felt by those families who were not able to obtain admittance at the Mechanics' Institute last Thursday.

"CONCERT", Hobarton Guardian, or, True Friend of Tasmania (18 August 1852), 3 

To-morrow Evening (Thursday,) Mr. J. H. Anderson gives his third Concert at the Mechanics' Institute, Melville-street, upon which occasion, he has secured all the available vocal and instrumental talent in this colony, in addition to the "Infant Prodigy," Master Anderson, who will sing several new "[REDACTED]" Melodies. We hope Mr. Anderson will receive that public support he is endeavouring to merit. This Concert is given under the immediate patronage of the Honorable the Speaker, and the Members of the Legislative Council.

"CONCERT", Colonial Times (20 August 1852), 2 

Last evening Mr. Anderson's Concert, under the patronage of the hon. the Speaker, and most of the members of the Legislative Council came off with great eclat. The attendance though not numerous, was highly respectable, and every satisfaction appeared to be given by the performances. The instrumental parts were well executed, particularly the opening overture, "Cenerentola;" and the glee "Merrily goes the Bark" produced a thrilling response, and was received by loud applause. Immediately followed the Ethiopian melody, "A life by de Galley Fire," by Master Anderson, whose appearance was greeted by reverberating applause; the musical wonder nothing daunted, performed his part admirably; his little voice filled the Hall, and the words were sung with remarkable distinctness. Mr. Packer sung "Little Knell," [sic, Little Nell] "She wore a wreath of roses," and "Green Leaves," with fascinating sweetness. The duo Concertante by Messr. Anderson and Hill received merited approbation. We consider that Mr. Anderson who has so recently established himself in Hobarton, has deserved well of the public, and his professional talents will, undoubtedly, upon these several debuts be brought into active exercise.

ASSOCIATIONS: Arthur Silvester Hill (flute, 99th band)

MUSIC: A life by de galley fire (Henry Russell)

"SHIPPING NEWS", The Courier (4 September 1852), 2 

Passengers per Circassian for Melbourne. Cabin . . . Messrs. . . . Anderson . . . Master Anderson . . .

"CONCERT", The Argus [Melbourne, VIC] (21 September 1852), 5 

We perceive from an advertisement in another column that Mr. Anderson, the pianist, gives the first of a series of concerts at the Protestant Hall, Stephen-street, tonight. The principal novelty consists of a little boy of five years of age, the son of Mr. Anderson, who sings negro songs and is represented as a musical genius of singular precocity. We do not generally admire the class of infant phenomena; but we find in the Tasmanian newspapers very complimentary references to this young gentleman, who had the honor of appearing in Hobart Town before the Governor and the Celestials of that locality.

ASSOCIATIONS: Protestant Hall (Melbourne venue); for the program, see [Advertisement], The Argus (21 September 1852), 5 

[Advertisement], Geelong Advertiser and Intelligencer [VIC] (15 October 1852), 2 

On SATURDAY Evening, Oct. 16, Upon which occasion
MRS. TESTAR - MRS. MOORE - MASTER ANDERSON, A Child only Five Years Old -
MR. ANDERSON, The Celebrated Pianist - MR. MOORE, The PAGANINI of the Colonies - and MR. COPPIN, will assist.
PROGRAMME. PART 1 . . . Negro melody - A life by de galley fire, Christie, Master Anderson . . .
Song - Far far upon the sea, Russell, Mr. Anderson . . .
Duett, Piano and Bones - Trab trab Polka, Kirchen [Kucken], Mr. and Master Anderson . . .
PART 2 . . . Negro melody and chorus - Old Aunt Sally - Master Anderson . . .
Ballad - Green Leaves, Packer, Mr. Anderson . . .

ASSOCIATIONS: Elizabeth Testar (vocalist); Andrew and Rachel Moore (violinist and vocalist); George Coppin (vocalist, actor, manager); Theatre Royal (Geelong venue)

MUSIC: Trab trab polka (Kucken)

"SHIPPING INTELLIGENCE. LAUNCESTON . . . ARRIVALS", Hobarton Guardian, or, True Friend of Tasmania (3 November 1852), 2 

October 27. - Steamer "Yarra Yarra," 337 tons, G. Gilmore, master from Melbourne . . . Passengers - Messrs. . . . J. H. Anderson and son . . .

[Advertisement], The Courier (6 November 1852), 1 

Musical. MR. J. H. ANDERSON, Professor of Music,
begs to notify to the Ladies and Gentlemen of Hobart Town and its vicinity that he has resumed his professional avocations. - For cards or terms, to be had on application; at Messrs. WALCH & HUXTABLE'S libraries, and at the residence of Mr. A., Kelso Terrace. 1st November.
New Music. JUST Received, and on Sale at Mr. Anderson's, an assortment of NEW MUSIC, consisting of pianoforte solos, polkas, quadrilles, waltzes, songs, overtures, little pieces for little players, &c. &c. Kelso Terrace, 1st November.

[Advertisement], The Courier (22 January 1853), 3 

of the Conservatoire Royale of Music, and of the Opera Nationale of Paris,
has the honour to announce that his Concert will take place at the
By the kind permission of Colonel Despard, he will be assisted by the Full Band of H.M. 99th Regiment, under the directions of Mr. Martin.
PROGRAMME. PART I . . . 5. Flute Solo (Messrs. Hill & Anderson) - TULOU . . .

ASSOCIATIONS: Camille Del Sarte (musician); Robert Martin (master, 99th band); Arthur Silvester Hill (flute, 99th band); Band of the 99th Regiment (military)

"Musical. ROYAL VICTORIA THEATRE. - CONCERT", The Courier (27 January 1853), 2-3 

A new arrival, M. Camille Del Sarte, gave a concert last night under the patronage of His Excellency Sir William Denison, who with Lady Denison and suite attended upon the occasion, and were received with the accustomed vice-regal honours at the door of the theatre . . . By the kind permission of Colonel Despard, C.B., the full band of Her Majesty's 99th Regiment were in attendance, and we are bound to say, that but for the [3] exertions of the men and the ability with which Mr. Martin directed them, the concert would have proved a total failure . . .

Mr. Hill, the flautist of the 99th, executed a solo on the flute in splendid style, rendering some of the most difficult passages in a highly creditable manner. We very much regretted that the beauty and simplicity of Mr. Hill's effort, which was deservedly applauded was inexcusably marred by the unmeaning thumping of the pianist accompanying, who leathered away on the "a la Mocatta" system, with no regard to musical nicety . . .

ASSOCIATIONS: "a la Mocatta" = Jonathan Brandon Mocatta (piano teacher)


On Sunday, the 5th instant, on imposing ceremony took place here, at the Synagogue, in Argyle-street, on the occasion of the inauguration into office of the Rev. Dr. Herman Hoelzel, who with his lady recently arrived in the Abberton, as Presiding Rabbi of the Jews of the Australian Colonies . . . At the commencement of the ceremony, a voluntary, adapted to the occasion was performed by Mr. J H. Anderson on the seraphine, who was assisted by an efficient choir from among the members at various periods during the service . . . On entering the sacred edifice, the choir chanted in Hebrew the verses commencing with, "Blessed be he that cometh in the name of the Eternal," followed by the 24th Psalm . . .

ASSOCIATIONS: Herman Hoelzel (rabbi)

[Advertisement], The Courier (20 July 1853), 3 

at the Mechanics' Institute, On Saturday Evening, 23rd July . . .
Mr. M. has succeeded in engaging the celebrated Master Anderson, the JUVENILE [REDACTED] MELODIST,
On which occasion he will sing "Ben Bolt" and "Ginger Blue;"
also play a Duett with Mr. Anderson, entitled "The Sturm Marsch Galop," pianoforte and bones . . .

Sydney, NSW (from 12 December 1853):

"SHIPPING INTELLIGENCE. ARRIVALS", The Sydney Morning Herald (6 December 1853), 4 

December 12 - Gem, schooner, 120 tons, Captain Henry, from Hobart Town 29th ultimo. Passengers - Mr. and Mrs. Anderson and family . . .

[Advertisement], Empire [Sydney, NSW] (13 December 1853), 3 

MR. J. H. ANDERSON, Professor of Music,
Member of the Royal Academy - Music, London, pupil of the celebrated Cipriane Potter,
begs to announce to the Musical public of Sydney and its environs, his intention of commencing his profession in the various branches, viz., Pianoforte and English Singing, and hopes by strict attention, to merit a share of public patronage.
Cards of terms can be had by applying at Mr. Anderson's residence, Bligh-street, opposite the residence of the late R. Campbell, Esq.
References permitted.

[Advertisement], The Sydney Morning Herald (25 March 1854), 5 

MR. J. H. ANDERSON, Professor of Music, late Student of the Royal Academy Music, London, has removed to 108, Elizabeth-street North.

[Advertisement], The Sydney Morning Herald (24 June 1854), 1 

REMOVAL. - Mr. J. H. ANDERSON, Professor of Music, removed to Bathurst-street, adjoining Mrs. C. Smith's. All communications to be addressed as above.

"MUSIC HATH CHARMS", Bell's Life in Sydney and Sporting Reviewer (23 December 1854), 2 

But not for everybody; you cannot live upon music; you cannot eat music; and, what is more annoying than to live under the same roof with a gentleman or lady eternally practising. Bridget Walsh is a pretty maid of all work, and she entered the service of Mr. or Monsieur John Henry Anderson, professor of music, &c. The master and the maid came to court on Wednesday, to settle a dispute. The professor taxed the maid with having taken French leave ere her time of service had expired, asserting that she was a monthly servant. Bridget as positively asserted that she was only engaged weekly. Madame Rachael Anderson was called to give her version of the affair, and she sailed swan-like into the witness-box in all the glory of feminine beauty, and all the splendour of silk and satin; in fact, the magistrates must have been made of more etherial components than flesh and blood, to withstand the centrifugal force of Madame Anderson's pink silk bonnet and Cleopatra-like face. The humble beauties of the maid of all work, sunk into shade, and the magistrates gave their verdict in favor of the grand professor, deciding that Bridget was to be mulcted of the balance of wages due, thirteen shillings.

[Advertisement], The Sydney Morning Herald (16 April 1855), 1 

REMOVAL. - Mr. J. H. ANDERSON, Professor of music, late of the Royal Academy, London, to No. 1, Horbury-terrace.

[Advertisement], The Sydney Morning Herald (27 September 1856), 3 

THE ANNUAL EXAMINATION of the Pupils of the Hebrew School of this City, conducted by the Rev. Mr. Cohen, terminated on Wednesday, the 24th instant, in presence of the Rev. Dr. Hoelzel, Jacob Marks, Esq., president of the Synagogue, and several parents of the pupils . . .
Report of the Examination of the Pupils of the Zion House School, ending the year 5616, showing the first two boys in each class . . .
4TH CLASS . . . WRITING. Alfred Anderson, M. Goldring . . .

[Advertisement], The Sydney Morning Herald (1 January 1859), 1 

CAMDEN. - GRAND CONCERT of Vocal and Instrumental Music, in aid of the Funds of the Camden National Schools . . .
W. Wilkins, Esq., Inspector and Superintendent of National Schools, Mr. J. H. Anderson, Mr. Chizlett,
and the ladies and gentlemen of the higher Singing Class of to Model Schools, have kindly volunteered their services.
On WEDNESDAY and THURSDAY, January 5th and 6th.
Conductor, - W. Wilkins, Esq.
Pianiste - Mrs. James and Mr. Anderson.
PROGRAMME. PART I. SACRED. 1. Duet. - Two pianos, Mrs. James and Mr. Anderson.
2. Motet - "I will give Thanks" - Palestrina . . .
PART II. 1. Duet - Two pianos, Mrs. James and Mr. Anderson - Beyer . . .
9. Solo, piano - Mr. Anderson . . .

ASSOCIATIONS: William Wilkins (conductor); Charles Chizlett (singing master)


We are not generally addicted to an admiration of youthful, precocity, nor inclined to believe in the excellence of a production, merely sui generis, or as "under the circumstances." The requirements of art are despotic; a performance is either good or not - not to be qualified by any consideration of attending circumstances. Nevertheless there are occasions when an advanced degree of superiority having been attained, there is every reason for the supposition that perfection will be the result of study, aided by a word of encouragement. We often bear that a musical performance is considered "very clever for a child," whereas were the executant arrived at maturity the same execution would have been deemed inartistic; and, as is often the case, these youthful progenies, spoiled by the homage paid to their early "genius," are taught to think themselves artists before they have been schooled in the truths of the art they are to acquire. But here, also, the saying holds good, "No rule without an exception." Many of our readers may recollect that considerable sensation was caused in the colonies some years ago by the appearance in public of an infant vocalist and pianist, Alfred Anderson, son of Mr. J. H. Anderson, a well known musician of this city. The Press of Hobart Town, where, at the age of 5 1/2 years, he first appeared, teemed with laudatory notices of this "Musical Wonder." This was exactly 7 years since: Sir William Denison (then Governor) and his family, Colonel Butterworth, Governor of Singapore, and various other exalted personages joined in eulogising these performances. These circumstances would, of themselves, not be sufficient to induce us to pay particular attention to the youthful prodigy; but letters from musical friends in London, where the lad is now pursuing his musical studies - artists connected with the first musical societies and in whose judgment we have the fullest confidence, speak so highly favourable of young Anderson, that, we cannot forbear devoting a short space to a notice of his youthful career.

After his success in Hobart Town, he proceeded to Melbourne and Geelong, having been engaged by Mr. Coppin to give performances at his theatre. The Press were unanimous in his praise, - the infant artist astounded everybody. From that period until the end of 1856, he made rapid progress in his musical studies, especially on the pianoforte under the guidance of his father and subsequently under Mr. C. S. Packer, the present conductor of the opera in this city. In the early part of 1857, he went to London, and was admitted a student of the Royal Academy of Music, having passed a severe examination before the Earl of Westmoreland, Dr. Sterndale Bennett, Cipriani Potter, Lucas, Sainton, H. Blagrove, &c., &c. - the Board of Management. Our advices state that his master's entertain high expectations of his becoming one of the greatest artists of the day. As a specimen of the advanced stage of his talents, he performed with marked success one of Mozart's Fantasias for the pianoforte, at a concert given by the talented composer, Mr. W. Macfarren. His execution called forth the marked approbation of various eminent professionals. As a violinist he assists in the orchestra of the Academy, and has attained great proficiency in composition, a qualification necessary for the attainment of the "Mendelssohn scholarship," for which, with the "King's Scholarship," our young Australian is about to compete, - and as we are informed, with every chance of success. We need only refer to the brilliant talents of Joachim and other celebrated artists, (not forgetting Mozart himself), who, at very early ages, were masters of the Art: and we trust that a few year's will bring Alfred Anderson - a thorough musician - back to our shores, where, we are convinced, he will be received with that generosity for which Australians are proverbial, and with the warmth due to his talents.

ASSOCIATIONS: William Sterndale Bennett (musician); Charles Lucas (musician); Prosper Sainton (musician); Henry Blagrove (musician); Walter Macfarren (pianist, composer)

[Advertisement], The Sydney Morning Herald (14 September 1859), 1 

MR. J. H. ANDERSON, Professor of Music, Importer of Music and Musical Instruments,
begs to acquaint the public that he expects daily, ex Blue Jacket, and Damascus, invoices of the most modern compositions from the following eminent firms -
Messrs. Chappell and Co, Bond-street; Cramer, Leader, and Cocks, J. Williams, &c., &c.
The trade liberally supplied. 27, Cowper-terrace, Church-hill.

"DEDICATION OF THE NEW JEWISH SYNAGOGUE", Empire (26 September 1859), 5 

An event of a very interesting and unusual character took place yesterday . . . the consecration and opening as a House of Prayer, with the accustomed religious ceremonies, of the building hitherto known as the Tabernacle, in Macquarie-street, opposite the Council Chambers, as a new "Temple of David." At three o'clock the small but elegantly and appropriately arranged edifice was filled by the members of the new congregation, and many of their Christian friends . . . During this time, an introductory and appropriate symphony was played by Mr. J. H. Anderson, who conducted the musical services. The greatest credit is due to this gentleman for the admirable manner in which the choruses were sung, after a very short practice. The accompaniment of the synagogue service with chorus instrument is a great improvement on the old form of worship. At the conclusion of the symphony, the consecrating procession demanded admission in the scriptural form, and the doors being opened, the officiating reader, the Rev. S. Phillips, entered with the officers of the synagogue, and others taking part io the ceremonies . . . The scroll-bearers having arrived under the canopy, the choir chanted the anthem, "How goodly are thy tents," and "Blessed, is he who cometh in the name of the Lord." The procession then slowly made seven circuits round the Synagogue During the first circuit, Psalm xxx was recited by the reader, and the responses for the congregation by Mr. P. J. Cohen; during, the second circuit, the 24th Psalm was beautifully chaunted by the reader and choir; the third circuit was accompanied by the recitation of the 130th Psalm; during the fourth, Psalm 100, a very pleasing chorus, was exquisitely sung by the choir. Psalms 81 and 123 accompanied the 5th and 6th circuits; and the 29th, during the 7th circuit, was arranged as solo and trio; the music of this lovely trio is by Alary, the eminent French composer, and was beautifully sung, the solo by a young gentleman possessing a remarkably soft and clear treble voice . . . The religious service was then continued by a hymn chanted by reader and choir. The reader, proceeding to the Ark, then received one of the sorolls from the President, and taking it to the reading-desk, chanted, in a very impressive manner, the prayer for the Royal Family, and returned the roll of the law, to the Ark, which was then closed, the choir singing a very melodious " Hallelujah Psalm," composed by Mr. J. H. Anderson, who himself sang the solos . . .

"OPENING OF THE NEW SYNAGOGUE, MACQUARIE STREET", The Sydney Morning Herald (13 October 1859), 11 

The consecration of the new synagogue, formerly known as the "Tabernacle," Macquarie-street North, took place on Sunday afternoon, 25th September. The consecration service was performed by their minister, the Rev. Solomon Phillips, lately arrived from Melbourne, assisted by a numerous and well selected choir, Mr. J. H. Anderson presiding at the harmonium, and directing the musical department. The opening symphony, by Mozart, was played in the most effective style by the conductor. The service was performed in the ancient style of the Hebrew faith . . . The Hallelujah Chorus was afterwards executed in a most masterly style by the choir, Mr. Anderson singing the solo parts in his usual effective manner . . .

"MASTER ALFRED ANDERSON", The Sydney Morning Herald (11 August 1860), 4 

This young gentleman, who left Sydney some four years back for Europe, for the purpose of studying music there, returned to his native city yesterday, by the ship Rifleman. Master Anderson was a student of the Royal Academy of Music, at London, and has also had the advantage of a continental tour. He appeared at several concerts in the metropolis, in noticing one of which the Illustrated London News referred in complimentary terms to his performance. The young musician has only attained his fifteenth year, and the fact of his having appeared at such an early age with success before so critical an audience, speaks highly for the talent of our native youth.

"MUSICAL NOTES", Empire (27 September 1860), 4 

An early opportunity will be afforded the public of listening to the very clever performance of the really talented youthful musician, Alfred Anderson, lately arrived from London, where ha has been for some time a pupil of the Royal Academy. We recently heard him (in private) play a concerto, by Mendelssohn, and done by Moscheles, and can safely affirm that Master Anderson's playing evinces not only power and command over the instrument, but also great musical genius.

"ALFRED ANDERSON'S DEBUT", Empire (31 October 1860), 4

Our anticipations with regard to the concert of last evening were realised in every respect. Notwithstanding the lamented decease of Mr. Salamon, - an event that could not but influence a large section of our community, - the ominous threatening of the weather, and other causes, the Exchange was well filled with a highly respectable auditory, amongst whom were seen many well known families of musical connoisseurs, desirous of showing their appreciation of native talent. No one present but must have been thoroughly satisfied with the entertainment, as indeed was proved to be the case by the constant applause and numerous encores; we scarcely remember a concert in Sydney to have been throughout so satisfactorily sustained. The programme (its only fault being its extreme length), consisted chiefly of classical music, but not of that heavy character likely to fatigue those who are less cognisant of its difficulties and beauties . . . Master Anderson was very warmly received with loud plaudits; naturally rather nervous at first he quickly recovered himself, and played a very difficult but admirable arrangement by Schloesser, on airs from "Il Trovatore," introducing "Il Balen," the "Miserere," and "Di quella pira." Of the young pianist's playing there could be but one opinion; he possesses all the material for making one of the greatest executants of the day; a light neat touch, but with great brilliancy and power, delicate yet clear, each note in the most intricate variations being purely brought into its proper effect, and, above all, fine perceptive powers, great nerve, and evidently a soul intent on the true spirit of music; when those shall be matured, a great future in the artistic world awaits young Anderson. We are not prone to admire juvenile wonders, and think it a wise provision of nature that they are allowed to soften down into comfortable members of society; but we are bound to say that the debutant fully answered our expectations. The piece was enthusiastically encored, - when Master Anderson played a pleasing mazurka. Osborne's duet for two pianofortes (on Meyerbeer's "L'Etoile du Nord,") between Anderson and his former master, Packer, was the gem of the evening; one scarcely knew which to admire more, the beauty of the composition, the delicate touch and easy playing of the master, or the eager but firm vivacity of the pupil; with a feeling of same at demanding so much, the audience recalled the players, who repeated the last two movements. Equally successful was the duet with Mr. Callen (violin) - a sonata by Dussek, a charming and melodious composition that must be more frequently played at our concerts . . .

ASSOCIATIONS: Edward Salamon (auctioneer); George Douglass Callen (master, 12th band); Band of the 12th Regiment (military)

MUSIC: Work by Adolph Schloesser (1830-1819; German pianist, composer, instructor at the Royal Academy of Music, London)

"MUSIC AND DRAMA", Sydney Mail (26 January 1861), 4 

The Sydney Polka, composed by Master Alfred Anderson, and dedicated to Sir William Denison, has just been published in London by Joseph Williams, of Cheapside. The music is extremely pretty, and well marked, and the monotony of repetition is avoided by its division into several parts - it is well set out in four flats, and the fact of its being the production of our young Royal Academician will ensure its popularity.

ASSOCIATIONS: William Denison (governor, dedicatee)

[Advertisement], The Sydney Morning Herald (6 April 1861), 12 

HUNTER-STREET. - ANDERSON'S Musical Repository.- Selling off, the entire stock of Pianofortes by all the eminent makers; also, Alexandre's and Evans' Harmoniums, at the lowest possible prices, in order to clear off the present stock before removal to those eligible premises occupied by Mr. S. Davis, jeweller, George-street.

"NEW MUSIC", Empire (16 November 1861), 4 

The "Star of Love" is the title of a new Valse de Salon, just issued from the Sydney Press, and the composition of Master Alfred Anderson. Based upon the music of Lurline, it comprises several now well, known airs, including the favourite drinking song "Take this cup of sparkling wine." Whether intended as dance music or as a composition mainly, we do not know; but the construction in some portions is complicated, and seems rather to justify the latter idea. The "Star of Love" will doubtless prove a valuable addition to our rapidly increasing catalogue of colonial compositions. We may add that the piece, which has been printed by Mr. Turner, of Hunter-street is very admirably got up.

ASSOCIATIONS: Edward Turner (printer)

"MUSICAL AND DRAMA", The Sydney Morning Herald (21 January 1862), 4 

. . . The second concert of the Opheonist Society came off with great eclat on the 6th instant . . . The entire music of Benedict's latest work - the Lyrical Legend of Undine (introduced into the colony by Mr. Anderson), is announced to be in rehearsal for the next concert . . .

ASSOCIATIONS: Orpheonist Society (association)

"MUSIC AND DRAMA", The Sydney Morning Herald (21 October 1862), 8

The Philharmonic Society gave their first concert of the season on Tuesday last at the Freemasons' Hall, and attracted a numerous and respectable attendance . . . Mrs. Cordner then sang very finely a cavatina "Or la Suttonda," and was followed by Master A. Anderson, who performed on the pianoforte a fantasia by Thalberg on airs from the opera of Lucrezia Borgia. This young gentleman, who is a pupil of Dr. Sterndale Bennett, has occasionally appeared before a Sydney audience, and has always been favourably received. His execution is characterised by extraordinary facility of fingering and by thorough command over the instrument, the pieces selected for performance being very difficult, and putting to the test the powers of the pianist. An encore was demanded . . . The society is under the conductorship of Mr. D. Callen . . .

ASSOCIATIONS: Ellen Cordner (vocalist); Sydney Philharmonic Society (association); Freemasons' Hall (Sydney venue)

MUSIC: Fantasia on Lucrezia Borgia (Thalberg)

"DEATHS", The Sydney Morning Herald (14 December 1864), 1 

On the 4th October, at his residence, 3, Great Prescot-street, London, Samuel Michael, Esq., in his 78th year, uncle to Mr. J. H. Anderson, 360, George-street, Sydney.

[3 news articles], The Sydney Morning Herald (22 February 1868), 4 

MUSICSELLERS TO THE PRINCE - The Duke of Edinburgh was presented by Messrs. Anderson and Son with a casket containing selections of music, amongst which were the compositions of Mr. Alfred Anderson. His Royal Highness has appointed this firm his musicsellers in Sydney, and they are informed that the official document in connection therewith will be forwarded from London in a few months.

PIANIST TO HIS ROYAL HIGHNESS THE DUKE OF EDINBURGH - The Duke of Edinburgh has been pleased to appoint Mr. Alfred Anderson his pianist in Sydney. A communication to that effect has been forwarded by Lieutenant Haig to Mr. Anderson, and intimating that the official appointment will, in a short time, be forwarded from London.

WALTZ BY H.R.H. PRINCE OF WALES [sic] - We have received from Messrs. Anderson and Son, the publishers by permission, a copy of a waltz composed by his Royal Highness the Duke of Edinburgh, and performed in Sydney for the first time by Mr. Alfred Anderson, at a concert given by him at the Masonic Hall . . . it is very melodious, and of easy performance, and his Royal Highness having honoured the colony by granting his permission to the publication of a piece of music composed by himself, has given to the people a souvenir of his visit in one of the most popular and agreeable shapes.

ASSOCIATIONS: Alfred (prince, royal visitor, naval captain, amateur musician, composer)

[Advertisement], The Sydney Morning Herald (22 February 1868), 6 

. . . J. H. ANDERSON and SON, Instrument and Music Sellers by SPECIAL APPOINTMENT to H. R. H. THE DUKE OF EDINBURGH, 360, George-street.
PUBLISHED by Permission of H.R.H. PRINCE ALFRED, WALTZ, composed by H.R.H. the DUKE of EDINBURGH, K.G., K.T.,
performed by Mr. A. ANDERSON, R.A.M., Pianist by special appointment to H.R.H. the DUKE OF EDINBURGH.
J. H. ANDERSON and SON, Music Warehouse, 360, George-street.

[News], The Argus (30 September 1867), 4 

We have received from Messrs. J. H. Anderson and Son, of Sydney, a galop, entitled "The Queen's Own," by Mr. A. Anderson, R.A.M., dedicated to Colonel Waddy, C.B., and the officers of the 50th Regiment. We have also before us the "Challenge[r] Galop," by the same composer, which seems to have become popular in Sydney, as it has run to a sixth edition.

[News], Sydney Punch (4 April 1868), 1 

Some men are not particularly happy in illustrating their arguments, and Mr. R. B. Smith is apparently one of that exceptional class, for the other night at the Natives' Meeting he adduced, as a touching proof of the Prince's regard for Australians, the fact that he had appointed the native-born Mr. Alfred Anderson to be his pianiste in Sydney. However gratifying that may be tp, and deserved by, the young man in question, we cannot exactly see why the Colony at large should be particularly glorified by the appointment of a pianiste to a Prince who shortly will leave him without a Prince to play to. Now, if H.R.H. would leave his piper behind him, there might be something to be proud of, as tending greatly to improve the musical taste of the people of New South Wales.

"MR. ALFRED ANDERSON, R.A.M.", The Sydney Morning Herald (11 April 1868), 4 

This gentleman, so well known in musical circles, left this city for Europe on Tuesday last by the Queen of Nations. Mr. Anderson was honoured by the appointment of pianist to his Royal Highness the Duke of Edinburgh, and frequently performed before his Royal Highness during his stay in this colony. The object or Mr. Anderson's visit to Europe is for a time to study in composition under one of the musical celebrities, and by that means he hopes to obtain a high position in his profession. It will be pleasing to find on his return that he has gained the object he so much desires, and it will be gratifying to see him take a prominent place as a professor of music in his native country. Previous to his departure Mr. Anderson composed the Belmore Gallop, dedicated to the Countess of Belmore. It is a brilliant and pleasing piece, and shows that he is already well advanced in the study of composition.

"MR. ALFRED ANDERSON", Sydney Mail (10 October 1868), 5 

We have been informed that on the arrival of this gentleman in London he was, by letter dated 16th July, from the Hon. Colonel Augustus Liddell, treasurer, desired to wait upon H.R.H. the Duke of Edinburgh, at Clarence House, St. James's, an honour of which he speedily availed himself. A few days later (20th July) Mr. Anderson received an autograph note from the Duke, inviting him to a musical party to be held at Clarence House, at which there were present: - The Prince of Wales, Duke of Saxe Coburg Gotha, Prince Christian, Prince Teck, Duke of Sutherland, and many other distinguished personages. Mr. Anderson, by special request, played several solos on the pianoforte, and also accompanied H.R.H. on the violin in Mendelssohn's Songs Without Words, the Prince's Valse, composed in Sydney, and other pieces, much to the delight of the brilliant company assembled. Mr. Anderson has received the important appointment of pianist to H.R.H. Prince Alfred for England, in addition to the distinction he acquired in Sydney as pianist to his Royal patron. Mr. Anderson has performed before some of the leading artists in England, and has been recommended a short course of study in London, from whence he will proceed to Leipsic. He has commenced his studies under the celebrated pianist, Pauer; and for harmony and composition under Professor Dr. W. S. Bennett, the eminent composer.

[News], The Argus [Melbourne, VIC] (16 March 1869), 5 

"His Royal Highness Prince Alfred, on the occasion of his last visit to Sydney, permitted the publication of a waltz composed by himself, an unpretentious morceau, but exceedingly melodious. The return to Sydney of the Duke is made the subject of another composition of the same kind, also by His Royal Highness, entitled 'The Return of the Galatea.' This has been published, with the permission of the Royal captain, by Mr. J. H. Anderson, of George-street. That our Royal visitor delights in the 'divine art' is beyond question," says the Sydney Morning Herald, "and without descending to obsequiousness, we may regard it as an honour to the colony that he has given to the public the result of a few quiet hours of musical study. The 'Return Waltz' is simple in construction, melody rather than brilliance being the object sought. The introduction is from a well known air. The waltz, divided into three parts, with a finale, is soft, in the style known by musicians as cantabile, easy of performance, and well-marked time for dancing, the title-page contains an admirable photograph of the Galatea, and it is elegantly printed."

"MR. ALFRED ANDERSON", The Sydney Morning Herald (12 June 1869), 6 

We see by the Home News that Mr. Alfred Anderson, who it may be remembered left Sydney under the patronage of H. R. H. the Duke of Edinburgh, to perfect his studies under some of the first masters in Europe, is a passenger to the colonies per ship Norfolk, which sailed on the 27th April. We learn from private sources that he has made rapid strides in his profession, and is highly spoken of among the great artists of those at home.

[Advertisement], The Sydney Morning Herald (5 July 1869), 1 

A CARD.- Mr. ALFRED ANDERSON, PIANIST to H. R. H. PRINCE ALFRED, is expected to arrive in the course of a few days, and will be prepared to give LESSONS on the Pianoforte and Composition, in the most modern style. 33, Hunter-street

[Advertisement], The Sydney Morning Herald (26 July 1869), 1

MR. ALFRED ANDERSON, pupil of the following eminent Artistes -
HERR ERNST PAUER, Dr. W. S. BENNETT, Mus. Bac. Cantab., Dr. CHARLES STEGGAL, and W. G. CUSINS, Conductor of the Philharmonic Concerts, London, begs to announce that he is now prepared to receive a limited number of pupils for the PIANOFORTE, in the classical and modern style of PIANOFORTE PLAYING.
33, Hunter-street.
"89, Onslow-square, 17, 4, 1869.
"I hereby certify with great pleasure, that Mr. Alfred Anderson, from Sydney, N. S. W,, has been my pupil for some time. Although Mr. Anderson was already a very efficient performer when he came to me, I think he improved in a very short time to such a degree that it is not to be doubted that his performances will be accepted everywhere with loud acclamations. I take leave of Mr. Anderson, and wish him very great success, which will not fail him, as he combines, with great cleverness, an agreeable modesty and most gentlemanlike behaviour.
"Pianist to his Majesty the Emperor of Austria, &c."
"39, Onslow-square, 17, 4, 1869.
"It gives me much pleasure to certify that Mr. Alfred Anderson (pianist to H.R.H. the Duke of Edinburgh), who was for some time my most attentive, ambitious, and zealous pupil, is fully competent to act as a most effective and successful teacher of the pianoforte. Mr. Anderson's cheerful disposition and quickness of perception, and acuteness of hearing, are other most eminent qualities, which render him as a teacher most desirable. Wishing Mr. Anderson all success, which he so fully deserves, I sign myself as
"Pianist to his Majesty the Emperor of Austria, &c., &c."
Also, a certificate of competency, signed by Dr. W. S. Bennett, Principal of the Royal Academy of Music, London, and the Board of Examiners.
Also, a certificate as an accompanyist from Hermann Steinberg, the celebrated violinist, pupil of Vieuxtemps, and Ferdinand David, &c., &c.

ASSOCIATIONS: Ernst Pauer (pianist)

[Advertisement], The Cornwall Chronicle [Launceston, TAS] (6 July 1870), 1

MR. J. H. ANDERSON (Member of the Royal Academy Music, London),
MANY years a successful teacher, and taught in many of the most influential families in Launceston, continues to give lessons in pianoforte and singing. Schools attended.
Cards of terms, apply to MR. ANDERSON, Charles-street, nearly opposite the Commercial Bank.

"MR. J. H. ANDERSON", The Brisbane Courier [QLD] (31 December 1870), 4

Mr. J. H. ANDERSON, member of the Royal Academy of Music, London, and for many years well and favorably known in the Southern colonies us a music teacher, has recently taken up his residence amongst us, and announces that he is prepared to receive pupils for the pianoforte and singing. Mr. Anderson brings a long list of references including our present Premier, and nearly all the old residents of standing in the city and neighbourhood.

[News], Rockhampton Bulletin [QLD] (26 December 1871), 2

. . . Mr. Alfred Anderson will be assisted to-morrow evening by his father, Mr. J. H. Anderson, whose performance on the concertina, are too well and favourably known to need any comment from us . . .

[Advertisement], Otago Daily Times [Dunedin, NZ] (29 December 1873), 3 

MR. J. H. ANDERSON, SENR., Professor of Music of the Royal Academy, London, is prepared to give Lessons on the Pianoforte and Singing.
Cards of terms and certificates to be obtained at Messrs. Begg and Anderson's Music Warehouse, or Mr. Anderson's residence, High street.

Anderson & Di Murska, marriage, 29 December 1875

Marriages in the district of Sydney, 1875; NSW Registry BDM

29th December 1875, Sydney / Alfred Anderson / Bachelor] [born] Tasmania / Professor of Music / 27 [? 29] / [residence] Sydney
Ilma de Murska / Spinster / [born] Hungary / - / 28 / [residence] Sydney
Married in Elizabeth Street According to the rites of the Presbyterian Church /
In the presence of C. H. Burrows, A. M. Streiff / James Fullerton . . ., Officiating Minister

ASSOCIATIONS: Ilma De Murska (vocalist); James Fullerton (Presbyterian cleric)

"NEW SOUTH WALES. Sydney, December 30", The South Australian Advertiser (31 December 1875), 5

Mdlle. Ilma De Murska married Mr. Alfred Anderson, the pianist, yesterday.

Death registration, Alfred Anderson, 22 March 1876

Deaths in the district of South Melbourne, 1876; Victorian Registry BDM

6319 / [died] [22] March 1876 Lansdown Terrace, Lansdowne Street, Gipps Ward, City of Melbourne /
Alfred Anderson / Male 28 Years 3 months / Hypertrophy with valvular disease of the heart . . . /
[parents] James Henry Anderson Professor of Music, Rachel Anderson, formerly Solomon / . . . /
[born] Launceston, Tasmania / 15 years in New South Wales / 1 1/2 years in Victoria /
[married] Sydney, New South Wales, [aged] 28, Ilma Di Murska / No issue

Headstone transcription, Melbourne General Cemetery, Jewish, Section B, 30A

In memory of Alfred ANDERSON beloved and talented son of John Henry [sic] and Rachel ANDERSON died 22 Mar 1876 - 5636 age 28 years 3 months.

[News], The Argus (23 March 1876), 5

Death has put an end to the career of Mr. Alfred Anderson, the well-known pianist. Mr. Anderson was a native of Sydney, and at the time of his death, which happened yesterday morning, at his father's residence, at half-past 8 o'clock, was 28 years old. His early musical training was received in London, as a pupil of the Royal Academy in that city. He paid a second visit to the great metropolis as a protege of the Duke of Edinburgh when His Royal Highness returned from his Australian tour. On the arrival of Mdlle. de Murska and her company in Melbourne he was occasionally employed as solo pianist both here and in Adelaide. On the return of the company from the last-named place he was engaged as pianist and accompanyist for the Sydney and New Zealand tour. While in Sydney he was taken seriously ill, on the 10th November of last year, and from that time his health was always fluctuating. On the 29th December he was married to Mademoiselle Ilma de Murska, in Sydney, by the Rev. Dr. Fullerton. With one or two exceptions he had been unable to appear in his professional capacity since the company returned to Melbourne, and of late his case was recognised as hopeless, from the complication of disorders by which he was attacked - the heart, lungs, and kidneys being all involved. The immediate cause of death was congestion of the lungs, the result of repeated colds. Mdlle. de Murska (to preserve the best known name), we hear, is suffering greatly from her bereavement, and her grief is no wise lessened from the unsympathetic attitude assumed by the family of her late husband, who prevented her from seeing him when she desired to do so.


SIR, - In a paragraph appearing in this day's Argus, referring to the untimely death of my late son, Mr. Alfred Anderson, it is stated that Madame de Muraka had been prevented from seeing him when she so desired. Will you allow me to say that during my son's illness Madame de Murska had various interviews with him, but that, owing to the nature of my son's complaint, and the desire of keeping him as free as possible from nervous excitement, it was found necessary, in accordance with medical advlce, to restrict the frequency of such interviews? I hope, in the great grief to which our recent loss has thrown us, to be spared the necessity of entering into further details. -
Yours, &c.,
Lansdowne-terrace, East Melbourne,
March 23.

Will, probate, administration, and will, Alfred Anderson, 1876; Public Record Office Victoria (DIGITISED - WILL) (DIGITISED) (DIGITISED)

"MELBOURNE (FROM OUR OWN CORRESPONDENT), 12 April", The Ballarat Star (13 April 1876), 2 

On the motion of Mr. Goldsmith probate was to-day granted of the will of James Henry Anderson [sic, Alfred], musician, the executors being the father of the testator and Mr. Morris Bentwitch, tobacconist, and the devisee of the property valued at £2300, all personalty, being Mrs. Rachael Anderson, the mother of the deceased. The public mind is becoming extremely excited anent this most distressing case, and there is a growing opinion that Mademoiselle De Murska has not received that treatment which relatives might be expected to tender to a stranger in a strange land. Gossip says that a large proportion of Mr. Anderson's personalty, I refrain from mentioning the exact amount, consisted of property acquired by him by his marriage, and it is a somewhat nice legal question whether in Victoria, where an unusually stringent Married Woman's Property Act is in force, the husband had power to devise this by his will. The fact that the marriage took effect in the sister colony, where the statutory enactment in this respect is different, somewhat complicates the issue, but there are not wanting many of our barristers who declare that the will cannot be maintained if the statements which are current talk are susceptible of proof. The solicitors for the widow continue their opposition to the will, the obtaining of probate being regarded as a merely formal matter, and the whole story will therefore, probably, be soon before the public in a more definite form.

[News], The Argus (13 April 1876), 5 

The will of the late Mr. Alfred Anderson, musician, who married Mdlle. Ilma de Murska, was proved in the Supreme Court yesterday. The document is a short one, and was made on the 26th February last, and by it he leaves all his real or personal property to his mother. Mr. Anderson, the father of the deceased, and Mr. Bentwitch tobacconist, are appointed executors. The property is sworn at £2,300.

"OBITUARY", The Sydney Morning Herald (15 April 1876), 7 

The musical public generally, artistes, amateurs, and audiences must have learned with regret the tidings of the untimely death of Mr. Alfred Anderson, one of the most promising of our Australian musicians. From the number of years Mr. Anderson's family have been located here he was extremely well known and he had a large circle of private friends, amongst whom his geniality of disposition and bonhomie caused him to be much endeared. The following brief outline of his career may not prove uninteresting. He was born in Sydney [sic] about the year 1848, but at a very early period was taken by his father to Hobart Town, Tasmania where Mr. Anderson, sen., was carrying on his occupation as a teacher music. When still quite a child he developed a very precocious faculty for music, and at about the age of seven was placed under the instruction of Mr. J. Packer [sic]. He proved a very apt scholar and readily imbibed the elements of the art which was destined to become his profession. After having studied under Mr. Packer about five years he was sent to England, and entered as a student at the Royal Academy of Music, London. There, of course, he enjoyed the advantage of training both technical and practical under the professional staff of the institution, especially Mr. Pauer, his chief instructor in the pianoforte. Having completed the requisite course of study, he returned to Sydney about the year 1861 and made his first appearance in public as a pianist in the uniform of the Academy, his extreme juvenility rather surprising those who saw him. He did not, however, entirely abandon study, for he entered upon another course with his old master Mr. Packer, who had in the interim located himself in Sydney. In the year 1867 he was at Melbourne, and upon the first visit to the colonies of the Duke of Edinburgh, his Royal Highness took very favourable notice of the young artiste, and, as is well known, honoured him by many tokens of his esteem. Upon the Prince leaving the colonies for England, he was followed shortly afterwards by Mr. Anderson, to whom his Royal patron had held out prospects of a successful career in the mother country. At London Mr. Anderson was presented to H.R.H. the Prince or Wales, and had the honour of playing at Marlborough House. But his sojourn in England was not a lengthy one - the intense cold of that country proving very injurious to the delicacy of his constitution - and when the Galatea, with her Royal captain, again entered Port Jackson, Mr. Anderson was once more pursuing his profession in his native land. Subsequently to this he appeared at a series of concerts in conjunction with Miss Carrie Emanuel, with whom he also travelled in the provincial towns and in New Zealand, of which colony he made a tour. Afterwards Mr. Anderson appears to have carried on his profession in a rather desultory way, occasionally appearing at concerts, but for the most part confining himself to private life. He first met Mdle. Ilma de Murska at Ballarat, and an intimacy between the "Hungarian nightingale" and the young pianist rapidly grew into a cordial friendship. With Mdlle. de Murska he travelled in his professional capacity, and appeared with her at Melbourne, Adelaide, Sydney, and the provincial towns. They were married by the Rev. Dr. Fullerton at Sydney in January last. From this colony they returned to Melbourne whence it was intended to proceed to New Zealand en route for Philadelphia. But the health of Mr. Anderson, which had been sinking, now completely gave way. After having been for some time in a precarious condition he finally succumbed to a combination of affections of the lungs, heart, and kidneys, and expired on Wednesday morning, March 22, in his twenty-eighth year. His suffering had been so great that his most intimate friends were denied access to him, and on the morning of his death even his wife was only permitted to approach him for a few minutes. Every precaution that medical science could suggest proved, however, unavailing. Mr. Anderson was a musician of much promise, and had he lived would probably have achieved a reputation in the musical world. He was not great as a theorist, or in composition, but his manipulation was extremely clever, and he possessed wonderful ability as a reader, playing almost any music at sight with great facility. He had besides a marvellously retentive memory. The latter gift frequently enabled him to compose or improvise a selection of airs based upon a work of which he did not possess the music, and which he had only heard a few times.

"NEWS OF THE DAY", The Age [Melbourne, VIC] (9 May 1876), 2 

We understand that the differences between the executors of the late Alfred Anderson and his widow, Ilma de Murska, have been arranged to the satisfaction of Messrs. Blake and Riggall, who hold a power of attorney from the lady empowering them to act on her behalf.

"THEATRICAL DOINGS OF THE MONTH", The Australian Journal (May 1877), 480 (DIGITISED)

A very handsome headstone has been erected in the Jewish compartment of the Melbourne cemetery over the remains of the late Mr. Alfred Anderson, whose great musical talent had won for him a prominent position in his profession, and whose untimely death was universally regretted. The stone, which is of white marble, is surmounted by a scroll on which is the text -
"Our days upon earth are a shadows," and bears an inscription in Hebrew, of which the following is a translation: -
In Memory Of / ALFRED ANDERSON, R.A.M., / The Beloved and Talented Son of / John Henry and Rachel Anderson / Who Departed This Life on the 22nd March, 5636. / Aged 28 years and 3 months.
Below is an epitaph, composed by Mr. Garnet Welch, which I subjoin: -
Rest thee, dear youth; thy day, though brief,
Was brilliant from its dawning;
For thee no night of age and grief,
But just one golden dawning . . . [2 more verses]
A religious ceremony, according to the Jewish rites, took place in the cemetery on the 25th March, on the occasion of the dedication of the tombstone, when appropriate selections from the Psalms of David and other portions of the Old Testament were chanted. I have been kindly favoured by Mr. Anderson, senior, with some excellent photographs of the grave . . .

"DEATHS", The Sydney Mail and New South Wales Advertiser (29 December 1877), 826 

ANDERSON. - December 22, at her residence, 172, Forbes-street, Woolloomooloo, Rachel, the beloved wife of J. H. Anderson, Esq., of Melbourne, late of Sydney.

"DE MURSKA'S TWO HUSBANDS", The Argus (5 September 1878), 7 

A reporter of the Chicago Inter Ocean has interviewed Madame De Murska upon her matrimonial experiences, and reports her as follows -
. . . Then followed the grand mistake of my life. I am not very stupid, but the climate must have softened my brain, or I could not have been so blind. In our troupe was a young Scotchman, Anderson, a handsome, well educated man, and an excellent pianist. I supposed that his brilliant complexion was the result of health, but it was only the indication of heart disease. I liked him very well, but never dreamed of anything more, though he showed me much attention. But while we were playing in New Zealand one evening, he fell from the piano stool insensible. We were much alarmed, and had him carried to my apartments and sent for medical aid. When the doctor came he said that it was a terrible attack of heart disease, resulting in dropsy so rapidly that they were obliged to cut open his boots to draw them off. To move him, the physicians said, would be fatal I therefore gave up my apartments and took others, and without thought of evil shared with my maid in nursing him, for we were strangers in the place. He was soon pronounced to be dying, and could linger but a few weeks. All at once I was roused from my compassion to hear that people were saying bad things of me because I was taking care of a sick man in my own house. He, too, heard of it, and one day begged of me, for the sake of my good name to marry him, as he had only a few days to live. I was foolish enough to do so, and went through the empty forms with a man almost a corpse. To the general surprise he lingered along for six weeks, and managed in that time to draws large sum of my money from the bank, which he sent to his own family. He was my first husband, and I could not mourn him for I had never loved, and now ceased to respect. My friends felt it so deeply that they resented my wearing black. My second marriage was to Mr. Hill my present husband, whom I have known for many years. How soon after Mr. Anderson s death did you marry again? you will be shocked when I tell you three months, but that was a marriage of love . . .

ASSOCIATIONS: John Hill (musician)

James Henri Anderson, death record, 1879

Deaths in the district of South Fitzroy, 1879; Victorian Registry BDM

No. 713 / 1st May 1879 / 79 Gore Street / City of Fitzroy / County Bourke
James Henry Anderson Professor of Music / Male 58 years / Valvular disease of Heart, Dropsy . . . / [son of] Samuel Aarons, Mechant [and] Sarah Aarons [formerly] Michaels /
[informant] Samuel Aaron Marks, Teacher of Hebrew, Friend, 10 Gore Street Fitzroy
[buried] 2nd May 1979 Melbourne Cemetery / . . .
[born] Sheerness, England / 2 years in Tasmania [sic] / 15 years in New South Wales / 15 years in Queensland [sic] / 2 years in New Zealand / 15 years in Victoria [sic]
Married Hobart Town [sic] Tasmania [aged] about 25 [to] Rachel Solomon
[issue of the marriage] Alfred dec's'd / Kate 30 years [c. 1849] / Michael 26 years [1853] / Joseph 24 / Ada 22 / Linda 20 / Sydney deceased / Walter 14 years / Gertrude 13

"DEATHS", The Argus (8 May 1879), 1

ANDERSON. - On the 30th ult., at his residence, 79 Gore-street, Fitzroy, James Henry Anderson, R.A.M., professor of music, aged 58 years, father of the late Alfred Anderson, R.A.M. Sydney papers please copy.

"DEATHS", The Sydney Morning Herald (9 May 1879), 8

ANDERSON - May 1, Melbourne, J. H. Anderson, 56 [sic]

Headstone transcription, Melbourne General Cemetery, Jewish, F33

Here lieth John [James] H. ANDERSON died 1 May 1879 - 5639 age 57 years.

[Advertisement], The Argus (5 June 1879), 2

GEORGE RUSHALL has received instructions from Messrs. J. Barnet and Saml. Lyons, executors in the estate of J. H. Anderson, R.A.M., deceased, to SELL by PUBLIC AUCTION, on the premises as above, Fine toned cottage piano, by Aucher Frères, a valuable collection of instrumental music and operas, selected with great care by deceased . . .

"THE LOVES OF A CANTATRICE", Kalgoorlie Western Argus (11 March 1897), 10

One of the most widely-experienced of impresarios and a delightful raconteur, Diego de Vivo, has been writing his memoirs for the New York Sun. One of the most interesting chapters is that in which he tells of his adventures with De Murska in Australia. He went there in the latter part of 1875 to conduct the famous Polish singer's tour, and while in Sydney they engaged as pianist an English Jew by the name of Anderson. De Murska must have been a woman of very imflammable heart, for though at the time she was engaged to Lieutenant Count Nujent - who through love of her had left his ancestral home in Austria and was travelling with the company in some clerical capacity . . . she was soon deeply in love with Anderson . . . When [Nujent] was gone at last, Anderson, who had been ill, and was being nursed by De Murska's lackey, sent to De Murska the following telegram: "Nujent, by this time, is on the bay. Hurrah! Hurrah! We are on the eve of our happiness, and De Vivo must go". The day after De Murska sent De Vivo a letter, telling him that sooner or later they must separate, so it was better then. De Vivo replied to her "with such an insolent letter that for the sake of her good remembrance . . . I refrain from publishing it. Its effect was that afterwards we we were better friends than ever, being her only protector in the following terrible events, in marrying her dearest Alfred." He ended it by saying he would call on the morrow and settle their accounts. This happened on Saturday, December 24, 1875; on Wednesday the marriage took place; on Thursday morning De Vivo went to see her. Anderson met him, and said that he was De Murska's husband, having married her the day before.
"Ah!" De Vivo answered with a sardonic laugh. "Do you know what position you occupy now as the husband of a great prima donna? If you do not know, I will tell you. You are a miserable fourth-rate pianist, and she is a great singer, superior to you socially and professionally, so that she is your mistress, who keeps you, and your are her lackey. You have married her for her money, and as you are a very sick man, you will not enjoy her money a long time. You will not live four months more. Here is my bill of back salary and expenses, and I want a settlement at once, as I want to leave the day after to-morrow."
The bill was £975. In looking at the total figures Anderson, became frightened, and brought it to De Murska.
After a while he came out and said, "Oh, Signor de Vivo, my wife does not want you to go away, nor do I, as you said. We want you to reduce your salary, as I consider it too much. Please remain with us for £40 a week and your percentage."
But De Vivo replied that he "never lowered his salary, but increased it," and they parted "as good friends as before this stormy meeting."
The newly-made Benedict proved but a poor husband, for two days after the wedding he stayed away from dinner, and failed to appear as host on Sunday when De Vivo went to dine with them. The impresario soon left for Melbourne, where he advertised another series of concerts, beginning January 8, 1876. On his arrival at Melbourne he received the following telegram:
"Great trouble. Anderson ran away from the concert twice, and De Murska ran after him and brought him back. After embarking, he ran away again from the boat, and De Murska ran after him, asking the captain of the boat to wait until their arrival, and after forty minutes she brought him back. We are an hour behind time, hoping to be in time in Sydney for the Melbourne boat. I pity you, as you will have a great deal of trouble. I must remain in Sydney. Get another pianist."
De Vivo did get another pianist, a rival of Anderson. When the singer arrived she went to a second-class hotel. She said that Anderson preferred it, it being nearer to his family. It was 7 o'clock, and De Vivo waited for him until half-past 11.
Then he said: "De Murska, you have had so far too much trouble in eight days with your dear Alfred, and I think it is not all over. If you do not tell me the cause of this trouble I will leave you to your fate."
Then she cried, and told him that on Friday, the second day after their marriage, she had given Anderson a cheque for £2000, with instructions to exchange it for a draft of £1800 on Melbourne and £200 in cash. When he arrived from the bank, she asked for the draft, which she intended to send from Melbourne to her daughter, and the £200 in cash. He told her that he would take care of the draft and the money. De Murska informed him that she had taken care of the money she had earned for ten years, and would not allow him to take any money she earned. After a violent altercation Anderson took the draft out and threw it in her face, and threw the £200 on table. When she examined it, she found that it had been drawn to his own instead of her order, and, therefore, could not be negotiated without his signature . . . De Murska thereupon burst into tears, and told De Vivo that she had asked him on arriving at their hotel to endorse the draft and he had refused, and had hastily gone to his house . . . It had got to be 2 o'clock in the morning, and Anderson had not made his appearance, De Vivo sat down and wrote him that if hie didn't come back to his wife at 11 o'clock in the morning he would publish the whole scandal in the papers, as well as in 20,000 circulars, which he would send all over the colonies. This brought him to book, and he was profuse in apologies, and promised to endorse the draft.
Anderson soon became critically ill, and De Murska visited him every day. On March 19 De Murska told De Vivo that Alfred was going to endorse the draft, and that his brother would take it to the bank, and get the money and give it to her. At the same time she said that Anderson on two occasions before had embraced and kissed her, saying:
"Darling Ilma, I made my will on February 28, leaving every thing I have to you. dearest child."
"What!" De Vivo said, "you simple mill-girl, still believe that vile thief who has given you the Judas kiss? He lied in telling you he made the will in your favor, and do not forget he will die soon with the lie on his lips. (And he did so.) For God's sake don't let the draft go out of your possession, or you will never see a cent of it. He trusts the brother more than he does you. You are yet so blind in love with that infernal rascal that you have credence in his sweet, deceiving words. Mind me! Do not give away that draft."
The appointment was at noon the day after. In spite of De Vivo's warning, De Murska went to Anderson, and allowed the brother to take it to the bank. She was requested to return in an hour for the money. When she did so she found the old Jew father sitting at the door, with a bottle of wine at his side, and when she attempted to enter the door he stretched out his cane and told her his son was too ill to receive her.
They did not allow her to receive him again. The scoundrel died three days after, on March 23, with a lie on his lips, having willed everything to his mother. Only De Murska, John Hill, whom De Murska detested, and the parents accompanied the remains to the cemetery. De Vivo had to employ a lawyer, and finally succeeded in getting £600, after six months, out of the £2000. But this was only a small amount of the money which Anderson obtained, as, according to what De Murska confessed and De Vivo's calculations, in money, doctors, medicines, nurses, and valuable presents, it amounted to 20,000dol or 25,000dol.

ASSOCIATIONS: Diego De Vivo (De Murska's manager)

But see also, "PERSONALITIES", The Australian Workman [Sydney, NSW] (20 February 1897), 3 

Sydney Evening News reprints some matter concerning llma di Murska, the Eiffel Tower soprano of her day, and her experiences in Australia from the reminiscences of de Vivo, who managed her tour. They seem scarcely correct. Alfred Anderson, the pianist, was a Melbourne, not a London, Jew. At the time it was said that she married him, not for love but out of pique because Forster, the accompanist she brought from America, had married Sarah Saqui, then just beginning to blow fully, while on a bender at Ballarat. Anyhow. Forster was at once discharged and Anderson, who took his place, became the husband of the Hungarian inside a month or so. Nor can it be true that di Murska hated John Hill, who succeeded Anderson at the piano on the latter's death from consumption, for he afterwards also took his place at the marital couch. The singer and Hill, who soon became Signor Illo on the bills, afterwards quarrelled, it was said, and separated. She had a great appetite for pianists - one did not last her long.

ASSOCIATIONS: Sarah Saqui ("courtesan")

Published musical works (James):

The lays of the Hebrews (1844)

The lays of the Hebrews, a selection of Hebrew melodies as sung at the consecration of the Sydney Synagogue, dedicated to Sir Moses Montefiore, knight, F.R.S., arranged for the piano forte by J. H. Anderson, professor of music, Sydney (Sydney: F. Ellard, [1844]); "J. Carmichael Sc." (DIGITISED)

Contents: 1 Psalm 91 [by Matthew Moss (England 1795-1868)]); 2 Psalm 24 [Matthew Moss]); 3 Awake! Awake!; 4 Come my beloved)

ASSOCIATIONS: Matthew Moss (1795-1868, English composer); Francis Ellard (publisher, music engraver); John Carmichael (cover engraver); Moses Montefiore (dedicatee)

See also modern edition, Richard Divall (ed.), James Henri Anderson, The lays of the Hebrews for pianoforte, 1844 (Australian Music Series, MDA017) (Monash University: Music Archive, 2014) 

The Fitzroy quadrilles (1850)

The Fitzroy quadrilles, for the piano forte, composed & dedicated by permission, to his excellency Sir Charles A. Fitzroy, K.C.B., in honor of his visit to Melbourne, by J. H. Anderson, of the Royal Academy, professor of music (Sydney: J. T. Grocott, for the composer, [1850]) (DIGITISED)

ASSOCIATIONS: Charles Fitzroy (governor, dedicatee); James Turner Grocott (publisher)

Published musical works (Alfred):

The Sydney polka (advertised in Sydney, January 1861)

The Sydney polka, dedicated to Sir William Denison, governor of Sydney, N.S.W, composed by Alfred Anderson, R.A.M. (Sydney: J. H. Anderson, [1861]) (DIGITISED)

Printed in London by Joseph Williams, Cheapside, for J. H. Anderson

Star of love valse de salon (November 1861)

Star of love, valse de salon on favourite themes from Lurline, composed and respectfully dedicated, by permission, to Lady Young by Alfred Anderson, R.A. (Sydney: J. H. Anderson, [1861]); "Edward Turner, printer" (DIGITISED)

ASSOCIATIONS: Edward Turner (printer)

The Challenger galop (April 1867)

The Challenger galop, composed and respectfully dedicated to Commodore Rochfort Maguire and the officers of H.M.S. Challenger, by Alfred Anderson, R.A.M. (Sydney: J. H. Anderson & Son, [1867]); "Typ., J. Degoratdi, Sydney." (DIGITISED)

ASSOCIATIONS: John Degotardi (engraver, printer)

The Queen's own galop (June 1867)

The Queen's Own galop, respectfully dedicated to Colonel Waddy, C.B., and the officers of H.M. 50th (Queen's Own) Reg't, composed by A. Anderson,, R.A.M. (Sydney: J. H. Anderson & Son, [1867]); "Engr'd by J. N. Fischer . . . Printed by J. Degotardi . . ." (DIGITISED)

ASSOCIATIONS: John N. Fischer (engraver); Band of the 50th Regiment (military)

The royal visit quadrilles (November 1867)

The royal visit quadrilles, respectfully inscribed, by permission, to H.R.H. the duke of Edinburgh, K.G., composed by Alfred Anderson, Royal Academy of Music, London (Sydney: J. H. Anderson & Son, [1867]) (DIGITISED - "SECOND EDITION")

The Belmore galop (April 1868)

The Belmore galop, composed and respectfully dedicated by permission to her ladyship the countess of Belmore, by Alfred Anderson, R.A.M. (Sydney: J. H. Anderson & Son, [1868]); "Typ., J. A. Engel" (DIGITISED)

ASSOCIATIONS: John Alexander Engel (engraver)

See also Speak gently (C. W. Rayner, 1867):

Speak gently, composed & dedicated to his pupils by C. W. Rayner, accompaniments by A. Anderson, R.A.M. (Sydney: By the composer, [1867]); "Lith. J. Degotardi" (DIGITISED)

ASSOCIATIONS: Charles William Rayner (composer)

Musical editions of works by other composers (J. H. Anderson; J. H. Anderson and Son):

KEY: Extant or Lost (or no copy yet identified)

The I don't know polka (Montague Levey; August 1861)

The I don't know polka, dedicated to the ladies of Sydney, composed by Montague Levey, esq. (Sydney: J. H. Anderson, [ ]); "E. Turner, printer" (DIGITISED)

[Advertisement], The Sydney Morning Herald (24 August 1861), 8 

. . . Just published, "The I Don't Know Polka," dedicated to the ladies of Sydney, composed by Montague Levey.
J. H. ANDERSON, importer, Sydney Music Hall, 360, George-street, nearly opposite Wynyard-street.

ASSOCIATIONS: Montague Levey (composer); Edward Turner (printer)

La gitana schottische (William James Macdougall; October 1861)

La gitana schottische (souvenir de "Maritana") by W. J. Macdougall (Sydney: J. H. Anderson, [1861]); "Edward Turner, printer" (DIGITISED - "second edition")

"LA GITANA SCHOTTISCHE", The Sydney Morning Herald (1 October 1861), 5 

We have much pleasure in introducing a schottische, composed by Mr. W. J. Macdougal, and published by Anderson, of George street. The principal air adopted for the schottische is the theme of the opera of Maritana - "Scenes that are brightest." With a brilliant introduction, and admirable arrangement in F of the air, Mr. Macdougal has succeeded in producing what we feel convinced will become a very popular piece of dance music.

ASSOCIATIONS: William James Macdougall (composer)

The perfect cure (popular song; January 1862)

The perfect cure, popular comic song, as sung by Miss Earl in the Christmas pantomime (Sydney: J. H. Anderson, [1862]); "J. Degotardi" (DIGITISED)

[Advertisement], The Sydney Morning Herald (15 January 1862), 8 

JUST PUBLISHED, "The PERFECT CURE," song, as sung by Miss Earl, in the Pantomime, with enthusiastic applause. J. H. ANDERSON, 360, George-street, nearly opposite Wynyard-street.
SYDNEY MUSIC HALL, 360, George-street. - The latest excitement - "The Perfect Cure," song, price 2s.

ASSOCIATIONS: Tilly Earl (vocalist, actor, dancer); John Degotardi (printer, music engraver)

A maiden's prayer (Thecla Badarzewska; February 1862)

La priere d'une vierge, A maiden's prayer, composee pour le piano par Thecla Badarzewska (Sydney: J. H. Anderson, [1862])l "J. Degotardi" (DIGITISED - "fifth edition")

[Advertisement], The Sydney Morning Herald (22 February 1862), 10 

SYDNEY MUSIC HALL, 360, George-street. - Just published, "A Maiden's Prayer,"
new edition of Lurline Quadrilles and Star of Love Waltzes; also, the popular song, "The Perfect Cure."

ASSOCIATIONS: Thecla Badarzewska (Polish composer)

The cricketers' quadrille (Robert Bishop Theobald; March 1862)

The cricketers' quadrille, dedicated to the "United Elevens" of Victoria and N. S. Wales by Th. E. O., an old English player (Sydney: J. H. Anderson, [1862]); "E. Turner, printer" (DIGITISED)

[Advertisement], Empire (22 March 1862), 1 

CRICKETERS QUADRILLE (The) just published, price 3s. J. H. ANDERSON.

ASSOCIATIONS: Robert Bishop Theobald (composer)

Ecoutez-moi, romance sans paroles (Funke, April 1862)

Ecoutez-moi (romance sans paroles) composee pour le piano par J. Funke (Sydney: J. H. Anderson, [1862]); "J. Degotardi" (DIGITISED)

[Advertisement], The Sydney Morning Herald (8 April 1862), 1 

SYDNEY MUSIC HALL. Just published, the popular drawing-room piece Ecoutez Moi. ANDERSON, George-street.

ASSOCIATIONS: Joseph Funke (European composer, never visited Australia)

The New England polka (John Henry Thee; February 1864)

The New England polka, composed by J. H. Thee, esq. of Europambella, arranged for the piano-forte by Alfred Anderson, R.A. (Sydney: J. H. Anderson, [1864]); "J. Degotardi" (DIGITISED)

[Advertisement], The Sydney Morning Herald (13 February 1864), 9 

JUST PUBLISHED. - The New England POLKA, by J. H. Thee, Esq. of Europambela, Arranged for the Pianoforte by A. Anderson, R.A. J. H. ANDERSON, 360, George-street.

ASSOCIATIONS: John Henry Thee (composer)

The Twofold Bay waltzes (Georgina Isabella Keon; November-December 1864)

The Twofold Bay waltzes, composed and dedicated to the honorable Mr. & Mrs. J. H. Plunkett by Miss Georgina Isabella Keon (Sydney: J. H. Anderson, [1864]); "J. Degotardi" (DIGITISED - cover missing) (DIGITISED)

[Advertisement], The Sydney Morning Herald (17 December 1864), 12 

JUST PUBLISHED, THE TWOFOLD BAY WALTZES, composed and dedicated to the Honorable Mr. and Mrs. J. H. Plunkett by Miss Georgina Isabella Keon. J. H. ANDERSON, 360. George-st.
JUST PUBLISHED. THE FREE TRADE POLKA, dedicated to the Hon. Charles Cowper, M.L.A., by J. Dennis [sic, E. Deane]. J. H. ANDERSON, 360, George-street.

ASSOCIATIONS: Georgina Isabella Keon (composer); John Hubert and Maria Plunkett (dedicatees, musical amateurs)

The free trade polka (Edward Smith Deane, December 1864)

ASSOCIATIONS: Edward Smith Deane (composer); Charles Cowper (dedicatee)

Dear mother I've come home to die (Henry Tucker; February 1866)

Dear mother I've come home to die, the popular song as sung by Mr. C. W. Rayner (Sydney: J. H. Anderson, [1866]) (DIGITISED - "fourteenth edition")

[Advertisement], The Sydney Morning Herald (25 January 1866), 8 

DEAR MOTHER, I'VE COME HOME TO DIE - The popular Song sung by C. W. Rayner, now publishing. To be had on MONDAY next, at ANDERSON'S, 360, George street.

ASSOCIATIONS: Charles William Rayner (vocalist); Henry Tucker (c. 1826-1882, American composer)

Dear mother I've come home to die (Rudolf Sipp [after Henry Tucker]; June 1866)

Dear mother I've come home to die by R. Sipp (Sydney: J. H. Anderson, [1866]); "Typ. J. Degotardi" (DIGITISED)

"NEW MUSIC", The Sydney Morning Herald (23 June 1866), 4 

We have received a copy of a pianoforte arrangement of the popular ballad "Dear mother, I've come home to die," by Herr Sipp . . . It is published by Anderson, and very well printed by Degotardi.

ASSOCIATIONS: Rudolf Sipp (composer, arranger)

Waltz (prince Alfred; February 1868)

Waltz composed by H.R.H. the duke of Edinburgh . . . performed by Mr. A. Anderson, R.A.M., pianist by special appointment to H.R.H. the duke of Edinburgh (Sydney: J. H. Anderson & Son, [1868]) (1st edition DIGITISED) (11th edition DIGITISED)

ASSOCIATIONS: Alfred (prince, royal visitor)

Galatea polka (Robert Bishop Theobald; Sydney, March 1868)

Galatea polka, by R. B. Theobald, composed in honor of H.R.H. the duke of Edinburgh's visit to Australia (Sydney: J. H. Anderson & Son, [1868]); "Edward Turner, Lith."

O mother dear (December 1868)

O mother dear! the celebrated song, as sung by Mr. Charles Lascelles with unbounded success at Madame Bishop's grand concerts [music by F. Wilson] (Sydney: J. H. Anderson, music seller to H.R.H. the duke of Edinburgh, [1868]); "J. Degotardi, printer" (DIGITISED)

ASSOCIATIONS: Frederick Wilson (American composer); Charles Lascelles (vocalist); Anna Bishop (vocalist)

The return of Galatea waltz (prince Alfred; March 1869)

The return of Galatea, a new waltz composed by H.R.H. the duke of Edinburgh (Sydney: J. H. Anderson & Co., [1869]) (DIGITISED) (1st edition DIGITISED) (2nd edition DIGITISED)

The royal Alfred sensation galop (Matilda Jones; May 1869)

"NEW MUSIC", Sydney Mail (22 May 1869), 4 

The Royal Alfred Sensation Galop, composed by Miss M. Jones, and dedicated to Mr. Alfred Anderson, is published by J. H. Anderson and Co., of George-street.

Bibliography and resources:

Prue Neidorf, A guide to dating music published in Sydney and Melbourne, 1800-1899 (M.A. thesis, University of Wollongong, 1999), 131-32 (DIGITISED)

Though Anderson was newly arrived in Hobart in January 1842, he was not (unless he went by another name) one of Anne Clarke's party of theatrical imports that arrived on the ship Sydney on 28 January that included the three eldest Howson brothers and Gerome Carandini, as Neidorf claimed; as see Register of bounty arrivals, Tasmanian Archives, 4737, CB7/9/1/1 P43$init=CB7-9-1-1P25JPG (DIGITISED)

John Levi, These are the names: Jewish lives in Australia, 1788-1850, second edition (Melbourne: Miegunyah Press, 2013)



Born c. 1819
Arrived Melbourne, VIC, 1 January 1852 (per Halcyon, from Hobart Town, 30 December 1851, aged "32") (shareable link to this entry)

? DISAMBIGUATION: James Henri Anderson (musician)


Names and descriptions of passengers per Halcyon, from Hobart Town, 30 December 1851, for Melbourne; Public Record Office Victoria (DIGITISED)

. . . Mr. John Anderson / 32 / Musician . . .

Family of John Henry Anderson, wizard (shareable link to this entry)

ANDERSON, John Henry (John Henry ANDERSON; J. H. ANDERRON; "Professor ANDERSON"; "The wizard of the north")

Magician, mesmerist, entertainer, actor, theatrical correspondent

Born Aberdeenshire, Scotland; baptised Kincardine, Abderdeen, 16 July 1814; son of John ANDERSON and Mary ROBERTSON
Married (? common law) Hannah LONGHURST, by c. 1842
Arrived Melbourne, VIC, 10 June 1858 (per Monsoon, from Liverpool, 17 March)
Departed Melbourne, VIC, 6 September 1859 (per Milwaukie, for California)
Died Darlington, County Durham, England, February 1874 (TROVE tagged by Australharmony) (Wikipedia) (shareable link to this entry)

ANDERSON, J. H., junior (John Henry ANDERSON, junior; J. H. ANDERSON, jun.) (1843-1878)

"Ministering attendant"


Musician, pianist, vocalist

Born c. 1846/47






Names and descriptions of passengers per Monsoon, from Liverpool 18 March 1858, for Melbourne; Public Record Office Victoria (DIGITISED)

. . . First Cabin . . .
Professor Anderson // John H'y / [single over 12] // Louisa / [single over 12]
Mrs. Anderson // Eliza / 8 // Flora / 5 //
Edw'd P. Hingston / . . .

ASSOCIATIONS: Edward Peron Hingston (d. 1876, Anderson's agent and secretary)

"SHIPPING INTELLIGENCE. HOBSON'S BAY. ARRIVED", The Argus [Melbourne, VIC] (11 June 1858), 4 

June 10. - Monsoon, ship (Black Ball line), 1,084 tons, Charles Hare, from Liverpool March 17. Passengers - cabin: Mr. and Mrs. Anderson, family, and servants, Mr. and Mrs. Davidson, Captain Lynch, Messrs. Hingston, Hankey, Timbrell; and 161 in the steerage. Mackay, Baines, and Co., agents.

"PROFESSOR ANDERSON AT THE ROYAL", The Age [Melbourne, VIC] (22 June 1858), 5 

. . . Professor Anderson is accompanied by his son, who assists him in his performances, and two daughters, one, a little girl eleven years of age, endeavored to torture music out of a terrified unstrung piano. The other infant prodigy, about four years old, treated the audience to a song. Despite our sympathy with the Professor's parental pride, we would rather have had the musical capabilities of the Misses Anderson displayed at another time. He must give us better music else none at all.

ASSOCIATIONS: Theatre Royal (Melbourne venue)

"THEATRE ROYAL", The Hobart Town Daily Mercury [TAS] (16 November 1858), 3 

. . . Then came the magic portfolio: Trunks, boxes, escritoires, his own daughter (who by the way sang an admirable song which was vociferously cheered) . . . Professor Anderson was assisted by his sons and daughters, one of the latter of whom (Miss Anderson) presided at the piano . . . The only thing required to make this marvellous entertainment more complete, is a small but an efficient orchestra.

ASSOCIATIONS: Theatre Royal (Hobart venue)

"THE LYCEUM", The Sydney Morning Herald [NSW] (14 December 1858), 5 

. . . Little Miss Anderson created considerable amusement by her song "Bonnie Dundee," and the mesmeric cataleptic experiment with another of the Miss Anderson's was exceedingly successful, and without exception the cleverest feat we have witnessed . . .

ASSOCIATIONS: Lyceum Theatre (Sydney venue)

"PROFESSOR ANDERSON'S PERFORMANCES", Bathurst Free Press and Mining Journal [NSW] (4 May 1859), 2 

. . . Suffice it to say that, with the exception of Miss Anderson's two songs, "La Manola" and "Katty Darling", which were both sung very prettily, and Mr. Rider's solo on the cornet-a-pistons, which was unanimously encored, the whole performance proved a miserable failure. What with the buffoonery of one of the band of amateurs, and the incompetency of others, despite all the trouble, which had been bestowed upon this portion of the entertainment, the effect of the introductory glee, (the harmony of which is of the simplest description,) and of the only two classical pieces in the programme, - the lovely two-part song by Mendelssohn, and Cherubini's well known Canon, "Perfida Clori," - were completely destroyed, and, we may say, burlesqued . . .

"THE HAYMARKET THEATRE", Bendigo Advertiser [VIC] (21 June 1859), 3 

. . . The whole performance was, in fact, a grand success. An excellent orchestra, with Miss Anderson at the piano, at which she presided with the ability of an accomplished and practised player, added a good deal to the interest of the entertainment . . .

ASSOCIATIONS: Haymarket Theatre (Bendigo venue)

"HAYMARKET THEATRE", Bendigo Advertiser (5 July 1859), 3 

By the crowded appearance of the Haymarket Theatre last night, caused by the announcement that Professor Anderson was to appear in the character of Rob Roy, it seemed as if the fame which had preceded him here of his wonderful talent as a conjuror has not been less than the great name he has acquired as a representee of dramatic character . . . Some of the other parts were tolerably well filled, and altogether the piece was highly successful, the applause at its conclusion being both loud and long, until Mr. Anderson, Miss Eliza Anderson, Miss Flora Anderson, Miss Glyndon, and Messrs. Shiel and Robertson made their re-appearance before the curtain. In the course of the piece Miss Eliza Anderson danced a Highland strathspey, and Miss Flora Anderson sang her famous song of "Bonnie Dundee," both of which were deservedly applauded . . .

[Advertising], Mount Alexander Mail [Castlemaine, VIC] (8 July 1859), 5 


The FAIRY OF THE PORTFOLIO, with the song of "Bonnie Dundee," MISS FLORA ANDERSON.

Ministering Attendants MISS ELIZA ANDERSON. MR. J. H. ANDERSON, JUN.

Miss ANDERSON will preside at the Piano Forte.

[Advertisement], The Age [Melbourne, VIC] (29 August 1859), 1 

Miss ANDERSON, Miss E. ANDERSON, Miss F. ANDERSON, And Mr. J. H. ANDERSON, jun., Will appear on the occasion . . .

[Advertisement], The Age (30 August 1859), 1 

Previous to his departure for California in the Milwaukie on Tuesday next . . .

Names and descriptions of passengers, per Milwaukie, from Melbourne, 5 September 1859, for San Francisco; Public Record Office Victoria (DIGITISED)

John H. Anderson / 50 // Mrs. Anderson / 46 //
J. H. Anderson Jun. / 20 // Miss E. Anderson / 15 // Miss Flora Anderson / 13 // Miss L. S. Anderson / 13 //
. . . Mr. Hingston / 36 . . .

Letters from Australia:

Letter 1 (Melbourne, 10 July 1858)

"PROFESSOR ANDERSON IN AUSTRALIA. TO THE EDITOR OF THE ERA", The Era [London, England] (12 September 1858), 10 (PAYWALL)

Theatre Royal, Melbourne, July 10th, 1858.
Sir, - A letter from your old friend, the Wizard, sent from the other end of the world, may not be unacceptable. There are a few occurrences happening here daily which must have interest to many of your readers at home, and there are many people in this colony whose names are by no means strange to those who have read THE ERA diligently for the last few years. A short reference to these occurrences, and a word or two about the people to whom I have alluded, cannot make very bad reading matter to your subscribers, and surely cannot be superfluous information.

THE ERA seems to be pretty widely circulated in Melbourne. There is a bookseller of the name of Charlwood, in Bourke-street, who displays a door-post covered with back numbers of it. On the arrival of each Overland Mail the news-boys hawk it about the streets, and, with their usual strange method of vending two different papers in one lot, usually manage to associate it most heterogeneously with some journal of, perhaps, equally as good a character, but considerably varying in the nature of its information. For instance, you will see a smart, business-like urchin - a "juvenile trader," as he is called here - bawling out, somewhere in the neighbourhood of the Post-office, "ERA and Christin Times for a shilling!" or "ERA and Argus for six-pence," throwing in The Argus of yesterday as a bait to get rid of some old numbers of THE ERA, which has chanced to arrive by one of the Black Ball liners more than a hundred days "out." The last acquaintance THE ERA had made, as I Passed down Bourke-street yesterday, was equally as odd as any of the others. There was a boy standing in front of the "Albion," watching the mail starting for Castlemaine, and lustily crying out "ERA and Law Times for ninepence - two good family papers from England for ninepence!" These little facts will prove to you, and your readers at home, that we of the Antipodes are not by any means denied the pleasure of perusing the essays of "The Old Actress," or the vaticinations of "Touchstone." It is as well to tell you this, for I found, on arrival here, that my friends at home had very incorrect ideas, and had given me very erroneous ones concerning Victoria. In order that they may be better informed, I will attempt to sketch you the theatrical physiognomy of Melbourne, tell you a little about its stage celebrities, give you a line or two of sporting information, and throw in a slight narrative of my own experience and adventures.

Suppose I commence with my own adventures, and recite the briefly. I sailed from Liverpool on the 11th of March, and arrived here on the 10th of June, thus making, I believe, a good average run. I had the misfortune, however to sail in "a chartered ship," and by so doing learnt the lesson never to do so again. Inconveniencies of every description, and annoyances of the most vexatious character, were the result of my having embarked in a vessel where the charterers cared little or nothing for the character of the ship, and the servants of the owners had no interest in the good name of the charterers. We made "the line" on April the 11th, and saw no vessel afterwards, nor any land, until we were a day's sail from Melbourne. On May 28th we had a hurricane, which tore our canvass to rags, and pretty nearly capsized us altogether. The skipper told us, the next morning, that he had not seen anything like it since 1846, and that we had a narrow escape from foundering. The sea next morning was swaying to-and-fro around us in huge waves that rose to a height of thirty or forty feet, fore and aft the vessel. We happened to have a cargo of iron gas-pipes down in the hold, and to this circumstance was attributed the extraordinary rolling to which we were treated. There were those on board who had crossed the Atlantic and sailed up the Baltic as I had done - who had made an Indian voyage, and twice or thrice "rounded the Horn," and they, one and all, concurred that they had never been rolled about so much at sea anytime before. To keep a joint upon the table for five minutes - to hold a tea-cup in your hand without a lurch coming and emptying the tea into your waistcoat pocket, or to sit down to read without being suddenly thrown to one side of the cabin and your book to the other side, were perfect impossibilities. However, thanks to Providence, we arrived at Port Phillip Heads in safety . . . notwithstanding an Australian voyage is generally one of the smoothest, it is not always so . . .

Our number of passengers was too limited for much amusement on hoard, and despite of the request of some that "they hoped Professor Anderson would give a performance," I was compelled to "drop" the magician, simply because there was no room to erect a stage, nor any accommodation for even the small audience which the number of our passengers would have enabled me to command. Mr. Hingston, my secretary, amused himself by editing a paper, writing comic songs, and reading prayers at the capstan on Sunday. Glad, indeed, we all were when land was at length descried, and the low scrub and sandy shore of King's Island was made out over our weather bow. We sighted land about eleven o'clock on the morning of June 5, were becalmed at the entrance of Bass's Straits in the evening, saw Cape Otway heading us the next morning, at two p.m. were in sight of the Heads. In another hour the telegraph had told the people in Melbourne that the Wizard had arrived, and at eight o'clock we anchored in the bay off Sandridge.

Our first visitors were Mr. Hingston's brother and Mr. Sherwin, the tenor, who came to Australia with the opera troupe of which Miss Julia Harland was prima donna. With the assistance of the latter we had a concert on board at night while waiting to be "passed" by the Government officer. Next morning a small boat took us ashore, and a jaunting car conveyed us up to Melbourne, and to the door of the Theatre Royal.

And now a word about the Theatre Royal, and what it is like. It stands near the angle made by the junction of Bourke-street and Swanston-street, in the best part of the town - Bourke-street leading up to the Parliament Houses and Swanston-street down to Princess-bridge, by which you cross the Yarra-Yarra river to go to St. Kilda, the fashionable suburb of Melbourne. The Theatre Royal was built by Mr. John Black, and is now in the possession of Mr. George Coppin, who bought the lease about two years ago. The facade in Bourke-street is bold, without pretending to much elegance. There is no portico, but half a dozen Tuscan columns run up from the basement to the architrave. Entering by a large gateway in the Centre you find yourself in a vast hall, covered with an iron roof; on each aide of it are large American bars, at which, if you are going to the pit or stalls, you may "nobblerize" if you please. Before you are three doors, leading respectively to the upper circle, pit, and stalls. Round the hall, between these doors, leading to the drinking bars, are large advertising boards, painted in oil, very much like those you see on the Crystal Palace Railway at Sydenham, and for the exposition of which in this hall the advertisers have to pay pretty handsomely, each board bringing in £100 per annum, so that advertising, it will be seen, is by no means behindhand as a profitable art in this "great country."

Above the bars, and over the gateway by which you enter, is the Cafe de Paris, containing a salon for dining far superior in decoration and appointments to any I know of among the restaurants of London, and a coffee and smoking-room fitted up with as much taste and elegance as you will meet with in Paris. The Cafe de Paris is a new enterprise of two very speculative and go-a-head gentlemen, Messrs. Spiers and Pond, the latter not by any means unknown as a good fellow in London. You may dine here in as much style as anywhere "at home," and he served with a cut from a hot joint, wheeled to you on a table with castors, just as at Simpson's in the Strand. From the coffee-room, with its marble tables, its velvet-covered lounges, and its French waiters, you may if you like pass into the dress circle of the theatre; but, instead of doing so, let us pass down stairs into the street, and go round to the stage door. We shall find it in Little Bourke-street - the China of this southern world; knowing that the stage-door is in it, and looking up it, you might on a first impression fancy that all the "properties" of the theatre have been turned out to decorate the street. Gaudily-painted signs in green and gold, with pieces of scarlet drapery dangling beside them, decorate the narrow and ill-paved street on each side. They seem at first sight to be the disjecta membra of some gorgeous eastern spectacle which they have just "been doing" at the Royal. They are, however, the business notifications of John Chinaman, who stands at his door in his Chinese costume, smokes his long pipe, and looks at you with a stolid look as you pass up the street to the theatre.

Pushing open a door in a wall you find yourself in a yard at the rear of "The Royal." To your left is a large circular tank, very deep, and partially filled with black, poisonous-looking water, in which a hundred or two empty beer-bottles are floating. This is what was intended to hold the gasometer for the supply of gas to the theatre. Now, pass through the low dark, dark door in the corner to your right, mount a few steps to your left, and you are on the stage of the largest and finest theatre in Australia. And a gloriously fine stage it is, looking quite as large as that of Drury-lane. Walk down to the footlights and take a look, of the house. It is slightly dingy, I grant, but the decorations in white and gold, which Mr. Pitt is preparing for it, will soon make it as gay and beautiful as "The Royal" at Liverpool. In size it can be compared with Drury-lane and Covent-garden only. It will accommodate easily from 3,500 to 4,000 people, and it is by no means uncommon to see it thoroughly filled. The present usual prices of admission are: - Dress circle, 5s.; upper circle and stalls, 4s.; pit, 2s. 6d.; and gallery, 1s. Its form is very like that of the City Theatre which I erected on Glasgow-green. Indeed, it was built on the same model and by the same carpenter. On the stage I meet all old faces. There are Mrs. Vickery and Mr. R. Younge; and attending the rehearsal are Mr. and Mrs. F. Younge; Messrs. Hoskins, of Sadler's Wells; Mr. Lambert, once of the Haymarket and Adelphi; and one or two others. Mr. Brogden, whilome of Drury-lane, is property man; while the gas-man not long since received salary from Mr. Backstone at the Haymarket. Some of the ladies of the ballet, too, were in my corps at Covent-garden, and everybody and everything appears familiar. I can hardly believe that I have been three months on the sea, that England is nearly half the globe's circuit from me, and that this is a new world. From all I see it might be as old as anything that I have left. Only when I see boys who would with difficulty have found threepence for the gallery of the Victoria at home, pay their half-crown carelessly to the pit here, and when I see a man in a cabbage-tree hat, whom in England I should have thought a day labourer at 3s. 6d. a day, pay his eight shillings for himself and wife to enter the stalls, I find that I am not in the old country; nor in England, but in a place the like of which the world does not contain, and that place, Melbourne.

The first theatre erected here was in Queen-street, and is now Williams's Coach Factory. Its lessee was Mr. Charles Young, and it was where Miss Catherine Hayes achieved her Victorian victories in those golden days, when lucky diggers threw nuggets on the stage. It is only the Queen's - the coach-factory that is now - in which the actors were ever subjected to such insults. Nuggets behave themselves better now-a-days.

Pass up Bourke-street, and gaining the top of the hill, about a quarter of a mile from the Theatre Royal, and in front of the Parliament Houses, you come to a long, low, white building, with a very large drinking bar in front of it, and a very large corrugated iron roof on the top. There are the words "Astley's Amphitheatre" painted on the roof, but the building is now known as the Princess's Theatre, and is in the occupancy of Mr. John Black. It is the house which Mr. Lewis originally built for a circus; the house in which the Misses Gougenheim performed lately; and the house in which Miss Emma Stanley is giving her entertainment of "The Seven Ages of Woman" at the present time with well deserved success. Miss Stanley has become very popular in Melbourne. The theatre in which she appears is capacious, but by no means so large as the Royal. It is without a gallery, and has great breadth.

Passing it, and turning down Lonsdale-street to the left, you come to Mr. Coppin's Olympic Theatre, built of iron by the Messrs. Bellhouse, and decorated internally with medallions representing Mr. G. V. Brooke in his chief characters. It is very clean and pretty, and is now used as a dancing room, under the name of "The Argyle Rooms," the nightly admission being 2s. 6d.

Continuing your course down Lonsdale-street, you come to what was originally Tattersall's Horse Bazaar, built by Mr. Black, more recently the Victorian Market, and at present the American Hippodrome of Messrs. Rowe and Marshall. It has been converted to the latter use within the last fortnight. Mr. Rowe made a large fortune in Melbourne some few years ago, but has arrived from California and New Zealand with his fortune to make over again. Unfortunately at the present moment he is on a sick bed with fever and delirium, the whole conduct of the business devolving on his partner, Mr. Marshall. The star rider is "Young Raffaelle," and the Clowns are Messrs. Henry Addams, De Vere, and Yeamans. They crossed the Pacific in a ship of their own, and brought James Hernandez with them, who is looking as well as when I last saw him in London. Ha has seceded, however, from their company, through some misunderstanding, and rumour states that he is about to open with Mr. Black at the Princess's, after Miss Stanley's engagement.

Mr. Coppin's Theatre Royal Company are now playing at Geelong, and I am now occupying the house in their stead. I opened on Monday, June 21st, to a house crowded in every part. There was a "rush" at the doors unlike anything they had before seen. Mr. Coppin had forewarned them of my approach sufficiently for all Melbourne to endeavour to be there on the first night, and "all Melbourne" was there. It was one of the largest houses I have had, and to me one of the strangest, for though sixteen thousand miles away from Great Britain, every face appeared to be that of some old acquaintance whom I had known in London, Edinburgh, Dublin, or somewhere else between the Land's-end and John o' Groat's - Yarmouth and the Atlantic Telegraph Station at Valentia, in Ireland. There was a great and hearty reception, equalling all, and more than all, that I had anticipated of Victoria. Since then the house has been nightly crowded, and Mr. Coppin assures me that the receipts of my first fortnight have far surpassed those of any consecutive fortnight he has experienced in the colonies, no matter who the "star."

I have good and sufficient reason to believe in Melbourne as one of the best cities in the world for making money in a short time. Its population at the present time does not exceed 100,000 at the utmost, and if it be borne in mind that it has three theatres - one of them larger than any out of London, two or three concert-rooms, an exhibition of wax-works, two menageries, an "Exhibition Building," in which concerts are constantly being given; a Mechanics' Institute, in which there are lectures every week; a circus, doing a good business; "Caldwell's Dancing Academy," at Collingwood; and a Cremorne Gardens equalling in extent those of London, it must be admitted that it cannot be the dullest nor the poorest city in the world, for, with the exception of Cremorne, which is closed for the winter season, all these places are open, and are doing well.

If you find your way through the factories in Flinder's-lane, and make your way out of the town westward, you come to a hill still covered with green grass, whereon, not thirty years ago, the first settler who came hither pitched his tent, and founded the colony. Seven years ago Melbourne had no house built of stone or brick, nor any paved street, while at the present time it has broad and paved streets - is lighted with gas - has a police as good as that of London (each policeman, by-the-by, receiving ten shillings and sixpence per day) - has cars and cabs innumerable - has its retailers of cheap coffee at every corner - its railways - its electric telegraphs - its three daily and eight weekly newspapers - its boys to black your boots - and its German bands to supply you with music when you are not in the mood to enjoy it. You may, in fact, find everything in it except a Punch and Judy show, and a baked-potato-can.

The professionals throughout the colonies appear to be doing well. Mr. G. V. Brooke has recently been playing six weeks at Launceston, in Tasmania, and is now at Sydney, whence Madame Sara Flower has this day arrived. James Ellis, of Cremorne celebrity, keeps a dancing saloon at Beechworth, about 200 miles up the country. There has been a Miss Provost from America playing a good engagement at the Princess's. She has considerable talent, and is going to England, where also by the mail of this month goes the celebrated violinist, Miska Hauser. The Misses Gougenheim, of whom your columns have frequently given report, are at Pleasant Creek. Mr. Farquharson (more known as Farquharson Smith), the basso, is in Tasmania, while Miss Harland, in conjunction with Mr. Sherwin, and others, are giving representations of English opera at Ballarat.

Being July, it is mid-winter, and there is very little sporting intelligence to record. There was a yacht regatta in the bay on Saturday, and some races a few Saturdays ago. The race course is excellently well situated, about three miles' distance from the town, and racing appears to be one of the favourite amusements of the Victorians. The "Derby Spring Meeting" is just advertised, and we have our St. Leger and Oaks. There is one sporting paper published weekly, and, judging from its columns, the colony is becoming famous alike for the pleasures of the Turf, the Field, and the Ring.

On Saturday last I had the patronage of his Excellency the Governor, Sir H. Barkly. The house presented a brilliant appearance in consequence. Not a seat was obtainable in the dress circle when the curtain rose. On Saturday next I hear the performance is to be patronised by General Macarthur, the Commander of the Forces in Australia, and by the 40th Regiment. My magical performances will last about another fortnight. After which I go to Geelong, returning here en route for Tasmania, to play Rob Roy, at the solicitation of some hundreds of my Australian friends. The Royal will then be opened for the regular dramatic season, and will by that time present a very splendid appearance. It is to be thoroughly re-decorated. A very beautiful act-drop, by Messrs. Pitt and Wilson, representative of Shakspere's birthplace, is now in progress, and an effort is to be made to produce pieces with as much magnificence as Charles Kean accomplishes at home. One of Mr. Coppin's recent productions, Lalla Rookh, was got up in a manner fully worthy of the Lyceum.

The drama, however, meets with its enemies in the shape of narrow-minded bigots, as much so in this new country as in some places in the old. There is the report of a most scandalous illustration of this fact in the Melbourne Argus of to-day. It is the case of a Presbyterian minister of the name of Ewing, at Hobart-Town, who is brought before the Presbytery charged with various misdemeanours in the eyes of his reverend judges, and among others are the heinous ones of his having lectured at a Mechanics' Institute, become secretary to a Sacred Harmonic Society, and gone once to a theatre in thirty-five years, in order that he might receive a lesson in elocution from Mr. G. V. Brooke. For these deeds his judges have deemed him to be unfitted for his holy office. It appears that his intention to go to the theatre was suspected, that he had to go in disguise, that he was followed and detected by one of his over-righteous congregation. The Argus very justly observes that - "If the notions of clerical propriety, upon which this Presbytery have acted, prevail throughout the churches of Tasmania, it need not be wondered at that the office of the Christian minister is denuded of social influence."

I shall have more news to send you by next mail, and before long be able to give you some report, from personal observation, of the drama at the Diggings. This is pre-eminently the place for "stars" to come to who have already acquired a European or American reputation; I doubt if it be the right place, however, if they are not planets of the first order - satellites are very little use here.

With every good wish, and never forgetting past favours, believe me, dear Sir, yours most faithfully,

ASSOCIATIONS: Theatre Royal (Melbourne venue); Arthur Charlwood (theatrical stationer and printer); James Hingston (brother of his secretary, Edward Hingston); Walter Sherwin (vocalist); Julia Harland (vocalist); John Melton Black (theatre builder); George Coppin (actor, manager); Richard Younge (actor, manager); Frederick and Emma Young (actors); William Hoskins (actor); Queen's Theatre (Melbourne venue); Charles Young (actor, manager); Catherine Hayes (vocalist); Princess's Theatre (Melbourne venue); Astley's Amphitheatre (Melbourne venue); George Lewis (manager, venue builder); Adelaide and Joey Gougenheim (actors); Emma Stanley (actor); Coppin's Olympic (Melbourne venue); Gustavus Vaughan Brooke (actor); Tattersall's Bazaar (Melbourne venue); Joseph Andrew Rowe (circus proprietor); Exhibitoon Building (Melbourne venue); Mechanics' Institution (Melbourne venue); Cremorne Gardens (Melbourne venue); Sara Flower (vocalist); James Ellis (venue proprietor); Mary Provost (actor); Miska Hauser (violinist); Robert Farquharson (vocalist); Robert Kirkwood Ewing (Presbyterian cleric, musical amateur)

Letter 2 (Sydney, 4 February 1859)

"PROFESSOR ANDERSON IN SYDNEY. TO THE EDITOR OF THE ERA", The Era [London, England] (17 April 1859), 6 (PAYWALL)

Prince of Wales Theatre, Sydney, New South Wales, Feb. 4th, 1859.
Dear Sir, - Of Melbourne theatres and Melbourne theatricals I told you in a letter some months ago. I now propose giving you some account of the profession, its standing, and its prospects in the capital of New South Wales. But as theatrical news is rather copious just now throughout the colonies, I shall not restrict myself to Sydney for matter to write about, but give you the chit-chat of the Australian Stage as I hear it every day.

I came here from Hobart-town, after a most successful season there, and after playing in one of the prettiest theatres I have seen to nightly overflowing houses. On arriving in Sydney I found that I had to contend with many difficulties, the nature of which I will presently explain. First, however, let me tell you how the Stage stands at present in New South Wales.

Sydney has three theatres, the first as well as the largest and most fashionable is the Prince of Wales, in Castlereagh-street; the second is the Victoria in Pitt-street; and the third the Lyceum in York-street. The relative position of each will be pretty well understood, if in the first instance you picture George-street, the chief thoroughfare in the city, as being a large and perfectly straight thoroughfare of about three miles in length, extending from the quays at its lower end to Newtown, at its upper termination. On your right hand as you go up George-street you have York-street running parallel, and in the rear of the houses to your left is Pitt-street, and beyond that again Castlereagh-street, both parallel also to the main artery of the metropolis. York-street, however, is on the un-fashionable, and Pitt and Castlereagh-streets, with their respective theatres, on the fashionable side of the city. The Prince of Wales theatre is at present leased by Mr. Charles Poole, the Victoria and Lyceum by Mr. James Simmonds. Sydney has no concert hall nor any other large building adapted for the purpose of public amusement. It had an Assembly Room once annexed to the Royal Hotel, but lately it has heen transformed into a drapery store; concerts have given way to calicoes; music has moved out to let muslin in; and the only terpsichorean efforts of the tenants is to "dance attendance" upon their customers.

Externally, the Prince of Wales Theatre is a large and imposing structure with a side wall to it longer than that of "the Lane" in Little Russell-street, at home. Architectural pretensions do not characterize it to any great extent, though it has a very neat portico to the box entrance, and is about to be graced with one of a larger size over the new pathway to the pit in King-street. It is at present owned by Mr. Alderman Neald, and was built originally by Mr. Whyatt [Wyatt], now the landlord of the tavern adjacent. This gentleman has shared the fate common to inventors and projectors. To him Sydney is indebted for its finest theatre, and to that theatre Mr. Whyatt attributes his losses of many thousand pounds. For him it was ordained to sow - for others to reap; nor does my friend ever forget to bemoan his fate whenever the building of the house is alluded to. He pours you out his losses with every nobbler, and makes every clean glass he hands you a lachrymatory for his unavailing tears. The disciples of Democritus who frequent the theatre, consequently shun this Heraclitus, and pay their devotions to Bacchus in others of the adjacent shrines. Nor need the Libyan deity be angry at the lack of either shrines or worshippers. Fancy the thermometer at 109 degs. this evening in the theatre, and at 138 degs. to-day in the sun; and no wonder that when the "first piece" is over there is a rush to "Cunningham's" for brandy and iced water, shandy-gaff, and nobblers of Old Tom; while, should Cunningham's be too full, there are "Fischer's," and "Fox's," and half-a-dozen more dispensatories of a similar kind all within a stone's throw. Sydney is essentially a bibulous city, and has an advantage over Melbourne in this respect. Its "nobblers" are threepence only while in the sister metropolis they are sixpence.

The interior of the Prince of Wales is spacious, and presents a grand appearance when the dress-boxes are filled with fair occupants. Elegance of decoration or profusion of ornament are not its characteristics, and in these respects it is far inferior to the Royal in Melbourne. The construction of the dress-boxes is very peculiar, the Governor's box in the centre being the highest, and those at each side descending in step-like fashion towards the stage. This arrangement was adopted to make room for very large pit accommodation, and to allow of the seats in the back of the pit being of much greater elevation than those near the orchestra. It is a grand pit, and would be so even in a London house. There were 1,560 people in it a night or two ago, on the occasion of my playing Rob Roy, and the rest of the house contained altogether about 1,000 more. The present prices of admission are four shillings to the dress circle and one shilling to the pit. In Melbourne, as I before told you, the pit is half-a-crown.

The next theatre in point of importance is the Victoria in Pitt-street. A nice, well-constructed, comfortably arranged house, but presenting outside many of the characteristics of its name-sake in the New Cut. Indeed, on a Saturday night the street in which the theatre is situated would probably remind a Cockney of the Lower Marsh, Lambeth, or of the neighbourhood of Shoreditch Church. There are the same ginger-beer fountains, the same stale-apples, the same suspicious-looking hot pies, the same throng, the same un-musical sounds, and the same unpleasant smells. The "Vic," as it is familiarly termed, is at present the theatre of the mobocracy. You will see rows of equipages and dozens of livened lackeys outside the door of the Prince of Wales; but a carriage and a pair of greys in front of the Victoria would be as strange a sight as they would be if seen in front of a penny show in Whitechapel. Yet there was a time when the Victoria ranked as the chief theatre of Sydney. On its boards Madame Bishop and Miss Catherine Hayes have sung, Lola Montez danced, and Mrs. Charles Young acted. The present manager, Mr. James Simmonds, has pursued a policy, which he admits has not resulted profitably to himself, and certainly has not helped to maintain the character of his house. A sixpenny pit and threepenny gallery, with the Brigand of the Abruzzi one night, and Uncle Tom's Cabin or Jack Shepherd the next, have produced their usual results in bringing about empty boxes and a full, but unprofitable gallery. An effort is now being made to resuscitate the house and retrieve its fallen fortunes by the introduction of a ballet company, but not with that success which I believe was anticipated.

The third theatre is the Lyceum, in York-street, originally opened by Mr. G. V. Brooke. Though small compared with the other two houses, it is, perhaps, the prettiest of the three, so far as the interior is concerned, its outward appearance being dull enough I admit. The situation is bad, standing as it does in an out-of-the way back street. Yet to this theatre there have been audiences attracted lately, more fashionable in their character, perhaps, than were ever gathered together by any public performer in the colony. The performance they were invited to see was my own magical entertainment, and I scarcely remember a place where it has been better patronised or more enthusiastically received.

On my arrival in Sydney I found the Prince of Wales occupied by Mr. Brooke, and the Lyceum shut up. Unable to arrange with Mr. Poole for the large house, I applied to Mr. Simmonds for the smallest one, finding that both it and the Victoria were leased by him. Some short time previously the Lyceum was to let, and might have been had from its proprietor for £5 per week, but Mr. Simmonds hearing of my intended visit, and thinking to make a large sum by me, had secured it for a small rent, and modestly asked me £65 per week for it, which extravagant demand I was compelled to comply with. An army of painters, upholsterers, carpenters, and gasfitters, were soon concentrated within the walls, and in less than a week, at an expenditure of nearly £300, I transformed the little house into a fairy palace, altering the interior so greatly that even its oldest frequenters confessed that they scarcely knew the place again. Using lace and muslin for my adornments, I realized something almost as beautious as the lace-work Palace I once saw in one of the burlesques produced by Charles Mathews in the Lyceum at home. The opening day proved to my melancholy prophets that they had made a mistake. Not only did the people come numerically strong, but a class of people came which at once gave the stamp of fashion to the little theatre, and settled indubitably the question of my success. For five weeks an uninterrupted career of prosperity followed. The Governor-General, Sir. W. T. Denison, and his amiable family patronized me in the most flattering manner, and to their patronage was added that of the highest dignitaries of the Legislature and the Bar. Sydney has long been remarkable for its handsome women, and I should think that they were scarcely ever before displayed to more perfection than in the crowded dress circle of the Lyceum. Sydney is but a small town compared with cities at home, its population, including its suburbs, not being more than 90,000. To have played for five weeks to crowded-houses, and with a pit which holds a thousand people, says something for the love of amusement among the Sydneyites, whatever it may say for the attractiveness of the entertainment.

Having brought my season at the Lyceum to a termination, and Mr. Brooke having concluded his engagements at the Prince of Wales, I entered into arrangements with Mr. Charles Poole, to take that theatre of him for a week, and produce Rob Roy after the fashion of its production at Covent-garden. I not only took the theatre and company, but engaged all the additional strength I could command. The military display and the crowded stage were novelties to the public, and resulted in my playing on the first night to the most thronged house ever known within the same walls. The cast was generally admitted to be excellent. Mr. John Mungall was the Baillie, and his name is a tower of strength among Scottish colonials. The Rashleigh was played by Mr. Henry Edwards, one of the most accomplished actors in the colonies, and one of the best esteemed; Mrs. Charles Poole was the Helen Macgregor; Madame Sara Flower, the Francis; and Mrs. Winterbottom, the Diana. Apropos, of this, the chef d'orchestre at the Prince of Wales is the husband of the last-named lady, and the same Mr. Winterbottom who was so well known in London in connexion with Jullien's Concerts some years ago. My secretary, Mr. Hingston, was the Thornton; and Mr. Walker, a very promising colonial actor, the Dougal; on the occasion of this my first appearance as an actor in New South Wales. Proving to be very successful Rob Roy was repeated on the following evenings of the same week.

In addition to it we produced Black-Eyed Susan, and drew an exceedingly large house by introducing a hornpipe contest, the competitors, in which were the crews of the Herald, Elk, and Cordelia, three of her Majesty's vessels, which happened to be in the harbour. The Elk has but just returned from China. Its officers tell me that they had the pleasure of receiving a flying visit from Mr. Albert Smith, and retailed to me some of the good things he told them. Subsequently, in the same theatre, I gave two prizes, one being a gold watch and chain, the other a silver cap for the best conundrums made respectively by a lady and a gentleman. The cup was won by a gold miner from Bendigo, whose riddle was this,
"Why is the nugget of gold which I dug up at Bendigo like the Prince of Wales?"
"Because it is the produce of Victoria and likely to become a sovereign."
Many of the conundrums sent in were exceedingly witty, and the whole were far superior to the samples I received in London . . .

And now that I have told you so much about myself - in the telling of which, however, I have endeavoured to give information which must be interesting to many of my professional brethren at home - it may be as well that I should give you a paragraph or two about the condition of the Stage generally in New South Wales. Sydney, as you will see by what I have stated, is decidedly a theatrical town. Three theatres to 90,000 people is pretty well, but the salaries which actors receive at these establishments is something more remarkable. Your £2 a-week man at home turns up his nose at a salary of £5 here. The stock low comedian gets his ten pounds, and the stock first comedian his fifteen or twenty. What talent there is finds fair scope for exertion, and men who were doing nothing at home, manage to get into good positions here. The prompter to the Prince of Wales, for instance, is Mr. Ede, an old actor, whom I remember as being with me at Covent-Garden in 1856. At night he is prompter, and by day a butter salesman with a good business. Then, there is Mr. Rayner, of East-End celebrity, playing leading business at the Victoria, and maintaining a good position with less than half the trouble he would have at home.

Out of Sydney, however, New South Wales has scarcely any theatres. There are two at Bathurst, but it is 120 miles up the country, along a road fit for bullock teams only, before you get to them, and the population is but small. Goulburn, they tell me, has a very pretty one, not open, I believe, at present. There is one at Maitland which they have lately used as an arena for horse-taming a la Rarey, and another at Newcastle very small and very dilapidated. These, I believe, are all that the colony contains. Sydney, and Sydney alone, is the only place, but it is almost too far for a man to travel backwards and forwards to from Melbourne, considering that the fare is £10 either way. Nor had theatricals been very flourishing here for some time until Mr. Brooke made his appearance at the Prince of Wales. Becoming a favourite, however, his engagement proved the fortune of the new theatre, and taking a liking to Sydney, he became very loth to leave it. Its delightful scenery, the pleasant company to be enjoyed, the boating excursions in the harbour, and the fishing at the heads seemed to offer allurements to him sufficiently strong to hold him to the city, even when not doing good business . . .

. . . From a telegraph I have just seen it appears that the partnership [between Brooke and Coppin] has been dissolved, that Mr. Brooke has received the Royal as his share of the estate, and that he had sent to Sydney for his furniture and horses, intending to make a home in Melbourne, and, having become proprietor of the theatre, to commence managerial career immediately. Having thus rid himself of the Royal in Melbourne, Mr. Coppin turns his eyes towards the Victoria in Sydney, and arranges with Mr. Simmonds to send here his ballet troupe of the Leopold Family and Madame Strebinger, and to follow them with a burlesque and a portion of his Melbourne company. But . . . a show on a larger scale was in progress at Melbourne. Mr. Coppin had purchased a piece of land adjoining Cremorne, and wanting some use for it conceived the idea of getting up a fair, a sort of diluted Bartholomew or weak Greenwich. It was to be the first ever held in the colonies, and circuses, booths, mountebanks, gingerbread stalls, Swings, round-abouts, and cheap Johns, were advertised for, in order to grace Richmond Fair. It was wondrous how many of these were obtained in a colony only twenty years old, but sufficient at any rate were found to announce the opening of the fair on Boxing-day. The advertisements entitled it "Richmond Fair. A perfect picture of old English life in the Colonies." And what Richmond Fair was the following letter from a friend who went to see it will inform you: -

An oblong piece of ground, of exactly two acres, has been planted on its four sides with tents. Commencing at the left hand corner towards the river, you have "Lewis from Astley's," the Equestrian tent; next "Richardson's," with Timour the Tartar played every hour. Then comes a booth of Ethiopian serenaders; next to that the Australian Fat Boy; then Joe Miller (son of D. P. Miller, of Glasgow), with a conjuring booth. Then "Algar's Crown and Anchor" for dancing. Next a bar for drinks. Then the tent of the lion tamer, and the exhibition of the Royal Bengal Tiger; following that, a pig with five heads and five tails; next to that a two-headed cat. Then in succession a merry-go-round, two or three swings, a fancy bazaar, with a "wheel of fortune" and a roulette table, a cosmorama, a large ginger-bread establishment, a photographic car, and a vendor of cloth cleaning, stain eradicating soap stuff. There is no space for skittles, three sticks a penny, quoits, bowls, knife-jerking, ringing the pins, or anything of the kind that people can engage at in contest with each other. This is a great oversight. But the gardens and fair were crowded. The admission to the ground is 2s. 6d., and a shilling to enter each booth. The visitor gets nothing for his half-crown but right of entry to the premises, and no re-admission allowed.

Richmond Fair lasted many days, and nine or ten thousand, it is said, paid for admission on New Year's Day alone, so that the manager must have reaped a considerable harvest.

The other theatrical news is not very important, I must not, however, forget to mention the opening of a new and elegant brick built theatre on Ballarat, the first stone of which was laid some time since by Mr. G. V. Brooke. It bears the name of "The Royal," and was opened on Boxing-day, with Mr. Hoskins for manager.

The Princess's in Melbourne is now occupied by the Nelson Family. Miss Emma Stanley was to have re-appeared in it; but, for some time past, she has been prevented by illness from attending to her professional duties. She has now, I am glad to state, recovered, and is to appear at the Lyceum here in Sydney shortly. There are rumours of Mr. Hudson, the Irish comedian, Mr. James Anderson, and Mr. Barry Sullivan, all being on their way to these shores. I would advise them not to come just yet. - Better times are coming, the theatres require a rest. In Melbourne, the last new attraction in a theatre was Allan McKean walking 1,000 miles in 1,000 hours, within the iron walls of the Olympic. The theatre was open day and night for visitors to see the feat accomplished, and sufficient money was taken to make it a successful speculation. McKean accomplished his task with comparative ease.

I scarcely know whither I am going next. Perhaps you will hear of me from New Zealand or Morton Bay, and, perhaps, from the Feejee Islands; but, wherever I am, if I see anything that I can write to you about which I think would be amusing to your readers, you will, without fail, receive a letter. You have so many Australians at home just now, that any news from these colonies must, I am sure, interest a large number, and whatever I send you is fact. You may rely on the truthfulness of the information, gleaned as it is on the spot by your self-constituted "special commissioner" and sincere well-wisher,
JOHN HENRY ANDERSON, Wizard of the North.

ASSOCIATIONS: Prince of Wales Theatre (Sydney venue); Charles Poole (actor, manager); James Simmonds (actor, manager); Joseph Wyatt (theatre builder); Royal Victoria Theatre (Sydney venue); Anna Bishop (vocalist); Jane Eliza Young (actor); Lyceum Theatre (Sydney venue); John Mungall (actor); John and Maria Winterbottom (musician and actor); Theatre Royal (Ballarat venue); Nelson family (vocalists, actors, musicians)

Letter 3 (Sydney, 1 June 1859)

"PROFESSOR ANDERSON IN AUSTRALIA, on Things Theatrical at the Antipodes. TO THE EDITOR OF THE ERA", The Era [London, England] (14 August 1859), 10 (PAYWALL)

Sydney, New South Wales, June 1, 1859.
Dear Sir, - The last letter I sent you was descriptive of the theatres of Sydney and of theatrical affairs in this colony generally. Since writing it there have been some strange mutations, and some very entertaining episodes in the Australian annals of the stage. I too, have also seen some strange sights, and had to make my appearance under two or three curious circumstances. Hence, I think, I have matter sufficient to warrant my sending you home another column of news which may possibly interest a large class of your professional subscribers. My letter shall be from two capitals - I date the first part from the metropolis of New South Wales, while the second part shall be dated from Melbourne. I give my entertainments in two parts, and see no reason why my letter should not participate in the same duality.

I told you in my last of my appearance in Rob Roy at the Prince of Wales's, and I believe that I also described to you the gorgeous manner in which we reproduced at that theatre Charles Kean's version of Pizarro. * * * *

I finished in Sydney and started for the provincial towns. The first I visited was Maitland, situated on the Hunter River, a hundred miles northward from Sydney. A steamer leaving the wharf at eleven at night lands you at Newcastle about seven next morning. You are then conveyed by "the Great Northern Railway" (at present about thirty miles long,) up to Maitland, a distance of twenty-two miles. On arriving there you find the town to be a long, straggling place consisting of one street only, having a very rural appearance, and abounding in stores of all descriptions, in any one of which you may purchase what you please, from a cart-wheel to a cake of honey-soap, or from a silkdress to a gallon of tar. It is a stirring, lively, little township - is going a head; and will one day be of importance. The best time of the day to see it is about five in the afternoon, at which hour every female in it turns out on horseback. The ladies equestrianize in fashionable riding-habits, while Biddy and Mary, the cook and housemaid grace the saddle attired in cotton gowns, with a bonnet or hood on the head instead of a hat and feathers.

I gave my entertainment in the School of Arts, a very substantial structure of rather restricted dimensions. It was crowded every evening. Maitland boasts of a theatre, and there was a company performing in it during my stay. But such a theatre! Built of tin plates and old boards patched together, as if a cobbler bad been employed to erect it, that singular symbolical structure - "The Temple of the Drama" was never, perhaps, more ignobly represented. The pit would be crowded with a hundred people in it, and the boxes are hardly equal in comfort and convenience to any gallery of the London theatres. Within the last few weeks, however, the company of the Prince of Wales's Theatre here in Sydney visited Maitland, and their success stimulated the Maitlanders to aim at something better in the way of theatrical accommodation. In a few days it was suggested, concocted, arranged, and decided that a new theatre should be built. Mr. Henry Edwards - the enfant gâte of Sydney playgoers - was intrusted with the important ceremonial of laying the first stone, and acquitted himself with becoming elocutionary skill, finishing a good speech in an allusion to the wretched theatre that is, and the good one that is to be, by quoting from a poem of Longfellow's, which had been published in New York only a few months before:
Nor deem the irrevocable past
As wholly wasted - wholly vain,
If, rising on its wrecks, at last
To something nobler we attain.
Here was an odd exemplification of Longfellow's popularity, and of intercommunicative speed in the present day. The "Ladder of St. Augustine" had been published in the capital of the United States some thirty or forty weeks previously. Scarcely was the supply of ink in the author's inkstand when he wrote it dried up and gone, before the poem had travelled to England, thence across sixteen thousand miles of sea to Australia, been committed to memory by a Sydney actor, and made portion of an inaugural address on the occasion of commencing a new theatre in almost an unknown town of New South Wales. America should be proud of Longfellow.

From Maitland I returned to Newcastle, and played there in the theatre attached to the Commercial Hotel, a wooden structure, not by any means equal to a concert-room in any Lancashire town. The inhabitants of the district are chiefly miners; they dig coal at Newcastle on the Hunter here as they do at Newcastle on the Tyne at home. And just as the Tyneside colliers supported me when amongst them, so did their Australian representatives on the present occasion: only that every man and woman paid five shillings to see me here, and not a shilling, as at "The Royal" in "canny Newcastle" far away.

Returning to Sydney I gave a ball at the Prince of Wales's Theatre. Owing to interference on the part of the clergy (particulars of which, I believe, you have already received), the ball was not so successful as otherwise it undoubtedly would have been. In Sydney the parsons have it all their own way, more so even than in most other cities, even those of the old world. They preach from the pulpit what amusements the people shall patronise, and what they shall not, and "Anderson's Ball " was denounced as not being the sort of thing which the conventicle could sanction. There was no objection to my giving a dance on the grass at Middle Harbour, or a bal champetre at Botany Bay, but to give one within the walls of a theatre was utterly inadmissible to pulpit-thumping morality. However, the ball came off, the theatre looked most elegant, the company comported themselves most decorously, and the receipts were beyond what I had anticipated. In reality it was a success.

I was now advised by some to go to Goulburn, and by others to visit Bathurst, two widely different places, both about equi-distant from Sydney. I selected Bathurst, and started for a hundred and twenty miles' journey over the Blue Mountains. My first stopping-place was at Paramatta, where I played in an assembly-room redolent with the perfume of neighbouring orange blossoms. Thence I journeyed to Windsor, a small town on the Hawkesbury, where no better arena being available I converted the loft of a large brewery into an improvised theatre, and filled it for three nights with audiences at six shillings per head. While so employed I received intelligence from my agent, Mr. Hingston, that he had secured a hospital for me to perform in at Penrith, the next town on the route, and this intelligence was coupled with the agreeable information that the fever ward was being specially fitted up for my magic temple. On arriving I was pleased to find that neither the ward nor the hospital had ever been devoted to the purpose for which each was originally intended. When the good people of Penrith had completed the hospital they made the discovery they had no use for it - that there were no sick people to fill it, and that if it had been an hotel instead it would have been much more useful. So it stands with closed doors, an hospital in name only, and not de facto. There is some talk of turning it into a railway station, and selling it to Messrs. Peto, Brassey, and Betts, whose agents are about to cover New South Wales with the hoof-prints of the iron horse.

Were it not that your readers want theatrical information, and not descriptions of scenery, I would endeavour to describe the drive over the Blue Mountains from Penrith to Bathurst. But let me say this, that if there be any Sir Charles Coldstreams in London just now, who are so blase as not to know where to find a "new sensation," let them come out to Sydney, and start in the mail-cart for Bathurst. They will see scenery that will astonish them, sights that will be new, and a mode of travelling to which they are not accustomed. They will also feel a little embarrassed with the novelty of their position, and find a good substitute for Ironbrace in their dashing driver, who will haul them up mountains 3,000 feet high, whirl them down precipices 3,000 feet deep, bump them over rocks, shake them over logs and stones, flounce them into lagoons of slush, and probably turn them over in the bed of some pleasant river. Not caring to commit myself to the tender mercies of these mail contractors, I procured a travelling carriage and horses, and was my own Jehu over the hills. Whatever inconvenience you encounter on the way, is pretty well recompensed by the magnificent view which you obtain from the summit of Mount Victoria in the course of your drive. All the interior of the Australian continent appears to be within your ken, if your eyesight were but strong enough to enable you to see it, and the day were sufficiently clear. It is a combination of Switzerland, Scotland, and Cumberland, possessing features common to all three, with certain peculiarities intermixed.

Bathurst is the centre of the western gold fields of New South Wales. It is a straggling, scattered town, extending over a large quantity of ground, but with a sparcity of inhabitants. There are two theatres. One - The Prince of Wales - is just a little better than the Maitland one, which I have already described. It is in the possession of a gentleman, who rejoices in the soubriquet of "Scrammy Jack," and it is usually designated by the townsfolk, "Scrammy Jack's Theatre." The other is known as the Victoria, and is the one in which I appeared. You get to it by crossing a field, travelling down a long country road which they facetiously term Durham-street, and traversing a bridge over a creek, constructed in so fragile a manner that an old lady fell through it the other day; and I had to light its parapet with candles that the people might find their way to the theatre in the evening. Still the people came, paying their 7s. 6d. to the boxes, and 3s. to the pit.

It was in this out of the way town that I saw Easter Monday in the Antipodes, and here that I offered my entertainment as the Easter piece for the holidays. I had opened a fortnight previously, but Passion-week intervened, and the population of Bathurst being in great part Roman Catholics, I had to close my doors during their Holy week. I gave a benefit towards furnishing a roof for the Catholic Cathedral some days afterwards, and had 120 in the house. Another benefit for the good of the Hospital, which I gave on the previous evening, realized nearly 130; and this in a theatre not half so commodious as the Bower Saloon, in Stangate! So that either the Bathurst people must be pretty spirited, or the spells of the Wizard must have been very potent in their operation.

From Bathurst I returned to Sydney. Judging from what the clergy had written and said against the theatre, and being well aware that many of the more strait-laced inhabitants had not visited my entertainment in consequence of its having hitherto been given in a theatre, I deemed it advisable, and was also advised to adopt the course of taking the New Temperance Hall, which had been opened during my visit up the country, and treat the Sydneyites to some magic within the walls of a building to which even the most puritanical could not object to enter. The experiment was not very successful. Those who preached against the theatre were none the more disposed to spend their money to visit the Temperance Hall; while the teetotal party in Sydney is far too numerically weak to be in themselves a sufficient audience. Teetotalism does not flourish in the colonies. Everyone "nobblerizes." I read in the papers here that Mr. Gough is coming out to Australia, with the force of Exeter Hall at his back, to convert the colonies to cold water. I fear that he will come on a fruitless errand, and find that he is a missionary in a country insusceptible to conversion. There are not old ladies enough in this new land as yet for Mr. Gough to be exalted to that apostolic eminence to which he has attained at home.

And now that I have brought my narrative back to Sydney affairs again, let me tell you what the Sydney theatres are doing. The Prince of Wales - the larger of the two, has undergone an entire metamorphosis. Six months ago, when I last described it in a letter to you, the entrance to the pit and gallery was down a dirty gateway in Castlereagh-street, while at the present moment it is beneath an illuminated portico in King-street. Six months since there was a piece of vacant land beside the theatre, on which the "Sydney ducks" - as the boys are called hereabouts - amused themselves by tossing coins and playing marbles. On that piece of ground now stand two magnificent hotels. The bar of one of them - "Tolano's," as it is called - is the pit entrance of the theatre; and a very splendid, well-furnished, spacious bar it is, radiant with gas-lights, mirrors, and attendant beauty, in the shape of sundry smiling Hebes. The interior of the house has been thoroughly re-decorated, and business for some time past has been very flourishing. The Nelsons have recently concluded a successful engagement, during which the burlesques of Atalanta, The King of the Peacocks, and Conrad the Corsair, have been produced in very superior style. Mdlle. Therese and M. Schmidt, formerly of Drury-lane, are now hourly expected, and an opera company, with Walter Sherwin for the tenor, John Gregg for basso, Madame Carandini for soprano, and Madame Sara Flower for contralto, open in three weeks hence. Apropos of the opera company, Mr. Farquharson, who came out with them from England, is on his way back from Calcutta to Melbourne. A letter from him to an Australian friend states that he has done great business during his stay in India, but finds the climate too warm at present to be agreeable.

The management of the Prince of Wales still remains with Mr. Charles Poole, and Mrs. Poole, as the leading lady, seems to gain daily greater favour with the public. She has recently appeared as Camille, and achieved in that character a considerable amount of success. Her Hester Grazebrook, in Tom Taylor's Unequal Match, has also won her the right to stand a step higher on the scala of colonial histrionic fame. She and Mr. Henry Edwards are the main props of the establishment, and work arduously to maintain the reputation of the theatre.

At the other house - the Victoria - there has been an entire boulversement. The late lessee, Mr. James Simmonds, has struck his flag, and the present commander of this theatrical fortress is Mr. S. Colville, the husband of Miss Mary Provost, a lady whose name now appears on every wall in Sydney with the descriptive title of "Nature's great delineator" attached. She came to the colonies from California, and during her residence, both here and in Victoria, has contrived to secure a large amount of popularity. Her style of acting is unlike that which we are accustomed to see, and is so telling, that, at any rate, it attracts large audiences. She is a disciple of the "intense school," and throws herself into whatever business she has to do with energy and animation. Her repertoire is of the most varied character, comprising such pieces as Medea, Camille, Lucretia Borgia, the Countess in Love, Nell Gwynne, and The Irish Heiress. The Victoria is said to be under her management just now, and Mr. Joseph Rayner is her stage manager.

There has been great theatrical emigration in Sydney, and chiefly in the direction of California. Mr. Hill, formerly of Edinburgh, and his wife, went thitherwards a few weeks ago, and last week there sailed in one ship - the Achilles, bound for San Francisco - Mr. and Mrs. Torning, Mr. James Simmonds, and the Nelson Family. Mr. Torning was the antepenultimate lessee of the Victoria, and Mr. Simmonds was its penultimate one. The latter gentleman is, I believe, about to do wonders in the land to which he is bound. Rumour says that he is about to extend his bound of social ties in the course of the voyage, or immediately on landing, and he is to be the builder of the largest theatre in California, and of another in the Mormon city of Nauvoo, previously to his becoming the lessee of one of the chief dramatic temples in London.

Some have gone to California, others are going or are gone elsewhere. John Winterbottom, of bassoon celebrity, has left the Prince of Wales for the Royal in Melbourne, and with him has gone Mr. Wigan, the colonial comedian. John Mungall has left for the new Theatre Royal, on Ballarat, where is engaged at a salary of something like £50 a week as "Scotch comedian." Scotch actors don't get as much at home, but then they don't have to pay £10 for their fare from one city to another. There's the rub! By the-by, Mr. Mungall and I changed characters the other day in Sydney. I played the Baillie and he the Dougal, Mr. Edwards being the Rob Roy for the nonce.

Fortunate have my friends been who have contrived to get away from Sydney without let or hindrance. It was not so with me. Colonial law is rather curious. It happened that some of my men whom I had brought out with me from England, chose to break their engagement and leave my service. I thereupon took out a warrant against them, and a solicitor undertook to defend them, and of course inducted me into the mysteries of antipodean law. On the morning of the day on which I was about to leave Sydney, my runaway servants went up before the judge and swore that I owed them each sums above twenty pounds, by virtue of which swearing they succeeded in procuring a judge's warrant to prevent my leaving the colony, in consequence of which, as the case stood, there was no course open to me but to pay the sum Mr. Lawyer demanded, or to remain in Sydney for some months until the case could go to trial. As this latter course was perfectly inconsistent with my arrangements, I first tried how far the law could assist me, and then compounded the affair by payment of a large sum. Altogether, in time and money, I lost £500; and anybody else might be similarly situated to-morrow. They have sharp practice out here, and the Genius of the legal profession is a more eccentric sort of being than she is in England. A writ of ca. re. is a thing any one may have to do with in New South Wales when they least expect it, and it is hardly as pleasant as Sydney' Harbour, nor as agreeable as Paramatta oranges. However, to Sydney, and every one in it, I now bid good-bye, bearing away with me a bundle of law-papers, and an entry on the wrong side of my bank-book, as the souvenirs of my visit to the "Queen of the southern seas."
[The continuation and conclusion of Mr. Anderson's letter is dated from Melbourne, and shall if possible, appear next week.]

ASSOCIATIONS: Bathurst (NSW county town); Maitland (NSW country town); Samuel Colville (theatrical manager); Andrew and Eliza Torning (actors)

Letter 4 (Melbourne, 13 June 1859)

"PROFESSOR ANDERSON IN AUSTRALIA, on Things Theatrical at the Antipodes. TO THE EDITOR OF THE ERA", The Era [London, England] (21 August 1859), 10 (PAYWALL)

Melbourne, June 13, 1859.
Sir, - Things have changed in Melbourne as they have in Sydney. The Theatre Royal has gone from Mr. Coppin, and the Princess's is no longer under the management of Mr. Black. The entire aspect of Melbourne has also undergone a transformation. Shops that were occupied by grocers six months ago are kept by linen drapers now. Places that were mere sheds six months since have changed into stone palaces. The old poet-office has been swept away and a new one is to be built on its site of far more imposing appearance than that of St. Martin's-le-Grand in London. Railway stations have been erected equalling in extent those at home, with refreshment rooms equally as commodious. Indeed, the refreshment rooms of the Victoria Railway, at the station in Spencer-street, and that at Williamstown, are as well appointed as any on the line from London to Brighton, or any on the line from the Waterloo-road to Southampton.

The enterprising speculators, Messrs. Spiers and Pond, of the Cafe de Paris, in Melbourne, have availed themselves of all their knowledge of English and continental railways. The comforts of the station at Carlisle, the elegancies of the buffet at Amiens, and the pretty faces to be found at Derby or Swindon are all combined in the stations at Melbourne, Williamstown, and Sunbury, here at the other end of the globe.

Chief among the changes in the Victorian capital have been the management of the Theatre Royal, and the position of Mr. Coppin as a representative of the profession. * * * * * Since Mr. Coppin's accession to legislative dignity, the Theatre Royal has been conducted by Mr. Richard Younge, as his agent. It happens, however, that Mr. Coppin has a partnership with Mr. G. V. Brooke, and that the latter gentleman wishes for a dissolution of the same. Mr. Coppin proposes that Mr. Brooke should take as his share, and in re-payment of certain sums, the Theatre Royal, and that Mr. Coppin should retain Cremorne Gardens. This, it appears, was agreed to by both parties. Notice of the dissolution of partnership was forthwith published; and in due process of time Mr. Brooke becomes lessee of the Theatre Royal, Melbourne. Mr. Richard Younge's managerial talents are then transferred from Mr. Coppin to Mr. Brooke. The theatre opens under new auspices, Mr. Brooke plays for a certain number of nights, and then goes over to Tasmania, leaving Mr. Younge to conduct matters in his absence, with Mrs. Brooke to exercise supervision. Mr. Younge and his brother are to do their best for Mr. Brooke, and this they do by one of them selecting one of the best nights in the year - the Queen's birthday - for their benefit. They assert that Mrs. Brooke gave them that date, and so perhaps she did, not thinking at the moment what day it was. Of course the house was crowded to the ceiling, and so it would have been had there been no benefit at all. This and other circumstances induced Mrs. Brooke to go over to Tasmania at once and see her husband, who with all speed returned to Melbourne. Certain discoveries were made by him which have now become the topic of theatrical talk in Melbourne. The Younges were at once bowed out of the theatre, and Mr. Brooke took the reins solely in his own hands, selecting Mr. Robert Heir as stage manager. A thorough reform and a clean sweep in the conduct of affairs was promised to the public; Shakespere's Two Gentlemen of Verona was advertised to be produced, and the theatre was reopened under the new regime. Mr. Brooke's reception was most enthusiastic, for the story of his grievances had spread far and wide, and an immense house brought together by public sympathy had assembled to welcome him . . .

The Olympic is to be opened by Mr. Coppin, and to be worked by the Younges, to oppose Mr. Brooke. Who the leading lady of their company is to be is at present a mystery. Miss Mortyn is retained by Mr. Brooke. She is the best at present in Victoria, but the bursting of a blood-vessel the other day has entirely incapacitated her for a time. It remains to be seen which way public sympathy will go. The profession is with Brooke, and so are the greater portion of the public. I forward you with this the large picture from Melbourne Punch of this week in which Sir Lucius O'Trigger is represented in the scene wherein he reproaches Bob Acres for his perfidy. Sir Lucius is G. V. Brooke, while Bob Acres is personated by the Hon. George Coppin. The cut will prove to you how much the dispute has become the subject of town-talk, not that it is the only feud in which Mr. Coppin is concerned. There is that between him and the Leopolds, for instance; and in THE ERA of April 10, which has just arrived here, I see Mr. Anson's reply to Mr. Leopold's letter to you, in which I notice that Mr. Anson, in endeavouring to defend Mr. Coppin, has fallen into a few mistakes. Mr. Leopold was perfectly right in his letter to you, entitled "Advice to Pantomimists" (published in the previous number of THE ERA), to advise Pantomimists and all other artistes to "stay at home, and not come out here" to the Hon. G. Coppin; and Mr. Anson has made a very lame defence on Mr. Coppin's behalf. If artistes wish to come out let them come without an engagement to any one. That is the way for them to get on in this country. Mr. Anson says that he knows "many, very many parties of four who would think themselves fortunate with 20 a-week for three years." But they are parties who have never visited Australia, and who know no more of what that amount of money is in Australia than Mr. Anson knows. In England it would be something like a salary - in Australia it is another thing. It just amounts to 16s. 8d. a-day for each of the Leopold Family. Why, I went up to Bendigo the other day, and in the room of the Buck-eye Inn, where the coach stops before going up to Kangaroo Flat, I found a laboring mason grumbling because he could only get eighteen shillings per day for eight hours of daily labour; yet Mr. Coppin wished the Leopolds to go through their performances twice in one day during the sweltering weather of January in Melbourne, for the sum of 16s. 8d. each. I would advise every one at home to do as anybody else who has been out here would do again - come out untrammelled, and never mind Mr. Anson or Mr. Coppin if they intend to visit Australia.

Poor James Ellis, formerly of Cremorne, London, is now imprisoned at the suit of Mr. Coppin for not being able to pay him the sum of £500, to which amount he became indebted through speculating in a booth at Mr. Coppin's Richmond Fair.

The remainder of the Melbourne dramatic news consists of the transference by Mr. Black to Mr. Fawcett of the management of the Princess's Theatre. Mr. Black is up the country with Miss Emma Stanley as her agent, and Mr. Fawcett, assisted by the talents of Mr. Harry Jackson, a comedian of very rising reputation, contrives to draw good houses to the second of the two theatres at present open. Mr. Clarance Holt is announced to appear next week at the Princess's as Dei Franchi, in The Corsican Brothers. This gentleman has very recently built a theatre at Back Creek, to which place there was a rush so sudden, on the reported discovery of a new gold field, that 30,000 people were on the ground in a few days. It has not turned out well, and, therefore, Mr. Holt comes down to Melbourne, where he is pretty certain to be, as he always is there, well received and largely patronised.

I am going to Castlemaine, Sandhurst, and other of the digging townships which I have not yet visited. In due course of time you shall have another letter from me, in which I will report faithfully, as hitherto, of the dramatic world in this far-off country - a country which at no distant date will be an empire of the Pacific, rivalling in importance the empires of the Atlantic and the Indian Seas.
I am, dear sir, yours, very truly,
Wizard of the North.

ASSOCIATIONS: Leopold family (dancers)

Letter 5 (Melbourne, 17 August 1859)


Melbourne, August 17, 1859.
Sir, - By the last mail but one I sent you a letter from Bendigo, descriptive of things theatrical here at the antipodes. As I have rambled over some ground since then, and am back again in Melbourne, I will now trouble you with another epistle, in which I will endeavour to chronicle a few of the events that have recently occurred, and describe some of the places in which I have lately been. Bendigo, where I performed two months since, has four places of amusement, the Haymarket Theatre, the Shamrock, Abbott's Lyceum, and the Victoria. The Haymarket was built by Mr. Coleman, a gentleman who once had an entertainment in England which he entitled "Masks and Faces." It is a wooden structure, and holds about 1,000 people. Like most of the theatres out here it is attached to an hotel, and both theatre and hotel were, at the time of my playing there, in the occupancy of Messrs. Howard[,] Vinson and T. P. Brower. The last named of these gentlemen is the brother of Mr. Brower, who was once one of my company at home, and has himself, for some time past, been the manager of the San Francisco Minstrels. Mr. Vinson is an American actor, whose wife (Miss Kate Ward) endeavours to take rank as a "star" in Australia. Mr. Howard is a Manchester man, not connected with the profession, but well acquainted with colonial life, and so sharply colonial in his dealings that he contrived to get possession of £10 of my money, which I could not see the justice of his possessing. They publish nightly at the theatre a thing called "The Curtain," in which they put what they like, without asking leave concerning anyone who may be at the theatre, and by-and-by send in an account which rather surprises you. The one presented to me was of this character, and as I demurred to paying it Mr. Howard coolly took possession of the amount from amongst the money in my money-taking box. They have a little sharp practice at home, but nothing to what they indulge in out here.

The second place of importance as a theatre on Bendigo is the Shamrock, where you get dancing and singing, as well as a "nobbler," for sixpence. Four or five years ago the proprietor, Mr. Heffernan, paid £140 per week salaries to performers, and charged nothing whatever for admission thereto. Abbott's Lyceum is a very nicely-fitted up place with a small stage in the rear of a large American bar. It has been recently occupied by Mrs. Butler, the widow of Samuel Butler, the tragedian. The Shaksperian Readings given by this lady proved utterly unattractive on Bendigo. To use an illustration which Mr. Farquharson Smith used the other day when telling me of his recent Indian adventures, "If you would but just throw a summersault over the piano they would be in extacies;" but then don't read Shakspere to the Bendigonians. Their fourth place of amusement, the Victoria, is below criticism, being merely a place for the delectation of the roughest of the strange assemblage congregated on Bendigo.

They call the township in which the places of amusement are situated by the name of Sandhurst, Bendigo being the title of the district. All around Sandhurst there are "gullies," as they are termed, or valleys, between the hills, burrowed everywhere by the goldseekers. Each of these gullies is a little township in itself, and has its distinct place of amusement in the shape of a large saloon attached to an hotel. There are Eagle-hawk Gully, Iron-bark Gully, California Gully, Dead-horse Gully, and I do not know how many else besides. Then there is Epsom, with its own little theatre at Kangaroo Flat with its concert saloon.

From Bendigo I went down to Castlemaine and played a fortnight at the Theatre Royal there, which, together with the hotel adjoining, belongs to Messrs. Gyngell and Rainer. The theatre is substantially built of brick, holds about 1,500 persons, has a good stage, and was opened not many months ago by Miss Mary Provost, a Californian tragedienne, who has achieved popularity in the colonies. After running my magic here for ten nights to very crowded houses, I gave Rob Roy in an entirely new form. There was no company, and I therefore had recourse to my own family in order to place the piece on the stage. It was impossible to play it in its entirety, so we made selections from the various scenes. I "doubled " for Rob Roy and the Baillie, and you will wonder how I managed to do that, but done it was. My son played Rashleigh Osbaldistone and Capt. Thornton; my eldest daughter impersonated Mattie, Francis Osbaldistone, Diana Vernon, and Helen McGregor; while a relative of mine, Mr. Robertson, was the Dougal. There was a very crowded house, and the performance appeared to give the greatest satisfaction.

From Castlemaine I drove down the road as far as Tarradale, and stopped to give my magical performance there in Mr. Johnston's hotel, the price of admission was five shillings. The room had nearly 400 people in it on each of the two nights that I played. Where they were stowed, or how they found a seeing place, I scarcely know. The stage was the smallest on which I had ever I performed. Opposite it were three windows; these were thrown open, and some drays put outside. The late comers were admitted at the door on payment, passed up the room, and out of the windows, and then stacked up on the drays in the open air. If they did not have the best place for seeing, they at least had the coolest, and as they seemed to enjoy it, I suppose that it was nothing very much out of the way for them to be so accommodated. Many of them had ridden fourteen or fifteen miles to see me. The hotel was full in every room, and while some had their night's sleep on the billiard tables, others arranged themselves in rows before the fire in the kitchen. My son found a bed on the stage, and Mr. Hingston had a bagatelle-table bed all to himself.

My next remove was to Kyneton, an agricultural town on the road down to Melbourne. There is a large room at the Royal Hotel in Kyneton which is dignified by the name of the Theatre Royal, but as Kyneton is full of churches and schools, is quiet in its demeanour, and rejoices in its propriety, I preferred going to a large newly-built room called the Athenaeum, and found reason not to regret that I had made the right selection. I performed four nights to full houses, and then moving down towards the Black Forest, gave one entertainment at the London and Liverpool Arms, Woodend. Whilst at Kyneton I stopped at the Junction Hotel, kept by Mr. Emden, the brother of Mr. Emden, of the Olympic in London.

Ten miles through the Black Forest brought me to Gisborne, and here, for want of a better place to give my entertainment in, I availed myself of a small brewery in course of construction, using the empty barrels for seats, and making my dressing-room in a large vat. However, the brewery stands in an open field, and to get to it you have to jump three ditches and balance yourself on two planks. The night of opening proving very wet, I cannot say that my audience was very large or very distinguished. Opera cloaks and Gibus hats were not very numerous, and my family and myself had to be carted from the hotel at some distance opposite to the door of the brewery. I had, however, as fine as audience of well-drenched bullock-drivers as I suppose were ever assembled to an entertainment in Australia.

From Gisborne I came down to Melbourne, where, at the Olympic Theatre, Mr. Coppin has lately been giving a series of performances for the benefit of the charities at that place. His return to the stage has been considered by some of the newspapers to be a breach of good faith with those who elected him to the Legislative Council; but he has defended his position in two different speeches, both of which I send you.
[The letters appeared in THE ERA last week, having reached us one week before this narrative.]

We have had a Handel Festival in Melbourne. It came off at the Exhibition Building. On the first night there were selections from Sampson, Judas Maccabaeus, and Israel in Egypt, and on the second night from the Messiah. The great star of the evening was Mr. Farquharson Smith, who has returned from his trip to Calcutta with his pockets overladen with golden mohurs, and his fine voice considerably improved. He talks about visiting England. Should he go there he will make a sensation, for he is twenty times a better singer than when he left.

The entrance to the Theatre Royal has been converted into an enormous Cafe for the million, and entitled The Vestibule. It is ornate with fountains, vases, and pictures, lighted with large gas "sunlights," and furnished with marble tables, and velvet-covered chairs. The proprietors, Messrs. Spiers and C. Pond, are two of the most enterprising men in the colony.

I am going to India, and when you receive this I shall probably be half-way to Bombay. I wished to give some final performances in the city, but found it very difficult to get a place. I offered Mr. Brooke £1,000 for a month at the Theatre Royal, which he declined. I could have taken the Princess's Theatre, but nobody would guarantee that I could get out of it as safely as I could easily get in. Then there was the Hippodrome, but the carpenters wanted £190 to put down a floor and build a small stage. Mr. Hingston hunted up Melbourne for a fortnight, whilst I was playing elsewhere, but was unsuccessful, and I have therefore concluded an arrangement to play in dramatic pieces for six nights, at the Olympic. I will send you my farewell speech by next mail, and tell you by what ship I sail for the ancient realms of Aurungzebe.
Till then permit me to be
Yours, most truly,
Wizard of the North.

ASSOCIATIONS: Bendigo (VIC country town); Henry Coleman (actor, manager); James Hetters Vinson (actor, manager); Kate Warde (actor); Thomas P. Brower (serenader, manager); San Francisco Minstrels (troupe); William Heffernan (manager); Joseph Henry Abbott (manager); Castlemaine (VIC counrty town); Handel Centenary (event)

Bibliography and resources:

"AN AUSTRALIAN ACTOR . . . THE FRUITFUL FIFTIES . . . (By Lancelot B.)", Evening News [Sydney, NSW] (14 July 1900), 4 supplement 


Musician, teacher of the pianoforte, tuner and repairer of pianofortes and organs

Active Melbourne, VIC, 1853 (TROVE tagged by Australharmony) (shareable link to this entry)

DISAMBIGUATION: Andrew Anderson (pianoforte maker)


[Advertisement], The Argus (2 March 1853), 1 

BEGS to inform the inhabitants of Melbourne and its vicinity that he will give instructions on the Pianoforte at their residence; and also will tune and repair Pianos, Organs, and all sorts of Musical Instruments at moderate terms.
Address, 245, Great Bourke-street, east.


Musician, professor of music, dealer in musical instruments, musicseller, piano tuner

Born Stony Stratford, Buckinghamshire, England, c. 1831; son of Richard ANDERSON and Hannah GASCOIGNE (m. Stony Stratford, 3 August 1818)
Active Melbourne, VIC, by 1866
Married Annie Maria ANDERSON [sic], Melbourne, VIC, 2 August 1866
Died Melbourne, VIC, 25/26 January 1887, aged "56" (TROVE tagged by Australharmony) (shareable link to this entry)



England census, 1841, Stony Stratford, Buckinghamshire; UK National Archives, HO107/59/9/16/24/43 (PAYWALL)

Richard Anderson / 45 / Mason // Hannah Anderson / 45 // Thomas / 11 // James / 9 // Ebenezer / 4

England census, 1861, Leamington Priors, Warwickshire; UK National Archives, RG9/2221/110/30 (PAYWALL)

5 Windsor St. / Thomas Anderson / Head / Mar. / Tailor & Music Seller / [born] Bucks. Stony Stratford
Mary Ann [Anderson] / Wife / Mar. / 27 / Tailor's wife / [born] Warwick Milverton

[Advertisement], The Argus [Melbourne, VIC] (13 January 1866), 8

MR. T. ANDERSON, TUNER of PIANOS, Harmoniums, Concertinas, Accordeons, and Harmonicons, near the Tankerville, Nicholson-street, Carlton.

"MARRIAGES", The Argus (4 August 1866), 4 

ANDERSON - ANDERSON. - On the 2nd inst., by the Rev. T. Bayley, Mr. Thomas Anderson, of Nicholson-street, Carlton, to Annie Maria, eldest daughter of the late Mr. G. Anderson, of Buckingham, England.

"BIRTHS", Illustrated Australian News for Home Readers (16 May 1868), 14

ANDERSON. - On the 2nd inst., the wife of Mr. T. Anderson, professor of music, &c., Nicholson-street, Fitzroy, Melbourne, of a son. Home papers, please copy.

"SUICIDE BY HANGING", The Argus (27 January 1887), 9

An inquest was held by Dr. Youl at Carlton on Wednesday, on the body of Thomas Anderson, a dealer in musical instruments, aged 56. The deceased had been partially paralysed all his life, and often expressed a wish that he was dead. He recently went to England for the sake of his health, but returned without being benefited. On Tuesday he retired at 11pm and nothing more was known of his movements until about 8am on Wednesday, when his dead body was found hanging by the neck in the bathroom of his house. A verdict of suicide whilst of unsound mind was returned.

"Funerals", The Argus (27 January 1887), 1

THE Friends of the late THOMAS ANDERSON (music warehouse), 93 Elgin-street, Carlton, are respectfully invited to follow his remains to the place of interment, the Melbourne General Cemetery.
The funeral will leave his late residence, THIS DAY (Thursday, the 27th January), at 4 o'clock . . .

See also "INQUESTS", The Age (27 January 1887), 6 

See also "WILLS AND BEQUESTS", Melbourne Punch (3 March 1887), 5 

ANDREW, John (John ANDREW; also often John ANDREWS [sic])

Bell hanger, brass founder

Born Manchester, England, c. 1790
Active Hobart Town, VLD (TAS), by 1835
Died Hobart, TAS, 10 June 1862, aged "72"/"78" (TROVE tagged by Australharmony) (shareable link to this entry)


[Advertisement], Colonial Times [Hobart Town, VDL/TAS] (15 December 1835), 3 

To Let, A shop and House situated 91, Bathurst-street. Enquire at Mr. John Andrew, bell-hanger, Bathurst-street.

[Advertisement], Launceston Advertiser (16 August 1838), 2 

BELL HANGING. - The undersigned offers his services to gentlemen and others, requiring their residences fitted up with bells.
Having lately arrived from Hobart-town, with all materials for that purpose.
Parties employing him may depend on his work being executed on the most scientific principles, and in the most durable manner, on moderate terms: early application is necessary, as his stay on this side will be short.
For reference to character and ability, apply to James Robertson, Esq., or Mr. J. A. Brown, contractor.
JOHN ANDREW. Launceston, August 16, 1838.

"DEATH", Launceston Examiner (5 September 1849), 6 

DEATH. On the 3rd instant, at the residence of his father, Melville-street, Hobart Town, John Andrews, eldest son of Mr. John Andrews, bellhanger, &c., aged 23 years.

[2 advertisements], Colonial Times (23 August 1850), 1 

Apprentice Wanted. WANTED, a respectable and active Youth, about 15 or 16 years of age, as an Apprentice to the Bell-hanging and Brass foundry business. Apply to JOHN ANDREW, Bell-hanger, Opposite the Courier Office, Collins-st.

JOHN ANDREWS, in returning his sincere thanks for the liberal support he has received for the last Seventeen Years, respectfully begs leave to inform them, that he is now carrying on business in the above line, in Collins-street, opposite the "Courier" office; where all OBDERS from town or country will be punctually attended to.
August 8, 1850.

"DIED", The Mercury (13 June 1862), 2 

On the 10th instant, at his residence, corner of Melville and Barrack-streets, JOHN ANDREWS, bell-hanger, aged 72 years.
The funeral will more from his late residence, on Friday, the 13th inst., at half-past three p.m. Friends will please accept this invitation, as no circulars will be issued. Victorian papers please copy.

1862, Deaths in the district of Hobart Town; Tasmanian names index; NAME_INDEXES:1224428; RGD35/1/6 no 3401$init=RGD35-1-6p215 

3401 / John Andrews (Died General Hospital Hobart Town) (born Manchester) / 78 / Bell hanger / Paralysis . . .

"DEATHS", The Mercury (9 October 1877), 1 

ANDREW. - On Sunday, 7th October, at her son's residence, 139, Melville street, after a short illness, Sarah, relict of the late Mr. John Andrew, bell-hanger, of this city, aged 73 years. The funeral will move from her late residence THIS DAY, 9th inst., at half-past 2 o'clock, when friends are invited to attend.

ANDREW, Theresa Shirley (Theresa NOLAN; Theresa SHIRLEY; Mrs. Edwin ANDREW; Theresa ANDREW; Mrs. ANDREWS [sic])

Musician, soprano, mezzo-soprano vocalist, actor, music teacher

Born Coventry, England, 1835; baptised St. Michael, Coventry, 30 March 1835; daughter of William Shirley BALL [? BELL] and Maria [? NOLAN]
Married (1) Edwin ANDREW (1831-1889), St. Matthias, Liverpool, England, 21 November 1852 (aged "18")
Arrived Melbourne, VIC, 4 July 1853 (per Bloomer, from Liverpool, 19 March)
Departed Sydney, NSW, 29 August 1868 (per Alexander Duthie, for San Francisco, California)
Married (2 ? or common law) William Francis BAKER (c. 1839-1899), San Francisco, California, USA, by 1870
Died Marton, NZ, 26 September 1879 (TROVE tagged by Australharmony) (shareable link to this entry)


Theresa Andrew, and her husband Edwin, arrived in Melbourne, on the Bloomer, on 5 July 1853. Before the end of the month, as Miss Theresa Shirley, she was already being billed as a vocalist for James Ellis's promenade concerts at the Salle de Valentino, appearing alongside Louisa Urie and Robert Barlow.

After this first engagement, which continued into September, she for a while disappeared from record. In 1854 she gave birth to a daughter Marion, and she was probably the "Miss Shirley" who appeared in minor roles at the Theatre Royal, Geelong, in July 1855.

As Mrs. Andrews (and thereafter more often so than "Mrs. Andrew") she next appeared in November 1856, at a soiree for the Collingwood Mechanics' Institute, singing Mazzinghi's duet When a little farm we keep, with Thomas Ewart.

In April 1857, she was singing in Anna Bishop's opera company at the Princess Theatre, and briefly noticed as her namesake Teresa in La sonnambula, a role she also later performed many times for the Lyster Opera Company.

She also sang oratorio for the Collingwood Harmonic Society, and the Melbourne Philharmonic Society, described as one of the latter society's "most valued and oldest members" when the Age briefly reviewed a concert she gave in November 1858.

That same month, as "Theresa Andrew", she was signatory to a public letter from members of the opera company at the Princess Theatre, complaining at their rough treatment at the pen of the Argus critic, James Edward Neild.

In January and February 1859 she appeared for Eugene Lissignol in his concerts in Melbourne and Geelong.

For 8 months, from June 1859 to February 1860 she was a member of the Star Theatre troupe at Beechworth in the north-east goldfields. She and fellow company member, Joe Small, returned to Beechworth briefly in March 1861.

In April, however, she was almost certainly back in Melbourne, among the local singers and instrumentalists who joined the just-arrived Lyster Opera Company. She was first billed with the company as Teresa in La sonnambula, at Geelong in May, Castlemaine in June, and Sydney in August (not to be confused with another Mrs. Andrews who appeared with a theatre troupe in regional Victoria in July 1861).

She remained a "seconda donna" with the Lyster company throughout its seven years in Australia and New Zealand, and finally sailed with it from Sydney for California, on the Alexander Duthie, on 29 August 1868.

Evidently separated by then from her first husband, Edwin (who died at Beechworth, VIC, in 1889), she formed a relationship with the Irish-born Lyster company tenor, William Francis Baker, and at the time of the US census of 1870, was living with him in San Francisco.

The couple finally returned to the Australasian colonies in 1874, appearing first in New Zealand, and then, in 1875, in Queensland, before settling in New Zealand.

Theresa died at Menton, near Wellington, NZ, on 26 September 1879.


Baptisms solemnized in the Parish of St. Michael in the County of Coventry in the year 1835; register 1825-49, page 214; Warwickshire County Council (PAYWALL)

No. 1708 / [March] 30 / Theresa Dr. of / Shirley & Maria / Ball / Barracks / Serjeant 8th Hussars . . .

1852, Marriage solemnized at St. Matthias' Church, in the parish of Liverpool, in the country of Lancaster' Liverpool City Council (PAYWALL)

No. 42 / November the 21st / Edwin Andrew / 22 / Bachelor / Clerk / [son of] James Andrews / Gentleman
Theresa Nolan / 18 / Spinster / [daughter of] William Shirley Bell [sic] / Officer . . .

Passengers per Bloomer, from Liverpool, 19 March 1853; arrived Melbourne, 5 July 1853; Public Record Office Victoria (DIGITISED)

. . . Teresa Andrew / 18 / English // Edwin [Andrew] / 22 / Clerk / English . . .

[Advertisement], The Argus [Melbourne, VIC] (26 July 1853), 8 

OPEN every Evening, the Salle de Valentino,
Proprietor, Mr. James Ellis, of Cremorne Gardens.
Grand Promenade Concert, a la Musard.
Conductor - Mons. Fleury.
The following Vocalists will appear this week -
Miss Louisa Urie, Miss Theresa Shirley, Miss Bourne, and Mr. Barlow . . .

ASSOCIATIONS: James Ellis (proprietor); Achille Fleury (conductor); Louisa Urie (vocalist); Georgina Sturges Bourn (vocalist); Robert Barlow (vocalist); Salle de Valentino (Melbourne venue)

[Advertisement], The Argus (5 October 1853), 8 

IN consequence of the great and increasing popularity of
ELLIS'S PROMENADE CONCERTS at the Salle de Valentino, they will be continued EVERY EVENING until further notice.
Vocalists - Miss Urie, Miss Shirley, and Miss Bourne, and Mr. Barlow will appear To night, and every evening during the week.

? [Advertisement], Geelong Advertiser and Intelligencer (13 June 1855), 3 

Baillie Nicol Jarvie, Mr. Mungall . . .
Hamish, Miss Shirley; Robert, Miss Shirley . . .

ASSOCIATIONS: John Mungall (actor); Theatre Royal (Geelong venue)

"CONCERT IN COLLINGWOOD", The Age (28 November 1856), 5 

On Wednesday evening, an Amateur performance was given at Wood's Assembly Rooms, on behalf of the Collingwood Mechanics' Institute. The entertainment consisted of Glees, Songs, Duets, and Recitations. The whole passed off very creditably. The songs by Mrs. Goodliffe and Mrs. Andrews deserve especial notice, being beautifully and feelingly sung. The latter lady and Mr. Ewart received an encore in the Duet, "When a little farm we keep." The success of the attempt to introduce a superior class of music, justifies us in expecting a crowded attendance on the next occasion.

ASSOCIATIONS: Mrs. Goodliffe (vocalist); Thomas Ewart (vocalist)

MUSIC: When a little farm we keep (Mazzinghi)

"EMERALD HILL MECHANICS' INSTITUTE", The Argus (6 February 1857), 6 

A Concert in aid of the funds of the institution took place on Monday evening in the Great Iron Store, and the full attendance was a proof that cheap concerts would be well supported by all classes. Mr. Andrews [sic], a mezzo soprano of considerable talent, was loudly and deservedly encored in every song. Mr. James Houston, an inimitable comic singer, was well received, as was also Messrs. West, Franks, Shepherd, and the other vocalists. Mr. Oatey [Oaten], a clever performer on the concertina, played several selections from favourite operas, to the evident delight of his auditors.

ASSOCIATIONS: James Houston (vocalist); John Oaten (concertina)

[Advertisement], The Argus (16 February 1857), 8 

Programme. Part I . . . Song - "Little Nell," Mrs. Andrews . . .
Part II . . . Song - "Sweet Dream of Life," Mrs. Andrews . . .
Accompanist - Mr. Montague . . .

ASSOCIATIONS: Alfred Montague (accompanist)

"THE PRINCESS'S THEATRE", The Age (27 April 1857), 5 

On Saturday, "La Sonnambula" was produced, but, though this charming opera was rendered with considerable spirit, and, from the applause it elicited, evidently satisfied the audience, it was just as evident that the whole vocal corps were jaded with their three consecutive nights of "Norma." The wear and tear was more especially noticeable in the principals, who did their best to satisfy a good-natured audience. Madame Bishop, of course, sustained Amina, Mr. Sherwin Elvino, and Mr. Farquharson Rodolpho. Madame Sara Flower under took the character of Lisa at almost an hour's notice, and Mrs. Andrews that of Teresa. The opera was certainly not so satisfactorily rendered as we could wish, but the circumstances we have mentioned afford ample excuse . . .

ASSOCIATIONS: Anna Bishop (vocalist); Walter Sherwin (vocalist); Robert Farquharson (vocalist); Sara Flower (vocalist); Princess Theatre (Melbourne venue)


Last night the ceremonial of the inauguration of the newly-erected Mechanics' Institute at Emerald Hill took place in the presence of His Excellency the Governor . . . Some vocal and instrumental music enlivened the intervals of the evening. Madame Vitelli sang several songs in a very pleasing manner, and was well seconded by Mrs. Andrews, a member, we believe, of the Philharmonic Society. Mr. Ure [sic, ? Miss Urie] sang some favorite Scotch songs, and was much applauded.

ASSOCIATIONS: Annie Vitelli (vocalist); Melbourne Philharmonic Society (association)

[Advertisement], The Age (27 April 1858), 1 

In connexion with THE OPENING OF THE ORGAN.
Principal Vocalists, Mrs. Goodliffe, Mrs. Andrews, Mrs. Fox, Miss Parsons, Mr. Williams, and others selected from the Collingwood Harmonic Society.
Conductor, Mr. Kaye. Leader of the Band, Mr. Leslie. Organist, Mr. Boswell.
Band and Chorus will number nearly 100 Performers. PART I. - "CREATION" . . . PART II. - "CREATION" . . . PART III [Miscellaneous] . . .

ASSOCIATIONS: Sarah Hannah Fox (vocalist); William Henry Williams (vocalist); Samuel Kaye (conductor); Alexander Leslie (leader, violin); Mr. Boswell (organist); Collingwood Harmonic Society (association)


On Tuesday evening the whole of the first, and the greater portion of the second parts of Haydn's "Creation," with selections from the works of Handel, Mendelssohn, and Beethoven, were performed in this church, in connection with the opening of an organ erected therein by Mr. Biggs, organ builder, Little Lonsdale-street . . . We must draw especial attention to [the] very pleasing manner in which Mrs. Andrews sung the air - "Angels ever bright and fair" . . .

ASSOCIATIONS: Jesse Biggs (organ builder)

"BIRTHS", The Argus (8 June 1858), 4 

On the 7th inst., at Collingwood, the wife of Mr. Edwin Andrew, late of Dean Water Hall, near Wilmslow, Cheshire, of a daughter. Manchester papers please copy.

ASSOCIATIONS: Daughter Emily Jessie Andrew (d. Fitzroy, VIC, 1919; [1] Mrs. Charles Diedrich; [2] Mrs. Edward Williams)

"THE NEWS OF THE DAY", The Age (21 July 1858), 5 

The third subscription concert of the Philharmonic Society for the current year, was held yesterday evening, and attracted to the Exhibition Building a large and brilliant audience . . . The solos were rendered by Miss Octavia Hamilton, Mrs. Andrews, Mr. Ewart, and Mons. E. Coulon . . . The programme consisted chiefly of madrigals and glees, a chorus from Handel's "L'Allegro e il Penseroso," passages from Verdi's "II Trovatore;" vocal and instrumental selections from the works of Meyerbeer, Costa, Rinck, Mendelssohn, Kieser, Rutter, &. . . .

ASSOCIATIONS: Octavia Hamilton (vocalist); Emile Coulon (vocalist); John Russell (conductor); George Oswald Rutter (composer, member); Exhibition Building (Melbourne venue)

[Advertisement], The Argus (25 August 1858), 8 

For the year will take place in the Collingwood Assembly Hall, Gertrude-street,
TO-NIGHT . . . when will be performed HAYDN'S "FIRST SERVICE," (First time in the colony,)
and a selection of Solos, Part-Songs, Glees, &c.
Conductor, Mr. Kaye. Leader, Mr. Leslie. Pianist, Mr. G. R. G. Pringle (Who has kindly volunteered his services).
PROGRAMME. Part I . . . Song - Truth in Absence - Harper - Mrs. Andrew . . .

ASSOCIATIONS: George Robert Grant Pringle (pianist)

MUSIC: Truth in absence (Harper)

"THEATRICALS AND MUSIC", Bell's Life in Victoria and Sporting Chronicle (30 October 1858), 2 

While on the subject of music, we may mention that Mrs. Andrews, of the Melbourne and Collingwood Harmonic Societies, will sing at a complimentary concert, on Wednesday next, in the Assembly hall, Gertrude-street. The programme is a most attractive one, and even minus the occasion, sufficient to secure a full attendance.

"THE NEWS OF THE DAY", The Age (4 November 1858), 5 

Mrs. Andrew, one of the most valued and oldest members of the Melbourne Philharmonic Society, gave a concert yesterday evening at the Collingwood Assembly Hall, Gertrude street. She was assisted by Miss Parsons, Master Johnson, Madame Leon Naej, and Messrs. Hopkins, Hornidge, Williams, and Kaye. Mr. Pringle presided at the pianoforte. The programme chiefly consisted of glees and part songs, which were generally well performed. The beneficiaire was well received, and sang with unusual spirit and effect.

ASSOCIATIONS: Madame Leon Naej (vocalist); Master Johnson (vocalist); John Pryce Hornidge (musician)

[Advertisement], The Age (16 November 1858), 1 

The new operas produced by us at the Princess's Theatre have been acknowledged by all musical judges to be the best hitherto attempted in this young colony . . . Our position and professional efforts being thus at the mercy of a person, who hides ignorance under the mask of facetiousness, we call upon the public in future to give their own verdict on our merits, and not to place any credence in the statements made by Mr. Neild in the columns of the Argus and Examiner.
[signed] L. H. Lavenu; Linly Norman; Julia Harland; Maria Carandini . . . Theresa Andrew; Emma Parsons . . .

ASSOCIATIONS: James Edward Neild (journalist, reviewer); Lewis Henry Lavenu (conductor); Linly Norman (conductor); Julia Harland (vocalist); Maria Carandini (vocalist)

[Advertisement], The Argus (22 January 1859), 8 

MR. LISSIGNOL, Pupil of Thalberg and Lefebure-Wely,
assisted by Mrs. Andrews, Miss Pilkington, Messrs. Leslie and Kaye,
will give his CONCERT TONIGHT, At the Mechanics' Institute.
Programme . . . Duet - The Syren and Friar (Emmanuel), Mrs. Andrews and Mr. Kaye . . .

ASSOCIATIONS: Eugene Lissignol (musician); Anna Alicia Pilkington (pianist, vocalist); Mechanics' Institution (Melbourne venue)

ASSOCIATIONS: The syren and friar (Emanuel)

[Advertisement], Geelong Advertiser (7 February 1859), 3 

PROGRAMME. PART I . . . 2. Song - "I cannot mind My Wheel, Mother" (George Linley) - Mrs. Andrew . . .
PART II . . . 2. Song, "Aria" from "the Huguenots" - (Meyerbeer) - Mrs. Andrew . . .
4. Song, "The Wishing Gate - (Sporle) - Mrs. Andrew . . .

[Advertisement], Ovens and Murray Advertiser [Beechworth, VIC] (11 June 1859), 2 

Star Theatre On MONDAY, 13th June, 1859 . . .
Bourcicault's Prize Comedy of LONDON ASSURANCE . . .
After which, Mrs. ANDREWS, the celebrated Soprano from the Theatres Royal, and Princess's, Melbourne,
who has kindly given her valuable services on this occasion, will sing some of her choicest Morceaux, assisted by Gentlemen Amateurs . . .

ASSOCIATIONS: Rose Edouin (actor); Star Theatre (Beechworth venue)

"STAR THEATRE", Ovens and Murray Advertiser (18 June 1859), 3 

. . . Mrs. Andrews, whose singing at the last performance of the Amateurs created such a sensation, will again sing "Willie, we have missed you" and other favorite songs . . .

MUSIC: Willie, we have missed you (Foster)

"THE ATHENAEUM AMATEUR CONCERT", Ovens and Murray Advertiser (27 July 1859), 3 

. . . There is one lady who on this occasion must not be forgotten, we allude to Mrs. Andrews who, by her charming rendering of the songs set down for her, contributed greatly to the success of the concert. And to Mrs. Nicklin also the thanks of those assembled are due, she having volunteered her services and proved herself capable not only of pleasing her audience . . .

ASSOCIATIONS: Maria Nicklin (amateur musician, vocalist)

"AMATEUR THEATRICALS AT CHILTERN", Ovens and Murray Advertiser (8 September 1859), 2 

The Chiltern Garrick Club gave a performance at the Star Theatre on Thursday evening last, for the benefit of the Ovens District Hospital. In addition to the members of the club, the services of that eminent vocalist Mrs. Andrew had been secured; his was a great cause of the operatic drama of Rob Roy . . .

"STAR THEATRE", Ovens and Murray Advertiser (9 September 1859), 2 

Last evening a large audience assembled to greet our old friends Mrs. Andrews and Mr. Johnson, and Young Charley. Their reception if possible was better than any we have seen . . .

ASSOCIATIONS: Jovial and Charley Johnson (vocalists, entertainers)

"STAR THEATRE", Ovens and Murray Advertiser (1 December 1859), 2 

The celebration of St. Andrews Day was carried out to repletion by the Concert Company last evening, and thoroughly appreciated by all lover of Auld Lang Syne. Mr. Johnson we don't remember in better voice . . . Mrs. Andrew in "Jessie the Flower of Dunblane" sang with her usual sweetness of expression which gained most flattering recognition and a well deserved encore . . .

"THEATRICALS AND MUSIC . . . OVENS", Bell's Life in Victoria and Sporting Chronicle (10 December 1859), 2 

Miss Bartley and Mrs. Andrews, with Mr. Johnson, have been very successful at the Star. They are announced shortly to leave.

ASSOCIATIONS: Miss Bartley (vocalist)

"MRS. ANDREW", Ovens and Murray Advertiser (3 February 1860), 3 

DEAR MADAME, - It was in contemplation among your friends to offer you a Complimentary Benefit at the Star Theatre but, hearing with regret, that circumstances have arisen to cause your disconnection with the Star Concert Troupe, of which you have been a member from its commencement, such a course appears difficult to carry out.
Bearing in mind your valuable services, given gratuitously, for the benefit of local and other Charities, and as a slight acknowledgement of the pleasure we have experienced in listening to your performances, we beg your acceptance of the accompanying Purse of Forty Sovereigns.
Wishing you success in life, and hoping that no long period may elapse before we shall have the pleasure of meeting you again.
We remain, Dear Madam, Charles Stewart . . . [about 30 other signatories]

TO C. STEWART, Esq., and Gentlemen Signing Testimonial.
Dear Sirs, - It is with pride and gratitude I acknowledge the Testimonial which you have done me the honor of presenting . . .
Loch Street, Beechworth, February 1st, 1860.

"STAR THEATRE", Ovens and Murray Advertiser (6 March 1861), 2 

Mr. Small gave another entertainment at this place of amusement on Saturday evening. His endeavours to please his audience were very successful, and they showed their appreciation by continued encores. Mrs. Andrews also sang several beautiful songs, and we thought her style had greatly improved since her last visit to Beechworth.

ASSOCIATIONS: Joe Small (vocalist)

[Advertisement], Geelong Advertiser [VIC] (3 May 1861), 4 

FRIDAY, May 3rd, 1861, Will be sung Bellini's Grand Opera of LA SONNAMBULA.
Count Rodolpho - Mr. Farquharson. Elvino - Henry Squires.
Alepio [sic, Alessio] - Frank Trevor. Teresa - Mrs. Andrews.
Liza - Mrs. Ada King. Amina - Mm. Lucy Escott . . .

ASSOCIATIONS: Robert Farquharson (vocalist); Henry Squires (vocalist); Frank Trevor (vocalist); Ada King (vocalist); Lucy Escott (vocalist); Lyster Opera Company (troupe)

[Advertisement], Mount Alexander Mail [Castlemaine, VIC] (3 June 1861), 3 

LYSTER'S GRAND OPERA COMPANY . . . Conductor - A. Reiff, jun. . . .
MONDAY 3rd June . . . LA SONNAMBULA . . . Teresa - Mrs. Andrews . . .

ASSOCIATIONS: Anthony Reiff (conductor); Theatre Royal (Castlemaine venue)

"CASTLEMAINE", Bell's Life in Victoria and Sporting Chronicle (8 June 1861), 2 

From the Advertiser of Tuesday we quote the following . . . On Monday night the opera troupe appeared in "Sonnambula." It would be difficult to describe the perfection of these accomplished artistes . . . Madame Lucy Escott, as Amima, exhibited powers not only as a singer but as an actress that delighted the audience. The Elvino of Mr. Squires was admirable. We cannot but regret that indisposition deprived us of the presence of our old favourite, Farquharson; Mr. F. Lyster was, however, a very excellent Rudolph. Mrs. Ada King, Mrs. Andrews, and Mr. Frank Trevor, evidently exerted themselves, and succeeded in proving that the English opera can be rendered by our own Anglo Saxon race in a style not inferior to foreign artistes. On Tuesday evening "Maritana" was performed . . .

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

THEATRE ROYAL . . . [Lyster opera company] . . . THIS EVENING . . .
LA SONNAMBULA . . . Teresa - Mrs. Andrews . . .

ASSOCIATIONS: Theatre Royal (Melbourne venue)

"THE OPERA", Empire [Sydney, NSW] (9 August 1861), 4 

. . . The parts of Lisa and Teresa were sustained very creditably by Madame Ada King (who introduced a brilliant cavatina, by Ricci, at the commencement of the last act), and Mrs. Andrews . . . The presence of Mrs. Andrews and Mr. Kitts in the choruses contributed not a little to their efficiency and general steadiness . . .

ASSOCIATIONS: James Edward Kitts (vocalist); Royal Victoria Theatre (Sydney venue)

"THEATRICALS, &c. ROYAL VICTORIA - OPERA", Bell's Life in Sydney and Sporting Chronicle (17 August 1861), 3 

In spite of most unpropitious weather, and maugre "Niobe all tears", the opening week passed off with eclat, the attendance being very fair and select . . . such as to establish the Lyster Company in public favour . . . Mrs. Ada King and Mrs. Andrews have proved themselves exceedingly valuable adjuncts to the Company . . .

Names and descriptions of passengers, per City of Sydney, from Sydney, 18 September 1861, for Melbourne; (DIGITISED)

. . . Mr. Kitts . . . Mr. Lyster / 40 // . . . Madame Escott / [-] // Mrs. Andrews / 26 . . . [Mr.] Baker / 30 [sic] . . .

ASSOCIATIONS: William Francis Baker (vocalist, had first joined the company in Sydney, Theresa's future husband)

No. 1. Australian celebrities; or, Personal portraits of 100 theatrical stars of various magnitudes (Melbourne: H. T. Dwight, 1865) (DIGITISED)

Mrs. Andrews

Mirth has a temple day and
A charm it has the dull night's cheer,
None does it spare where rests its sprite,
Dull case it kill oft far and near,
Rich is a noble address ever,
Endowed by nature for her task,
With this same Lady now so clever
Seen is her shill [?], without a mask.

"AMATEUR DRAMATIC ENTERTAINMENT", The McIvor Times and Rodney Advertiser [Heathcote, VIC] (30 August 1867), 2 

On Wednesday, the 4th of September, Mrs. Andrews and Mr. Baker, (from Lyster's opera company), will assist several local amateurs in giving a dramatic entertainment in aid of the building fund of the Common School.

"CLEARANCES. AUGUST 28", The Sydney Morning Herald (29 August 1868), 4 

Alexander Duthie, ship, 1159 tons, Captain Douglass, for San Francisco. Passengers - . . . Mr. and Mrs. W. S. Lyster and servant . . . Madame Escott, Miss Warden, Mrs. Andrews, Mrs. King, Messrs. Squires, Beaumont . . . Baker . . . Kitts . . .

ASSOCIATIONS: Geraldine Warden (vocalist); Armes Beaumont (vocalist); see also "THE LYSTER OPERA COMPANY", The Australasian (13 March 1869), 18 

This talented operatic troupe, after a sojourn of over seven years in Australia and New Zealand, left for California on the 29th of August last, in the clipper ship Alexander Duthie, which sailed from Sydney for San Francisco, and arrived (after a rather protracted passage) at the latter port, on the morning of the 13th November . . .

"METROPOLITAN THEATRE", Daily Alta California [San Francisco, USA] (30 December 1868), 1 

Bellini's beautiful opera, "La Sonnambula," was given by the Lyster opera troupe last night, in English, with Mr. Beaumont as Elvino, Miss Geraldine Warden as Amina, and Mr. Suttcliffe as Count Rodolpho . . . There was a new voice brought out in the opera last night, Miss Andrew, as Teresa, who sang the part very prettily; the manager has treated the public to little surprises of this kind in almost every opera - bringing out a good voide where nothing was expected . . .

"MAGUIRE'S OPERA HOUSE", Daily Alta California (27 January 1869), 1 

"The Lily of Killarney," a sensational opera by Benedict, which has been very successful in London, was produced last night by the Lester [sic] Opera Troupe, in very acceptable style . . . Mr. Baker represented Myles Na-Coppaleen, and made a very favorable impression, winning an encore for his first song. Mr. Kitts, as Father Tom, found a character suited to his power. Miss Andrew as Shelah, struck the audience by her style of singing her verse of "The Cruiskeen Lawn," and was put forward by the others to sing in response to the demand for an encore . . .

USA federal census, 1870, Ward 10, San Francisco, California; United States Federal Census database (PAYWALL)

Baker William / 30 / Male / White / Music Teacher / [born] Ireland
[Baker] Theresa / 30 / Female / White / Keeping House / [born] England

"EASTER MUSIC IN OUR CHURCHES", Sherman & Hyde's Musical Review [San Francisco, CA, USA] (April 1874), [72] (DIGITISED)

. . . At St. John's Church, Oakland, the services were also impressive and the music made a prominent feature. The choir, which consists of Mrs. Hall McAllister, soprano, Mrs. Baker, alto, W. F. Baker, tenor, Pascal Loomis, base [sic], rendered the following . . .

See also, "MUSIC AT HOME . . . St. JOHN'S EPISCOPAL CHURCH CHOIR, OAKLAND", Sherman & Hyde's Musical Review (October 1874), [204] (DIGITISED)

. . . The alto, Mrs. W. F. Baker, we have never heard outside of this choir, and we can only say that she fills her place in the quartette to the satisfaction of the church. Mr. W. F. Baker, the tenor, has for some time held this position, and during his engagement has given evidence of sufficient capability to hold his own against the majority of those who profess greater things. To those who have been in the habit of hearing him professionally in this city, we can say but little more. With a voice of good quality, particularly in the upper register, and with a good method of singing, he compares favorably with those occupying like positions, and can be depended on for his portion of the musical service of the church . . .

[News], Marin Journal [CA, USA] (1 October 1874), 3

Baker's Panorama has exhibited here three evenings and one afternoon this week, each time to a full and enthusiastic audience. The paintings of scenes in Ireland are very fine, and the ballad singing by Mr. W. F. Baker and wife and Henry Baker is excellent. John and Jennie Moran are unexcelled in their delineations and melodies. We shall not soon have another so fine an entertainment. John Moran, in his great speciality, "The Rocky Road to Dublin," set the audience wild with excitement: he is ably supported by his little wife Jennie. Mr. Henry Baker's song, "The meeting of the waters," met with a splendid encore. Mrs. W. F. Baker's clear sympathetic ballad voice will not be forgotten for a long time in San Rafael, the song, "Mother, he's going away!" bringing the house down. And last but not least, Mr. W. F. Baker's ballad, "The beautiful girl of Kildare!" was perfectly inimitable. Mr. Baker's voice is full and strong, yet sweet and tender, and he alone would fill the house in any town in the State.

ASSOCIATIONS: It was recently reported that Henry Baker, perhaps William's brother, had made his first appearance in America at St. John's Oakland

"PERSONALS . . . DEPARTURES", Sherman & Hyde's Musical Review (October 1874), [205] (DIGITISED)

Madame Anna Bishop with Signor Carmint Morley, left for Australia on the steamer of the 12th. Bon voyage. Mr. W. F. Baker, and wife, and Henry Baker, left on the same steamer.

ASSOCIATIONS: Anna Bishop (vocalist); the ship was the City of Melbourne, which, en route to Sydney, did not call at New Zealand, but did so at Honolulu and Fiji; presumably they changed at one of these to the Cyphrenes (see below)

"PANORAMA OF IRELAND", Auckland Star (11 December 1874), 2 

The Baker Troupe, which arrived yesterday by the Cyphrenes, have with them a splendid panorama of the most interesting scenes in Ireland, past and present. The views are 11 feet by 14 feet, and include the beautiful Lake of Killarney. Mr. H. Baker gives a descriptive lecture of the panorama. In addition to this great attraction, the company comprises several first-class vocalists and character delineators. Mr. W. F. Baker, formerly of Lyster's Opera Company, is a tenor of considerable reputation, and Mrs. Baker, a soprano possessing a powerful and flexible voice. Mr. Moran is a clever delineator of character, humourist, and comic vocalist, and is assisted in his various specialities by Mrs. Moran. The company thus offer an entertainment of a superior, varied, and novel character. They open at the City Hall on Saturday night, and remain here six nights only, during which many novelties will be introduced each evening.

"Amusements", The Queenslander [Brisbane, QLD] (4 September 1875), 26 

Baker's Hibernicon opened Wednesday night at the School of Arts, in presence of a fair house. The gallery was crowded with appreciative Celts. The panorama represents a number of scenes in the Emerald Isle very fairly pourtrayed, from an artistic point of view . . . The successive pictures were accompanied by a lucid epitome of their points of interest by Mr. Henry Baker, and the entertainment was agreeably diversified by native comicalities on the part of Mr. Charles Verner, the Irish comedian of the company, who speedily established himself a favorite by his songs and funniments. Mrs. W. F. Baker during the evening sang several Irish airs in a very pleasing manner; but the strongest point in the entertainment was the singing of Mr. W. F. Baker, who is the possessor of a tenor voice of most agreeable quality and considerable cultivation. Mr. Baker was appreciated from the first, his earliest solo, "The Shamrock of Ireland," eliciting a most decided encore, and he has maintained his advantage.

"THE THEATRE", Southland Times [Invercargill, NZ] (9 August 1876), 2 

The chief feature in the entertainment at the Theatre Royal last night was the first appearance of Mrs. W. F. Baker as a vocalist. This lady has a very fair, strong soprano voice, but is slightly defective in clearness of enunciation of the words sung. She was encored in the solo which she first gave, and received still greater applause for her singing in the duett, with her husband, "Flow on, thou shining river." The rest of the performance was of the same degree of excellence as on former occasion. Tonight the Company will perform for the last time in Invercargill, and every member will take part in the entertainment.

"A CHANGE OF PROPRIETARY", Wanganui Chronicle (7 June 1878), 2 

We learn that the stock and goodwill of the premises known as the Occidental Hotel and lately under the proprietorship of Mr. W. F. Baker, has been purchased by Mr. T. W. Ferry, who will at once enter upon possession . . .

"ONCE MORE IN HARNESS", Manawatu Times (18 June 1879), 2 

Mr. W. F. Baker, so wall known from one end of the West Coast to the other, has purchased the good-will of Prosser's Club Hotel, Marton, and next month will recommence the role of Boniface, during what, we trust, will be a lengthened engagement . . .

Death certificate, Theresa Shirley Baker, 26 September 1879; BDM New Zealand, 1880001883

Theresa Shirley Baker / [died] Marton, 26 September 1879 / [cause of death] Cranium softening of the brain coma 6 hours
[Place of birth] Coventry / [years lived in NZ] 15 / [occupation] Music teacher / 3 daughters 1 son
[parents' names] Shirley / Ball / Nolan // [Spouse] William Francis Baker / [married] San Francisco [deceased then aged] 25 [sic, ? 35] 

"MARTON. THIS DAY", Evening Post [Wellington, NZ] (27 September 1879), 2


The wife of W. F. Baker, well known in connection with the Hibernicon Company, but now proprietor of the Club Hotel, died yesterday.

Bibliography and references:

Kurt Ganzl, "In search of (another) singer . . .", posted 23 March 2017 


Musician, member of the theatrical band City Theatre (Sydney)

Active Sydney, NSW, 1843 (shareable link to this entry)


"ROYAL CITY THEATRE, MARKET-STREET", The Sydney Morning Herald (17 May 1843), 2 


The Orchestral Selections for the evening which will be performed previous to the several Pieces, and between the Acts, include Haydn's Symphony, No 2; Mozart's [six, Mehul's] Overture to L'Irato; Rossini's Overture to Il Barbiere di Seviglia; and Brilliant Arrangement of Strauss Valses.

The Band comprises the following instrumental Performers -
Mr. S. Wallace, Mr. Leggatt, Mr. Walton, Mr. Wallace, senior; Mr. Portbury, Mr. Walker, Mr. Adams, Mr. Wright, Monsieur Gautrot, Mr. Wilson, Mr. Strong, and Mr. Andrews.

"THE DRAMA. THE CITY THEATRE", The Sun and New South Wales Independent Press (20 May 1843), 3

The internal decorations and splendid fittings up of this beautiful little Theatre having been completed under the personal supervision of Mr. Joseph Simmons, will be open to the public this evening. After the National Anthem has been chaunted by the whole strength of the company with orchestral accompaniments, Mr. Nesbitt, the Australian Roscius, will deliver the Prize Address . . . The Orchestral Selections for the evening, which will be performed previous to the several Pieces, and between the Acts, include Haydn's Symphony, No. 2; Mozart's Overture to L' Irato; Rossini's Overture to Il Barbiere di Seviglia; and Brilliant Arrangements of Strauss' Valses. The Orchestra comprises the following instrumental Performers: - Mr. S. Wallace, Mr. Leggatt, Mr. Walton, Mr. Wallace, senior; Mr. Portbury, Mr. Walker, Mr. Adams, Mr. Wright, Monsieur Gautrot, Mr. Wilson, Mr. Strong, and Mr. Andrews.

ASSOCIATIONS: Joseph Simmons (actor, manager); Spencer Wellington Wallace (leader, violin); Thomas Leggatt (conductor, oboe, clarinet); Humphrey Walton (musician); Spencer Wallace (senior) (musician); Benjamin Portbury (musician); Mr. Walker (musician); Robert Adam (musician); Mr. Wright (musician); Joseph Gautrot (violin); Mr. Wilson (musician); George Strong (violin); City Theatre (Sydney venue)

ANDREWS, Charles William (Charles William ANDREWS; C. W. ANDREWS; "C.W.A."; "C. W. A.")

Artist, engraver of musical subjects and sheet music covers

Arrived Sydney, NSW, 5 January 1853 (per Cleopatra, from Plymouth, 4 September 1852, via Adelaide, 9 December, and Melbourne)
Departed Sydney, NSW, after January 1857 (for the Philippines) (TROVE tagged by Australharmony) (NLA persistent identifier) (shareable link to this entry)


"THE ARRIVAL OF THE STEAM-SHIP 'CLEOPATRA'", South Australian Register [Adelaide, SA] (10 December 1852), 3 

The Cleopatra brings a large mail for this place. She left England on the 7th September, and the Cape on 3Oth October, and has come direct from the latter place to this Port. There are 185 passengers on board, of the 1st, 2nd, and 3rd class, of whom the following are for Adelaide: - 1st class . . . C. W. Andrews, Esq. . . .

"SHIPPING INTELLIGENCE. ARRIVALS", Empire [Sydney, NSW] (6 January 1853), 2 

January 5. - Cleopatra, steamer, 893 tons, Captain Cumming, from Plymouth 4th September, and Melbourne 2nd instant. Passengers, from London . . . C. W. Andrews . . .

"THE PARIS EXHIBITION MEDAL", Illustrated Sydney News [NSW] (20 May 1854), 2 

Our readers are aware that the New South Wales Commissioners appointed to superintend the matters connected with the approaching Paris Exhibition decided on granting a prize medal to successful competitors in the colony, and invited by advertisement designs for the same, offering two prizes of fifteen guineas and five guineas respectively. We are now happy to state that, out of thirteen candidates, Mr. C. W. Andrews and Mr. F. Terry are the successful ones, both gentlemen being artists who contribute to the Illustrated Sydney News. The design of Mr. Andrews, which gained the first prize, combines beauty with simplicity. It represents Britannia introducing Australia to France. France is seated, with the eagle by her side, and holding in her hand a wreath. Britannia, in her wonted Amazonian costume, with the British lion for a lap dog at her foot, leads up and introduces to her ally a beautiful young woman. The shepherd's crook in her hand, the bale of wool at her feet, and the kangaroo by her side, designate Australia. A steamboat is seen im the distance, which has borne the youthful stranger across the ocean . . .

ASSOCIATIONS: Frederick Charles Terry (artist, engraver); Henry Marsh and Walter George Mason (publishers of the Illustrated Sydney News)

"GENERAL EXHIBITION OF WATER-COLOUR DRAWINGS, EGYPTIAN HALL", Bell's Weekly Messenger [London, England] (18 March 1865), 6 (PAYWALL)

This is the first exhibition of its kind, and it is one which well deserves the patronage of the public. It is on an entirely new plan, and exhibition on its walls involves membership of no society. The old and the new water-colour societies confine, and rightly enough, their exhibitions to the works of their own members; while the Royal Academy dovotes so small a space to paintings water-colour as to be altogether inadequate the purpose. A number of gentlemen under these circumstances have opened the Dudley Gallery for water-colour drawings . . . and we may here notice with pleasure the large number of paintings which the blue ticket in the corner indicates to be sold . . .
No. 60. "A Sketch the Philippine Islands." C. W. Andrews, is interesting, not only from its own merits, but as living glimpse into part of the world which, beautiful at it is, is but rarely visited and little known . . .

Relevant musical works:

La Hayes' quadrilles [music by] F. Ellard (Sydney: Woolcott & Clarke, [1855]; in The Australian presentation album); cover vignettes signed: "C.W.A.", "W.G.M." (DIGITISED)

"THE AUSTRALIAN PRESENTATION ALBUM", Bell's Life in Sydney and Sporting Reviewer (20 January 1855), 2 

Amongst the several elegant publications of the New Year, the work before us takes a prominent place, as a gift-book, and is got up in a style worthy of its publishers, Messrs. Woolcott and Clarke. Its contents, consisting of new and original music, are tastefully illustrated by well known masters . . . The Illustrations to the Quadrilles are from the able pencil of Mr. C. F. Andrews [sic], and exquisitely engraved by Mr. W. G. Mason . . .

ASSOCIATIONS: Catherine Hayes (vocalist, subject); Emile Coulon (vocalist, subject); Walter George Mason (artist, engraver); Frederick Ellard (composer); Woolcott and Clarke (publisher); has the following two woodcuts of Hayes and Coulon as cover illustrations

Miss Hayes and M. Coulon in "L'elizir d'amor" (Sydney, 1854-55) [signed] "C.W.A." and "W.G.M."; reproduced in the Australian picture pleasure book (Sydney: J. R. Clarke, 1857) (DIGITISED)

Miss Hayes and M. Coulon in "Don Pasquale" (Sydney, 1854-55) [signed] "C.W.A." and "W.G.M."; reproduced in the Australian picture pleasure book (Sydney: J. R. Clarke, 1857) (DIGITISED)

Bibliography and resources:

Charles William Andrews, Design & art Australia online (DAAO) 

Charles William Andrews (fl. c.1850s-1865) Majayjay, Philippines; Christie's London, 2016 (DIGITISED)

. . . signed and dated "C.W. Andrews / 1859." . . .
There are records of other commissions in Sydney until January 1857 when he moved to Hong Kong, visiting Manila in the same year. He worked for the press in Hong Kong and the Philippines from 1857 into the 1860s, and was the main artist for the short-lived Ilustracion Filipina in Manila in 1859-60 . . .

Charles W. Andrews, or Andrewes (fl. 1850s-1860s) Sketch in the Philippines; Christie's London, 2017 (DIGITISED)

. . . signed "C.W. Andrewes." on the mount, with title "No 2. / Sketch in the Philippines. / C. W. Andrewes. / Hong Kong. / & Carne House / Dorchester" on a label retained from the old backing board . . .

ANDREWS, Elizabeth (Elizabeth REGAN; Mrs. William ANDREWS; Mrs. W. ANDREWS)

Actor, vocalist

Born c. 1836
Married William Alexander ANDREWS, Scots' church, Geelong, VIC, 14 November 1860
Died Woolloomooloo, NSW, 9/10 March 1870, aged "34/35" (TROVE tagged by Australharmony) (shareable link to this entry)

ANDREWS, William (William Alexander ANDREWS; William ANDREWS; Mr. W. ANDREWS)

Actor, comedian

Born Sydney, NSW, 21 July 1836; baptised St. Philip's, Sydney, 7 August 1836; son of Alexander ANDREWS (c. 1810-1895) and Hebe CHIPPENDALE (m. Sydney, NSW, 17 May 1834)
Married (1) Elizabeth REGAN, Scots' church, Geelong, VIC, 14 November 1860
Married (2 ? common law) "Nellie MONTAGUE", after 1870s
Died Woolloomooloo, NSW, 28 September 1878, aged "42" (TROVE tagged by Australharmony) (shareable link to this entry)


Baptisms, St. Philip, Sydney, 1836; Australia, births and baptisms database (PAYWALL)

17 August 1836 / born 21 July 1836 / William Alexander / son of Alexander and Hebe / Andrews

"MARRIED", Geelong Advertiser [VIC] (15 November 1860), 2 

BY special licence on the 14th inst., at the Scots' Church, by the Rev. Andrew Love, Mr. William A. Andrews to Miss Elizabeth Regan, both of Sydney.

"DUNOLLY (FROM OUR OWN CORRESPONDENT), May 25, 1861", Maryborough and Dunolly Advertiser (27 May 1861), 2 

The rush at Slaughteryard Gully, Burnt Creek, is looking very healthy . . . Yesterday being Her Majesty's birthday, there was no Police Court, and the Municipal Council did not hold their usual meeting. In the evening Mr. Frayne gave a quadrille party, which was very numerously attended, and passed off extremely well, as Mr. Frayne's parties invariably do. The music and arrangements seemed to give universal satisfaction, and the dancing was kept up with much spirit until a late hour. Mr. Frayne announced his intention of giving a series of monthly quadrille assemblies. The Dunolly Amateur Dramatic Society have decided upon giving their next performance on Wednesday, the 5th of June. I believe that the club have been fortunate enough to obtain the professional assistance of those well known artistes Madam Holloway and Mrs. W. Andrews . . .

ASSOCIATIONS: Elizabeth Holloway (actor)

[Advertisement], Mount Alexander Mail [Castlemaine, VIC] (14 June 1861), 1 

Theatre Royal, Castlemaine. GRAND AMATEUR ENTERTAINMENT.
Maldon Garrick Club Assisted by Miss FANNY WERNHAM, Mrs. E. HOLLOWAY, Mrs. W. ANDREWS,
ON TUESDAY, 25th JUNE, 1861 . . .

ASSOCIATIONS: Fanny Wernham (actor, died San Francisco, by 1878)

"THEATRICALS AND MUSIC . . . INGLEWOOD (From Tuesday's Advertiser), Bell's Life in Victoria and Sporting Chronicle (6 July 1861), 2 

Last evening [1 July] the performance was for the benefit of Mr. Shiels, when that old Inglewood favourite appeared as Bailie Nicol Jarvie, in the favourite Scotch drama of "Rob Roy." . . . Mrs. Andrews, as Diana Vernon, sang the songs incidental to the part very sweetly. Mrs. Holloway made a sprightly Mattie. Mr. Holloway, as Rob Roy, secured great applause . . .

ASSOCIATIONS: Edmund Holloway and wife (actors)

"DEATHS", Evening News [Sydney, NSW] (11 March 1870), 2 

On Thursday, the 10th March, at her residence, Dowling-street, Woolloomooloo, of consumption, Elizabeth, the beloved wife of Mr. W. A. Andrews, comedian, aged 34 years, leaving an affectionate husband and three children to mourn their loss. Melbourne and New Zealand papers please copy.

"Deaths", The Sydney Morning Herald (30 September 1878), 1 

ANDREWS. - September 28, at his residence, Liverpool-street, Woolloomooloo, Mr. William Andrews, comedian, aged 42 years, leaving a wife and three children to mourn their loss.

Bibliography and resources:

"AN AUSTRALIAN ACTOR . . . THE FRUITFUL FIFTIES . . . (By Lancelot B.)", Evening News [Sydney, NSW] (14 July 1900), 4 supplement 

. . . It was in this year [? 1859] that our own comedian, the late William Andrews, began to assert himself in this colony, for I observe his name on a cast of the "Green Bushes:" Miami, Mrs. Charles Poole; Nelly O'Neill, Mrs. Crosby; Connor O'Kennedy, Harry Edwards; George, Charles Miran; Mister Grinnidge, W. Andrews; Jack Gong, Sam. Howard. But it was in the next decade that the late William Andrews shone forth at his best.

"MUMMER MEMOIRS . . . WILLIAM ANDREWS, SYDNEY NATIVE COMEDIAN", Truth [Perth, WA] (19 February 1910), 10 

. . . He left a widow (his second wife), who is still living, re-married, in a Melbourne suburb. His first wife was Miss Allen [sic], of which family there were, I think, three upon the stage. I have before me, not exactly the Andrews Family Bible, but a record of the children's places of birth and dates. It serves to show the shifting scenes in theatrical life, and the ever-changing borne of the actor and his family. The first is William Alexander Andrews, born Tuesday, August 20, 1861, at 4 o'clock p.m., at the Pelican Hotels Inglewood, Victoria; No. 2, Sophia Jessie, born Saturday, October 3, 1863, at half-past 10 a.m., No. 63 George-street, Fitzroy, Melbourne, Victoria; No. 3, Hebe Rose, born Monday, April 23, 1866, 4 o'clock a.m., No. 222 Crown-street, Woolloomooloo, Sydney; No. 4, Elizabeth. Lily, born Saturday, May 16, 1868, half-past 11 a.m., No. 44 Yurong-street, Woolloomooloo, Sydney. The second child, Sophia Jessie, died on Saturday, May 10, 1867, at 84 Palmer-street, Woolloomooloo, aged 3 years and 8 months; and the mother of these children, Elizabeth Andrews, died at Dowling-street, Woolloomooloo, March 9, 1870, aged 34 years. Mr. Andrews' second wife was known on the stage as Miss Nellie Montague, a good all-round actress . . .

ASSOCIATIONS: Joseph Michael Forde (memoirist)

ANDREWS, Emily (Emily ?; Emily ANDREWS; Mrs. Frank ANDREWS; Madame Frances ANDREWS)

Musician, mezzo-soprano vocalist, pianist, professor of singing, actor

Arrived Sydney, NSW, by 31 December 1853
Active NSW, until mid July 1857; Melbourne, 1858-61 (TROVE tagged by Australharmony) (shareable link to this entry)


Emily Andrews (or Mrs. Frank Andrews, as she usually styled herself), a pupil of Manuel Garcia, first advertised in Sydney on 31 December 1853 as directing vocal teaching at Henry Marsh's musical academy.

By March 1854 she was advertising alone, from her address in Forbes Street, Woolloomooloo, and gave her first public concert in November, assisted by Sara Flower, John Howson, and Ernesto Spagnoletti senior.

At her second "annual" concert in June 1855 she was assisted again by Flower, and by Frank Howson, Coleman Jacobs, and the Band of the 11th Regiment.

She toured into country NSW in 1856, visiting Bathurst and Maitland.

At Bathurst theatre in April, while appearing with James Hetters Vinson, juvenile actor Anna Maria Quinn, and Fanny Young, she fell over on stage. Some of the company evidently believing she had been drunk. Others, the stars included, rallied around, however, and gave her a complimentary benefit, which she gratefully acknowledged in letter published in the local newspaper, signed "Emily Andrews".

After returning to Sydney in July she appeared again there with Quinn at the Royal Victoria Theatre, and in concert for Frank Howson and John Winterbottom.

In Maitland in August she sang "the beautiful ballad" of Willow Glen, and, as an encore, Kate Kearney.

She last advertised in Sydney in July 1857, and thereafter was active in Melbourne until 1861, whereafter she disappeared from record.


[Advertisement], The Sydney Morning Herald [NSW] (31 December 1853), 7

Pianoforte and Singing Instruction.
MR. HENRY MARSH begs to announce to his friends and pupils that he will resume his instructions on Monday, January 2nd, 1854.
Vocal department under the direction of Mrs. ANDREWS, pupil of GARCIA.
Terms, &c., may be obtained at 490 1/2, George-street.

ASSOCIATIONS: Henry Marsh (musician); Manuel Garcia (European vocalist, teacher)

[Advertisement], The Sydney Morning Herald (21 March 1854), 1

MRS. FRANK ANDREWS (Pupil of Garcia), begs to inform her pupils and the ladies of Sydney, that she has removed to No. 1, Teemore-Terrace, Forbes-street, Woolloomooloo, where she continues to give lessons in singing.
Terms may be had at Mr. PIDDINGTON'S, Stationer, George-street; and at her residence.

[Advertisement], Illustrated Sydney News (6 May 1854), 9 

MRS. FRANK ANDREWS, pupil of Garcia, begs to inform the ladies of Sydney that she continues to give lessons in Singing, at her residence, 19, Treemore-terrace [sic], Forbes-street, Woolloomooloo.
Terms may be had at Mr. Piddington's, Stationer, George-street.

[Advertisement], The Sydney Morning Herald (15 November 1854), 1 

ROYAL HOTEL, WEDNESDAY, November the 15th, 1854.
Overture to William Tell - Band - Rossini
Madoline - Mr. John Howson - Nelson
The deep deep Sea - Madame Sarah Flower [sic] - Horn
La Morale in tutto questo (Don Pasquale) - Mrs. Andrews
Sweet home - Signor Spagnioletti [sic]
As it fell upon a Day (duet) - Mrs. Andrews and Madame Sarah Flower - Sir H. R. Bishop
I'd rather be a Village Maid - Mrs. Andrews - W. Balfe
Non Piu Andrai - Signor Spagnioletti
Hearts and Homes - Mr. John Howson - Blockley
Overture - Band
Ballad - Mr. John Howson
Soura il - Signor Spagnioletti
Deh con te (the celebrated Duet from Norma) - Mrs. Andrews and Madame Sarah Flower
Dermot Astore - Madame Sarah Flower
Quand je quittais la Normandie (Robert le Diable) - Mrs. Andrews
Duet - Madame Flower and Mr. Howson
Kate Kearney - Mrs. Andrews - Lee
God Save the Queen - Band
Doors open at half past 7, to commence at 8 o'clock.
Tickets for the reserved seats, 7s 6d, unreserved, 5s.
To be had of Messrs. Johnson, Pitt-street, Henry Marsh and Co., and Messrs. Woolcott and Clarke, and of Mrs. Andrews, 19, Teemore-terrace, Forbes-street.

ASSOCIATIONS: Sara Flower (vocalist); John Howson (vocalist); Ernesto Spagnoletti senior (vocalist); Royal Hotel (Sydney venue)

"CONCERT AT THE ROYAL HOTEL", Empire (16 November 1854), 5 

Mrs. Andrews gave a concert last evening at the Royal Hotel, assisted by Madame Sara Flower, and M. Spagnoletti. There was a very respectable audience, to whom the debutante appeared very acceptable, judging from the encores demanded each time she appeared. Her voice is a soprano of considerable power, and peculiar for its clearness and freshness, as was particularly evident in the last ballad of the evening, Kate Kearney; in her rendering of this song, the sustaining of the high notes displayed great cultivation. At present Mrs. Andrews may be said to lack the animation requisite in Italian operatic singing, but this is doubtless owing to the diffidence natural upon a flrst appearance in public, and which feeling, practice will gradually lessen. Madame Sara Flower was in most excellent voice, and assisted greatly in the success of the concert - we have never heard her sing with greater power, or with more cordiality of expression. The duet "Deh conte," from Norma, by her and Mrs. Andrews was the gem of the evening, and was warmly applauded. Mr. Spagniolettl sang several songs in a most finished manner - his voice is a tenor, and his style evinces much cultivation; a duet between him and Madame Sara Flower was encored. As a whole the concert was entirety successful, and the audience which was not very numerous, seemed well pleased. The instrumental performers played in a most effective manner.

[Advertisement], Empire (5 December 1854), 1 

CONCERT IN PARRAMATTA . . . on WEDNESDAY next December 6th . . . at the Dining Hall, King's School house.
MISKA HAUSER will, on this occasion, be assisted by Mrs. Andrews, Messrs. Spagnoletti, and Charles S. Packer.
PROGRAMME. Part I. Trio - "Canoni a tre voci" (Perfida Clori, Cherubini) - Mrs. Andrews, Messrs. Spagnoletti and Packer . . .
Song - Kate Kearney (Lee) - Mrs. Andrews.
Part II. Trio - "O'er the far Mountain" (Sadak, C. S. Packer) - Mrs. Andrews, Messrs. Spagnoletti and Packer . . .
Duet - "Sul Campo de la Gloria" (Belisario), Mrs. Andrews and Mr. Packer . . .
Aria - "Alfin billar nell vidii" (Luigi), Mrs. Andrews . . .

ASSOCIATIONS: Miska Hauser (violin); Charles Sandys Packer (vocalist, pianist)

[Advertisement], The Sydney Morning Herald (6 December 1854), 1 

CONCERT IN PARRAMATTA . . . on WEDNESDAY next December 6th . . . at the Dining Hall, King's School house.
MISKA HAUSER will, on this occasion, be assisted by Mrs. St John Adcock, Messrs. Spagnoletti, and Charles S. Packer . . .
In consequence of Mrs. Andrews having a severe cold, and consequently not being able to sing, Mrs. St. John Adcock has, in the handsomest manner, kindly consented to take her place . . .

ASSOCIATIONS: Marianne Pettingell Adcock (vocalist)

[Advertisement], The Sydney Morning Herald (12 April 1855), 1 

MRS. FRANK ANDREWS begs to inform her Pupils and the Ladies of Sydney, that she has removed from Teemore-terrace to Bourke-street, Woolloomooloo (where she continues to give lessons in singing).
Terms may be had at JOHNSON'S Musical Repository, Pitt-street.

ASSOCIATIONS: William Jonathan Johnson (musicseller)

[Advertisement], The Sydney Morning Herald (25 June 1855), 1 

UNDER the Distinguished Patronage of His Excellency the Governor-General and Lady Denison.
His Excellency and Lady Denison have signified their intention to honor the Concert with their presence -
MRS. FRANK ANDREWS' Grand Soiree Musicale, THIS EVENING, June 25th, 1855.
New Concert Hall, Royal Hotel, when she will be assisted by the following artists: -
Madame Sara Flower, Mr. Frank Howson, Mr. Banks, and Mr. Coleman Jacobs, the celebrated pianist.
Part I.
Overture - Band.
"The Maid of Normandy"- Horn - Mr. Banks.
Rondo - "La Morale," (Don Pasquale) - Donizetti - Mrs. Andrews.
Solo Pianoforte - Mr. Coleman Jacobs.
Scena - "Ah! quel giorno," ( Semiramide) - Rossini, Madame Sara Flower.
Song - Schubert - Mr. Frank Howson.
Duet - "Dark days of horror," (the Grand Duet from the Opera of Semiramide" - Rossini. Mrs. Andrews and Madame Sara Flower.
Ballad - "Oh! give me back the Friend I loved" - Donizetti. Mrs. Andrews.
Part II.
Waltz - Band.
Scena - "The Sailor Boy's Dream - J. Knight. Mr. Banks.
Duet - "Deh Conte," - (the celebrated Duet from Norma) Madame Sara Flower and Mrs. Andrews.
Solo Pianoforte - Mr. Coleman Jacobs.
Song - " II Brindisi" - (Lucrezia Borgia). Madame Sara Flower.
Duet - "Tante Complimenti." Madame Sara Flower and Mr. Frank Howson.
Song - "The Ship is parting from the shore" - Lover. Mr. F. Howson.
Song - "Alfin Brilla" - Luigi - Mrs. Andrews.
Finale- "God Save the Queen". Band.
N.B. By the kind permission of Colonel Bloomfield the Band of the XIth Regiment will attend her Concert.
Concert to commence at a quarter past eight o'clock.

ASSOCIATIONS: William and Caroline Denison (governor and wife); Frank Howson (vocalist); Thomas Banks (vocalist); Coleman Jacobs (pianist); Band of the 11th Regiment (military)

"MRS. FRANK ANDREWS' CONCERT", The People's Advocate and New South Wales Vindicator (30 June 1855), 3 

. . . Sir William Denison could not attend personally . . . Lady Denison, however, honored the concert with her presence . . . The room, if not crammed to overflowing, was favored by a highly respectable audience, who entered fully into the rich programme placed before them. As regards the merits of Mrs. Andrews, we are able to remark that she possesses a sweet, though not powerful voice, with a style which proves that she has studied under good masters . . .

"MRS. FRANK ANDREWS' CONCERT", Bell's Life in Sydney (30 June 1855), 2

. . . It is always an extremely delicate task to criticise the performances of a lady, especially when she does not "fly too high," and therefore experiences no egregious fall, and we certainly feel inclined to deal gently with Mrs. Andrews. The natural diffidence arising from so seldom appearing in public militates greatly against any telling success; but we willingly accord her praise for her delivery of the beautiful "Alfin Brilla," rendered so exquisitely by Miss Catherine Hayes. It had not the sparkling brilliancy and piquancy imparted to it by that enchanting cantatrice, but it was carefully and correctly given, and elicited an encore. We cannot say as much for the "Deh Conte," although Sara Flower strove hard to sustain her, and the support of such a true artiste is a "tower of strength" . . .

ASSOCIATIONS: Catherine Hayes (vocalist)

[Advertisement], The Sydney Morning Herald (23 July 1855), 1 

which by the kind permission of the Rev. the Head Master, will be given in the Dining-hall of the King's School,
on MONDAY EVENING, July 23rd, 1855.
Overture - (Zauberflote) - Pianoforte duet - Mozart, Miss Griffiths and Mr. Packer.
Song - "Oh, give me back the friends I loved " - Donizetti. Mrs. F. Andrews.
Duet - "As it fell upon a day" - Bishop. Mrs. Frank Andrews and Mr. Banks.
Fantasia - Pianoforte-Transcription de la Marche du Sacre - Meyerbeer. Mr. Packer.
Ballad - "Echo answered, Where?", - Banks. Mr. Banks.
Romance - "Childhood's Days " (Joseph) - Mehul. Master Charlton (his first appearance).
Scena - "Oh, Love, for me thy power " (La Sonnambula). Mrs. Frank Andrews.
Trio - "Lo, morn is breaking!" - Cherubini. Mrs. Frank Andrews, Mr. Banks, and Mr. Packer.
Duetto - "Dark day of horror" (Semiramide) - Rossini. Mrs. Frank Andrews and Mr. Packer.
Scena - "The Sailor-boy's Dream" - Knight. Mr. Banks.
Song - "The Blind Girl to her Harp" - Glover. Mrs. Frank Andrews.
Trio - "O'er the Far Mountain" (Sadak and Kalasrade) - Packer. Mrs. Frank Andrews, Mr. Banks, and Mr. Packer.
Song - "The merry Sunshine" - S. Glover. Master Charlton.
Song - "The Emigrant Ship" - Phillip. Mr. Banks.
Arietta - "Al fin brillar" - Ricci. Mrs. Frank Andrews.
Finale - "God, save the Queen."
Mr. Packer will preside at the pianoforte.
Doors open at half-past 7, to commence at 8 o'clock precisely.
Tickets, 5s. each; to be had of Mr. MASON, bookseller, George-street.

ASSOCIATIONS: Miss Griffiths (pianist); Master Charlton (vocalist)

[Advertisement], The Sydney Morning Herald (31 July 1855), 1 

MRS. FRANK ANDREWS begs to inform the inhabitants of Sydney that she intends leaving the colony next year, that during her stay she will continue to devote her time in giving lessons in singing.
Mrs. A. professes to teach from the simple ballad to the beautiful operatic cavitana [sic].
Lessons will be given by the half hour if required. Terms may be had at Johnson's Musical Repository, Pitt-street.

[Advertisement], The Sydney Morning Herald (3 January 1856), 1 

ROYAL HOTEL - TO-NIGHT, January 3rd, 1856. -
at the Royal Hotel, when the following artistes will have the honour of appearing:
Mrs. H. T. Craven, Mrs. Frank Andrews, Mrs. Bridson, Mr. F. Howson, and M. Winterbottom . . .
Mons. Armand Roeckel has most kindly consented to preside at the pianoforte.
PROGRAMME. PART I . . . Ballad - Mrs. Frank Andrews . . .
PART SECOND. Duet - Mrs. Frank Andrews and Mr. F. Howson . . .

ASSOCIATIONS: John Winterbottom (musician); Eliza Nelson Craven (vocalist); Sarah Bridson (vocalist); Armand Roeckel (pianist)

[Advertisement], Bathurst Free Press and Mining Journal [NSW] (1 March 1856), 3 

Mrs. Frank Andrews, pupil of the renowned Garcia, will appear this evening.
Drama, Songs, and Farces for this evening's entertainment . . .
JAMES MILNE, Manager. THOMAS WHITE, Proprietor.

ASSOCIATIONS: James Milne (actor, manager); Royal Victoria Theatre (Bathurst venue)

"BATHURST [FROM OUR CORRESPONDENT] . . . THEATRICALS", The Sydney Morning Herald (2 April 1856), 4

We have now a very superior company at the Victoria Theatre, the spirited proprietor having spared no expense in catering for the amusement of the public. We are also indebted to him for the introduction to Bathurst of a higher class of singing. The present favourite, a Mrs. F. Andrews, well known in Sydney, possesses a splendid mezzo-soprano voice, with the higher notes, and is, so I am told, a pupil of Garcia. She has quite taken the Bathurst people by surprise.

"BATHURST [FROM OUR CORRESPONDENT]", The Sydney Morning Herald (11 April 1856), 5 

. . . She has, as I have before said, a mezzo-soprano voice of considerable compass and great sweetness, particularly in the high notes. I observe, in your critiques on Mrs. F. Andrews' performances in Sydney, that this lady was diffident. I must say I saw nothing of this in her performances here; no doubt practice has overcome the (natural) timidity consequent upon a public appearance before a foreign auditory. The manner in which I heard her give "Una voce poco fa," from the opera of "II Barbiere de Siviglia," evinced nothing of this. The clearness and freshness of Mrs. F. Andrews' voice is remarkable. The extraordinary execution peculiar to this music shows the diligence with which this lady has studied under the great Garcia. The animation with which this aria was given, carried me back to-days of "auld lang syne." I am almost afraid to think how long since, when I used to revel in the thrilling notes of the opera in the old country. I have heard Mrs. F. Andrews sing also the "Sad sea waves" and "Woodman spare that tree"; but, among ballads, I must specially allude to that of "Kate Kearney"; the sustaining of the higher notes in which song displayed the greatest cultivation. It is a libel upon the Bathurst people to suppose that they do not know what good music is. Unfortunately the Victoria Theatre, where this distinguished artiste sings, is inconveniently situated and not very easy of access. The attendance has, consequently, not been so numerous as the proprietor could have desired; nevertheless, the enthusiasm with which Mrs. F. Andrews has been received, as evinced by the nightly encores, speaks well for their appreciation of talent, as displayed by the fair artiste.

"POLICE COURT. FRIDAY, APRIL 11TH . . . ANDREWS v. MILNE", Bathurst Free Press and Mining Journal (16 April 1856), 2 

This was a summons for assault. Mrs. F. Andrews deposed: - I am an actress at the Victoria Theatre; on Tuesday evening, the 8th instant, a dispute arose between me and the defendant, who is the manager, respecting my singing, when he ordered me off the stage; upon my refusing to go, he took me by the shoulders and shook me violently; I then fell down and fainted. For the defence, Mr. E. Wright was called, who swore that no undue violence was used by the defendant. Case dismissed.

[3 advertisements], Bathurst Free Press and Mining Journal (19 April 1856), 3 

MRS. FRANK ANDREWS, (Who has kindly volunteered) In a favourite Song . . .

On which occasion, MISS A. M. QUINN AND MR. JAMES H. VINSON, Have kindly volunteered their services.
MRS. FRANK ANDREWS, Who has kindly volunteered in a choice selection of favorite Songs . . .

To Miss A. M. Quinn and Mr. Vinson, Miss Young, Messrs. Daniels and Russell, and the other Ladies and Gentlemen of the Company, performing at the Royal Prince of Wales Theatre, who so disinterestedly offered me; -
and to Mr. Pyke and the Public generally who so substantially supported, the complimentary Benefit last night.
LADIES AND GENTLEMEN. - I am at a loss for words to, adequately express my feelings upon this occasion.
I cannot, however, allow the occurrence to pass over in silence.
The substantial compliment you have made me, proves that the breath of slander, finds no echo in your breasts. The protection which I sought, has been afforded to me, and my professional reputation established, by your sympathetic exertions.
The feelings of gratitude, which at this moment overcome me, towards those, who have thus come forward to the rescue, will remain to the day of my death; and when far from hence, in dear old England, surrounded by those nearest and dearest to me, the name of Bathurst will retain a place in my heart never to be supplanted.
I have the honor to be Ladies and Gentlemen, Your most obliged & humble Servant,
Bathurst, April 16th, 1856.

ASSOCIATIONS: Benjamin Napthali Jones (comedian); William Evans (comedian); Anna Maria Quinn (actor); James Hetters Vinson (actor); Fanny Young (actor); George Washington Daniels (actor); Prince of Wales Theatre (Bathurst venue)

[Advertisement], Bathurst Free Press and Mining Journal (30 April 1856), 1 

On which occasion Mrs. Frank Andrews will preside at the Piano Forte.
THE Inhabitants of Bathurst and its vicinity are most respectfully informed that MRS. FRANK ANDREWS,
and MISS FANNY YOUNG will give their farewell concert at the above mentioned Theatre, on Thuraday evening, May 1st,
it being POSITIVELY THEIR LAST APPEARANCE IN BATHURST, upon which occasion the following SPLENDID PROGRAMME has been arranged for the entertainment.
An enlarged and efficient Orchestra has been provided for the occasion.
Leader of the Orchestra - Mr. G. Chittenden.
Overture - Orchestra.
Opening Chorus - God Save the Queen
Through the Wood - (Cavatina by Horn) - Mrs. Frank Andrews
Favorite Ballad - Mr. Morgan
Charming May-(Ballad) - Miss Chittenden
Irish Emigrant - (Ballad) - Miss Fanny Young
Favourite Ballad - Mr. Morgan
New Year's Eve - (Ballad) - Miss Chittenden
The Merry Sunshine - Miss Fanny Young
Auld Robin Grey - Mrs. Frank Andrews.
Overture - Orchestra
Rule Britannia - (National Anthem) - Miss Fanny Young
Favourite Ballad - Mr. Morgan
One Careless Word - (Ballad) - Miss Chittenden
Kate Kearney - (Ballad) - Mrs. Frank Andrews
She is far from the Land - Miss Fanny Young
The Hope of Coming Blessing - (Cavatina), from the Grand Opera of Elena Uberti, by R. C. Bochsa - Mrs. Frank Andrews
Overture - Orchestra
Mary, Queen of my Soul - (Ballad) - Miss Chittenden
Favourite Ballad - Mr. Morgan
Young Lady's "No" - (Ballad) - Miss Fanny Young
Meet me in the Willow Glen - (Ballad) - Mrs. Frank Andrews
Favourite Ballad - Mr. Morgan
Savourneen Deelish - (Ballad) - Miss Fanny Young
Chansonette Francaise, La Bagadier [La bayadere] (as sung by Madame Anna Bishop - Mrs. Frank Andrews
Grand Finale Chorus - Red, White, and Blue - Miss Fanny Young and Company . . .

ASSOCIATIONS: George Chittenden (musicians); Eliza Chittenden (vocalist)

"CONCERT AT THE PRINCE OF WALES THEATRE", Bathurst Free Press and Mining Journal (10 May 1856), 2 

On Thursday evening, last, an evening concert took place at the Prince of Wales Theatre for the benefit of Mrs. Andrews and Miss Fanny Young. The boxes were pretty well filled, but the pit was very poorly attended, and the "benefit" to the fair songstresses was very easily reckoned at the close of the evening. Many of Mrs. Andrews songs were sung with excellent taste, but her indistinct pronunciation detracts somewhat from the effect of her ballad singing. On the contrary Miss Young gave us the author as well as the air, or in the language of Pope, "made the sound a echo to the sense," and her easy unaffected style, not less than the feeling she threw into some of her ballads, were appreciated by the audience, by whom she was encored in almost every song. A Mr. Morgan, a gentleman blessed with a very good voice gave the Englishman, much after the manner of an animated icicle, and several others with equal spirit. Upon the whole the concert afforded a few hours' very agreeable pastime to the lovers of music. We perceive that Mrs. Andrews announces another concert for Monday night.

[Advertisement], Bathurst Free Press and Mining Journal (10 May 1856), 3 

Grand Farewell Evening CONCERT. For the Benefit of MRS. FRANK ANDREWS.
Under the patronage of the LADIES OF BATHURST.
Programme - Part I.
Overture - Orchestra
Opening Chorus - God save the Queen
Forest Fairy, by (Horne) - Mrs. F. Andrews
Happy Moments (Ballad) - Mr. Morgan
The Merry Zingari - Miss Eliza Stewart
Molly Bawm - Miss Fanny Young
As it fell upon a Day, Duett, Sir Henry Bishop - Mrs. Andrews and Miss Eliza Stewart
The Englishman - Mr. Morgan
The Hope of coming Blessing, Cavatina, from the grand Opera of Elena Uberti, arranged by Jules Benedict - Mrs. Andrews
Part Second.
Overture - Orchestra
Kathleen Mavourneen, Ballad - Miss F. Young
Meet me in the Willow Glen, Ballad (Lee) - Mrs. F. Andrews
The low back'd car, Ballad - Mr. Morgan
Bonnie Dundee, Ballad - Miss Eliza Stewart
Home Sweet, Home - by desire - Mrs. F. Andrews
Dermot Asthore, Ballad - Miss Fanny. Young
Do not mingle, Cavatina, from the Opera of La Sonnambula - Mrs. F. Andrews
Part Third.
Overture - Orchestra
Oh Erin my Country, Ballad - Miss E. Stewart
The Deep Deep Sea, Ballad - Mrs. F. Andrews
Cheer Boys Cheer - Mr. Morgan
I'm Afloat, Ballad - Miss Fanny Young
Oh come to the West Love, Ballad - Mrs. F. Andrews
My pretty Page look out afar, Duett - Mrs. Andrews & Miss E. Stewart
Ivy Green, Ballad - Mr. Morgan
La Morale tutto questo, Cavatina from Don. Pasquale - Mrs. F. Andrews
Grand Finale - Rule Britannia
Leader of the Orchestra - Mr. George Chittenden.
No Smoking Allowed. Commence at 8 o'clock, precisely.
Tickets can be purchased at Mr. Pyke's, Mr. Beuzeville's, Palmer, Bridge, and of Mrs. Frank Andrews, at Mr. Ellis', Durham-street.

ASSOCIATIONS: Eliza Stewart (vocalist)

[Advertisement], The Sydney Morning Herald (23 May 1856), 8 

MRS. FRANK ANDREWS begs to inform her pupils and the inhabitants of Sydney, that she has returned from Bathurst, and will commence giving lessons in Singing and the Piano on MONDAY, 26th instant.
Terms may be known at her residence, 41, Bath-terrace, Bourke-street, Woolloomooloo.

"ROYAL VICTORIA THEATRE", Empire [Sydney, NSW] (1 July 1856), 4 

the admired drama of SATAN IN PARIS . . . Clarisse by Miss A. M. QUINN.
MUSICAL MELANGE by Mrs. FRANK ANDREWS, who has kindly volunteered and Mr. JOHN HOWSON.
To conclude with THE LITTLE TREASURE.

ASSOCIATIONS: Royal Victoria Theatre (Sydney venue)

[Advertisement], Maitland Mercury and Hunter River General Advertiser [NSW] (19 August 1856), 3

Queen's Theatre, West Maitland.
First appearance in Maitland of the celebrated vocalist, Mrs. FRANK ANDREWS, who will sing the beautiful ballad of the "Willow Glen".
Previons to the rising of the curtain "God save the Queen" by the entire strength of the company; also, the new overture, by Mr. Faning, composed expressly for this occasion, entitled "The Queen's" . . .

ASSOCIATIONS: Edward Faning (composer, musician); Queen's Theatre (Maitland venue)

"QUEEN'S THEATRE", Maitland Mercury and Hunter River General Advertiser (23 August 1856), 2

The formal opening of this theatre took place on Thursday evening last. The house was crowded in the pit. Indeed it was a hard matter to obtain standing room . . . . . . Mrs. Frank Andrews sang the beautiful ballad of the "Willow Glen," and upon being encored "Kate Kearney," very prettily . . .

[Advertisement], The Maitland Mercury and Hunter River General Advertiser (16 September 1856), 3 

Queen's Theatre, West Maitland. FOR THE BENEFIT OF MRS. FRANK ANDREWS . . .
THIS EVENING (TUESDAY), Sept. 16, the performances will commence with
LUKE THE LABORER . . . Clara - Mrs. Andrews . . .
To be followed by a GRAND CONCERT.
Happy Moments - Misa Julia Clifford.
Cavatina, "Hope of Coming Blessing," Mrs. F. Andrews.
Duett, "Beautiful Venice," Mrs. F. Andrews and Mrs. Weston.
Ballad, "Willow Glen," - Mrs. F. Andrews.
"Do not Mingle" (from La Sonnambula), Mrs. F. Andrews . . .

ASSOCIATIONS: Julia Clifford (vocalist)

[Advertisement], Empire [Sydney, NSW] (18 December 1856), 1 

Lessee and Manager - Mr. W. H. STEPHENS. Last Night of the Season.
Complimentary BENEFIT of Mr. W. H. STEPHENS . . .
Ballad - "Home, Sweet Home" - Mrs. Frank Andrews . . .
Ballad - "Meet me in the Willow Glen," - Mrs. Andrews . . .

ASSOCIATIONS: Willian Henry Stephens (actor, manager); Lyceum Theatre (Sydney venue)

[Advertisement], The Sydney Morning Herald (7 January 1857), 1 

MRS. FRANK ANDREWS (pupil of Garcia), begs to inform her pupils and friends she will resume her instruction in singing, English, French, and Italian, with the pianoforte and guitar on MONDAY the 13th instant. 41, Bath-terrace, Bourke-street, Woolloomooloo.

"SHAKSPERIAN ENTERTAINMENT", Empire (26 March 1857), 5 

We direct attention to an advertisement in another column of a Musical and Poetical Entertainment confined exclusively to the performance of songs, ballads, and glees from the works of Shakspeare. The artistes engaged are Mrs. Andrews, Madame Lamont, M. Walcot, Mr. Howson, and Mr. Wheeler . . . We may add, the entertainment is projected by Mr. A. J. Mason, a gentleman who enjoyed considerable reputation in England for his lectures on the art of wood engraving . . .

ASSOCIATIONS: Maria Augusta Lamont (vocalist); Robson Beilby Walcot (vocalist); Stephen Thomas Wheeler (vocalist); Abraham John Mason (engraver)

[Advertisement], The Sydney Morning Herald (26 March 1857), 1 

Musical Conductor, Mons. Roeckel
Song - "When Daisies Pied," Mrs. Andrews . . .
Duet - "As it fell upon a Day," Madame Lamont and Mrs. Andrews . . .
Ballad - "Bid me Discourse," Mrs. Andrews . . .
Duet - "Tell me where is Fancy Bred," Mrs. Andrews and Madame Lamont . . .

[Advertisement], The Sydney Morning Herald (11 July 1857), 9

MRS. FRANK ANDREWS, Professor of Singing, 35, Victoria-st. North. Terms, 6 guineas per quarter.

[Advertisement], The Argus [Melbourne, VIC] (14 July 1858), 8 

MADAME FRANCES ANDREWS, pupil of Signor Ruby and Emanuel Garcia, begs to inform the ladies of Melbourne that she has studied many years in London and Paris, that she TEACHES SINGING after the system pursued in the vocal schools in Italy.
In the finishing of her pupils Madame Andrews adopts Garcia's method.
Address may be had at Wilkie's music saloon, and at Chapman's, Swanston-street.

[Advertisement], The Argus (28 December 1858), 3 

MADAME FRANCES ANDREWS, Pupil of Signor Rubi and Manual Garcia, respectfully informs her pupils and the inhabitants of Melbourne, that she has REMOVED to 183 Victoria parade, Collingwood, where she continues to give Lessons in English and Italian Singing.
References kindly permitted - at St. Kilda, to Mrs. Archibald Michie; in Melbourne, to Mrs. Davis, Camberfield House, Johnston-street, Collingwood.
In answer to several inquiries, Madame A. begs to say that she has only been in Melbourne six months.

ASSOCIATIONS: A Signor Rubi was a singing teacher active in Kent, England, in the late 1840s

[Advertisement], The Argus (2 July 1861), 8 

MADAME FRANCES ANDREWS, pupil of Garcia, continues GIVING LESSONS in SINGING. References, Wilkie's and Chapman's music warehouses.

ANDREWS, Emily Annette (Emily Annette BRAY; Mrs. Edward William ANDREWS)

Amateur musician, harpist, harp player

Born Brighton, Sussex, England, 1812; baptised St. Nicholas, Brighton, 6 May 1812; daughter of Benjamin BRAY (d. 1846) and Annetta ?
Married Edward William ANDREWS (1812-1877), St. Peter's church, Walworth, England, 23 February 1836
Arrived Adelaide, SA, 20 September 1839 (per Anna Robertson, from London and Gravesend, 27 May)
Died Adelaide, SA, 30 July 1853, aged "41" (TROVE tagged by Australharmony) (shareable link to this entry)

Mrs. Andrews, playing her harp; by Martha Berkeley, c. 1845 (Art Gallery of South Australia)

Mrs. Andrews, playing her harp; by Martha Berkeley, c. 1845 (Art Gallery of South Australia) (DIGITISED)

ASSOCIATIONS: Martha Berkeley (artist)


"Adelaide Shipping Report", Southern Australian (25 September 1839), 3 

Sept. 20. - The Anna Robertson, 448 tons, A. Muno, commander, from London and Gravesend, May 27, with 111 intermediate and steerage passengers, and a general cargo. Passengers in the cabin - Mr. and Mrs. Woodley, Mr. and Mrs. Andrews, Messrs. Meadows, Hallock, and Smith.

"TO MRS. EDWARD ANDREWS", South Australian (27 May 1851), 3 

It is not oft we meet with thee
In scenes of gay festivity,
Though none is better formed to shine
No face, no form more bright than thine.
But thou hast chosen thy retreat
Where sweet domestic graces meet;
Thy home thy reign, thy happy sphere
Where thou art justly held so dear,
That this may be thine honest boast,
Those love thee best who know thee most.

"DIED", South Australian Register (30 July 1853), 2 

At a quarter past 12 o'clock this morning, Emily Annette, the beloved wife of Edward William Andrews, Esq., Tavistock Buildings, Rundle-street.

Bibliography and resources:

Walter Phillips, "Andrews, Edward William (1812-1877)", Australian dictionary of biography 3 (1969) 

E. Bryce Andrews, E. W. Andrews (1812-1877) and the South Australian Register (Adelaide: The Pioneer's Association of South Australia, 1978)

ANDREWS, Robert James (Robert James ANDREWS; R. J. ANDREWS; Mr. ANDREWS)

Amateur musician, violinist, leader Geelong Philharmonic Society, cabinetmaker

Born Stonehouse, Devon, England, c. 1831; son of Robert ANDREWS (1802-1882) and Betsy FOX
Married Gertrude ROWE (c. 1836-1914), All Saints, Poplar, London, England, 1854
Active Geelong, VIC, by 1862 or earlier
Died Geelong, VIC, 27 August 1921, aged "90" (TROVE tagged by Australharmony) (shareable link to this entry)


England census, 30 March 1851, East Stonehouse, Devon, England; UK National Archives, HO107/1880/332/54 (PAYWALL)

35 East St. / Robert Andrews / Head / Mar. / 47 / Lab'r / [born] Newton Ferrers Devon
Betsey [Andrew] / Wife / Mar. / 46 / - / [born] ? Somerset
Rob't J. [Andrews] / Son / Unm. / 19 / Apprentice / [born] Stonehouse

[Advertisement], Geelong Advertiser [VIC] (2 April 1862), 4 

A SPECIAL CONCERT for the Benefit of the
On Wednesday, April 2nd, 1862.
Chair to be taken at 6 o'clock sharp, by Mr. W. Stitt Jenkins.
No encores will be permitted under any consideration.
Pianoforte - Mr. Cox. Violin - Mr. Andrews . . .

ASSOCIATIONS: William Stitt-Jenkins (musical amateur)

[Advertisement], Geelong Advertiser (23 March 1863), 4 

Orchestra - Messrs. Stoneham, Andrews, Stainsby, and Best.
Admission - Front Seats and Gallery Sixpence, Body of the Hall, Threepence each.
W. STITT JENKINS, President.

ASSOCIATIONS: William Daniel Goodall (pianist); James Stainsby (violin); William Stoneham (musician); John Parry Best (cello)

[Advertisement], Geelong Advertiser [VIC] (30 June 1863), 4 

For the Benefit of the WIDOW and FAMILY Of the late JOHN BRYAN LEE, Will be given by Mr. W. STONEHAM, at Stirling Hotel, Winchelsea, on Wednesday, July 1st, 1863,
Under the distinguished Patronage the LOYAL WINCHELSEA LODGE A.I.O. O.F O.F. Who will appear in full regalia.
The following talented performers have volunteered their services: -
Vocalists - Mrs. Crooks, Mr. Andrews, Mr. W. Shepherd -
Instrumentalists - Mr. W. Stoneham, Mr. R. J. Andrews, Mr. J. Stainsby, Mr. J. Best.
Tickets - Reserved seats, 5s; back seats, 2s 6d, may be had of Mr. W. Stoneham, Yarra-strect, Mr. Stirling, Spring-street, or any of the committee at Winchelsea.

ASSOCIATIONS: James Stainsby (amateur musician, violin)

[Advertisement], Geelong Advertiser (21 December 1863), 3 

Commencing promptly at eight o'clock, USUAL MUSICAL WEEKLY RE-UNION FOR FAMILY RECREATION,
and for which occasion THE GEELONG AMATEUR TROUBADOURS Have kindly volunteered their valuable services.
Pianist - Mr. W. D. Goodall.
Orchestra, Messrs. R. J. Andrews, 1st violin; J. Stainsby, 2nd do;
Jas. Gates, cornet; J. Best, violincello.
ADMISSION: Sixpence - Subscribing Members and Children Three-pence each. The inmates of the Orphanages free.
W. STITT JENKINS, President.

ASSOCIATIONS: James Mortimer Gates (cornet); William Stitt Jenkins (president)

"WINCHELSEA (From our own Correspondent) February 26th, 1864. GEELONG HOSPITAL AND BENEVOLENT ASYLUM", Geelong Advertiser (27 February 1864), 2 

The entertainment in aid of the funds of this charitable institution took place on Thursday evening, at Stirling's Assembly Room. It was respectably and well filled. The performance, vocal and instrumental, was of a very superior nature, - few will forget its harmonising influence. There were some moments when it literally etherialised the whole audience. The parts taken by our old friends, Stoneham - flute, and Andrews - violin, were brought out with all the purity and strength of that sweet, delightful music, that not only enraptures the mind of man, but also soothes the breast of the savage; whilst Mr. Goodall sent forth to the ear the magnificent tone of the pianoforte, in all its "majesty of sound" . . .

[Advertisement], Geelong Advertiser (21 March 1864), 4 

BY MR. H. MEAKIN, Assisted by a full Band and Chorus . . .
Solo Flute - Mr. W. Stoneham
Pianoforte - Mr. Goodall
Leader - Mr. Andrew . . .

ASSOCIATIONS: Henry Meakin (vocalist)

"THE BOHEMIAN GIRL", Geelong Advertiser (19 November 1873), 3 

The Philharmonic Society commenced the season of 1873-74 last evening at the Mechanics' Institute . . . It must be confessed it was thought when the society selected Balfe's popular opera of "The Bohemian Girl," for the first concert of the season, they were flying at rather high game, but the result has proved they did not over estimate their powers . . . The band, which was under the leadership of Mr. Andrews, was composed as follows - Strings - violins, Messrs. Andrews, Wilton, and Hobday; violincellos, Mr. H. Thomas and Mr. Mulder; wind instruments, Messrs. G. W. Walker, G. Ashmore, Bennett, Smith, and Herr Dimling, from Melbourne; drum, Mr. P. Ritchie; pianist, Mr. W. D. Goodall. Seldom have we heard an orchestra so often applauded . . .

ASSOCIATIONS: Thomas Wilton (violin); Joseph Hobday (violin); Herbert Thomas (cello); George William Walker (musician); Friedrich Deimling (musician); Geelong Philharmonic Society (association)

[Advertisement], The Argus [Melbourne, VIC] (20 March 1877), 7 

IN the SUPREME COURT of the COLONY of VICTORIA In its Probate Jurisdiction - In the Estate of CONSTANTIA ONN, late of Geelong, in the colony of Victoria, Teacher of Music, Deceased, Intestate, - Notice is hereby given, that after the expiration of fourteen days from the publication hereof application will be made to this honourable Court that ADMINISTRATION of the ESTATE of the abovenamed deceased may be granted to Robert James Andrews, of Geelong, in the colony of Victoria, cabinetmaker, a creditor of the said Constantia Onn, deceased.
Dated this nineteenth day of March, 1877 . . .

ASSOCIATIONS: Constantia Onn (musician)

"DEATHS". Geelong Advertiser (29 August 1921), 1 

ANDREWS. - On the 27th August, 1921, Robert James Andrews, late Moorabool-street, beloved husband of the late Gertrude Andrews, dearly loved father of Gertrude Upton, of Sydney, in his 91st year.

"DEATH OF A PIONEER", The Ballarat Star (31 August 1921), 7 

Death has removed one of Geelong's oldest identities, in the person of Mr. R. J. Andrews, at the age of 91 years. Deceased was. until a few months ago, in good health, but had a stroke, from which he failed to recover. The late Mr. Andrews was in business for over half a century in Geelong, having followed his father, who established a furniture dealing emporium in Moorabool street. He disposed of the business to the late Mr. J. B. Thear. He was a keen musician, and was regarded as one of the most expert judges of the violin in Geelong. He participated in many concerts promoted for charitable purposes. Several of his early investments turned out badly, but he fought manfully against them, and soon made a competency.

ANGUS, Silvanus (Silvanus ANGUS; Mr. S. AGNUS; also Sylvanus ANGUS)

Amateur musician, bass vocalist, Melbourne Philharmonic Society

Born Newcastle Upon Tyne, England, 9 March 1829; son of Henry ANGUS and Mary THOMPSON
Arrived Australia, 17 August 1854 (passenger per Great Britain, from Liverpool, 12 June)
Married Matilda Emma FLORANCE (1837-1918), Melbourne, VIC, 1858
Died Mornington, VIC, 13 March 1897, aged 69 (TROVE tagged by Australharmony) (shareable link to this entry)


Angus made a good impression in one of his earliest solo appearances for the Melbourne Philharmonic Society in Haydn's Imperial mass in 1857. The "Qui tollis peccata" was:

. . . taken by a Mr. Angus, a new basso of much promise, and who possesses a voice of more than average power, and of a quality for steadiness and richness not often met with in an amateur. This gentleman's singing formed decidedly one of the most agreeable features of the concert.

For a quarter of a century, Angus was Melbourne's leading oratorio bass soloist, appearing regularly in standard repertoire works. He was also a soloist in the first Australian performance of Molique's new oratorio Abraham by the Philharmonic in December 1862.

He was bass soloist in the first performances of several new colonial compositions, including George Tolhurst's oratorio Ruth in 1864, Charles Edward Horsley's lyric masque The south seas sisters in 1866, and George Torrance's oratorio The revelation in 1882.


Register of births, New Court Chapel, Westgate St. (Particular Baptist), Newcastle upon Tyne, 1815-1837; UK National Archives (PAYWALL)

No. 73 . . . Silvanus Angus eighth child of Henry Angus of Newcastle upon Tyne Draper by Mary his wife, who was daughter of Henry Thompson of Newcastle upon Tyne was born in New Court Cottage in the Parish of St. John . . . upon the ninth day of March in the year [1829] . . . registered 27 Jan'y 1837 . . .

England census, 30 March 1851, Westgate, Northumberland; UK National Archives, HO 107/2404 (PAYWALL)

Cottenham Street / Mary Angus / Head / 60 . . .
Silvanus [Angus] / Son / 22 / Coach body builder . . .
Priscilla [Angus] / Dau'r / 19 . . .

Names and descriptions of passengers per Great Britain, from Liverpool, 12 June 1854, for Melbourne; Public Record Office Victoria (DIGITISED)

. . . Silvanus Angus / 25 / Coach builder . . .

"LIST OF PASSENGERS PER GREAT BRITAIN", Geelong Advertiser and Intelligencer [VIC] (19 August 1854), 4 

. . . [intermediate] . . . Silvanus Agnus . . .

[Advertisement], The Argus [Melbourne, VIC] (27 June 1857), 6 

A Grand TEA MEETING and MUSICAL SOIREE will be held in the Exhibition Building, on WEDNESDAY, 1st JULY.
Sir W. A'Beckett will preside. The following Vocalist and Amateurs have kindly volunteered their assistance: -
Mrs. Goodliffe, Mr. Ewart, Mr. Angus, Mr. Williams, and others; Pianist - Mr. George Tolhurst . . .

ASSOCIATIONS: William A'Beckett (chair); Mrs. Goodliffe (vocalist); Thomas Ewart (vocalist); William Henry Williams (vocalist); George Tolhurst (pianist); Exhibition Building (Melbourne venue)


Yesterday evening the Exhibition Building presented a most brilliant appearance . . . During the evening, the proceedings were relieved by some excellent glee singing by Messrs. Goodliffe, Williams, Fletcher, Angus, Ewart, Tolhurst, senior, Charles Cook, and Mrs. Goodliffe, who gave their services on the occasion. There were several encores. Mr. G. Tolhurst presided at the piano, and played judicious accompaniments to several airs sang by Mrs. Goodliffe, and Messrs. Williams and Angus . . .

ASSOCIATIONS: William Henry Tolhurst (senior) (vocalist); Charles Cook (vocalist)


The fourth subscription concert of the Philharmonic Society, which took place last night before a very large audience, in the Exhibition Building, was chiefly remarkable for the absence of all of the great vocal "stars" who have usually assisted at these reunions. This circumstance was owing to no fault of the society, but simply to the fact that every professional vocalist of note was absent from Melbourne. The society has, therefore, the credit of having presented the public with a sufficiently ambitious programme, for the due execution of which it had to depend entirely upon its own resources. The success which attended the experiment is fully equal to our expectations, and in some respects we feel justified in congratulating the society on the results. Haydn's "Imperial Mass" occupied the whole of the first part of the evening, and, generally speaking, was satisfactorily rendered. The instrumentation and choruses were good, though too frequently amenable to the charge of want of steadiness and strict attention to time. In the "Gloria" the phrases "Qui tollis peccata" were taken by a Mr. Angus, a new basso of much promise, and who possesses a voice of more than average power, and of a quality for steadiness and richness not often met with in an amateur. This gentleman's singing formed decidedly one of the most agreeable features of the concert, and though at present he appears to be much hindered by nervousness, we shall be mistaken if he do not eventually prove to be a valuable acquisition to the vocal strength of the society. He must not, however, be content to stop where he is, for his voice is one which will amply reward him for its cultivation . . .

ASSOCIATIONS: John Russell (conductor); Melbourne Philharmonic Society (association)

"THE PHILHARMONIC SOCIETY", The Age (31 March 1858), 4 

The first subscription concert of the year was given by the Philharmonic Society, yesterday evening, in the Exhibition Building, before a large and brilliant audience . . . The works selected for the performance consisted of Mozart's "Twelfth Mass," and Beethoven's Oratorio "Engedi, or David in the Wilderness," - both new to the Society and to the Melbourne public . . . The solos were entrusted to Miss Octavia Hamilton, Master Charles Cooke, Mr. Ewart, and Mr. Silvanus Angus, to all of whom we must accord great praise. In the Mass there was but little for them to do, but in the oratorio which followed, their duties were arduous, and they performed them most satisfactorily . . .

ASSOCIATIONS: Octavia Hamilton (vocalist)

"MELBOURNE PHILHARMONIC SOCIETY", The Argus (31 March 1858), 5 

. . . Mr. Angus sang the music of Abishai in a style which, notwithstanding a few crudities, leads us to anticipate better things of him. He has a decidedly good organ . . .

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

Haydn's Grand Oratorio "THE CREATION" Will be performed by the above Society,
Assisted by several leading Members of the Melbourne Philharmonic and the Collingwood Harmonic Societies.
The Band and Chorus will consist of UPWARDS OF 100 PERFORMERS.
Principals: Miss Octavia Hamilton, Mrs. Fox, Mr. Ewart, Mr. W. H. Williams, Mr. Angus, Mons. Coulon.
Leader - Mr. Leslie. Organist - Mr. G. Tolhurst. Conductor - Mr. Radcliffe . . .

ASSOCIATIONS: Henry Barkly (governor, musical patron); Sarah Beaumont Fox (vocalist); Emile Coulon (vocalist); Alexander Leslie (leader, violin); Charles Radcliffe (conductor); Prahran Philharmonic Society (association); Collingwood Harmonic Society (association)

"TEMPERANCE LEAGUE . . . THE SOIREE", The Age (2 July 1858), 5 

The business of the day terminated with a soiree at the Exhibition Building . . . The engagement of Miss Octavia Hamilton and Mons. Coulon assisted by an efficient chorus, was one of the features of the programme. The National Anthem, performed by Mr. Pringle on the magnificent organ of the Philharmonic Society commenced the proceedings . . . The Quartette "Hail smiling hearth," was next given by Miss Hamilton, Mr. Angus, Mr. W. H. Williams, and a contralto. (Air, "Hail, smiling morn.") . . .

ASSOCIATIONS: George Robert Grant Pringle (organist)

"PHILHARMONIC SOCIETY", The Argus (27 December 1858), 5 

The performance of the "Messiah" by this society on Christmas eve has now grown into a custom . . . The bass solos were represented by Messrs. Angus, Blanchard, and Mitchell. The last-named of these gentlemen was either overcome by nervousness, or suffered from a peculiar vocal embarrassment, for his tones subsided into something little short of a loud whisper. Mr. Blanchard has a voice of considerable power and compass, but he labors under the common defect of being inanimate where dramatic earnestness is necessary, and there is a want of distinctness in his delivery, which to some extent impairs effect. Mr. Angus acquitted himself with extreme credit, especially in the trumpet obligato accompanied air, "The trumpet shall sound," which was perseveringly encored, but not repeated. The obligato passage was not without expression, but it lacked steadiness - a quality of essential moment in conveying the meaning intended . . .

ASSOCIATIONS: Charles or John Blanchard (vocalists); David Mitchell (vocalist)

[Advertisement], The Argus (21 March 1859), 8 

When Handel's sublime Oratorio, ISRAEL IN EGYPT, Will be repeated.
Principal Vocalists - Miss Octavia Hamilton, Mrs. Stewart Ellis, Mrs. Goodliffe,
Mr. Ewart, Mr. Angus, and Mr. Blanchard.
Band and Double Chorus of One Hundred and Eighty Performers.
Conductor - Mr. Russell. Leader - Mr. King. Organist - Mr. George R. G. Pringle . . .

ASSOCIATIONS: Eliza Stewart Ellis (vocalist); Edward King (leader, violin)

[News], The Argus (20 May 1859), 4 

The members of the Prahran Philharmonic Society gave a concert yesterday evening in the Church of England School-room, Chapel-street. The object of the concert was a complimentary benefit to Mr. Radcliffe, the conductor of the society. In addition to the members of the Prahran Philharmonic, there were present Miss Octavia Hamilton, Mrs. Goodliffe, and Messrs. Ewart, Blanchard, and Angus. Mr. G. R. Pringle presided at an organ erected expressly for the occasion. The programme consisted of Handel's Dettingen "Te Deum" and a selection from the oratorio "Samson," by the same composer. The execution of each portion of the programme was exceedingly creditable to the members of the society, and the concert may in every respect be pronounced a successful one. The room was entirely filled with an audience chiefly composed of residents in the immediate locality and of St. Kilda.

[News], The Argus (29 July 1859), 4 

Mr. W. H. Williams, of the Philharmonic Society, assisted by Miss Marie James, Mr. Angus, and other vocalists, gave a miscellaneous concert in the Mechanics' Institute, Emerald Hill, yesterday evening. The concert was announced as the first of a series of musical entertainments, "for the people," and, judging from the numbers present, the projector had no reason to complain of want of patronage . . .

ASSOCIATIONS: Marie James (vocalist)

[Advertisement], The Argus (2 August 1859), 8 

On TUESDAY and THURSDAY EVENINGS, August 9 and 11, 1859,
In commemoration of the CENTENARY OF THE DEATH OF HANDEL.
The first concert to consist of a Selection from the Oratorios SAMSON, JUDAS MACCABAEUS, ISRAEL IN EGYPT, &c.
The second of THE MESSIAH Complete . . .
Principal Bassi: MR. FARQUHARSON, Mr. Angus, and Mr. Blanchard . . .
Band and Chorus of Four Hundred Performers . . .

ASSOCIATIONS: Robert Farquharson (vocalist); Handel Centenary (event)

[News], The Argus (27 August 1859), 4 

Mr. Fletcher delivered a lecture on Music to the Kew Literary and Scientific Institute, on Thursday evening last. Mrs. Goodliffe, Mr. Angus, and other gentlemen kindly lent their assistance by giving some very pleasing vocal illustrations. There was a large attendance of members and friends.

ASSOCIATIONS: James Fletcher (lecturer)

[Advertisement], The Argus (9 May 1860), 8 

MUSICAL UNION. "The CREATION" Will be performed on
THURSDAY NEXT At the George-street Chapel, Fitzroy.
Principal Vocalists: MISS OCTAVIA HAMILTON, Mr. Beaumont, Mr. S. Angus, Mr. Juniper
Conductor - Mr. G. Pringle. Principal Violin - Mr. A. J. Leslie . . .

ASSOCIATIONS: Armes Beaumont (vocalist); William Juniper (vocalist); Thomas Ford (secretary); Musical Union (association)

[News], The Argus (11 May 1860), 5 

. . . 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 allotted to Mr. Beaumont, a young singer of no great style or power of voice . . . Mr. Juniper, who, with Mr. Angus, shared the bass music, did not quite realize the necessities of his position, though he sang with care. Mr. Angus has a fine voice, and it is a pity he did not make better use of it. The recitative, "Straight opening her fertile womb," was sung out of tune; the air "Now Heaven in fullest glory" also jarred somewhat at first; but in the other music allotted to him Mr. Angus sufficiently redeemed his fame. Miss Hamilton's chief effort was the magnificent air, "On mighty pens," which she sang in her best style, and which was nearly being encored. "With verdure clad" was another success. The trio, "On Thee each living soul," by Miss Hamilton and Messrs. Beaumont and Angus, was beautifully sung . . .


The third concert of the current year was given by the Philharmonic Society, yesterday evening, at the Exhibition Building. The audience was numerous and fashionable . . . The second part opened with Handel's Coronation Anthem, "The King shall rejoice" . . . Mr. Angus, in "Shall I in Mamre's fertile plains" - a beautiful bass air from Handel's "Joshua" owed no thanks to the accompaniment for the applause which followed his admirable rendering of it. The remainder of the concert consisted of choruses from the works of Hummel, Mozart, and Rossini, which were all given with good effect . . .

[News], The Argus (24 October 1860), 5 

The fifth subscription concert of the Philharmonic Society took place last evening in the Exhibition Building, before an audience which would probably have been much more numerous but for the very unpropitious state of the weather. The first part of the concert, the "Lauda Sion" of Mendelssohn, went off rather flatly, the recent excellent performance of the "Lobgesang" having apparently spoilt the audience for the reception of a decidedly less effective work. The principal vocalists were Miss Bailey, Miss S. Mortley, and Messrs. Ewart, Williams, Angus, and Blanchard . . . The Imperial Mass, No. 3, of Haydn, which farmed the second portion of the concert, made considerable amends for the dulness of the preceding, and was very well rendered. Mr. Angus took the bass music in the concluding passages of the "Gloria," the "qui tollis," &c., in better style than we ever remember to have heard him. Indeed, he sang most satisfactorily throughout . . .

ASSOCIATIONS: Amelia Bailey (vocalist); Sarah Mortley (vocalist)

[News], The Argus (26 December 1860), 5 

The annual Christmas performance of Handel's "Messiah" by the Melbourne Philharmonic Society took place in the Exhibition Building on Monday evening last [24 December]. The attendance was extremely good, every part of the hall and galleries being crowded . . . The famous bass solos, "Why do the nations," and "The trumpet shall sound," were not quite successful, the performer, Mr. Angus, having hardly sufficient energy of manner or volume of voice. The whole performance was, though perhaps not altogether better than any preceding, equally as good, and it remains to be proved whether Mr. J. Russell, the retiring director, will not leave a blank which it will be difficult to fill up . . .

[News], The Argus (7 February 1861), 5 

A large number of persons visited the bazaar in aid of the House of Mercy yesterday, the majority about 3 o'clock p.m., at which hour it was known that Lady Don would sing for the benefit of the charity . . . It is almost needless to say that Lady Don was received in the most flattering manner . . . Lady Don was accompanied on the pianoforte by Mr. S. Nelson. Miss Bailey, and Messrs. Ewart and Angus, had been entrusted with the remainder of the songs, duets, &c., and acquitted themselves entirely to the satisfaction of the visitors. Mr. Mackie officiate as pianist . . .

ASSOCIATIONS: Emily Sanders Don (vocalist); Sidney Nelson (accompanist); Robert Mackie (accompanist)

[News], The Argus (13 June 1861), 5 

The Orpheus Union, who have hitherto been content with taking part in occasional concerts in which they have, however, been most warmly appreciated, gave, last evening, the first of a series of musical entertainments, in the Mechanics' Institute. The hall was well filled . . . Beethoven's "Vesper Hymn" lost a portion of its effect by being taken somewhat too slowly . . . The solo parts were excellently taken by Miss Griffiths, who possesses a rich and pleasing voice, and by Messrs. Ford, Beaumont, and Angus . . . a canzonetta from the Spanish, "Tears of anguish," by Reichardt, was excellently sung by Mr. Angus to a vocal accompaniment, the effect of which is quite peculiar, and requires some care in the executants. It was encored . . . Misses Griffiths, Mortley, and Beaumont, were quite successful in Henry Smart's pretty trio, "Rest thee on this mossy pillow," and Mrs. Fox, Master Cooke, and Messrs, A. Ford and Angus were equally so in Pohlenz's part song "The swallows" . . .

ASSOCIATIONS: Mary Ann Griffiths (vocalist); Alfred Ford (vocalist); Samuel Kaye (conductor); Orpheus Union (association); Mechanics Institution (Melbourne venue)

"TOWN TALK", The Herald (23 August 1861), 5 

Mr. G. L. Allan s miscellaneous concert at the Mechanics' Institute, was well attended last night, despite unfavourable weather. The performances were undertaken by Mr. Allan's pupils, assisted by Mr. W. H. Williams, Mr. S. Angus, and Master Cook. The songs and choruses were exceedingly well rendered, and reflected great credit both on Mr. Allan and his youthful associates. Misses Liddle and Griffiths were also highly successful in rendering the music allotted to them. Mr. H. King presided at the pianoforte.

ASSOCIATIONS: George Leavis Allan (singing master); Maggie Liddle (vocalist); Henry John King (pianist, accompanist)

[Advertisement], The Age (5 December 1862), 1 

MELBOURNE PHILHARMONIC SOCIETY . . . Conductor: Mr. C. E. Horsley.
On Tuesday Evening, 9th December, 1862, When Herr Molique's Oratorio, "ABRAHAM"
Will be Performed, for the First Time in the Australian Colonies.
Principal Vocalists: Miss Octavia Hamilton, Mrs. Batten, Mr. T. J. Jackman, Mr. Silvanus Angus, and Mr. Farquharson . . .

ASSOCIATIONS: Mrs. Batten (vocalist); Thomas John Jackman (vocalist); Charles Edward Horsley (conductor)

MUSIC: Abraham (Molique)

"CONCERT OF THE PHILHARMONIC SOCIET", The Herald (29 July 1864), 2 

Mr. Horsley's Oratorio of "David" which was produced for the first time a month ago, and which achieved such a marked success as to place it among lyric works of a high class, was repented at the Exhibition Building last night by the Philharmonic Society . . . The leading soprano parts were sung by Miss Hamilton, and the principal bass passages by Mr. Angus . . .

"THE ORATORIO OF RUTH", The Age (22 January 1864), 6 

A fashionable audience filled the spacious town hall of Prahran, last night, to hear and pronounce on the merits of a new sacred oratorio, on that ancient, but ever fresh pastoral, the story of Ruth, from the pen of Mr. George Tolhurst, a local professor, and already favorably known in the musical circles of this colony . . . The principal performers were Miss Juliana King, Mrs. F. King, Miss E. Bailey [sic], Mr. E. Exon and Mr. S. Angus . . .

ASSOCIATIONS: Juliana King (vocalist); Eliza Ann King (vocalist); Edwin Exon (vocalist)

MUSIC: Ruth (Tolhurst)

"THE CONCERT IN THE EVENING", Leader (27 October 1866), 8 

. . . . The principal vocalists were Miss Bertha Watson, Mr. C. Donaldson, and Mr. S. Angus. The principal violin was Mr. Edward King; the organist, Mr. David Lee . . . The concert commenced with a version of "God Save the Queen," newly arranged by Mr. C. E. Horsley, which went well. Then followed a lyric masque, entitled, "The South Sea Sisters," written for the Exhibition by Mr. R. H. Horne, the incidental music being composed by Mr. Horsley . . . A recitation for the bass (Mr. Angus), was well rendered, it ran thus: -
The deep hoarse voice of Plutus - from beneath -
The gnomes' grotesque mirth quells;
Slowly he rises! and his heavy breath,
In golden vapor works its spells.
"Cease these vain sports! - a different race of gnomes
From distant regions comes!
Gnomes of earth's surface, but whose daring spirits
Urge them across the waters of the globe,
Her rocky centuries to probe -
Ravage and rend her 'broidered robe -
With dark enchantments wrought 'neath many starry transits" . . .

ASSOCIATIONS: Bertha Watson (vocalist); Charles Alexander Donaldson (vocalist); Richard Hengist Horne (librettist)

MUSIC: The south seas sisters (Horsley and Horne)

"THE PHILHARMONIC SOCIETY", The Argus (1 December 1869), 5

At the Duke of Edinburgh Theatre last night, one of the most brilliant and numerous audiences of the season assembled to witness the chamber performance of Balfe's opera, "The Bohemian Girl," by the Melbourne Philharmonic Society . . . The part of the Count (why must there always be a Count?), which the lugubrious Borrani appropriated and made entirely his own, should suit Mr. Angus, but last night it would appear that his voice was not in good condition; we were therefore favoured with only one verse of "The heart bowed down by weight of woe." Concerning this we must not forgot to mention the same melody played as an introduction to the solo on an instrument which we think must be our old friend the Corno-musa. come to life again - the same instrument with which Ali ben Soualle used to charm us at the Mechanics' Institute some 17 or 18 years ago. The tone of the instrument being deep and mellow and sympathetic, it may be readily imagined that in the hands of a skilful performer, the "Heart bowed down" would be a most attractive solo. So much were the audience pleased with it, that they unanimously, and with enthusiasm, insisted on its repetition. The song itself, coming immediately afterwards, naturally fell flat, and Mr. Angus, as we have stated, sang but the one verse. This singer possesses a bass voice of great compass, extending well into the regions of tenor, but his singing is marred by some mannerisms, which we will point out to him when his voice is in better condition than last night . . .

ASSOCIATIONS: Ali-Ben Sou-Alle (saxophone player); Conrado Borrani [Conrad Boisragon] (English vocalist)

MUSIC: The Bohemian girl (Balfe)


. . . On the whole the principal solo parts proved trying to the singer, Miss Christian and Mrs. Palmer having their voices rather severely taxed in the matter of compass. Mr. Armes Beaumont had little to do but to deliver numerous recitatives, which he executed in an artistic and earnest manner, Mr. Angus, to whom the bass solo music was entrusted, seemed nervous and the reverse of confident with his work . . .

ASSOCIATIONS: George William Torrance (composer); Mary Ellen Christian (vocalist); Rosina Carandini Palmer (vocalist)

MUSIC: The revelation (Torrance)

"DEATHS", The Argus (16 March 1897), 1

ANGUS. - On the 13th March, at Mornington, Sylvanus Angus, the beloved husband of Matilda Angus, of 19 Davis-street, South Yarra, aged 69.

"A MUSICIAN'S DEATH. THE LATE MR. SYLVANUS ANGUS" [sic], The Herald (3 May 1897), 3 

The death of the late Mr. Sylvanus Angus on Saturday, the 13th of March, should call for more than the ordinary obituary notice, because he not only filled a prominent position in the musical circles of Melbourne for over forty years, but was highly esteemed by all who had the pleasure of his acquaintance, and loved and revered by those who were brought into close companionship with him. Orating over the body of his assassinated friend, Julius Caesar, Marc Antony said, "The evil men do lives after them; the good is oft interred with their bones." These words were spoken in rough, hard times of blood, and steel, and murder, and when life was valued but at our price of a pin. And it is satisfactory to know and feel in these later times that there are a few men who live unspotted and untainted lives, leaving no evil behind them, and yet much that should serve as a copy for those to come after them. Such an one was Sylvanus Angus.

He was of an exceedingly modest and retiring disposition, and nervously sensitive. He was a good man, a good husband, and a good father; and no man in Victoria had a better reputation as a conscientious and trusted servant than he with the various firms with which he has been identified for the past forty years, commencing with the celebrated and eccentric American, George Francis Train, and terminating a few years since with Joseph Webster and Co.

He was a born vocalist, and the possessor of a bass voice that, either in richness and resonance of tone or power of expression, few, if any, have excelled in Melbourne. He could not sing out of tune or incorrectly, because he always learned his music by a strict process of reading, often having recourse to the sol fa method, in connection with which system he once stated that when he learned it he called and knew each note of the scale by a special quality of its effect on his mind, as, for instance, the fourth being the weeping note. This forms a good object lesson for all learners, as well as for many professionals. He had an abnormal range, from the lowest of the basso profundo to the upper tenor G, doing the run in the "Benedictus" of Mozart's Twelfth Mass with facility.

Among the earliest recollections of the writer in conjunction with the deceased was when, in the early '50s, they were members of the choir of the Collins street Independent Church, of which the only other bass was Mr. David Mitchell, father of Madame Melba. It would be about this time that he became a member of the Melbourne Philharmonic Society, of which, a few years afterwards, he became principal bass, giving place at times to prominent professionals, but always being ready to assume and render the principal parts of such works as "The Messiah," "The Creation," "Elijah," etc. His renderings of "Why do the Nations?" "Rolling in foaming billows," and "It is enough" always evoked tumultuous applause, and on more than one occasion undeniable encores, seldom insisted on or allowed, as is well known, in such works. At this time all his work was done in an honorary capacity.

In 1857 Mr. Angus married Miss Matilda Florance (daughter of Dr. W. Florance), and, having built himself a house at South Yarra, became attached to the choir of Christ Church at that place, of which choir he formed the central figure up to a few weeks of his death, being short only of a few mouths of forty years, during the whole of which period he was only absent once from sickness!

About this time Mr. Angus joined the Masonic craft, and was associated with a number of the leading vocalists comprising the then popular Combermere Choir, the members of which, having seceded from that lodge, constituted the new Clarke Lodge, of the choir of which he remained a member up to the time of his decease.

No company of vocalists was ever thought too good for Mr. Angus to be conjoined with, and he always held his own with the best of the leading professionals; though, suffering as he did from nervousness, and perhaps over anxiety, he was not always at his best, and would suffer extremely if, by any mischance, a wrong note affecting a chord was played by the orchestra during his singing of a solo. For some years in the '60s he was the basso of the "Orpheus Quartett," comprising Mr. Edward Amery (an excellent baritone, since deceased), Mr. C. A. Donaldson, and Mr. W. H. Williams. This quartett frequently appeared in public under lengthened engagement, for a fortnight at the Victorian Exhibition, at the Theatre Royal (a trio only) with Barry Sullivan, and gave many concerts themselves.

Mr. Angus was passionately fond of part singing, and would cordially assist any party or society requesting his services; and it was thus that, in the year 1870, whilst an honorary member of the South Yarra Liedertafel, but meeting at Melbourne, he assisted in forming and became one of the founders and original members of the (now Royal) Metropolitan Liedertafel, of which he has been a member or supporter up to the time of his death, his last appearance in connection with that society being the Christmas smoke concert of 1896, and which probably the members and subscribers would not have thought complete without a song from "Daddy" Angus. It may be truly added that, of the 100 members of that excellent society, no man was thought so much of as the subject of this notice. It may be specially noted as a feature very scarce amongst musical people that he was perfectly free from jealousy, and would just as readily sing in a chorus, taking a back seat, as he would sing solo work.

Mr. Angus leaves a widow, two sons, and a daughter, the latter (Mrs. Bennett) being married. With this daughter and her children, he spent much time during his later years, and, having latterly become ill and weak, he gladly availed himself of their invitation to spend a few weeks with them at Mornington. At four o'clock on the day of his death, he was up and about, but his daughter having been taken suddenly ill, he became excited and anxious, and passed away from heart excitation at half-past four. He was interred on the following Tuesday at the St. Kilda Cemetery, when a large number of the members of the Royal Metropolitan and Melbourne Liedertafels, and of the Clarke Lodge choir, as well as the choir of Christ Church, including twenty boys in surplice, took part in the service, the choir singing a processional hymn, and the gentlemen the appropriate part song, "The Long Day Closes." The service was impressively read by the pastor of his church, the Rev. Canon Tucker.

It is proposed by the parishioners of Christchurch to place a tablet to his memory in that church, and a movement is on foot by the Royal Metropolitan Liedertafel to erect a monument over his grave.

W. H. W.

ASSOCIATIONS: William Henry Williams (obituarist, musical amateur); George Francis Train (merchant); David Mitchell (amateur bass vocalist, father of Nellie Melba)

"IN MEMORIAM", The Argus (13 March 1899), 1

ANGUS. - In loving memory of our dear father, Silvanus Angus, who departed this life on 13th March, 1897, at Mornington.
"A few more years shall roll,
A few more seasons come,
And we shall be with those that rest
Asleep within the tomb.
Then, O my Lord, prepare
My soul for that great day,
O wash me in Thy precious blood,
And take my sins away."
- (Inserted by his loving daughter and son-in-law, L. and F. Bennett.)

Bibliography and resources:

W. A. Carne, A century of harmony: the official centenary history of the Royal Melbourne Philharmonic Society (Melbourne: Royal Melbourne Philharmonic Society, 1954), passim (DOWNLOAD PDF TRANSCRIPT FROM PANDORA)

ANNA, Signorina (Signorina ANNA; later Madame DALLE CASE) = Anna DALLE CASE

Vocalist, circus performer

ANTILL, Alex (James Alexander ANTILL; Alex ANTILL; Alick ANTILL)

Comic vocalist, songwriter

Born NSW, 1834; son of Henry Colden ANTILL and Eliza WILLS
Married (1) Emma POINTON (d. 1862), VIC, 1855
Died Brighton-le-Sands, NSW, 15 February 1920 (shareable link to this entry)


"PICTON", Bell's Life in Sydney (18 July 1863), 3

. . . The local comic song by Alex. Antill, Esq., elicited much deserved approbation, some of the "hits" were certainly most apropos, more particularly that having reference to one of the late Contractors on No. 2, Railway Extension . . .

ANTONI, Pietro di (Pietro di ANTONI; Signor di ANTONI)

Bass vocalist, Lyster Opera Company

Arrived Sydney, NSW, 1 December 1867 (per Mataura, from Valparaiso, via Panama)
Departed Sydney, NSW, 29 August 1868 (per Alexander Duthie, for San Francisco)
Died at sea (per Alexander Duthie), 19 October 1868 (TROVE tagged by Australharmony) (shareable link to this entry)



Antoni was primo basso of La Compagnia Lirica Italia, Lyster Opera Company's new Italian troupe (with Giuseppe Bertoloni, Ugo Devoti, Ida Vitali, and Guilia Colombo), that opened in Melbourne with Ernani in January 1868.

He died in October 1868, at sea, en route with Lyster's English troupe, from Sydney to San Francisco.


[News], The Argus [Melbourne, VIC] (4 December 1867), 4

Some attention has been excited by the arrival of an opera company by the Panama mail. They style themselves La Compagnia Lirica Italia, and comprise the following performers: - Signor Giuseppe Bertoloni, baritone; Signor Devoti, tenor; Signor Pietro di Antoni, bass; Signora Ida Vitali, first soprano ; Signora Guilia Colombo, second soprano. Their capabilities are as yet unknown, but are stated to extend to the majority of French and Italian composers. We understand that Mr. Lyster, with praiseworthy anxiety to secure the best operatic talent, has already opened negotiations with them, for the purpose of ascertaining their capabilities and the chance of their success with the Melbourne public. It appears that they have hitherto played in America, but nothing is at present known concerning their reputation. If Mr. Lyster decides on engaging them, we believe it is his intention to amalgamate the two companies.

"THE OPERA. ERNANI", The Argus (7 January 1868), 5

Last night may be said to have begun a new epoch in the history of the lyric drama in this colony. Notwithstanding the pleasure which certain artists have continued to afford the opera-going public for many years past, it has undoubtedly been felt that some variety was wanting, and the policy of the addition which has recently been made to Mr. Lyster's original company cannot for a moment be questioned. For a long time past we have had a good deal of Italian opera with English translations, which are generally so indifferent that it would be much better for an audience not to understand the text at all than to run the risk of coming short of a full appreciation of the music by its being set to common-place language or ill-sounding phrases. Sometimes, too, we have had opera with a combination of Italian and English or German and English libretto - an arrangement far from being orthodox, but one often supported by artists who find some continental languages better suited for musical purposes than English in any form. Last night, we had Italian opera in its integrity. It is almost a pity that so trying a work as "Ernani" was selected for an opening night. There are few interesting arias in it, and few really imposing situations, the business of the opera being carried on by recitative, scraps of melody, and short scenas. The music throughout taxes the voice to the utmost, transpositions and inversions having to be resorted to to give the singer any chance of a satisfactory termination to his or her part in the work. Signora Vitali was the Donna Elvira, Signor Devoti the Ernani, Signor De Antoni the Don Silva, and Signor Bertolini the Ruy Gomez or Carlo Quinto of the opera . . . Of Signors Bertolini and De Antoni scarcely too much can be said in praise. The former has a rich baritone voice, which is most effective when not forced; and the latter a bass such as has seldom been heard in this country. Nay, with one exception, we know of no other at all equal to it. He sang and acted his part, and looked the character he lopresented to perfection. His "Infelice!" was a great achievement, but we do not quite understand why he should have suppressed the "In fin, che un brando" . . .

"THE OPERA. L'ELISIR D'AMORE", The Argus (13 January 1868), 5

. . . We have no hesitation in pronouncing Signor Antoni one of the best artistes we have had here for many a day, and as we have before said, no basso equal to him (with the exception of one, perhaps) has ever been heard in this part of the world. We should like to hear him in German opera - as Marcel, or Caspar. His voice is admirably suited for the aria di portamento and is comparatively lost to the world of Italian opera solely . . .

"PRINCE OF WALES OPERA HOUSE", The Sydney Morning Herald (30 June 1868), 4

. . . The German school of composition is not that in which Signor Antoni might be expected to appear to the greatest advantage, but his Marcel was by no means ineffective - indeed it proved that the public estimation of his powers as a fine artist is fully deserved; and when it is considered that it was his first appearance in the character it must be considered successful . . .

"SHIPS' REPORTS", The Sydney Morning Herald (9 September 1868), 8 

The fine clipper ship Alexander Duthie took her departure for San Francisco on the 29th ultimo. The Lyster Opera troupe and other passengers, accompanied by a number of friends, were conveyed on board by the steamer Pearl . . . The following are the names of her passengers . . . Mr. and Mrs. W. S. Lyster and servant, Mr. and Mrs. Lloyd and 2 children, Mr. and Mrs. De Antoni . . .

"DEATH OF SIGNOR ANTONI", The Sydney Morning Herald (25 January 1869), 4

We learn with regret that Signor Antoni, the popular basso of the Italian Opera Company, who left Sydney with Mr. Lyster's troupe in the Alexander Duthie, for San Francisco, died on the 19th October, while on the passage.

Bibliography and resources:

Harold Love, The golden age of Australian opera: W. S. Lyster and his companies, 1861-1880 (Sydney: Currency Press, 1981), 75, 87, 90, 164, 165, 166, 169, 178, 183, 195 

APPEL, Conrad (Johann Conrad APPEL; John Conrad APPEL; Conrad APPEL; Herr APPEL; also APPELL, APPLE)

Musician, bandsman, bandmaster, brass and cornet player and teacher

Born Liebenburg, Hannover, 10 January 1825; son of Conrad APPEL and Elizabeth Wilhelmina CLAUS
Arrived Melbourne, VIC, 17 September 1856 (per Morning Light, from Liverpool, 6 July)
Arrived Sydney, NSW, February 1857 (per City of Sydney, from Melbourne)
Married Elizabeth HATTON (c. 1835-1916), Sydney, NSW, 1858
Died Glenn Innes, NSW, 14 June 1905, aged "80" (TROVE tagged by Australharmony) (shareable link to this entry)

APPEL, John Hatton (John Hatton APPEL; J. APPEL; J. H. APPEL; APPELL [sic])

Amateur musician, cornet player, band and orchestra member

Born Sydney, NSW, 1862; eldest surviving son Conrad APPEL and Elizabeth HATTON
Died Hay, NSW, 16 March 1916 (TROVE tagged by Australharmony) (shareable link to this entry)


Conrad Appel first arrived in Melbourne in September 1856 as a musician crew-member on board the ship Morning Light, and is first documented as having directed the German band that played for the Victorian Industrial Exhibition in November 1856.

Accompanied by several fellow musicians, he next arrived in Sydney from Melbourne in February 1857. At various times Appel advertised his "Parisian Band" and "Brass Band" (Sydney's Cremorne Gardens, 1857), "Quadrille Band" (1859), "splendid GERMAN BAND" and "magnificent Brass BAND" (1863).

Between December 1859 and May 1860, Appel and five other musicians formed the band for the voyage the P. & O. steamship Malta, from Sydney to Suez and return, for captain Henry Down.

In September 1861:

George Coliver was found guilty, on the prosecution of Conrad Appel, of having thrown stones at him and others, members of the German Band, to their common danger, and was ordered to pay 2s. 6d penalty, with 8s. 4d. for costs.

One of the earliest records of their actual repertoire appears in a report of a dinner at which they played at Windsor in November 1864, when the toast airs they played were Fine old English gentleman, Here's a health to all good lasses, and The Cornstalk galop by the late Sydney composer, Ernesto Spagnoletti senior.

In June 1866 Elizabeth Appel advertised that Appel had "entirely withdrawn from the present German Band, as he is in Queensland".

In the 1869 general election, Appel was one of the East Sydney electors who signed a November petition of support for James Martin and Henry Parkes.

A "Herr Appel was in attendance with his cornet" at dances in Brisbane in February and April 1886. This was probably Appel's son, John, then living in Brisbane. Earlier, both father and son had worked with circus companies.

My thanks to Karen Hughes for information from her great-great-grandfather's marriage (1858), naturalisation (1904), and death certificates, and from her other research.


[Advertisement], The Argus [Melbourne, VIC] (29 October 1856), 8 

GUILDHALL, Swanston-street. Mr. Lloyd's Assembly This Evening Wednesday. Apples' German Band. Dancing Half past Eight.

ASSOCIATIONS: Charles Lloyd (professor of dancing)

[Advertisement], The Argus (12 November 1856), 8 

DANCING. Original Varsovienne, Redowa &c., taught by Mr. and Mrs. Lloyd, Guildhall. Four lessons, 10s. 6d.
GUILDHALL, Swanston-street. - Mr. Lloyd's Assembly This Evening, Apple's German Band. Commence at Half-past Eight o'clock.

[Advertisement], The Argus (16 January 1857), 3 

By expenses of the Exhibition of September 9th and 10th, 1856, namely . . .
By Gilscher's German band, eight performers, two days' attendance - 16 0 0 . . .
By expenses of Exhibition of November 26th, 27th, 28th, and 29th, namely . . .
By Appel's German band, 12 musicians, 4 days and 4 evenings - 56 0 0 . . .

ASSOCIATIONS: Peter Gilcher (musician)

Passenger list, City of Sydney, from Melbourne, 2 February 1857, for Sydney; Public Record Office Victoria (DIGITISED)

Steerage . . . C. Appel / 26 [sic] // H. [or R.] Appel / 16 // F. Marheim / 44 //
[folio] H. Rosenkranz / 26 // F. Foshtoft [?] / 34 // H. Oppenheim / 30 // H. Spohr / 21 // F. Spohr / 24 . . . P. Wagner / 27 . . .

INWARD, A LIST of the Crew and Passengers, arrived in the steam ship City of Sydney . . . from the Port of Melbourne, to Sydney . . . Febr'y 6th 1857; State Records Authority of NSW (PAYWALL)

[Passengers / Steerage] . . . C. Appell / H. Rosenkranz / F. Fretoth / F. Meir / A. [Meir] / F. Wagner / W. Spohr / H. [Spohr] / C. Marheine [? Macheine] / H. Oppermann / L. Meir

[Advertisement], The Sydney Morning Herald (10 April 1857), 1 

RE-OPENING OF CREMORNE, under new management, new proprietorship, and new engagement.
CREMORNE. - GOOD FRIDAY. - Open for a Promenade only. In the afternoon, a selection of Sacred Music, by Herr Apple's Band.

ASSOCIATIONS: Henry Marsh (manager, proprietor); Cremorne Gardens (Sydney venue)

[Advertisement], The Sydney Morning Herald (11 April 1857), 1

EASTER MONDAY. CREMORNE. Grand Fete. Unprecedented Attraction . . .
Dancing throughout the day under the direction of a qualified M.C. Herr Appel's Parisian band have been engaged especially for this purpose . . .

[Advertisement], Empire (4 May 1857), 1 

CREMORNE, MONDAY (THIS EVENING) BALL NIGHT. Dancing by Moonlight, Herr-Appell's Band.

[Advertisement], The Sydney Morning Herald (23 May 1857), 1 

CREMORNE. - QUEEN'S BIRTHDAY. - HERR APPELL'S Band. Dancing throughout the day . . .
Madame ANNA DELLA CASSE, Professor PARKER, DHERANG and STEBBING, McGOR'S Pyrotechnist, and HERR APPEL'S Band are engaged for this occasion.

ASSOCIATIONS: Anna Dalle Case (circus performer); Alfred Dherang (circus performer); Francis John Stebbing (circus performers)

[Advertisement], Empire (30 May 1857), 1 

Unexampled Success of Madame DALLECASSE. Positively the Last Night of those Wonderful Performances.
Wonderful Flight from the Gallery to the Stage by Monsieurs DHERANG AND STEBBING.
Ascent from the Stage to the Gallery by Madame DALLECASSE.
Professor PARKER'S astounding fetes of Swordsmanship, &c.
First time of the Comic French Ballet. Dissolving Views and Chromatropes . . .
A splendid Band under the direction of Herr Appel.

ASSOCIATIONS: Prince of Wales Theatre (Sydney venue)

[Advertisement], The Sydney Morning Herald (1 June 1857), 1 

CREMORNE. - WHIT MONDAY, Ball. Herr Apple's Band, afternoon and evening.

[Advertisement], The Sydney Morning Herald (2 July 1857), 1

NOTICE. - The German Band is ready to attend Parties and Balls at any notice, and we live at 55, Riley-street, Woolloomooloo.
The bandmaster's name is Mr. C. APPEL.

[Advertisement], The Sydney Morning Herald (5 September 1857), 1 

CREMORNE GARDENS. - Open every Sunday for promenade and refreshment.
Steamers from Steam Ferry Reserve, Circular Quay, at the hours.
MONDAY SEPTEMBER 21st - These extensive and, without parallel, most naturally beautiful grounds in the colony will open for the summer season.
A constant succession of enlivening amusement will be produced, popular selections by the brass band, numerous alfresco entertainments, vocal and Instrumental concerts, dancing on the illuminated platform to Herr Appel's orchestra . . .

[Advertisement], Empire (28 September 1857), 1 

Herr Appel's brilliant Band will perform several selections from the Operatic Gems of the Day during the Afternoon,
and in the Evening the grounds will be BRILLIANTLY ILLUMINATED. The BALL will commence at 8 . . .
On THURSDAY, a Grand Bal Masque.
F. VARLEY, Agent.

ASSOCIATIONS: Frank Varley (agent, manager)

[Advertisement], The Sydney Morning Herald (7 October 1857), 1 

CREMORNE. - Herr Appel's Orchestra, Dancing, American Bowls, &c. on THURSDAY. Admission 1s.
CREMORNE. - Terpischorean Amusements, accompanied by Herr Appel's Brass Band. Steamer fare 1s.

"ST. ANDREW'S DAY", The Sydney Morning Herald (1 December 1857), 5

. . . Cremorne attracted a large number of the quieter sort to its rustic scenes, some to "trip it lightly" to Herr Appel's music; others, to indulge in equestrian feats on their lignine palfreys, who needed no impulse from spurs . . .

[Advertisement], Bell's Life in Sydney and Sporting Reviewer (26 December 1857), 3 

CREMORNE . . . BOXING DAY . . . Herr Appel's Band will be in attendance during the day. Dancing on the rotunda throughout the afternoon. Grand Ball on the Illuminated Platform, to commence at 7pm . . .

"CREMORNE", Empire (28 December 1857), 5 

Large numbers of persons visited Cremorne on Boxing-day. Various sports wore exhibited, such as hurdle racing, jingling matches, and flat racing. A bullock was roasted and dispensed free of charge to the visitors. Dancing commenced at an early hour in the afternoon, and was kept up until late in the evening to the music of Herr Appel's Band. The garden in front of the house was gaily illuminated in the evening, besides which, there was a brilliant display, of fireworks. Viewed from the harbour, the scone was picturesque and novel, and failed not to attract numbers of spectators to the opposite shore.

[Advertisement], Empire (1 January 1858), 1 

HERR APPELS BAND will be in attendance during the day. DANCING on the Rotunda throughout the afternoon.
GRAND BALL on the Monster Platform, to commence at 7 p.m. . . .
Operatic Selection - Lucia - Band
Song - Mr. A. Campbell
Irish Song - Paddy Doyle
Descriptive Scena - Mr. A. Campbell
New Irish Song - Paddy Doyle
Concert Polka - Band . . .

[Advertisement], The Sydney Morning Herald (14 May 1858), 1 

MR. APPEL'S splendid German Band has arrived in Sydney, and is prepared to enter into engagements for balls quadrilles, and picnics.
Apply at No. 93, Riley-street, Woolloomooloo.

[Advertisement], The Sydney Morning Herald (27 May 1858), 1 

ARGYLE ROOMS, open THIS EVENING, and every evening in the week (except Friday).
Herr Appel's splendid band will attend . . .

[Advertisement], The Sydney Morning Herald (9 June 1858), 1 

ARGYLE ASSEMBLY ROOMS - Select Bal Masque THURSDAY next. APPEL'S Brass Band. Admission, 3s.; commence, nine.
ARGYLE ROOMS, open THIS EVENING, and every evening in the week (except Friday). Herr Appel's splendid band will attend.
Doors open at half-past 7. Admission, one shilling. Dancing at 8 precisely.

[Advertisement], The Maitland Mercury and Hunter River General Advertiser (8 July 1858), 3 

First appearance of Mr. APPEL'S Celebrated BRASS BAND . . .

ASSOCIATIONS: William Henry Foley (circus performer, proprietor)

[Advertisement], The Sydney Morning Herald (18 April 1859), 1

ROTUNDA. South Head Road. - Conrad Appel's Quadrille Band TO-NIGHT, Monday.

INWARD, LIST of the crew and passengers, arrived in the Ship S.S. Malta, of London, Henry Down, master . . . from the Port of Suez to Sydney . . . 10 May 1860; State Records Authority of NSW (PAYWALL)

[CREW LIST] . . .
Christian Fredericks / Bandmaster / 31 / [born] Hanover
Henry Spohr / Musician / 22 / Brunswick
Conrad Appel [Musician] / 35 / Hanover
Henry Rosenkranz / [Musician] / 30 / [Hanover]
Christopher Hause / [Musician] / 30 / [Hanover]
Henry Opperman / [Musician] / 30 / [Hanover] . . .

"BAZAAR FOR THE HOUSE OF THE GOOD SHEPHERD", Freeman's Journal [Sydney, NSW] (3 October 1860), 3 

. . . A fine Band was in attendance, under the leadership of Herr Appel. They played some very fine selections from the operas, and also some very good quadrilles and waltzes, during the day . . .

"CENTRAL POLICE COURT. WEDNESDAY", The Sydney Morning Herald (5 September 1861), 5

. . . George Coliver was found guilty, on the prosecution of Conrad Appel, of having thrown stones at him and others, members of the German Band, to their common danger, and was ordered to pay 2s. 6d penalty, with 8s. 4d. for costs.

"LECTURE ON MUSIC", Empire (24 September 1861), 5 

A LECTURE WAS delivered last averting, in the School of Arts, St. Leonard's, by Mr. Rodber Palmer . . . Mr. Conrad Appel's band of German musicians were present, and illustrated the lecture by the performance of a variety of pieces . . . The lecturer here stated that he had made great exertions to secure the attendance of a band of musicians, from whose performances the audience might have observed the similarity between the Chinese and Scotch airs. But he regretted to find that, notwithstanding all his efforts, the four Chinese musicians had not made their appearance. He, therefore, called on the German band, who played "The bonnie hills o' Scotland." . . .

He then alluded to the career of Spontini . . . and other great Italians, of Donizetti, and of Bellini, perhaps the greatest musician of this century. [The German band then played from Bellini's "Norma."] . . .

All Bellini's operas were cast in a like mould. His melodies were always graceful; some of his scenas were highly impassioned. [The band then played from Bellini's "Sonnambula," "As I view those scenes so charming."] . . .
[The band then played "Fra Diavolo."] . . .
The band then played "Zauberflote" [Mozart] . . .
[The band then played one of Labitzky's waltzes.] . . .
[He then requested the band to play the "Farewell to Hanover" waltz.]
In a more cheerful strain were the works of a modern writer of music, Wallace, who had formerly been in this colony, and wrote the "Bohemian Girl." [sic]
This piece was then played by the band.
The next piece was a merry one, "The shells of the ocean."
The lecturer then announced that in about a month he hoped to give his third lecture, on the national music of England, Scotland, Ireland, and Wales.
The band than played "God save the Queen," the audience standing. Hearty applause greeted the performance of the band, and the lecture . . .

ASSOCIATIONS: Rodber Palmer (lecturer)

"ALBERT CRICKET CLUB BALL", The Sydney Morning Herald (17 June 1863), 4 

The Annual Ball of the Albert Cricket Club, which is now an event recurring with the close of each season, came off last evening, at the Masonic Hall, and resulted in similar success to that which has attended it on past occasions . . . Dancing soon after commenced, and was kept up with spirit throughout the evening, to the lively strains of Herr Appel's full band . . .

"NATIONAL SCHOOL FETE", Empire (18 December 1863), 8 

YESTERDAY was a perfect gala day with the National Schools of the metropolis on the occasion of the monster demonstration which took place, according to announcement in the park at Parramatta . . . At an early hour accordingly, the children of the Fort-street Model School having been arranged in order by their teachers, left that institution for the railway, preceded by the excellent band of the New South Wales Volunteers. On the way down George-street, they were joined by the children of the William-street, Paddington, and Balmain National schools. On arrival at the railway station other schools were in attendance . . . On arrival at Parramatta, the children . . . proceeded to the park, headed by the band, playing some lively airs . . . [At the park] Some of the elder pupils dancing to the enlivening music of Herr Conrad Appel's celebrated band, whose valuable assistance was availed of in addition to the military one . . .

[Advertisement], The Sydney Morning Herald (22 December 1863), 1

The magnificent steamer MORPETH will leave the H. R. N. S. N. Co.'s Wharf (foot of Market-street), for
BALMORAL GARDENS, at 9 and 11 o'clock a m.; returning to Sydney at 4 and 6 o'clock p.m.
Two large pavilions have been erected for DANCING, and Conrad Appel's splendid GERMAN BAND has been engaged for the day; also, an Irish Piper and Fiddler . . .

[Advertisement], The Sydney Morning Herald (31 December 1863), 1

The A.S.N. Company's powerful steamer ILLALONG will leave the Circular Quay for those beautiful grounds, the BALMORAL GARDENS, at 10 and 12 o'clock a.m., and 2 o'clock p.m., returning in the afternoon at 3, half-past 4, and 6 o'clock.
Conrad Appel's magnificent Brass BAND is engaged for the entire day . . .

"BALL AT THE VICTORIA BARRACKS", Empire (24 June 1864), 4

Last evening, a ball on rather a grand scale, took place at the Victoria Barracks. It was given by the members of the Military and Civil Service Cricket Club . . . Herr Conrad Appell's celebrated German bend was stationed in an ante-room and played with their usual efficiency; and about ten o'clock when the ball was at its height, there could not have been less than three hundred persons present . . .


. . . After the dinner the CHAIRMAN, in appropriate terms, proposed the usual loyal toasts, which were responded to in the most enthusiastic manner, the band of Herr Appel playing the usual airs after each toast . . .
Band: Cornstalk Gallop . . .
Band; "Here's a health to all good lasses" . . .

MUSIC: Cornstalk galop (by the late Ernesto Spagnoletti senior)

"BALMAIN REGATTA", Empire (1 December 1864), 5 

ST. ANDREW'S DAY. which annually brings with it the Balmain regatta, was everything that could be wished to render the boat-racing yesterday successful . . . The steamer Illalong had been engaged as flagship for the occasion, and nothing was neglected that was calculated to add to the enjoyment of the visitors. Herr Appel's celebrated band was on board, and during the day they played some of their best selections . . .

"CIVIL SERVICE ANNUAL PICNIC", Empire (6 February 1865), 5 

The second annual picnic of the Civil Service of New South Wales was celebrated on Saturday last, on the grounds of J. Milson, junior, Esq., Robertson's Point, North Shore . . . Herr Appel's fine German band was engaged for the day, and continued to play at intervals some of their choicest selections of classical music when they were not required to "tune their pipes to the measure of the dance." The commodious dancing pavilion was well filled during the whole of the day, and the votaries of Terpsichore enjoyed themselves to their hearts' content . . .

"FREEMASONS' BALL", Empire (28 June 1865), 5 

. . . Herr Appell's Gorman band invited the guests to the merry dance, which was kept up with uninterrupted spirit throughout the night, under the care of Mr. W. Clark . . .

ASSOCIATIONS: William Clark (dancing master)

"THE GERMAN BALL", The Sydney Morning Herald (24 April 1866), 4 

A ball in aid of the German Association took place at the Masonic Hall in Clarence-street last night, in honour of the inauguration of Prince Albert's Statue and in celebration of the fifth anniversary of the abovementioned association. Herr Appel's band was in attendance to the excellent music of which dancing was kept up till a very late hour.

[Advertisement], The Sydney Morning Herald (7 June 1866), 1

GERMAN BAND. - The public are respectfully informed that CONRAD APPEL has entirely withdrawn from the present German Band, as he is in Queensland. ELIZABETH APPEL.

"GREAT INTERNATIONAL CIRCUS", Empire (26 December 1866), 2 

At the Royal Lyceum Theatre, this evening, the first appearance of the above circus will take place . . . The Shakesperian jester and clown, Stebbing, has some rare Christmas jokes, and when we add that Herr Appel's favourite brass band will be in attendance, we think the circus will merit its full share of popular support.

ASSOCIATIONS: Lyceum Theatre (Sydney venue)

[Advertisement], The Sydney Morning Herald (20 October 1868), 8 

HERR APPLE'S newly-organised celebrated BRASS and STRING BAND. -
Parties or private families requiring this Band can be supplied from four to any number performers, on the most reasonable terms.
N.B. - As it is is not the Big German Band, please address to No. 29, Chalis-street, near Liverpool-street, Woolloomooloo.

[Advertisement], The Sydney Morning Herald (21 November 1868), 6 

MANLY BEACH. - Herr APPEL'S BAND will play every SATURDAY, weather permitting, opposite the Pier Hotel.
Programme for this afternoon:
Preludio - Nebucadnezar - Verdi
Valse - "Passion flower" - Coote
Duett - Norma - Bellini
Quadrille - Ballo in Maschera - Reiloff
Selection - Maritana - Wallace
Galop - "Garibaldi" - Lucas.

[Advertisement], The Sydney Morning Herald (28 November 1868), 9 

MANLY BEACH. - C. APPEL'S BAND will play every SATURDAY, weather permitting, on the Esplanade, opposite Pier Hotel,
the following selection Commences TO-MORROW, Saturday: -
Selection - Ballo in Maschera, Verdi;
Waltz - Wiener Kinder, Strauss;
Melange - Masaniello, Auber;
Alfred Quadrille, Coote;
Scene - Lombardi, Verdi;
Waltz - Murmur of the Ocean, Owen Hope;
Galop - Prince Imperial, Coote.
God Save the Queen.

[Advertisement], The Sydney Morning Herald (5 December 1868), 6 

MANLY BEACH. - Herr APPEL'S Band will play every SATURDAY, weather permitting, on the Esplanade, opposite Pier Hotel.
Programme for THIS AFTERNOON: -
March - "Prince Frederick Carls," Bilse;
Overture - "Die Königin fur einen tag," Adam;
Duet from Norma, Bellini;
Walse - "Passion flower," Coote;
Cavatina - Sonnambula, Bellini;
Quadrille - Faust, Coote.

[Advertisement], The Sydney Morning Herald (19 December 1868), 9 

MANLY BEACH. Herr APPEL'S BAND will play THIS AFTERNOON, opposite the Pier Hotel, weather permitting.
PROGRAMME: Grand Selection - "Trovatore," Verdi;
Cavatina "Romeo and Juliet," Bellini;
Quadrille - "Ballo in Maschera," Reyloff;
Cavatina - "Lucretia Borgia," Donizetti;
Waltz - "Winder Kinder," Strauss;
Air - "Lucia de Lammermoor," Donizetti.

[Advertisement], The Sydney Morning Herald (30 November 1869), 2

We, the undersigned Electors of East Sydney . . . hereby pledge ourselves to use our best exertions to secure your return . . .
Conrad Appel . . .

ASSOCIATIONS; James Martin (candidate); Henry Parkes (candidate)

Sands' Sydney directory (1877), 313 (DIGITISED)

. . . Appel, Conrad, 5 Berwick lane . . .

[Advertisement], Australian Town and Country Journal (11 February 1882), 1

APPELL. - JOHN APPELL, who is with Ashton's Circus, is requested to come home to Armidale, as there is a death in the family.

[News], Queensland Figaro and Punch (27 February 1886), 33

. . . Herr Appel was in attendance with his cornet . . .

[News], Queensland Figaro and Punch (3 April 1886), 33

. . . Herr Appel, Professor Sneyd, Mrs. Goldring, and the Misses Ward kindly assisted with the music. All played very prettily and delightful dance music, their time being splendid . . .

[Advertisement], Glen Innes Examiner and General Advertiser [NSW] (17 June 1890), 4 

Musical Instruction. MR. CONRAD APPEL is prepared to give instructions in all Brass Instruments.
Terms moderate. Apply - TORRINGTON-STREET, Next to Show Ground.

"Stricken Down", Glen Innes Examiner and General Advertiser (19 August 1904), 2 

We regret to hear that Mr. C. Appell, an old identity of the district, is stricken down with what we understand to be an attack of paralysis in the left side. About a fortnight since he was trimming the rose trees in the little garden that has provided a living for him in the winter of his life, and while so engaged he was suddenly attacked by severe pains in the side and rendered helpless. With the assistance of neighbors the old man was taken indoors and placed on a couch, where he has since remained. The case is a sad one, and when it is considered that Mrs. Appell (who has reached the feebleness of old age) is the only one left to assist her husband in his sickness, we doubt not that public sympathy will be extended in a practical manner. The Mayor (Ald. A. A. Meurant) has already generously rendered substantial aid, and other kind persons are assisting to lighten the sufferer's burden as much as possible. Recently Mr. Appell, for some reason or other, was deprived of his old age pension, and the withdrawal of the pittance has made the struggle for existence in the sunset of his days harder to bear.

"Death of an Old Musician", Glen Innes Examiner and General Advertiser (20 June 1905), 2 

On Thursday, after an illness extending upwards of 11 months, J. Conrad Appell, a resident of some years' standing, passed over to the great majority. Deceased had exceeded the allotted span of life, and was creeping into 80th year when death claimed him. Years ago Mr. Appell was a member of a celebrated German band (the first of its kind to visit New England; and which was "stuck up" between Tenterfield and Maryland by the notorious bushranger, Thunderbolt, who relieved the musicians of all their monetary possessions), and was proficient on the clarionet, of which instrument he was particularly fond. Later on he conducted a small hand in Glen Innes. Of recent years Dame Fortune had been scant in her favors to the aged, frail musician, and he plodded away industriously, in his little garden to make a livelihood. Last year the old chap was stricken with paralysis, and since that time had been tended unceasingly by his wife, but he gradually sank, until he heard once more the trumpet call - not the old strains of way back years, but the clarion call from the Celestial Home.

"UPS AND DOWNS OF LIFE (BY J. STANLEY)", National Advocate [Bathurst, NSW] (14 June 1913), 7 

. . . as I was listening to the German Band in George-St., Sydney, one day, the big drummer came and spoke to me and told me he had been cook at our Court House Hotel for a long time. He was a nephew of Spohr, the celebrated violin player and author of several musical works. The band master, Herr Appell, gave me some very fine dance music. When I saw him last he was playing in an American circus in Bourke-street, near Moore Park, Sydney . . .

ASSOCIATIONS: John George Stanley (memoirist); Henry Joseph Spohr (drum player)

[News], The Riverine Grazier (17 March 1916), 2 

A well known local resident, Mr. John H. Appell, died suddenly last night, as the result of a seizure. He had been attending to a customer at his fruit and confectionery shop at 8 p.m., and shortly afterwards collapsed and death followed quickly. The stroke which proved fatal was the second to which the deceased had been subjected; the first took place at one of the Red Cross functions, at which he was giving his services as a member of the orchestra. From the effects of that stroke he partially recovered, after a tedious period of more or less unconsciousness, but he never regained his old vigor. The deceased came to Hay from the Northern Rivers, and, assisted by his competent wife, conducted a successful business. He was an enthusiastic musician, and at one time took a considerable interest in the local band and orchestra before his illness compelled him to lay his cornet aside. Much sympathy, is being expressed for Mrs. Appell, who has a large circle of friends.

Bibliography and resources:

John Conrad Appel, Find a grave 


Musician, violinist, fiddler, blind musician, blind violinist, convict

Born Lincolnshire, England, England, c. 1808
Convicted Kesteven Quarter Sessions, Sleaford, Lincolnshire, England, 14 January 1830 (7 years)
Arrived Sydney, NSW, 28 July 1831 (convict per Exmouth, from England, 3 March)
Cartificate of freedom, 13 July 1839 (aged "31")
Active Maitland, NSW, 1843 (TROVE tagged by Australharmony) (shareable link to this entry)


"KESTEVEN SESSIONS . . . SLEAFORD, Thursday, January 14", Stamford Mercury [Lincolshire, England] (22 January 1830), 4 (PAYWALL)

John Hibblewaite and David Atkinson, (Thomas Cook, an accomplice, being admitted evidence for the crown,) late of Timberland, were charged with stealing five quarters of wheat, the property of John Barnett. They were both found guilty. Hibblewaite was indicted as a principal in the felony, and Atkinson as the receiver, knowing the wheat to have been stolen. The former was sentenced to be transported for seven years, and the latter (who has occupied a farm for many years in the parish of Timberland) for fourteen years. It is supposed that these men were associated with an extensive gang who have committed numerous depredations on the line of the river Witham between Lincoln and Boston, particularly in Billinghay, Blankney, Walcott, and Martin, in which parishes almost every barn has been robbed of corn. It is satisfactory to state, that two others of the gang have been apprehended and committed in the division of Lindsey, and are to take their trials for offences committed in that division.

[News], Stamford Mercury (16 April 1830), 3 (PAYWALL)

On the 9th inst. the following convicts were removed from Lincoln Castle to the Retribution hulk at Sheerness, viz. . . . John Hibblewaite . . .

[Government notices], The Sydney Gazette and New South Wales Advertiser (15 March 1834), 4 supplement 

The undermentioned prisoners have absconded . . . Hibblethwaite John, Exmouth, 24 [sic], Lincolnshire, shepherd and farmer, 5 feet 8 1/4, sallow freckled comp., light brown hair, dark grey eyes, two women, man, EIH on right arm, ship, Neptune, car, man and woman, and other marks on left arm, from John Blaxland, Merton, since Feb. 25.

"RECOVERY OF STOLEN ORDERS", The Maitland Mercury and Hunter River General Advertiser (21 January 1843), 2

. . . and on Sunday morning, a man named John Applewhite went to the stores, and presenting the order drawn by Mr. J. Wiseman wished to have it cashed. Mr. Cohen told him the order was a stolen one, and he thought it probable that Applewhite had some other orders which had been stolen at the same time in his possession. The man hesitated for some time, and at length said he had not got them; upon which Mr. C. said he would send for a constable, and Applewhite then handed out the two cheques of Mr. Kingsbury's . . . . Upon this he was given into custody; and on Tuesday last, he was brought before the Police bench . . . the prisoner was committed for trial.

"COURT OF QUARTER SESSIONS. Tuesday, April 11", The Maitland Mercury and Hunter River General Advertiser (15 April 1843), 2

John Applewhite was indicted for having in his possession a stolen order for £6 13s. 9d., on the 14th January last . . . The prisoner was in Lumley's public house the night before the robbery at the same time the prosecutor was there; he is a blind man, and had a fiddle with him . . . The prisoner said he had received the orders from George Hall, but he had not the slightest knowledge of their being stolen . . . He had been free thirteen years, and lost his sight in government service; he had never seen anything since he was free, and obtained a livelihood by playing upon a violin . . . the prisoner was then sentenced to be imprisoned in Newcastle gaol for three calendar months.

Bibliography and resources:

John Hibblewaite, Convict records 

ARABANOO ("Manly")

Indigenous informant, singer (imitator of "our tunes")

Born c. 1789/90
Captured at Manly, NSW, 31 December 1788
Died Sydney, NSW, 18 May 1789, about "30" (NLA persistent identifier) (Wikipedia) (shareable link to this entry)


John Hunter, An historical journal of the transactions at Port Jackson . . . (London: John Stockdale, 1792; 1793), 132-35 (DIGITISED)

. . . As soon as the ship was secured, I went on shore to wait on the Governor, whom I found in good health; he was sitting by the fire, drinking tea with a few friends: among whom I observed a native man of this country, who was decently cloathed, and seemed to be as much at his ease at the tea-table as any person there; he managed his cup and saucer as well as though he had been long accustomed to such entertainment. This man was taken from his friends, by force, by Lieutenant Ball, of the Supply, and Lieutenant George Johnston, of the marines, who were sent down the harbour with two boats for that purpose; the governor having found that no encouragement he could give the natives, would dispose them to visit the settlement of their own accord: this method had therefore been determined upon, to get one man into his possession, who, by kind treatment, might hereafter be the means of disposing his countrymen to place more confidence in us. This man, whose name as Ara-ba-noo, was taken, as I have already said, by force, and in the following manner. After having been a short time in [133] conversation with some of the gentlemen, one of the seamen, who had been previously directed, threw a rope round his neck, and dragged him in a moment down to the boat; his cries brought a number of his friends into the skirts of the wood, from whence they threw many lances, but without effect. The terror this poor wretch suffered can better be conceived than expressed; he believed he was to be immediately murdered; but, upon the officers coming into the boat, they removed the rope from his neck to his leg, and treated him with so much kindness, that he became a little more chearful. He was for some time after his arrival at the Governor's house, ornamented with an iron shackle about his leg, to prevent his being able to effect his escape with ease; this he was taught to consider as bang-ally, which is the name given in their language to every decoration; as he might well believe it a compliment paid to him, because it was no uncommon thing for him to see several (of the most worthless of the convicts, who had merited punishment) every day shackled like him; the cause of which he could not of course understand. However, he was very soon reconciled to his situation by the kind treatment he received from every person about him, and the iron growing uneasy, it was taken off, and he was allowed to go where he pleased. He very soon learnt the names of the different gentlemen who took notice of him, and when I was made acquainted with him, he learnt mine, which he never forgot, but expressed great desire to come on board my nowee; which is their expression for a boat or other vessel upon the water. The day after I came in, the governor and his family did me the honour to dine on board, when I was also favoured with the company of Ara-ba-noo, whom I found to be a very good-natured talkative fellow; he was about thirty years of age, and tolerably well-looked . . . [135] Five or six days after my arrival, poor Ara-ba-noo was seized with the small-pox, and although every possible means for his recovery were used, he lived only till the crisis of the disease. Every person in the settlement was much concerned for the loss of this man.

ASSOCIATIONS: John Hunter (captain of the Sirius, recently returned to Sydney cove)

Watkin Tench, A complete account of the settlement at Port Jackson in New South Wales . . . (London: Sold by G. Nicol and J. Sewell, 1793), 13 

1st. January, 1789. To-day being new-year's-day, most of the officers were invited to the governor's table: Manly dined heartily on fish and roasted pork; he was seated on a chest near a window, out of which, when he had done eating, he would have thrown his plate, had he not been prevented: during dinner-time a band of music played in an adjoining apartment; and after the cloth was removed, one of the company sang in a very soft and superior style; but the powers of melody were lost on Manly, which disappointed our expectations, as he had before shown pleasure and readiness in imitating our tunes. Stretched out on his chest, and putting his hat under his head, he fell asleep.

ASSOCIATIONS: Watkin Tench (diarist)

David Collins, An account of the English colony in New South Wales . . . (London: Printed for T. Cadell Jun. and W. Davies, 1798), 597 ["a native was living with us"] (DIGITISED)

. . . In the year 1789 they were visited by a disorder which raged among them with all the appearance and virulence of the small-pox. The number that it swept off, by their own accounts, was incredible. At that time a native was living with us; and on our taking him down to the harbour to look for his former companions, those who witnessed his expression and agony can never forget either. He looked anxiously around him in the different coves we visited; not a vestige on the sand was to be found of human foot; the excavations in the rocks were filled with the putrid bodies of those who had fallen victims to the disorder; not a living person was any where to be met with. It seemed as if, flying from the contagion, they had left the dead to bury the dead. He lifted up his hands and eyes in silent agony for some time; at last he exclaimed, "All dead! all dead!" and then hung his head in mournful silence, which he preserved during the remainder of our excursion. Some days after he learned that the few of his companions who survived had fled up the harbour to avoid the pestilence that so dreadfully raged. His fate has been already mentioned. He fell a victim to his own humanity when Boo-roong, Nan-bar-ray, and others were brought into the town covered with the eruptions of the disorder . . .

ASSOCIATIONS: David Collins (diarist)

Bibliography and resources:

Jakelin Troy, "Language contact in early colonial New South Wales 1788 to 1791", in Michael Walsh and Colin Yallop (eds), Language and culture in Aboriginal Australia (Canberra: Aboriginal Studies Press, AIATSIS, 1993), (33-50), 35 (PAYWALL)

Keith Vincent Smith, "Arabanoo", Dictionary of Sydney 

ARABIN, Gustavus (Gustavus Frederick Ferrers ARABIN; Mr. ARABIN)

Actor, theatrical manager

Born London, England, 10 January 1817; baptised St. Mary's, Islington, 12 February 1817; son of Gustavus ARABIN (c. 1790-1859) and Caroline HASKER (1792-1873)
Arrived Hobart, VDL (TAS), 13 November 1836 (per Atwick, from London, 5 July)
Married Frances SMITH (Mrs. LAVERTY MACKAY), Hobart Town, VDL (TAS), 5 August 1837
Died Hobart, TAS, 13 February 1857, aged "40" (TROVE tagged by Australharmony) (NLA persistent identifier) (shareable link to this entry)

ARABIN, Frances (Frances Sarah Mary SMITH; "Mrs. WESTON"; [1] Mrs. Edward LAVERTY; "Mrs. MACKAY"; [2] Mrs. Gustavus ARABIN; "Mrs. BOYD")

Actor, vocalist, dancer

Born England, ? 30 September 1814 (? 1813); baptised St. George's, Hanover Square, London, 5 March 1815; daughter of Thomas Francis SMITH and Angel Maria ? (d. NSW, 1857)
Married (1) Edward LAVERTY (d. 1833), St. James, Piccadilly, London, England, 12 April 1830
Arrived Sydney, NSW, 21 August 1832 (bounty immigrant per Madeline)
Married (common law) Angus Brown MACKAY, c. 1833-36
Arrived Hobart Town, VDL (TAS), 9 January 1834 (per Jolly Rambler, from Sydney, 3 January)
Married (2) Gustavus ARABIN, Hobart Town, VDL (TAS), 5 August 1837
Eloped with Thomas Spencer BOYD (alias BOYES), 8 October 1842 (to early 1847)
Died West Maitland, NSW, 10 October 1848, aged "40" [sic] (TROVE tagged by Australharmony) (NLA persistent identifier) (shareable link to this entry)


Frances's documented birth date of 30 September 1814 as reported in her baptism record (St. George, Hanover Square, 5 March 1815) is perhaps not entirely reliable. If she was indeed the daughter of Thomas Francis Smith and the birth date correct, she must have been conceived after her mother (giving her surname as Smith) married Olsen Dahl at St. Martin in the Fields, on 19 August 1813. Otherwise, if Angel was a widow, and Dahl her second husband, perhaps a date of 30 September 1813 is more likely. Her mother, however, also reported that Frances was 40 years of age at her death in 1848, and so am even earlier birth is perhaps possible

In a double ceremony, at St. James, Piccadilly, on 12 April 1830, Frances married her first husband, Edward Laverty, and her mother, Angel Maria Dahl, married her next husband John Henry Diechman (or Dieckman).

In 1832, both couples applied for a received grants of £20 and sailed from London as assisted emigrants for NSW, Edward's trade recorded as pianoforte-maker.

Going by the stagename of Mrs. Weston, Frances made her Sydney debut in the very first performance of Barnett Levey's new company on 26 December 1832, in his temporary theatre in the Royal Hotel, playing Dolly Mayflower in Jerrold's comedy Black-eyed Susan, with Harriet Love in the title role.

Edward Laverty died in June 1833, and as early as September, the Herald was describing Frances and her new common-law partner, the young actor Angus Mackay, as "Mr. and Mrs. Mackay".

The couple sailed for Hobart Town at New Year 1834, where they were useful additions, first to Samson Cameron's theatre company at the Freemason's Tavern, and, from May, at John Philip Deane's theatre in the Argyle Rooms. Briefly, in November, the Mackays ran their own company, before, in December, Barnett Levey arrived in Hobart to press them to return to Sydney.

By August 1836, or earlier, the Mackays finally parted, Angus having sailed for Britain, never to be heard of again. And in October, Frances, still calling herself Mrs. Mackay, returned to Hobart, and Anne Remens Clarke's company.

There, on 5 August 1837, she married the actor Gustavus Arabin (d. 1857). The couple came then to Sydney in 1838, Frances thereafter billed as Mrs. Arabin.

In Launceston in mid-1842, Frances formed a new relationship with the young actor Thomas Spencer Boyd (alias Boyes); they eloped to Melbourne in October 1842, and remained together until early 1847 when Boyd returned to England.

Frances then returned to live with her mother in Maitland, NSW, where she died on 10 October 1848.

Though there is no evidence of Gustavus being a singer, he occasionally took parts in operatic performances with the Howsons in Hobart and Sydney, as see below; all were probably adapted as speaking roles only.

Documentation (Gustavus):

Baptisms solemnized in the parish of Islington, in the county of Middlesex, in the year 1817; register, 1831-61, page 165; London Metropolitan Archives, P83/Mry1/1171 (PAYWALL)

No. 1314 / [Born] Jan'y 10, 1817 / [baptised] Feb'y 12. / Gustavus Frederick Ferrers Son of / Gustavus and Caroline / Arabin / Cross Street / Gentleman . . .

"SHIP NEWS", Colonial Times [Hobart, VDL (TAS)] (15 November 1836), 4 

Nov. 15. - Arrived the barque Atwick, 341 tons, McKay, master, from London, 5th July, Falmouth 17th July, with a general cargo.
Passengers - Messrs. . . . Arabin . . .

1857, deaths in the district of Hobart; Tasmanian names index; NAME_INDEXES:1221123; RGD35/1/5 no 92 (DIGITISED)

[No.] 92 / February 13th / Gustavious Ariban [sic] (died Campbell Street) / Male / 40 years / Comedian / Consumption . . .

[Advertisement], The Tasmanian and Austral-Asiatic Review [Hobart Town, VDL (TAS)] (23 January 1845), 1 

By the kind permission of COLONEL ELLIOTT, the excellent Band of the 51st K.O.L.I. will be in attendance, and play during the Evening several-admired pieces of Music . . .
The Evening's Entertainments will commence with the very celebrated Opera, by Mozart, with the whole of the Music, entitled
Count Almaviva - Mr. Arabin
Fiorello - Mr. Jones.
Figaro (Valet to the Count) - Mr. F. Howson.
Basil - Mr. Watson.
Antonio (the Count's Gardener) - Mr. Rogers.
Sebastian - Mr. Ray.
Cheubim (a Page) - Mrs. Rogers.
Countess Almaviva - Mrs. Stirling.
Susanna (betrothed to Figaro) - Mrs. Clarke.
Barbarina (the Gardener's daughter) - Mrs. Howson.
Marcellina - Mrs. Jones.
Vassals, Villagers, &c., &c. . . .

ASSOCIATIONS: Anne Remens Clarke (actor, vocalist, manager); George and Emma Rogers (actors, vocalists); Frank and Emma Howson (actors, vocalist); Feltham Bold Watson (actor); Theodosia Stirling (actor, vocalist, later Mrs. Guerin, as see below); Royal Victoria Theatre (Hobart venue); Band of the 51st Regiment (military)

[Advertisement], The Sydney Morning Herald [NSW] (18 June 1846), 2 

WILL be presented (for the eleventh time) Barnett's Opera of THE MOUNTAIN SYLPH.
Donald, Mr. J. Howson; Christie, Mr. Lazar, in consequence of the continued indisposition of Mr. Simes; Hela, Mr. F. Howson;
Hobbies, Mr. Arabin; Polis, Mrs. Stirling; Etheria, Mrs. Ximenes; Dame Gourlie, Mrs. Gibbs; Jessie, Madame Torning . . .

ASSOCIATIONS: John Howson (actor, vocalist); John Lazar (actor, vocalist); Thomas Simes (actor, vocalist); Ann Ximenes (actor, vocalist); Eliza and John Gibbs (actor, vocalist; and leader, musical director); Eliza Torning (actor); Royal Victoria Theatre (Sydney venue)

[Advertisement], The Sydney Morning Herald (29 March 1849), 2 

ROYAL VICTORIA THEATRE. This Evening, March 29.
Will be presented the Opera of LA SONNAMBULA. Count Rodolph, Mr. F. Howson. Elvino, Mr. J. Howson;
Allessio, Mr. Arabin; Amina, Mrs. Guerin; Dame Teresa, Mrs. Gibbes; Liza, Mrs. Ximenes . . .

[Advertisement], The Sydney Morning Herald (4 October 1851), 2 

ROYAL VICTORIA THEATRE. For the Benefit of Mr. and Mrs. GIBBS . . .
ON MONDAY EVENING, OCTOBER 6, Will be produced a Grand Musical Spectacle, entitled THE DEVIL'S OPERA.
The Marquis Posillipo, Mr. Rogers; Pepino, Miss Sara Flower; Count Giulio Yallardi, Mr. Willis;
Signor Herman, Mr. Arabin; Giacomo, Mr. Spencer; Chief of the Council of Ten, Mr. W. Griffiths;
Diavoletta, Mr. Holmes; Medora, Madame Carandini; Signor Giovannini, Mrs. Gibbs . . .

ASSOCIATIONS: Sara Flower (vocalist); Albert Spencer (actor, vocalist); William Griffiths (vocalist, actor); Maria Carandini (vocalist, actor)

[Advertisement], The Sydney Morning Herald (16 February 1852), 2 

Will be produced the Grand Tragic Opera of NORMA. Orovoso, Mr. F. Howson; Pollio, Mr. J. Howson;
Flavius, Mr. Arabin; Norma, Madame Sara Flower; Adalgisa, Madame Carandini; Clotilda, Mrs. Gibbs.

[Advertisement], Empire [Sydney, NSW] (4 November 1852), 2 

will be produced the Opera of DER FREISCHUTZ; or, THE SEVEN CHARMED BULLETS.
Ottacar, Mr. Arabin; Bernhard, Mr. Rogers; Killian, Mr. Howard; Rodolph, Mr. J. Howson;
Caspar, Mr. F. Howson ; Zamiel, Mr. Montague; Linda, Mrs. Guerin; Rose, Madame Carandini . . .

[Advertisement], Empire (11 January 1853), 2 

ROYAL VICTORIA THEATRE. THIS EVENING, Tuesday, January 11th, 1853, will be produced the popular Opera of the ENCHANTRESS.
Duke D'Aquila, Mr. Rogers; Galeas, 1st Minister, Mr. Arabin; Don Sylvio, Mr. J. Howson;
Doctor Mathanasius, Mr. Douglass; Ramir, Mr. F. Howson; Stella, Madame Sara Flower.

"DEATH", The Courier (13 February 1857), 2

This day, at 12 o'clock, at the Union Hotel, corner of Liverpool and Campbell-streets, Gustavus ARABIN. His funeral will take place at 4 o'clock to-morrow, at which friends are respectfully requested to attend.

1857, deaths in the district of Hobart; Tasmanian names index; NAME_INDEXES:1221123; RGD35/1/5 no 92 (DIGITISED)

No. 92 / [1857] February 13th / Gustavious Ariban [sic] (died Campbell Street) / Male / 40 years / Consumption / [Informant] W. Clarke, friend, Argyle Street . . .

"THE LATE G. A. ARABIN [sic]", The Hobart Town Mercury (16 February 1857), 2 

After a lingering and distressing illness, this once favourite Actor has departed from this world of care and trouble; he expired on Friday, and on Saturday afternoon his mortal remains were consigned to the grave. We knew poor Arabin in his best and "palmy days," when few, if any, Actors, who have played in these Colonies, could excel him in the higher walks of the Drama. He commenced his Histrionic Career in the provinces at home, and made his first appearance here, at the opening of the Theatre in 1836, when he was supported by Mackay, and other actors of talent and notoriety. Having played here with great success, he proceeded to Sydney, and in 1838 made his debut in the fine arduous character of Othello, and became, at once, an established favourite. Subsequently to this, Arabin played in various places in the Colonies, and, eventually, returned to Hobart Town, - his final resting place. Arabin's style of acting was correct and animated, and his impersonations of the high characters of the Great Dramatist, was essentially classical, and, in some instances, an embodiment of the character itself, as drawn by the Master hand of the immortal Poet. The Nephew of Mr. Serjeant Arabin, his education had not been neglected, and brought for the work of his profession, a due appreciation of its higher qualities, and a fine feeling for its poetical attributes. Latterly, and while labouring under an illness, which rendered him incapable of exertion, he was supported by Mr. Mitson, of the Union Hotel Campbell-street where poor Arabin lived, and where he died. In private life he was amiable and kind hearted, and esteemed by a large circle of friends, who sincerely lament his loss, and many of whom, including several more of his own profession, followed his remains to the grave.

ASSOCIATIONS: Angus Mackay (actor); William St. Julien Arabin (his father's elder half brother)

"TO THE EDITOR OF . . .", The Hobart Town Mercury (16 February 1857), 3 

Sir - I feel much pleasure in informing you and the gentlemen who so kindly subscribed to the funeral of the late Mr G. Arabin, that a sufficient sum has been reserved to erect a Tablet over the spot where his remains are interred. As a friend of the deceased I cannot allow this opportunity to pass, without especially thanking Madame Anna Bishop and the Miss Gougenheim's for the liberality displayed by them towards such object, and trust that such may meet its due reward.
I am Sir,Your's faithfully - C. J., Hobarton, Feb. 14th.

ASSOCIATIONS: Anna Bishop (vocalist, then touring Tasmania); Joey and Adelaide Gougenheim (actors)

Documentation (Frances):


Baptisms solemnized in the parish of St. George, Hanover Square in the year 1815; register 1813-15, page 280; City of Westminster Archives, STG/PR/2/6 (PAYWALL)

1815 . . . March / [No.] 142 / Frances Sarah Mary / [born] 30 Sept'r 1814 [daughter of] / Tho's Francis & Angel Mary / Smith / Silver St. / Serv't . . .

Baptisms solemnized in the parish of St. George, Hanover Square, in the county of Middlesex, in the year 1815; Bishop's transcripts, register 1812-1815, page 18; London Metropolitan Archives, Dl/T/089/010 (PAYWALL)

No. 143 / [1815] Mar. 5 / Frances Sarah Mary / [daughter of] Tho. Francis & Angel Mary / Smith / Silver St. / Serv't . . .

Marriages solemnized in the parish of St. James, Westminster, in the county of Middlesex, in the Year 1830; register 1827-34, page 139; City of Westminster Archives, STJ/PR/6/14 (PAYWALL)

No. 102 / Edward Laverty of this Parish and Frances Smith of this Parish were Married in this Church by Banns this [12 April 1830] . . .

No. 103 / John Henry Diechman of this Parish and Angel Maria Dahl of this Parish were Married in this Church by Banns this [12 April 1830] . . .

EMIGRATION. RETURNS TO several Addresses . . . 22 May 1833; - for . . . 2. RETURN of the number of families who emigrated to New South Wales and Van Diemen's Land since the formation of the Board of Emigration (London: House of Commons, 1833), 6, 7 (DIGITISED)

[6] . . . Johan H Dieckman / Tailor / [number of persons in family] 2 [amount granted £] 20

[7] . . . Edward Laverty / Pianoforte-maker / [number of persons in family] 2 [amount granted £] 20

Sydney, NSW (1832-33, Mrs. Laverty, performing as Mrs. WESTON, and from mid 1833 as Mrs. MACKAY):

"Shipping Intelligence. ARRIVALS", Hill's Life in New South Wales (24 August 1832), 3 

On the 21st, the Madeline, Hamilton master, from London, on the 1st of May, with merchandize. Passengers, sixteen mechanics, consisting of coopers, bakers, and settlers and their families.

[Playbill], Theatre Royal, Sydney, 26 December 1832; State Library of New South Wales

[Playbill], Theatre Royal, Sydney, 26 December 1832; State Library of New South Wales (DIGITISED)

To conclude with . . . MONSIEUR TONSON . . .

"THEATRICALS", The Currency Lad (29 December 1832), 2 

Wednesday last may be inserted in our table of chronology for the first regular introduction into Australia of the drama. Immediately on the opening of the doors, the house filled and continued all the evening crowded to suffocation. The performances were a nautical melo-drama called Black Eyed Susan, and founded on Dibdin's celebrated song; and the laughable farce of Monsieur Tonson. The characters were sustained in a manner far superior to what could be expected on a first representation, and extremely creditable to the performers. In Mr. Meredith, Mr. Cooper, Mr. Vale, and Mr. Cook, Mr. Levey possesses actors of no mean talent; Mrs. Love and Mrs. Weston, are also entitled to the same praise, but require confidence. Monsieur Morbleu, and Tom King in the after-piece, were admirable, and elicited roars of applause. The audience were universal in their satisfaction with Mr. Levey's efforts for their recreation. He has achieved much, and we have no doubt will be amply supported. On Thursday evening the same performances were repeated to a very respectable house; and manifested a decided improvement over the previous night. The fine band of the 17th, under their able leader, Mr. Lewis, filled the orchestra, and played some excellent music. Black Eyed Susan, will be repeated, to night, with Fortune's Frolic, and we sincerely recommend all who wish for a treat to be in attendance.

"THEATRE-ROYAL, SYDNEY", The Sydney Herald (31 December 1832), 3 

On Wednesday evening the Comic Muse made her debut in this Colony with a good grace. The public had been long anxiously awaiting her appearance, and hailed her with unfeigned pleasure. It had been found impossible to prepare the large Theatre by the Christmas holidays, and, consequently, a tasty stage was fitted up in the saloon of the Royal Hotel, and a tier of boxes erected, with the necessary seats, in the pit. The whole arrangements had been carried into effect with a view to accommodate the public, who commenced arriving until the house was crowded, to witness the nautical melo-drama, in three acts, of BLACK-EYED SUSAN, or, ALL IN THE DOWNS. The plot of the piece is this. - WILLIAM (Mr. Meredith), having been in His Majesty's sea service for three years, returns and joins his wife, BLACK-EYED SUSAN, (Mrs. Love). The captain of his vessel, CROSTREE (Mr. Cooper), sees SUSAN - is struck with her charms - and is determined to possess them; and, subsequently meeting, lays hands upon her; - she screams for assistance - WILLIAM, who is within hearing, rushes in and wounds his captain with his sword - is arrested, tried by a Court-Martial, and condemned to suffer - at the moment his fate is rapidly approaching, Captain CROSSTREE rushes in, declaring that WILLIAM was discharged from his Majesty's service before the blow was struck, and consequently not amenable to the Court who tried him, he not being his officer at the time, information of which he had sent, by letter, which had been detained by Doggrass (Mr. Buckingham) Uncle to Black-eyed Susan, on account of his dislike to her marriage to WILLIAM. The piece concludes, as such pieces usually do, with rejoicings.

The principal character in the piece, WILLIAM, was supported by Mr. Meredith, who was labouring at the time under indisposition, but it did not, however, prevent him going through his part with credit to himself, and satisfaction of the audience, especially in the last Act, "When doomed to suffer by his country's laws." The part of BLACK-EYED SUSAN, by (Mrs. Love), was well adapted to her powers, the early scenes gave scope for domestic tenderness, with a few sportive touches which she threw in with a playful simplicity. DOLLY MAY FLOWER (Mrs. Weston) performed her part with much navieté. CAPTAIN CROSSTREE (Mr. Cooper) was a gentlemanly and dignified performance. GNATBRAIN (Mr. Vale) and PLOUGHSHARE (Mr. Farley) were so well performed as to call down the repeated approbation of the house. The other parts were respectably sustained, and for the first appearance of the performers, did them great credit. The piece was announced for repetition by Mr. Levey amid the cheers of the house.

The evening's entertainment concluded with the well known Comic Farce of "MONSIEUR TONSON," which kept the house in a roar of daughter from beginning to end, the characters of MARBLUE [Morbleu], TOM KING, ADEPHINE [Adolphine] DE COURCY, and MADAME BELLEGARDE, were respectably sustained. During the evening the band of the 17th Regiment, kindly lent by Colonel Despard, performed several beautiful pieces by Rossini and Mozart in a masterly manner. The scenery was good, and in keeping with the performance, but a little smarter motion in shifting would not be lost, and a few more lights throughout the house would be attended with good effects.

THEATRICALS. - The Theatre was again opened on Thursday evening, with the pieces represented the evening preceding. The performance was an improvement, the corps dramatique being more at home in their parts.

ASSOCIATIONS: Mrs. Love, alias of Harriet Jones (actor); John Meredith (actor); Mr. Cooper, alias of Conrad Knowles (actor); George Buckingham (actor); Barnett Levey (manager); temporary Theatre Royal at the Royal Hotel (Sydney venue)

PIECES: Black-eyed Susan (Jerrold)

"DOMESTIC INTELLIGENCE", The Sydney Herald (21 January 1833), 2 

The pieces performed at the Theatre on Wednesday night were Black-eyed Susan and the Village Lawyer: between the pieces a pas seul was danced by Mrs. Weston, which, together with both pieces went off to the satisfaction of the audience.

"THEATRE", The Sydney Herald (22 April 1833), 2 

On Wednesday evening, the performances were the Heir at Law and the Tale of Mystery . . . During the interval between the performance, Mrs. Weston sung Annette Lyle, and Mr. Levey the Beautiful Boy. On Thursday evening, was performed, Charles the Second . . . Mrs. Weston's Annette Lyle was an improvement on the previous evening, and Mr. Levey's Quack Doctor was well received . . .

MUSIC: Annot Lyle (music by G. A. Hodson)

"CORONERS INQUESTS", The Sydney Monitor (8 June 1833), 2 

A Coroner's Inquest was holden on Thursday last, at the CURRIERS' ARMS, Upper Castlereagh Street, on the body of a person named Edward Laverty, who died suddenly on the morning of that day.
Abraham Lang sworn.- I knew the deceased; he was by trade a cabinet-maker; Mrs. Laverty alias Weston, is an actress at the Theatre; I saw them both last evening, at the Three Horse Shoes public house in Pitt Street. It was between 9 and 10 o'clock, and the deceased drank some beer, called half-and half there. He was perfectly sober, and appeared to be in sound health; I took particular notice of him, as I was in conversation with him relative to the business at the Theatre. Mrs. Weston's Benefit was to have taken place tonight, and I was delivering a message to him from Mr. Levey, about the arrangements of the house. The deceased in company with his wife, left the public house to go home; he was perfectly sober at the time.
Cross examined by the Jury. - I have known quarrels between the deceased and his wife, but they were nothing more than what occur frequently in families. The deceased used to drink very hard, and when tipsey, would abuse his wife; I do not know of any agreement between them to separate; there were many persons in the public house on the evening they were there; I know nothing of the death of the deceased. A medical man, Mr. Street, was present, I believe.
Mr. B. Levey sworn - I knew the deceased; his wife is a performer at the Theatre; I saw them both yesterday, in the evening, but not later.
By the Jury.- I do not know, of my own knowledge, that an agreement was made between the deceased and his wife that they should separate; I was told that they were going to separate, and that Mrs. Laverty was to give him 50 l. and a new suit of clothes to leave him; I know that they led a very unhappy life, and I was once the means of reconciling them. The deceased has certainly told me that he suspected his wife's fidelity, & the same was reported amongst the actors; but when I saw them yesterday, they appeared perfectly amicable.
John Boyce. - I was servant to the deceased. I did not stop in the house, but went to it at nearly half-past six in the morning, and left about half-past four in the evening. This morning I went there as usual, and was let in by the mistress. I lit the fire, and as soon as the kettle boiled, which was about seven o'clock, I took a cup of tea to the deceased, who was in bed; when I approached him, he appeared in a dying state, and I went and told my mistress; she burst into tears, and I went off directly for Dr. Street, who came and tried to bleed the deceased, but without effect. The doctor said he was dead.
Cross examined by the Jury - I have lived about five or six weeks with them, and during that time I never heard them quarrel. My mistress was up and dressed, as she usually is when I went to the house. When I returned from the doctors, his mother had come, and I was sent to Mr. Jones' to borrow a tea-cup and saucer for her.
Drs. Janneret and Street, who opened the body and examined it, returned a certificate, that the deceased had died of appoplexy, brought on by excessive drinking. They had carefully examined every part of the body, and no violence appeared. A partial inflammation of the stomach also existed. The Jury returned a verdict of - Died by the Visitation of God.

[News], The Sydney Gazette and New South Wales Advertiser (8 June 1833), 2 

The husband of the most talented actress on our embryo stage - Mrs. Weston - died suddenly on the morning of Thursday last. Her benefit, which was appointed for the evening of the same day, was postponed in consequence; but we see no reason why it should be deferred much longer. Although Mrs. W, cannot appear before the public at present, her friends ought to avail themselves of an early opportunity to evince that in her distress she is remembered.

[Advertisement], The Australian (12 July 1833), 3 

FEELING that it would be unjust, to allow the concluding sentence of a Theatrical Advertisement to pass unnoticed, I think it is but fair to state, that, certain performers refused to play at Mrs. Laverty's benefit, because it was previously stated, as being her intention to appear in character before the public, which, deemed indelicate, was the reason they declined giving their services.
Sydney, July 11, 1833.

[Advertisement], The Sydney Gazette and New South Wales Advertiser (13 July 1833), 1 

Theatre Royal, Sydney.
FOR THE BENEFIT OF THE Widow of the late Mr. Laverty.
ON MONDAY, 15th July, 1833, will be performed, that celebrated Drama, in two Acts,
THE TALE OF MYSTERY, OR THE ASSASSIN BROTHER, as originally played at the Theatres Royal, London . . .
In Scene 1st, Act 2nd, Mrs. Laverty will sing the "Swiss Toy Girl", in the character of a Savoyard.
A new Comic Song by Mr. Dyball.
That celebrated Song of "Poor Little Mo," Mr. Duddridge.
The favourite Cavatina of "Lilies Fair," Mrs. Laverty.
A Dance by Master Martin.
The whole of the Entertainments to conclude with, for the first time in this Colony, and got up expressly for this occasion,
A Pantomime called THE THREE WISHES, OR Harlequin and the Black Pudding;
with a variety of Tricks, Dancing, change of Dress and Scenery.
Further particulars in Bills of the Day. Boxes 5s. - Pit 3s.
Tickets to be had at the Dolphin Hotel, Race Course; at the Residence of Mrs. Laverty;
at the Royal Hotel; Mr. Ellard's Music Saloon, Hunter-street; Mr. Moffitt's, King-street; and at Mr. Russell's, George-street.
Inconsequence of two of the Ladies refusing to play at the above Benefit, Mrs. Laverty is obliged to appear herself.
The part of Selima will be sustained by a young Lady, being her first appearance on the Sydney Stage.

ASSOCIATIONS: Mr. Dyball (comic vocalist, actor); William Dudderidge (comic vocalist)

MUSIC: The rose of Lucerne; or, The Swiss toy girl (music by John Barnett); Lilies fair, in answer to the celebrated Cavatina "Cherry Ripe," composed expressly for Madame Vestris (London: 1827; music by Charles Edward Horn)

"DOMESTIC INTELLIGENCE", The Sydney Herald (23 September 1833), 2 

We have been requested to give the following information respecting the proposed arrangements of Mr. Levy's Theatre - Stage and Acting Managers, Messrs. Knowles and Cavendish; Leader of the Orchestre, Mr. Edwards; Violincello, Mr. Sippe; Scene Painters, Messrs. Duddridge and Fitchett; Mechanists, Messrs. Fitchett and Clark; Dresses by Mr. Aldrid; Directing Manager and Proprietor, Barnett Levy. We have been informed that Mr. Meredith has refused three guineas per week, and that Mr. and Mrs. Mackay have refused five pounds per week.

ASSOCIATIONS: William Joseph Cavendish (stage manager); John Edwards (leader, violin); George Sippe (cello); George Fitchett (scene painter); Angus Mackay (actor), the first time Frances is referred to as Mrs. Mackay

"Shipping Intelligence. DEPARTURES", The Sydney Gazette and New South Wales Advertiser (31 December 1833), 2 

For Hobart Town, same day [29 December], the cutter Jolly Rambler, Brignall master, with merchandise. Passengers, Mr. Mackie and Mrs. Laverty.

Hobart Town, VDL (TAS) (1834, as Mrs. MACKAY):

"HOBART TOWN", The Colonist and Van Diemen's Land Commercial and Agricultural Advertiser [Hobart, TAS] (14 January 1834), 2 

Jan. 9. - The cutter Jolly Rambler, 107 tons, Captain J . Brignall, from Sydney, which she left on the 3d instant, with merchandise. - Passengers, Mrs. and Miss Brignall, Miss Gloane, Mr. and Mrs. Mackay, and Miss Civory.

"Domestic Intelligence", Colonial Times [Hobart, TAS] (14 January 1834), 6 

The theatricals are vastly improving since our last publication, Mrs. Brown more particularly. A great acquisition to the corps dramatique has taken place in the persons of Mr. and Mrs. Mackay, from Sydney. We have not yet witnessed their performance.

"Domestic Intelligence", Colonial Times (2 September 1834), 6 

On Saturday last, Mrs. Mackay had her benefit at Mr. Deane's Theatre. The house was well filled, and the performances were highly creditable. Mrs. Mackay would have pleased the Public much better, had she not favored them with the specimen of her vocal abilities.

ASSOCIATIONS: John Philip Deane; Theatre Argyle Rooms (Hobart venue)

"TRADE AND SHIPPING", The Hobart Town Courier (5 December 1834), 3 

On Sunday the brig Hind sailed for Sydney with part of her import cargo - passengers Mrs. Hodges and Mrs. Mackay, to augment, we learn, Mr. Levey's dramatic force at Sydney.

Sydney, NSW (from 11 December 1834, as Mrs. MACKAY):

"Shipping Intelligence. SYDNEY. ARRIVALS", The Sydney Monitor [NSW] (13 December 1834), 2 

On Thursday [11 December], the brig Hind, Captain Wyatt, from Calcutta Sept. 3rd, and Hobart Town Dec. 1st.. Passengers - Mr. Gibbons, Mrs. Frances Mackay, Mr. B. Levey, Mr. J. White, Mr. William Oxberry . . .

ASSOCIATIONS: Mr. Oxberry alias William Penphrase (actor)

[News], The Sydney Gazette and New South Wales Advertiser (13 December 1834), 2 

Mr. Levey has returned to Sydney, from Van Diemen's Land, by the Hind, bringing with him an accession to the corps dramatique here, one of whom is Mrs. Mackay. We are glad of this, and we are sure the play-goers will also be glad, as Mrs. Mackay was the most admired (and deservedly so) of any actress on the Sydney boards.

"THEATRICALS", The Sydney Gazette and New South Wales Advertiser (13 August 1836), 2 

On Monday evening, the Manager was under the necessity of apologising for the absence of Mr. Mackay, whose "serious indisposition" he said continued unabated . . .

"THE THEATRE", The Australian [Sydney, NSW] (26 August 1836), 2 

Mr. Mackay has thought it advisable to seek his fortunes in mother land. He was a very valuable member of the corps, from the versatility of his talents, as well as from the advantage of a clear voice and general good appearance. As he is now absent we will not speak of his faults . .

Hobart Town, VDL (TAS) (by October 1836, as Mrs. MACKAY, and, from August 1837, as Mrs. ARABIN):

"THE THEATRE", The True Colonist Van Diemen's Land Political Despatch [Hobart, TAS] (28 October 1836), 343 

. . . The Company has gained considerably by the return of Mrs. Clarke, and the arrival of Mrs. Mackay from Sydney. Of Mrs. Clarke we need say nothing - she is without any competitor as a singer, and is fast improving as an actress. In some characters (singing apart) we like her better than Mrs. Cameron. Mrs. Mackay used to be a favorite actress here and she has made a marked improvement since her last visit. We have only seen her on Wednesday night as Julia Mannering, and as Mrs. Somerton in the laughable farce of "My Neighbour's Wife;" but we remarked a considerable improvement in her acting . . .

ASSOCIATIONS: Anne Remens Clarke (actor, vocalist); Cordelia Cameron (actor)

"TRADE AND SHIPPING", The Hobart Town Courier (18 November 1836), 3 

On the same day [Sunday, 13th] the bark Atwick, 341 tons, Capt. McKay from London 5th July, arrived with a general cargo - passengers . . . Mr. Arabin . . .

"The Prompter, AND DRAMATIC CENSOR", Bent's News and Tasmanian Three-Penny Register (29 July 1837), 4 

. . . It is understood, that the Theatre will be shut up for three months at least, and that in the mean time, Mrs. Cameron, Mrs. Clarke, Mr. Arabin, and Mr. Jordan intend proceeding to Sydney, there to make their appearance on the stage. - Mrs. Mackay, having retired from our Theatre, has proceeded to Sydney.

ASSOCIATIONS: Richard Jordan (actor); Theatre Royal (Hobart venue)

Marriages solemnized in the parish of Trinity [Hobart] in the county of Birmingham, in the year 1837; Tasmanian names index; NAME_INDEXES:823491; RGD36/1/3 no 3735 (DIGITISED)

No. 375 / 3735 / Gustavus Frederick Ferrars Arabin of this Parish Bachelor / Francis Laverty Mackay of this parish Widow / married in the church by Banns . . . this 5th day of August in the year 1837 . . .

"THEATRE", The Hobart Town Courier (15 December 1837), 2

. . . A variety of favourite pieces have lately been enacted with much success, and none more deservedly so than the nautical drama of my My Poll and my Partner Joe, which, as it justly merits, has drawn good houses on each representation. This piece was highly popular at home, and was performed upwards of 200 consecutive nights at the Surrey Theatre. We cannot omit noticing the characters of Poll, (Mrs. Arabin), Harry Hallyard, (Mr. Grove), Joe, (Mr. Falchon), Zinga, (Mr. Arabin), which were impersonated with considerable judgment and ability . . .

ASSOCIATIONS: Daniel Grove (actors); Arthur Falchon (actor)

Sydney, NSW (from 14 March 1838 to December 1840, as Mrs. ARABIN):

"ARRIVALS", The Sydney Herald (15 March 1838), 2

From Hobart Town, yesterday, having sailed the 3rd instant, the schooner Marian Watson. Captain Shorter, with wheat potatoes, &c. Passengers . . . Mrs. Murray, Mr. Grove, Mrs. Grove, Mr. Arabin, Mrs. Arabin . . . Mr. Falchion . . .

ASSOCIATIONS: Bridget Grove (actor); Dinah Murray (actor)

"BIRTH", The Sydney Gazette and New South Wales Advertiser (26 January 1839), 3 

At the residence of her mother, Mrs. John Henry Dieckman, West Maitland, Hunter's River, the wife of Mr. G. F. F. Arabin of a daughter, on Sunday the 13th inst.

ASSOCIATIONS: Angelia Caroline Arabin died on 21 January 1839 aged 8 days; see Find a grave 

Adelaide, SA (23 December 1840 to 5 June 1842):

"SHIPPING INTELLIGENCE. ARRIVED", Adelaide Chronicle and South Australian Literary Record [SA] (30 December 1840), 2 

Wednesday, 23. - The brig Dorset, 81 tons, Captain Mackay, from Sydney, having left on the 13th instant. Passengers . . . Mr. and Miss Lazar, Mr. and Mrs. Arabin . . .

[Advertisement], The Examiner [Adelaide, SA] (7 April 1842), 1 

TASMANIAN HOTEL. MR. & MRS. ARABIN beg to acquaint the inhabitants of Adelaide and its vicinity, that at the above place on Monday, April 11th, 1842, they will give an entertainment, assisted by others, as follows, a laughable farce entitled COMFORTABLE SERVICE.
Song. - The Battle and the Breeze. HORNPIPE. Song. - The Light of other Days.
Songs - Swiss Toy Girl, and Bay of Biscay.
To conclude with THE DAY AFTER THE FAIR.
Doors open at Eight o'clock, commence at half-past. Admission 2s each.

"SAILED", The Examiner (9 June 1842), 2 

June 5. - The schooner Isabella, 69 ton, Leslie, for Hobart Town. Passengers . . . Mr. and Mrs. Arabin . . .

Hobart and Launceston, VDL (TAS) (June to October 1842):

"THE THEATRES", The Cornwall Chronicle [Launceston, VDL (TAS)] (21 May 1842), 2 

The Olympic, which the early part of the week was thinly attended, has exhibited that superior exertion on the part of the company, which entitles it to the amplest public support. It will be noticed by advertisement, that Mr. Watson has reduced the price of admission to 5s. for the boxes, and 3s. the pit . . . Mr. Watson expects that, in the course of a few day, Mr. and Mrs. Arabin, from South Australia, will arrive to take an engagement in his company for the remainder of the season. Mrs. Arabin is an accomplished actress; her services at the Olympic will increase the claims of that place of amusement to public encouragement . . .

ASSOCIATIONS: Feltham Bold Watson (actor, manager); Olympic Theatre (Launceston venue)

[Advertisement], The Cornwall Chronicle [Launceston, VDL (TAS)] (10 September 1842), 3 

Highland Pas de Deux, Mr. Boyd and Mrs. Arabin . . ..

ASSOCIATIONS: Thomas Spencer Boyd (alias Boyes) (actor)

[Advertisement], The Cornwall Chronicle (1 October 1842), 3 

To the Inhabitants of Launceston, THE undersigned begs to apologise for his imprudent and intemperate conduct on Friday evening last, and begs leave to claim their indulgence and forebearance, hoping they will take into consideration the state of his mind, caused by an unwarrantable and wanton outrage upon his feelings.
GUSTAVUS ARABIN. Royal Olympic Theatre, Oct. 1.
I HEREBY give notice that from and after this date, I will not be answerahle for any debt contracted by Frances Arabin, my wife, she having absconded with Thomas Spencer Boyes.
GUSTAVUS ARABIN. Launceston, Oct. 1.

Passengers departing Launceston, October 1842; Tasmanian names index; NAME_INDEXES:525518; POL459/1/2 p24 (DIGITISED)

. . . Thomas Spencer Boyd / Breeze / 5s. / Port Phillip / Oct. 8 . . .
Frances Arabin / Breeze / 5s. / Port Phillip / Oct. 8 . . .

Melbourne and Geelong, NSW (VIC) (5 Novemver 1842 to early 1847, from late 1844 to late 1845 as Mrs. BOYD):

"Shipping Intelligence. ARRIVED", Port Phillip Patriot and Melbourne Advertiser [NSW (VIC)] (7 November 1842), 2 

November 5. - Breeze, schooner, 29 tons, Jenkins, master, from Launceston. Passengers - Mrs. Arabin, Messrs. . . . Boyd . . .

"DOMESTIC INTELLIGENCE", Port Phillip Gazette (12 November 1842), 2 

The Ice Witch was repeated with increased success, at the Pavilion, on Thursday night, to a very respectable audience . . . Black-eyed Susan, or All in the Downs, will be produced at the theatre, for the first time, this evening, for the purpose of introducing to the Melbourne public Mrs. Arabin, late of the Sydney theatre, in the character of Black-eyed Susan, and a Mr. Boyd, late of the Hobart Town theatre, as William. Mrs. Arabin's abilities, as an actress, are already well known to the public, and report speaks highly of Mr. Boyd's talents, as an actor; we may, therefore, (with the double attraction of such a piece as Black-eyed Susan, and the first appearance of two well-known stars) expect a crowded house. Black-eyed Susan was the first piece ever produced in the Australasian colonies, in 1832; and in which piece Mr. Buckingham spoke the first sentence, in the character of Doggrass.

ASSOCIATIONS: George Buckingham (actor, manager); Royal Victoria Theatre (Pavilion) (Melbourne venue)

[Theatrical news], The Examiner [Adelaide, SA] (24 December 1842), 3 

. . . Mr. Arabin has given notice that he will no longer be responsible for the debts of Mrs. Arabin, she having eloped with a man by the name of Boyes.

Maitland, NSW (from 1847, as Mrs. ARABIN):

"THEATRICALS", The Maitland Mercury and Hunter River General Advertiser [NSW] (6 March 1847), 2

We are glad that there is a probability of the playgoers of Maitland being gratified with some theatrical performances shortly. Mrs. Arabin, who is now in Maitland, is about getting a room at the Rose Inn, we are told, fitted up as a theatre, and hopes by Easter to have it ready for performances by a mixed company, of amateurs and actors, under the management of herself and her husband, now in Sydney. We have little doubt they will meet ample encouragement to pay Maitland an annual visit.

"THE THEATRE", The Maitland Mercury and Hunter River General Advertiser (15 May 1847), 2

We are sorry to state that the Theatre was on Tuesday last very thinly attended, although the audience were of a highly respectable class. Mrs. Arabin, as usual, gave great satisfaction. In the song, "Perhaps it's as well as it is," she was rapturously encored, and although labouring under a severe cold and hoarseness, she contrived to delight the audience with her good humour and spirit. The melo-drama of the "Maid of Genoa" went off exceedingly well; all parties seemed to be well up in their parts. Baker, as usual, was all fun, and Mrs. Arabin's action in the Dumb Girl was decidedly first-rate. The last piece we have also no room to find fault with. Our old favourite, Mr. Baker, takes his benefit on Tuesday next, when the pieces selected are "The Rover's Bride," in which Mrs. Arabin and Mrs. Miller will perform; also, songs by Williams, Baker, and Belfield; to conclude with, "The Weathercock." As Mr. Baker has been a long sojourner among us, and has drawn upon himself the respect of all classes, we have every reason to hope that (wind and weather permitting) he will have a bumper.

MUSIC: Perhaps it's as well as it is (comic song, words by James Bruton)

"MRS. ARABIN", The Maitland Mercury and Hunter River General Advertiser (23 June 1847), 2 

We regret to state that this talented Thespian has been labouring under severe indisposition for some time past, originating from a cold caught at the theatre. She has been, and is now, under the care of Dr. Stolworthy, at whose house she is sojourning; and we have great hopes, from that gentleman's medical skill and attention, we shall soon hear of her recovery.

"AMATEUR THEATRICALS", The Maitland Mercury and Hunter River General Advertiser (1 July 1848), 2 

On last Wednesday evening Mrs. Arabin took a benefit at the Amateur Theatre, and we were glad to observe that the house was well filled. The pieces she had selected were "Othello," and the farce of "The Intrigue." The first was somewhat a bold experiment, considering that, except herself and Mr. Nesbitt, all who took a part in the performance were amateurs; it went off better than we expected, Mr. Nesbitt playing well as Othello, and Mrs. Arabin passably as Desdemona. A comic duet followed between Mrs. Arabin and Mr. Turner, which was encored; as was also a song by an amateur, "Let others rejoice in the merry moonlight." The farce of the "Intrigue" passed off remarkably well, each of the players entering fully into the spirit of it, and Mrs. Arabin performing very well . . .

ASSOCIATIONS: Francis Nesbitt (actor); John Turner (vocalist, actor)

"Death", The Maitland Mercury and Hunter River General Advertiser (20 May 1848), 3 

At West Maitland, on the 19th May, in the 67th year of his age, after a few days illness, Mr. John Henry Dieckman, native, of Osnaburgh, in Germany, many years a resident in England, and for the last 14 years of West Maitland, Hunter River, N.S.W., leaving a wife to deplore his loss, and all that knew him to regret him.

"Deaths", The Maitland Mercury and Hunter River General Advertiser (18 October 1848), 3

At her mother's residence, High-street, West Maitland, on the 16th Oct., after a lingering illness, Frances Arabin, the wife of Mr. G. F. F. Arabin, of Sydney, leaving a widowed mother and a large circle of friends to lament her loss; aged 40 years.

[Advertisement], The Maitland Mercury and Hunter River General Advertiser (29 September 1848), 3

Notice. I THE undersigned, do hereby give notice to all whom it may concern, that I will not be accountable for any DEBTS that may have been contracted by the deceased Frances Arabin, late wife of Gustavus Frederick Ferris Arabin, native of London, now residing in Sydney, New South Wales.
A. M. DIECKMAN, West Maitland, Sept. 28, 1849.

"Maitland District Court . . . McCARTNEY V. DIECKMAN", The Maitland Mercury and Hunter River General Advertiser (19 September 1849), 2

This was an action for debt, the plaintiff being Michael McCartney, and the defendant Angel Maria Dieckman . . . Mr. Darvall, who was for the plaintiff, said, that this was an action for debt for a surgeon's attendance, and medicine, extending over a period of nearly four months, which defendant declined to pay . . . Mr. David Fletcher deposed that he knew the plaintiff and defendant; remembered Mrs. Arabin, defendant's daughter, being ill, and having a conversation with defendant, who told him she thought of taking her daughter to Singleton to place her under medical care; witness recommended her to keep her in Maitland, and place her under Dr. McCartney's care . . . Mrs. Arabin was ill, witness thought, about three months after the first conversation, and then died . . . Mr. Richard Stark deposed that Dr. McCartney was called in to attend Mrs. Arabin somewhere about the middle of 1848 . . .

"CIVIL SITTINGS. . . McCARTNEY V. DIECKMAN.", The Sydney Morning Herald (21 September 1849), 2

. . . The action was brought by a medical man to recover compensation for attending the defendant's daughter, Mrs. Arabin, for many years connected with the stage in this colony. The attendance was admitted, and the defence was, that Mrs. Arabin was a married woman, and her husband was liable for the debt. The Judge left it for the Jury to say whether the defendant had herself engaged the plaintiff, if so she was liable; if she only acted as agent for her daughter, then her daughter's husband was liable. The Jury found a verdict for the plaintiff, damages £35.

"THEATRICALS", The Maitland Mercury and Hunter River General Advertiser (28 April 1849), 2 

The lovers of the drama have now an opportunity afforded them which seldom occurs, Mr. and Mrs. Hambleton, and Mr. Arabin, from the Victoria Theatre, Sydney, having paid Maitland a theatrical visit. They have obtained the assistance of the Maitland Amateurs, and the use of the Amateur Theatre, at the rear of the old Albion, and on Monday, Thursday, and Saturday next week will give performances there.

ASSOCIATIONS: John Hambleton and wife (actors); Gustavus Arabin and the Hambleton's remained in Maitland until mid-June

[Advertisement], The Maitland Mercury and Hunter River General Advertiser (3 October 1849), 3 

Notice. THE undersigned, do hereby give notice to all whom it may concern, that I will not be accountable for any
DEBTS that may have been contracted by the deceased Frances Arabin, late wife of Gustavus Frederick Ferris Arabin,
native of London, now residing in Sydney, New South Wales.
A. M. DIECKMAN, Widow of the late J. H. Dieckman.
West Maitland, Sept. 28, 1849.

"Married", The Maitland Mercury and Hunter River General Advertiser (12 October 1850), 3 

At St. Mary's Church, West Maitland, on the 10th October, 1850, by special license, by the Rev. Mr. Chapman, Peter Cook, of Rutherford, to Angel Marian Dieckman (widow), native of King's Residence, city Hanover, Germany, but now of West Maitland, N. S. Wales.

"ECCLESIASTICAL JURISDICTION", New South Wales Government Gazette (9 April 1858), 602 

In the Supreme Court of New South Wales . . . In the Goods of Angel Maria Cooke, late of High-street, West Maitland, in the Colony of New South Wales, deceased [1857] . . .

ARMBRUSTER, Frederick (Johann Frederick Martin ARMBRUSTER; John Frederick ARMBRUSTER; Frederick ARMBRUSTER; Mr. F. ARMBRUSTER; ARMBRÜSTER)

Amateur vocalist, founding member of Adelaide Liedertafel, tobacconist

Born Hamburg, Germany, June 1826 (? 28 June 1824)
Married (1) Maria WILD (d. 1856), c. 1850
Arrived Adelaide, SA, 16 November 1853 (per Hermann from Hamburg, 14 July)
Married (2) Maria Sophia ROSENHEIM (d. 1885), Adelaide, SA, 8 March 1860
Married (3) Hermina Emilie ESSELBACH (d. 1929), Stepney, SA, 11 January 1893
Died Norwood, SA, 10 February 1897, aged "70" (TROVE tagged by Australharmony) (shareable link to this entry)


"SHIPPING INTELLIGENCE. ARRIVED", South Australian Register [Adelaide, SA] (18 November 1853), 2 

Wednesday, November 16 - The barque Herrmann, 236 tons. Kleingarn, master, from Hamburg 14th July. Passengers . . . Armbruster 4 . . .

THE LATE MR. F. ARMBRUSTER", South Australian Register (11 February 1897), 5 

The intelligence which is announced elsewhere of the death of Mr. F. Armbruster, of this city, will be received with widespread regret. Mr. Armbruster, who was a native of Hamburg, Germany, arrived in the colony about the year 1851 [1853]. Business prosperity being impeded by the enormous exodus to the Victorian gold-diggings, Mr. Armbruster wended his way overland across the border, where the gold-fever had assumed such a height. Like many others who journeyed to the eastern colony, Mr. Armbruster was not honoured by fortune's favours, and he returned to Adelaide. In 1855 he entered into the tobacco trade, taking over the business of Mr. A. H. F. Bartels, an ex-Mayor of the city. The late Mr. H. C. Uhlmann joined Mr. Armbruster in partnership in the year 1857, since when the business has been carried on under the style of Armbruster & Uhlmann. Though not participating extensively in public affairs, Mr. Armbruster held many offices of a more private nature. Frequently he was approached by ratepayers who wished him to represent them in the City Council as well as in Parliament, but he always declined to be nominated. The deceased gentleman was a prominent member of the German Club, being one of the earliest members. Recently he was elected a life member to this Club in recognition of his services. Music had its charms for Mr. Armbruster, and he was an enthusiastic supporter of the divine art. His name will always be remembered in connection with the foundation of the Adelaide Liedertafel, the inauguration of which took place in the year 1858. No one connected with this Society held the office of President as often as did he. Until the time of his death be was Trustee of the Society. Cigar manufacturing was first introduced into the colony by Mr. Armbruster, and he took a delight in the preparation of the soothing weed. Perhaps there was not a better judge of cigars and cigarleaf in the colonies than Mr. Armbruster, who learnt his trade in Hamburg, one of the largest cigar manufacturing towns in Europe. Since his arrival in the colony he had taken only one trip to his native country, and that was in the year 1S67. The deceased gentleman, who was nearly seventy-one years of age, leaves a widow, and three sons and two daughters by a former marriage.

"DEATH OF MR. F. ARMBRUSTER", The Advertiser (11 February 1897), 6 

Great regret will be felt at the death, announced this morning, of Mr. F. Armbruster, one of the best known and most highly esteemed of the German citizens of Adelaide. His illness was a brief, one, but on Wednesday afternoon his life was despaired of. On Saturday last he was suddenly attacked inflammation of the lungs, and called in the services of Dr. Yon Lukowitz. The disease, however had gained too strong a hold on him, and he died between 11 o'clock and 11.30 on Wednesday night.

The late Mr. Armbruster was born in June, 1826, in Hamburg, Germany, and afterwards carried on business there for some years as a cigar-maker. In 1851 [recte 1853] he came to South Australia, but there was little scope then for him in the special line, and like many early colonists he sought other employment. When the goldfields of Victoria attracted attention he caught the "fever" prevalent, and went over land to the diggings in 1853. He was not there long, and was not numbered among the fortunate ones. He returned to Adelaide, and in 1855 took over the tobacconist business, established by the late Mr. A. H. F. Bartels, an ex-mayor, of Adelaide. In 1857 he was joined by the late Mr. H. C. Uhlmann; and about 15 years later he started cigar manufacturing, which he had conducted ever since. The deceased took no active part in public affairs, although on several occasions he was approached by his friends with requests to offer himself for election to Parliament or to the City Council, but he invariably declined, preferring to attend to business. He was in the commission of the peace.

Mr. Armbruster was one of the earliest and most prominent members of The Deutsche Club, of which he was made an honorary life member, in recognition of his services. He was one of the founders of the Adelaide Liedertafel which was established in 1858 and mainly to his love of music and his enthusiasm for male singing this society owes its long and uninterrupted existence. It might be added that no other member has occupied the presidential chair so often as the deceased, and up till the time of his death he held the position of trustee of the society. He always took an active part in musical matters, especially in the earlier days, of the colony. He knew what suited the tastes of the people, theatrically, and otherwise, and his advice on such matters was always valued. After returning from a trip to Europe in 1887 he was instrumental in introducing the smoke socials which are now held in connection with the society. Mr. Armbruster was exceedingly popular among a large circle of friends, by whom his death will be severely felt. He was twice married, and leaves a widow, three sons, and two daughters - Mrs. Harry Bead and Mrs. Douglas Tolley.

"DEATHS", South Australian Register (13 February 1897), 4 

ARMBRUSTER. - On the 10th February, at his residence, Freidrich's Ruh, Osmond-terrace, Norwood, J. F. M. Armbruster, J.P., in his 71st year.

THE LATE MR. F. ARMBRUSTER", Evening Journal (13 February 1897), 4 

The funeral of the late Mr. F. Armbruster took place at the Payneham Cemetery on Friday afternoon. At 4 o'clock the cortege, which was a lengthy one, left the residence of the deceased, Osmond-terrace, Norwood, and arrived at the cemetery a little more than half an hour later. The members of the Adelaide Liedertafel, of which Mr. Armbruster had been one of the founders, sang before leaving the house, "Es ist bestimmt in Gottes Rath," and under the leadership of Captain Bassé this was repeated at the grave, where the Liedertafel also rendered "Still ruht das Herz." Many beautiful wreaths were placed on the coffin, including one from the workpeople, and another from Messrs. Kronheimer and Co., Melbourne, and the colours of the Liedertafel and German Club were also conspicuous . . .

ARMFELDT, Lilie (Lilie ARMFELDT; also Lillie; also Miss ARMFIELD [sic])

Musician, vocalist

Active Sydney, NSW, February 1852 to November 1853 (TROVE tagged by Australharmony) (shareable link to this entry)


"ST. MARY'S CHORAL SOCIETY'S CONCERT", Empire [Sydney, NSW] (24 February 1852), 2

This Concert took place in the Hall of St. Mary's School House, Hyde Park, yesterday evening, and was numerously attended. Among the visitors, we noticed his Grace Archbishop Polding, the Right Rev. Dr. Davis, and Mr. Justice Therry. The programme of sacred music contained various selections from Handel and Haydn, together with Felix Mendelssohn's chorale "In Judah God is known." Mr. Sigmont, as the organist, acquitted himself, in each, and all of the pieces chosen, most creditably. "Achieved is the Glorious Work," from Haydn's Creation, was the most carefully harmonized of the performances. The "Hallelujah Chorus" was rendered with considerable spirit, and on the whole, with remarkable choral accuracy. The secular music was by far the most successful portion of the entertainment. The madrigal "Spring's Delights" was charmingly given and deservedly encored. The music is very delightful, full of freshness and the sweetest rural feeling. F. M. Crouch's ballad "Art thou in tears" was sung with great elegance and purity of taste by a young lady of very high promise - Miss Armfield. She will, we have no doubt take, before long, a very high place among our resident vocalists. Her powers are of no common order, and only require cultivation and judicious development. "Sweet peace descending," from Mozart's Idomeneo, and Bishop's well known glee "The Chough and Crow," were both sung in very vigorous style.

ASSOCIATIONS: John Bede Polding (archbishop); Charles Henry Davis (bishop); Roger Therry (judge); William Abercrombie Sigmont (organist); St. Mary's Choral Society (association)

MUSIC: Art thou in tears (F. N. Crouch), as recently published in a Sydney edition by Henry Marsh (musicseller, music publisher)

[Advertisement], The Sydney Morning Herald (30 March 1852), 1 

MR. A. MOORE begs to inform the public that his next Concert will take place on Wednesday next, the 31st instant, at the School of Arts; on which occasion Miss Lilie Armfeldt will have the honour of making her debut, and Mrs. Dawson her second appearance.
PART FIRST . . . * 2. Ballad - "Art thou in tears" - Miss Armfeldt - Crouch . . .
6. Serenade - "I love the Night" Miss Armfield - Russell . . .
PART SECOND . . . * 4. Song - "The Rich Man's Bride" - Miss Armfeldt - Unknown . . .
Pianiste - Mr. Sigmont.
Tickets, 2s. 6d. each, to be had of Marsh and Co., 490 1/2, George-street . . .
Songs marked with an Asterisk may be obtained at the above Music Ware-rooms.

ASSOCIATIONS: Andrew Moore (violin, vocalist); Sarah Dawson (vocalist) Mechanics' School of Arts (Sydney venue)

MUSIC: I love the night (Henry Russell); The rich man's bride (C. W. Glover), in Sydney edition by Henry Marsh

[Advertisement], Empire (31 March 1852), 1 

MR. A. MOORE begs to, inform the public that his next CONCERT will take place
on which occasion Miss LILLIE ARMFELDT will have the honour of making her debut . . .

"WEEKLY EVENING CONERTS", The Sydney Morning Herald (31 March 1852), 2 

The second of Mr. A. Moore's musical entertainments takes place this evening at the Theatre of the School of Arts. Miss Lilie Armfeldt, who has lately made a highly successful debut at the concerts of the St. Mary's Choral Society, will make her appearance . . .

"MR. A. MOORE'S CONCERT", Empire (2 April 1852), 2 

The success of Mr. A. Moore's divertissement at the School of Arts, lasst week, induced him to give another on Wednesday evening. This was, we regret to say, by no means so well attended as on the former occasion. The selections from modern ballad composers manifested considerable taste, and were spiritedly rendered by the vocalists. Miss Lillie Armfeldt made a virtual debut in Crouch's ballad, "Art thou in tears?" which we had, however, heard the lady sing at the last entertainment of the St. Mary's Choral Society, in a style of higher finish. She sang a serenade of Russell's, "I love the night," with uncommon breadth and richness, and was warmly encored in it. Her organ is very superior, and in several of her notes we know no resident vocalist equal to her. There seems as yet somewhat tremulous - a certain unsteadiness in her execution, which will of course be corrected by practice, and she lacks the qualities of a decided style. These are obviously the faults of a debutante, and we yet expect Miss Armfeldt to take one of the highest places as a vocal performer. The young lady's appearance is most interesting, and her costume was the very perfection of mise for the concert-room - black, with a collar of pale blue . . . The song of the "Rich Man's Bride," one of the namby-pamby melodies obtaining for a season in drawing-rooms, was unsung, in consequence - for the lady's sake, we regret to say of a sudden indisposition of Miss Armfeldt's . . .

[Advertisement], The Sydney Morning Herald (7 April 1852), 1 

MR. MOORE begs to inform the Public that his Entertainment takes place This Evening,
Wednesday, 7th April, at the School of Arts.
PROGRAMME. PART FIRST . . . 3. Song - "Art thou in tears" - Miss Armfeldt - Crouch . . .
7. Song - "I'm afloat," - Miss Armfeldt - Russell . . .
PART SECOND . . . 2. Song - "I love the night" - Miss Armfeldt - Russell . . .

MUSIC: I'm afloat (Henry Russell)

[Advertisement], The Sydney Morning Herald (25 October 1853), 2

ROYAL HOTEL. GRAND EVENING CONCERT. Under distinguished Patronage.
MR. COLEMAN JACOBS (Pianist to H.R.H. the Duchess of Gloucester) . . .
his FAREWELL CONCERT, will take place on TUESDAY (this Day), 25th October . . .
Programme. Conductor and Pianist, Mr. Stanley.
Part I . . . Ballad, Thou art gone from my gaze, Miss Armfield . . .
Part II . . . Ballad, Miss Armfield . . .

ASSOCIATIONS: Coleman Jacobs (pianist); William Stanley (pianist, accompanist); Royal Hotel (Sydney venue)

MUSIC: Thou art gone from my gaze (George Linley)

"MR. COLEMAN JACOBS' FAREWELL CONCERT", The People's Advocate and New South Wales Vindicator (29 October 1853), 2-3

On Tuesday evening the abovenamed gentleman gave, according to announcement, his farewell concert . . . [3] . . . Miss Armfield, a young lady of good natural powers, and much promise, Mr. Palmer, and Mr. John Howson, severally acquitted themselves so as to obtain well-merited applause, with the skilful aid of Mr. Stanley at the pianoforte . . .

ASSOCIATIONS: Mr. W. J. Palmer (vocalist); John Howson (vocalist)

"ST. MARY'S CHORAL SOCIETY CONCERT", Illustrated Sydney News (19 November 1853), 2 

This Society, under the musical direction of I. Nathan, Esq., gave a Concert on Thursday evening, in the Hall of St. Mary's Seminary, a building better adapted for choral music than any other in the colony . . . Miss Armfield, a young lady of undoubted musical talent, having a well controlled, and powerful voice, sang "Thou art gone from my gaze" - Lindley [Linley] - and "Were my bosom as false as thou deem'st it to be" - Nathan - in excellent style. She also sang a duett with Miss Nagal [Nagel] - "What are the Wild Waves Saying" - S. Glover - with exquisite taste, and was loudly encored . . .

ASSOCIATIONS: Isaac Nathan (conductor)

MUSIC: Were my bosom as false as thou deem'st it to be (Nathan); What are the wild waves saying (Stephen Glover)

"SUMMARY FOR ENGLAND PER THE G. S. S. S. HARBINGER", Illustrated Sydney News (7 January 1854), 2

OUR last summary of news was despatched to England by the Great Britain, and we proceed briefly to notice, as our space renders necessary, the principal events that have occurred since the departure of that vessel . . . the citizens have been indebted for some very agreeable concerts to the St. Mary's Choral Society, at which a young lady, named Miss Armfield, particularly distinguished herself . . .

ARMITAGE, Edward Fitzgerald (Edward Fitzgerald ARMITAGE; Ned ARMITAGE)

Indigenous culture recorder

Born Dublin, Ireland, 9 June 1848; baptised St. Nicholas, Dublin, 18 June 1848, son of George Henry ARMITAGE (d. 1874) and Anne Agnes KEANE (d. 1853)
Arrived Melbourne, VIC, 6 May 1853 (per Prince Arthur, from Liverpool, 24 January)
Married Bridget KAVANAGH (d. 1934), QLD, 1875
Died Maryborough, QLD, 21 November 1943, "in his 96th year" (TROVE tagged by Australharmony) (shareable link to this entry)


Baptizati, June 1848; St. Nicholas (RC), Dublin; Irish Church Records; DU-RC-BA-758816 (DIGITISED)

18 / Edvardus filius Georgii Henrici Armitage et Annae Agnei Keane . . .

? Names and descriptions of passengers per Prince Arthur, from Liverpool, 24 January 1852, for Melbourne; Public Record Office Victoria (DIGITISED)

. . . John Fitzgerald / 31 / Civil Engineer / [English]
Kate [Fitzgerald] / 25 / [English]
James [Fitzgerald] / 5 / [English]
John [Fitzgerald] / 1 / [English]

"DIED", The Argus [Melbourne, VIC] (9 July 1853), 2 

On the 8th instant, Anne Agnes, wife of George Henry Armitage, of Dublin.

"FRASER ISLAND", The Brisbane Courier [QLD] (19 March 1927), 13

. . . MR. E. ARMITAGE, a resident of Maryborough, now in his 80th year, and remarkably active was one of the first pioneers engaged in the log timber of the island . . . As a youth he came to what was then the northern district of New South Wales, now Queensland to make his fortune and if he has not made quite the fortune he expected his friends say of him that he has led one of the most active and useful lives that any man could wish to lead. His accuracy is wonderful. He does not make a statement that cannot be supported with year and day by diary or newspaper report . . . Mr. Armitage has a fund of knowledge of the blacks and few men living have the same wide knowledge of the laws, customs, and language of the native tribes . . .

"MR. NED ARMITAGE", Maryborough Chronicle, Wide Bay and Burnett Advertiser [QLD] (26 February 1938), 3

One of the many men who have blazed the track, shown outstanding courage in the fight for an existence in this country when it "was" a fight, Mr. Edward Armitage, now nearly 91 years of age, lives in quiet retirement in his home, 101 Kent-street. His story told here speaks for itself . . .
BORN in Dublin on June 9, 1847 [sic, 1848], Mr. Armitage came to Australia with his people as passengers in the old sailing ship Prince Arthur in 1852 [sic, 1853]. They arrived in Melbourne in the boom days of the gold fields . . . about the first month in 1868 he found himself back on the Mary River . . .
A QUIET and uneventful two years passed - that is, uneventful for a man of Mr. Armitage's character - but an incident then occurred that led to his being admitted to the Wide Bay tribe of blacks, class "Bunda." There were only three other white men "bundas," Messrs. C. E. S. Booker, H. Aldridge and Sergeant Tommy King, of Dora Dora blacks fame. Three men, P. Tierney, W. Hennessy and himself, were camped on a spot a hundred yards from where Graham's Creek Railway Station now stands. There was a hunting party of blacks in the vicinity, and one evening five of them were noticed passing the camp with the evident intention of camping in the big bend in the creek where the working bullocks were kept. Fearing that the bullocks might be disturbed and wander away they decided to ask them to camp elsewhere. A fine specimen of a black known as "Long Peter" - six feet in height, thirteen stone in weight, of strong athletic build - acted as the spokesman for the blacks. Mr. Armitage said that he resented any interference with their right to camp where they liked in their own country. After a few words he called Mr. Armitage a vile name and was instantly punched on the jaw. However, he was armed with three nulla nullas and a desperate struggle resulted. Mr. Armitage said that he proved too good for him, taking his weapons off him. Another black slipped him another nulla nulla unknown to Mr. Armitage, and although he brought it down with considerable force on his back and ribs Mr. Armitage said that he eventually took it off him and, giving him a taste of his own medicine, dropped him like a pole-axed bullock. And it was this incident that was responsible for his being adopted as a member of the tribe. It was in the early part of 1868 that this memorable fight - in which Mr. Armitage thinks he was very lucky to come through without much damage - occurred. Mr. Armitage's father died at Mungar in 1874 . . .

"DEATH", Maryborough Chronicle, Wide Bay and Burnett Advertiser (22 November 1943), 2

ARMITAGE. - On November 21, 1943, at 101 North-Street, Maryborough, Edward Fitzgerald Armitage, husband of the late Bridget Armitage, of Kent-street, Maryborough in his 96th year.

"A PIONEER PASSES ON", Maryborough Chronicle, Wide Bay and Burnett Advertiser (24 November 1943), 2

MR. Edward Fitzgerald Armitage passed away on Sunday at the residence of his son, North-street, in his 96th year, after a long and somewhat adventurous life. Born in Dublin in 1848, he came with his parents to Australia in 1852. The family lived in Melbourne, and the two sons were educated at a Diocesan school in that city. When still a very young man Mr. Armitage came to Queensland, where he engaged in varied pursuits that attracted young men in those pioneering days. He went in for droving and timber getting . . .


"Corroborees of the Aborigines of Great Sandy Island, written and translated by Edward Armitage, of Maryborough, Queensland, 1923", in F. J. Watson, "Vocabularies of four representative tribes of South Eastern Queensland", supplement to the Journal of the Royal Geographical Society of Australasia (Queensland) 48/34 (1944), 96-97 (DIGITISED)

See main entries on Armitage's song transcriptions in chronicle:

Badtjala song 1 (1770) 

Badtjala song 2 (1802) 

Aboriginal place-names and meanings [complied by] Edward Armitage (1 May 1923) 

Letter from Edward Armitage to the Attorney-General, QLD, requesting compensation for being discharged from his employment as a result of travelling to Brisbane to testify re the capture of McPherson alias "Wild Scotchman", dated 17 September 1866

ARNATI, Agostina (Agostina ARNATI; Mrs. John Messer SIMMONS; Mrs. Duncan LONGDEN) = Agostina LONGDEN
ARNATI, Emilia (Emilia ARNATI; Mrs. Thomas WHITE; Madame ARNATI WHITE) = Emilia WHITE

ARNDELL, Roland Randolph (Roland Randolph ARNDELL)

Musician, pianist, pupil of Charles Sandys Packer, organist, composer

Born Maitland, NSW, 9 November 1857; son of Thomas ARNDELL and Harriet BUTLER (HUNT)
Died Brisbane, QLD, 22 March 1920, aged "62" (TROVE tagged by Australharmony) (NLA persistent identifier) (shareable link to this entry)



[Advertisement], The Maitland Mercury and Hunter River General Advertiser [NSW] (21 August 1862), 1


"BATHING IN A PUBLIC PLACE", The Maitland Mercury and Hunter River General Advertiser (18 February 1871), 3

At the temporary police court, West Maitland, on Thursday, Randolph Arndell was charged with bathing within sight of a public place, and within prohibited hours. He was cautioned and discharged.

"MAITLAND [FROM OUR CORRESPONDENT] FEBRUARY 6", The Sydney Morning Herald (9 February 1874), 2

Mr. Randolph Arndell has boon appointed assistant organist of St. Paul's. He is an articled pupil of the Rev. J. R. Thackeray, and is considered to be a youth of much promise.

ASSOCIATION: James Robert Thackeray (Anglican cleric, musical amateur)

"LOCAL MUSIC", The Maitland Mercury and Hunter River General Advertiser (12 August 1876), 4

We have received a copy of a new song entitled "A Waif of the Streets," written and composed by Mr. Randolph Arndell, of West Maitland, and which was sung by Miss Rosa Towers, when playing in the piece bearing the title given to the song. The music is set in a generally favourite key, E flat, and the air is simple and pretty; the arrangement of the chorus shows considerable ability, and is by far the ablest part of the composition. The words possess no special merit, though suitable to the title of the song. Taken altogether the work is a creditable one, and gives evidence of musical taste and ability in the young composer, from whose pen there are several other productions, which will be published if sufficient encouragement is offered by the sale of the song under notice. "A Waif of the Streets" is published by Mr. C. M. Clark, music seller, of High Street, and is lithographed by De Cruchy & Co. of Melbourne.

ASSOCIATIONS: Charles Miller Clark junior (musicseller, publisher); Henry De Gruchy (lithographer)

"Amusements", Evening News (13 June 1878), 3

The fourth of Mdlle. Charbonet's grand concerts was given in the Masonic Hall on Tuesday night, before a numerous and fashionable audience. On this occasion the distinguished pianiste was assisted by Mrs. and Miss Gertrude Palmer (pianistes) . . . and Mr. Randolph Arndell, a rising young pianist, from West Maitland, who has lately been prosecuting his studies in Sydney under Mr. Packer . . . The concert opened with the fine overture to "Preciosa," by Weber, which was splendidly given as a double duet on two pianos by Mdlle Charbonnet, Mrs. and Miss Palmer, and Mr. Arndell . . .

ASSOCIATIONS: Alice Charbonnet (pianist); Charles Sandys Packer (pianist, teacher); Hannah Aldis Palmer (pianist); Gertrude Palmer (pianist)

Bibliography and resources:

"Roland Randolph Arndell (1857-1920)", WikiTree

ARNOLD, Mrs. C. F. (Mrs. C. F. ARNOLD)

Musician, harpist, teacher of the harp, school principal and teacher

Active Sydney, NSW, 1857-58 (shareable link to this entry)


[Advertisement], The Sydney Morning Herald (9 December 1857), 2 

AUSTRALIAN LADIES' COLLEGE (Instituted by Mrs. C. F. Arnold, 1857) . . .
1. In founding the Australian Ladles' College, it has been the aim of the Lady Principal to afford to the parents of this country means of securing a sound and liberal education for their daughters, without the necessity and expense of sending them to Europe for that end . . .
5. The subjects that are taught in the College are the following: . . .
(J) Theory of Music and Harmony, with individual instruction on either the pianoforte or harp.
(K) Choral Singing . . .
(M) Dancing and Calisthenics . . .
(J) MUSIC - The individual lessons in instrumental Music will be given privately to each pupil within the hours specified, and an adequate portion of every day assigned to instrumental practice in preparation for the lessons. Once a week lectures will be given in the theory of music and harmony.
(K) CHORAL SINGING. - Twice a week lessons will be given in Choral Singing, at which all the Pupils attend in one class. Individual lessons can be given, if required, in Solo Singing, for which a special arrangement must be made . . .
(M) DANCING AND CALISTHENICS. - Lessons will be given in Dancing and Calisthenics at least once a week, with a view to give the pupils the benefit of gymnastic exercise, by way of relief to their severer studies.

[Advertisement], Empire (23 March 1858), 1 

AUSTRALIAN LADIES' COLLEGE, Craig End terrace . . .
EXTRA BRANCHES (optional).
Pianoforte and Theory of Music - Mr. W. H. Paling and Assistant Resident Teachers
Harp - The Lady Principal
Choral Singing - Mr. W. H. Paling
Dancing, Calisthenics, and Deportment - Mrs. Acutt . . .

ASSOCIATIONS: William Henry Paling (music instructor); Penelope Acutt (dancing instructor)

[Advertisement], The Sydney Morning Herald (15 July 1858), 2 

THE AUSTRALIAN LADIES' COLLEGE, Craigend Terrace, Darlinghurst.
Lady Principal - Mrs. C. F. ARNOLD. The subjects that are taught in the College are the following: . . .
Theory of Music and Harmony, with Individual instruction on either the pianoforte or harp
Choral Singing
Drawing and Theory of Perspective
Dancing and Callisthenics.
The Third Term commences on MONDAY, the 19th July . . .


Music publisher, bookseller, engraver, colourist, photographer

Born London, England, 12 May 1825; baptised St. Martin in the Fields, 10 June 1825; son of William John Delancey ARNOLD (1795-1870) and Alice Hanscoomb Gaunt WARD
Married Sarah PERRY (d. NZ, 1898), All Saints, Fulham, London, England, 19 October 1848
Arrived Melbourne, VIC, 2 June 1849 (per Spartan, from London)
Active Melbourne, VIC, until 1861
Died Auckland, New Zealand, 3 December 1893, aged "68" (TROVE tagged by Australharmony) (shareable link to this entry)

DISAMBIGUATION: Edward Arnold (1857-1942, English bookseller and publisher)


Baptisms solemnized in the parish of St. Martin in the Fields . . . in the year 1825; register 1824-30, page 79; City of Westminster Archives, STM/PR/1/23 (PAYWALL)

No. 381 / [June] 10th / Edward / [son of] William John Delancey & Alice / Arnold / 49 Spring Garden / Coal Merchant . . . Stated to be born on the 12th May

ASSOCIATIONS: William John Delancey Arnold was the son of Edward Arnold, coal merchant, of Spring Garden, London; on 7 February 1809, William was enlisted as an apprentice, for the next seven years, of Charles Whittingham, stationer, of the City of London; and on 15 May 1821, at St. Marylebone, Westminster, William, then of the parish of St. Martin in the Fields, married Alice Hanscoomb Gaunt Ward; he died at Stamford Villas, Fulham, on 22 October 1870, aged 75

1848, marriage solemnized at All Saints Church in the parish of Fulham, in the County of Middlesex; page 39; London Metropolitan Archives (PAYWALL)

Oct. 19 / Edward Arnold / full [age] Bachelor / Coal Merchant / Fulham / [father] William John Delancey Arnold / Coal Merchant
and Sarah Perry / full / Spinster / - / Fulham / [father] Richard Perry / Market Gardener . . .

"Shipping Intelligence. ARRIVED", The Argus [Melbourne, VIC] (5 June 1849), 2

June 2 - Spartan, barque, 364 tons, T. B. Pain, master, from London via Adelaide. Passengers, Cabin - Mr. and Mrs. Perry, Misses E. C., and E. Perry, Messrs. D., W., and D. Perry, Mr. and Mrs. Arnold . . . Dalgety, Gore and Co., agents.

[Advertisement], The Melbourne Daily News (25 February 1850), 3 

ON RETIRING FROM BUSINESS begs to recommend to the public, MR. E. ARNOLD, who succeeds him, hoping that the same liberal patronage hitherto bestowed on himself may he extended to his successor. Melbourne, February 23, 1840.
EDWARD ARNOLD, On continuing MR. G. COOPER'S late business, begs to intimate that he is now landing ex "Cornhill,' an entire NEW STOCK, consisting of Books in every dep