THIS PAGE LAST MODIFIED : Monday 6 May 2024 8:47

A biographical register of Australian colonial musical personnel–C (Cha-Cla)

Dr GRAEME SKINNER (University of Sydney)


To cite this:

Graeme Skinner (University of Sydney), "A biographical register of Australian colonial musical personnel–C (Ca-Cla)", Australharmony (an online resource toward the early history of music in colonial Australia):; accessed 22 May 2024

- C - (Cha-Cla)

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 to deal with musical personnel first active after 1860, and the coverage is selective.

A major upgrade of the contents of this page was completed in June 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.

CHABRILLAN, Lionel de (Lionel de MORETON; comte de CHABRILLAN)

Amateur musician, composer, French consul

Born Paris, France, 30 November 1818
Arrived (1) Sydney, NSW, 3 August 1852 (per Chusan, from Southampton, 15 May, via Melbourne, 28 July to 1 August)
Departed (1) Sydney, NSW, 3 December 1852 (per Sydney, for Europe)
Married Céleste VÉNARD, France, by c. 1853
Arrived (2) Melbourne, VIC, 9 April 1854 (per Croesus, from Southampton)
Departed (2) Melbourne, VIC, 15 February 1858 (per Simla, for Marseilles)
Arrived (3) Melbourne, VIC, 17 October 1858 (per Australasian, from Trincomalee)
Died Melbourne, VIC, 29 December 1858, aged "40/41" (TROVE tagged by Australharmony) (shareable link to this entry)

CHABRILLAN, Celeste de (Elisabeth-Céleste VÉNARD; "Celeste MOGADOR"; comtesse de CHABRILLAN)

Amateur musician, vocalist, pianist, memoirist

Born Paris, France, 27 December 1824; daughter of Anne-Victorie VÉNARD
Married Lionel MORETON de CHABRILLAN, France, by c. 1853
Departed Melbourne, VIC, 4 August 1856 (per James Baines, for Liverpool)
Died Montmartre, Paris, France, 18 February 1909 (TROVE tagged by Australharmony)éleste_Mogador (Wikipedia) (shareable link to this entry)


"SHIPPING INTELLIGENCE", The Argus [Melbourne, VIC] (31 July 1852), 4 

July 29 - P. and O. C. screw steam-ship Chusan, 700 tons, Henry Down, commander, from Southampton May 15th, St. Vincent May 30th. Cape of Good Hope June 19th. Passengers, cabin . . . For Sydney . . . Le Compte de Chabrillan . . .

"SHIPPING INTELLIGENCE. ARRIVALS", The Sydney Morning Herald [NSW] (4 August 1852), 2 

August 3. - Peninsular and Oriental screw-steamer Chusan, 700 tons, Captain Down, from Southampton May 16, St. Vincent May 30, Cape of Good Hope June 29, and Melbourne 1st instant. Passengers from England - the Count de Chabrillan . . .

"DEPARTURES", The Sydney Morning Herald [NSW] (4 December 1852), 4 

THE SYDNEY - The following is a list of those who have taken their passages by this steamer - For England 1st class - Le Comte de Chabrillan . . .

See also at Public Record Office Victoria: (DIGITISED)

List of passengers arrived at Port Phillip, 9 April 1854, from Southampton, on board the steam ship Croesus; Public Record Office Victoria (DIGITISED)

. . . Ct. Chabrillan // Ct's [Chabrillan] // 1 Child & Servant . . .

"VICTORIA", Colonial Times [Hobart, TAS] (26 April 1854), 2 

Count Lionel de Mouton Chabrillan, who came out to Victoria in the Croesus, is gazetted as French Consular Agent at Melbourne.

"THE FRENCH BALL", The Argus (18 August 1855), 5 

. . . The ball of Thursday evening was, without exception, the most brilliant that has taken place in this city. The attendance numbered fully 1500, and included the Governor and Lady Hotham, the judges and the elite of Melbourne society. We have already described in this journal the decorations, which were even improved by the effect of the illumination. The programme gave a list of twenty-four dances, and was scrupulously adhered to. So great was the satisfaction of the company, that towards the close of the entertainment the provision in this respect was even deemed to be hardly sufficient, the demand for a supplementary supply being very general. This was partially met by the co-operation of the band of the Volunteer Rifle Corps, who were in attendance, in addition to the musical staff of the 12th and 40th regiments, and which, in the handsomest manner, complied with the loudly expressed demands of the company, by playing one or two additional pieces of dance music. The mysteries of the Tombola, a new feature introduced by the Comte de Chabrillan, were unravelled about the "witching hour" of midnight, and the hundred successful competitors were invested with the prizes amid the general applause of the company. The lots were drawn by Signor Carandini, maitre de ballet of the Theatre Royal, and who also acted in the responsible capacity of master of the ceremonies. The first dance was announced about ten o'clock, and the programme was concluded at four o'clock by the performance of the British and French national anthems, which were received by the company in the most enthusiastic manner . . . The utmost order prevailed throughout, and the thorough enjoyment of the company was manifested by the spirited manner in which the calls of the M. C. were responded to. The enthusiastic manner in which the people of Melbourne have met the appeal of the French Consul, will have its due effect upon the cordial understanding which exists between the allied nations.

Names and descriptions of passengers per James Baines, from Melbourne, 4 August 1856, for Liverpool; Public Record Office Victoria (DIGITISED)

. . . Countess de Chabrillan / 26 / Lady // . . . [Chabrillan] / 9 / Child . . .

"FRENCH WRITERS ON AUSTRALIA", Ovens and Murray Advertiser [Beechworth, VIC] (14 November 1857), 2

The Paris correspondent of the New York Tribune, noticing the new books of the season, makes mention of the following: - Les Voleurs d'Or is a story of Australian life, or rather of Australian death, with twelve murders, a hanging, three natural deaths, two illegitimate births, and three weddings. Otherwise the book in itself has nothing remarkable. It is the production of the Countess Celeste de Chabrillan, wife of the French Consul at Melbourne. It has not a line or word intentionally immoral, and, excepting that it lacks interest, is a very proper work. The Countess Celeste was formerly Mlle. Celeste Mogador, one of the celebrities of the Parisian public balls. In a brief preface she has done what was delicate and dangerous to do - made an allusion to her former life, and has succeeded in making it gracefully, modestly, and almost pathetically. More entertaining is a thin volume of Lettres d'un Mineur en Australie: they are written by a Parisian Australian gold-digger, M. Fauchery . . .

ASSOCIATIONS: Antoine Julien Fauchery (friend of the Chabrillans)

"SHIPPING . . . MELBOURNE", The Sydney Morning Herald (22 February 1858), 4 

February 15. Simla (s.), for Suez . . . The following is a list of passengers by the Simla . . . For Marseilles . . . the Comte de Chabrillan . . .

"SHIPPING . . . MELBOURNE", The Sydney Morning Herald (22 October 1858), 4 

October 17 . . . Australasian R.M.S., from Trincomalee. Passenger Le Comte de Chabrillan . . .

"DEATHS", The Argus (30 December 1859), 4 

On the 29th inst., at Melbourne, the Comte Lionel de Moreton de Chabrillan, French Consul, in the 41st year of his age.

"VICTORIA. PER INTERCOLONIAL TELEGRAPH [From our General Correspondent] Melbourne, December 29", The South Australian Advertiser [Adelaide, SA] (30 December 1858), 2 

The French Consul, Count de Chabrillan, who caught fever at Trincomlee, and has been ill ever since, died this morning.

[News], The South Australian Advertiser (10 January 1859), 3 

. . . he possessed no mean ability as a composer, and has left several published compositions behind him . . .

[Advertisement], The Argus (21 January 1859), 2 

THURSDAY, JANUARY 27 At No. 11 Spring-street, the residence of the late Comte Lionel de Moreton Chabrillan, Consul de France.
Sale of New and Valuable Household Furniture . . . operatic music, &c., belonging to the deceased, and consisting of - . . .
An elegant and valuable rosewood cottage pianoforte, by Erard, with certificate of guarantee . . .
12. Invoice of Opera Music.
1. Opera La Traviata, consisting of
6 parts or volumes for male voices
3 do for female do
15 do for 10 instruments
1 complete volume for pianoforte.
2. Opera Rigoletto, consisting of
9 parts or volumes for male voices
3 do for female do
16 do for 13 instruments
1 do for pianoforte.
3. Opera Il Trovatore -
21 parts, for 23 Instruments
1 do, for stage decorator
1 do, for pianoforte, &c. . . .

"CELESTE MOGADOR", The Argus (3 April 1909), 6 

By the death of the Comtesse de Chabrillan at the age of 85 years which has just been reported (says the Paris correspondent of the Daily Telegraph) a curious figure passes away. She had acquired celebrity first as a fascinating mondaine, under the name of "Celeste Mogador" and was one of the leading stars of the Bal Mamille, more than a generation ago. Her real name was Mdlle. Celeste Benard, but, being ill-treated as she alleged by her mother, a simple working woman, she ran away from home and soon had a brilliant position in Paris whence she suddenly fell into the depths of poverty and was rescued one night from starvation by another unfortunate girl. She rose again to prominence and the great event was when, on the invasion of Morocco by the French, a mock ceremony was held in which she was baptised with champagne and named Mdlle. Celeste Mogador. The poet Nadaud wrote a famous song in her honour. She then shone in music-halls and circuses, and at all the great popular balls, and in 1854 [sic] M. Lionel de Moreton, Comte de Chabrillan, took a great fancy to her, and married her. She wrote several plays and novels, which had a slight success, but when she set about writing her memoirs the state intervened and prohibited their publication. She finally retired altogether from public notice, and the latter part of her life was spent mostly in an effort to cause Celeste Mogador to be forgotten. Her husband was French consul at Melbourne for some time after he had married her, and she went to live with him in Australia.

Australian memoirs:

Les voleurs d'or par Cé de Chabrillan (Paris: Michel Lévy Frères, 1857) (DIGITISED) (DIGITISED)

Un deuil au bout du monde, suite des mémoires de Céleste Mogador par la C'sse Lionel de Chabrillan (Paris: Librairie Nouvelle, 1877) (DIGITISED) (DIGITISED)

[128] Notre ami Coulon, le frère de l'artiste de l'Opéra et artiste lui-même, vient d'arriver des mines où il a, je crois, donné quelques concerts . . . Lorsque M. Coulon est ici, il reste chez nous. Il sort le jour avec Lionel; le soir, on fait de la musique; ces heures sont nos plus agréables . . .

ASSOCIATIONS: Emile Coulon (vocalist)

On the French ball on 16 August 1856 (135): (DIGITISED)

On the arrival and reception of Lola Montez (136-37): (DIGITISED)

Lola Montès est arrivée ici, il y a quelque temps, avec sa troupe . . .

ASSOCIATIONS: Lola Montez (dancer, actor)

Bibliography and resources:

Patricia Clancy and Jeanne Allen, The French consul's wife: memoirs of Celeste de Chabrillan in goldrush Australia (Melbourne: Melbourne University Press, 1998, 2003), 43 (PREVIEW) (PREVIEW)

Lionel Moreton de Chabrillan, Find a grave 

CHALKER, Charles William (Charles William CHALKER)

Amateur vocalist, convict, sexton, rush maker

Born England, c. 1785
Sentenced Norwich quarter sessions, 5 May 1821 (7 years, aged "36")
Arrived Sydney, NSW, 15 July 1822 (convict per Guildford, from England, 4 April)
Certificate of freedom, NSW, 5 July 1828 (TROVE tagged by Australharmony) (shareable link to this entry)


[News], Norfolk Chronicle [Norwich, England] (18 May 1811), 3 (PAYWALL)

On Thursday last, Charles William Chalker was committed to the City Goal by John Steward, Esq. Mayor, charged on oath with breaking open the shop window of Messrs. Dunham and Yallop, silversmiths, and stealing thereout various articles of plate and other goods, their property.

"ASSIZE NEWS", Norfolk Chronicle (17 August 1811), 2 (PAYWALL)

At the Assizes for this city, Charles William Chalker, charged with having committed a burglary in the shop of Messrs. Dunham and Yallop, silversmiths, in the Marketplace, was found guilty, and received sentence of Death, and has been left for execution. - The circumstances of this robbery, which took place November last, will doubtless he strongly in the recollection of our readers . . .

"SESSIONS NEWS . . . PRISONERS", Norfolk Chronicle (19 May 1821), 3 (PAYWALL)

Robert Flegg, Samuel Onions, Chas Wm. Chalker, and William Welling, were severally convicted of stealing, on 24th of Jan. last, four pounds worth of silver, a double nankeen purse containing a 10l. and 19 one pound notes, and about 5l. worth of silver, the property of Simon Peck, of St. Michael's Coslany; & sentenced to seven yean transportation.

[News], Bury and Norwich Post (19 July 1815), 3 (PAYWALL)

At the County Sessions, on Wednesday last, Charles William Chalker was indicted for an assault on Ann Starling, wife of Mr. Starling, of the Market-place, in this city, on the 10th inst. by which she was too seriously injured to attend the Court. Mr. Starling proved, that on the previous Monday evening, whilst he was with his wife and a person named Cross on his way to Norwich, in a one-horse cart, he observed the prisoner by the cross-way at Keswick, to be following them in such a manner as to excite suspicion, and as he was watching the prisoner he saw him throw a stone which struck Mrs. Starling a violent, blow . . . The prisoner was found guilty, and sentenced to be imprisoned in Wymondham Bridewell for 12 mouths, and afterwards to give security for his good behaviour for two years, himself in 100l. and two sureties in 501. each. He is the same man who some years ago received sentence of death for robbing Messrs. Dunham and Yallop, and was tried for burglary at the last Bury Assizes, for stealing a large quantity of jewellery goods from Mr. Beeton, of that town; but, from defect of evidence, was then acquitted.

"Police Reports . . . WINDSOR. MONDAY, OCT. 16", The Sydney Gazette and New South Wales Advertiser (28 October 1826), 3 

Charles William Chalker, a travelling brazier when in Europe, and a good judge of a bad shilling, was brought forwards for drunkenness. Take him altogether he is a civil inoffensive mortal; first offence. Admonished, and discharged.

"Police Reports . . . WINDSOR, T[H]URSDAY, NOV. 21", The Sydney Gazette and New South Wales Advertiser (6 December 1826), 3 

Charles William Chalker was the Government servant of a man at Richmond, but whose master did not required his services in his blacksmith's shop, and had, it is presumed, taken upon himself to recommend the prisoner as a man of good character, although he had himself received the said man from the gaol gang, under a flattering impression, the prisoner had been appointed sexton at Richmond Church, and the master had taken upon himself leave to transfer the services of the Government servant, nor was the blacksmith known to have been appointed sexton, until he was detected in the midst of carousal in the place of Divine Worship, in company with other Government servants to which spot the constables had been led by the riotous and disorderly conduct of the prisoner.
"Poll of Plymouth Dock," is not a very appropriate song to be vocally performed under the same roof with the 149th Psalm.
Now lodged in the watch-house, and the singing at an end, a disquisition took place as to the legality of an innocent song, and the probable effect it would have in bar of a ticket of leave.
Before their Worships, "I never did no harm" - plea of two negatives was credible.
Ordered to be sent to Sydney, into the immediate service of Government.

MUSIC: Sweet Poll of Plymouth (song, in the farce of The positive man); see also this early American edition with music

Certificate of freedom, Charles William Chalker, 3 July 1828; State Records Authority of NSW (PAYWALL)

No. 28/633 / Date 3 July 1828 / Charles Wm. Chalker / Ship Guildford (5) / . . . 1822 . . . / Norfolk A's / 5 May 1821 / Seven years

NSW census, November 1828; State Records Authority of NSW (DIGITISED)

Chalker Charles / 33 [sic, ? 43] / Free by Servitude / Guildford 5 / 1822 / 7 yrs / Rush Maker / [residence] Mrs. Anne Clift / Wallis Plains

Bibliography and resources:

Charles William Chalker, Convict records 

CHALKER, Marie (Maria Louisa CHALKER; Maria CHALKER; professionally Marie CHALKER; Miss CHALKER)

Musician, soprano vocalist, pianist, accompanist

Born Melcombe Regis, Dorset, England, 1833; baptised Melcombe Regis, 29 September 1833; daughter of William Charles CHALKER (c. 1806-1886) and Sarah BILLETT (1803-1877) (m. Melcombe Regis, 18 October 1830)
Arrived Adelaide, SA, 15 August 1853 (per Gipsy, from Southampton, 15 May)
Active Melbourne, VIC, until 1875
Died Melbourne, VIC, 9 October 1918, aged "85"/"87" (TROVE tagged by Australharmony) (shareable link to this entry)


Baptisms solemnized in the parish of Melcombe Regis in the county of Dorset in the year 1833; register 1813-39, page 102; Dorset History Centre, PE/MCR (PAYWALL)

No. 813 / September 29 [1833] / Maria Louisa Daughter of / William & Sarah / Chalker / Melcombe Regis / Bricklayer . . .

England census, 30 March 1851, Melcombe Regis, Dorset; UK National Archives, HO107/1857/287/9 (PAYWALL)

Duke of Cumberland Public House / William Chalker / Head / Mar. / 44 / Victualler / [born] [Dorset Weymouth]
Sarah [Chalker] / Wife / Mar. / 41 / - / [born] Wilts. North Wraxhall
Maria L. [Chalker] / Daur. / Unm. / 17 / - / [born] Dorset Weymouth . . .

"SHIPPING INTELLIGENCE", South Australian Register (19 July 1853), 2

The Southampton Emigration Company's ship Gipsy was appointed to take her departure thence, for our port, on the 12th May. The following is a list of the intending passengers: - Messrs. . . . Chalker, wife, and child, and Miss Chalker . . .

Adelaide, SA (15 August 1853 to 10 February 1857):

"SHIPPING INTELLIGENCE. ARRIVED", South Australian Register (16 August 1853), 2

Monday, August 15 . . . Same day - The ship Gipsy, 426 tons, Bolton, master, from Southampton 15th May. Passengers - . . . Chalker 2 . . .

"CHORAL SOCIETY", Adelaide Times [SA] (11 March 1854), 4 

The first concert of this Society took place yesterday evening in the large room of the Freemason's Tavern, Pirie-street . . . The concert, on the whole, passed off much better than might have been anticipated, considering that the performers were nearly all amateurs . . . Of the vocal performance "The merriest time of all the year," a glee for three voices, and "The sailor sighs," a duet, were managed in very creditable style. A song by Miss Chalker, "Merry is the Greenwood," was sung very sweetly, and was loudly encored by the audience, who must have forgotten in doing so that there was more than sufficient work for this young lady in the part allotted to her for the evening, or they would not have insisted on her repeating a long and somewhat difficult song, a portion of which she only attempted the second time . . .

ASSOCIATIONS: Adelaide Choral Society (association)

MUSIC: Merry is the greenwood (Stephen Glover)

"THE CHORAL SOCIETY'S CONCERT", South Australian Register (11 March 1854), 3

. . . Miss Chalker made her debut before a South Australian audience in Balfe's solo and chorus "Come with the Gipsey Bride," in which her rich and powerful soprano voice was heard to soar melodiously above those of the gentlemen who sang the chorus parts. At a later period of the evening the same lady sang "Merry is the Greenwood," and received the honour of an encore . . .

MUSIC: Come with the gipsy bride (Balfe, from The Bohemian girl)

[Advertisement], Adelaide Times (9 June 1854), 3 

CONCERT. MISS CHALKER and MR. BENNETT respectfully announce to the Public that they intend giving a
On which occasion they will be kindly assisted by the Members of the
ADELAIDE CHORAL SOCIETY, As also Miss Petman and Mr. J. W. Daniel.
1. Overture, "Semiramide" - Rossini.
2. Cavatina, "T'Abbrachio," Miss Chalker, with Flute Obligato - Rossini.
3. Solo and Chorus, "Come with the Gipsey Bride," Miss Chalker and Chorus - Balfe.
4. Song, "With rapture dwelling," Miss Pettman.
5. Glee, "Blow gentle gales" (three voices) - Bishop.
6. Song, "Wellington," Mr. J. W. Daniel.
7. "Song of the Danube," Solo and Chorus, Miss Chalker and Chorus - Glover.
An interval of 10 minutes.
8. Overture - Cenerentola - Rossini.
9. Duet, "The Sailor Sighs" (by particular desire) - Balfe.
10. "The Maid of Switzerland," Miss Pettman - Tulley.
11. Duet, "Deh mira quel fiore," Miss Chalker and Mr. J. W. Daniel - Gabussi.
12. Song "Madoline" - Nelson.
13. Song, "Friends of my youth," Miss Chalker.
14. Solo and Chorus, "Far over hill and plain," Miss Chalker and Chorus - Cooke.
Finale, "God save the Queen."
Price of admission, 5s. Tickets may be obtained at the following places:
Platts's, Hindley-street; York Hotel; Napoleon Buonaparte; Mitchell and Snaith's, Leigh-street; Freemasons' Tavern;
Miss Chalker, Hindmarsh-square; and Mr. Bennett, Wakefield-street . . .

ASSOCIATIONS: George Bennett (musician); Mary Ann Pettman (vocalist); Josiah Wyke Daniel (vocalist)

MUSIC: Friends of my youth (George Barker)

"CONCERT", South Australian Register (10 June 1854), 2 

The concert of vocal and instrumental music given last evening by Mr. Bennett and Miss Chalker, in the Hall of the Freemason's Tavern, was exceedingly well attended, and the performances throughout were well received. The programme, which comprised a very choice selection, was strictly adhered to Miss Pettman was honoured with an encore, in the song "Remember thee! yes love, for ever;" and the like compliment was paid to Miss Chalker in "Friends of my Youth," which she sang with great pathos . . . The "Song of the Danube," which was performed for the first time before a South Australian audience, was also encored, and bids fair to become a favourite with the public. Among the other gems of the evening, were "T'Abbrachio," "The Maid of Switzerland," and "Deh mira quel fiore" . . .

"THE CHORAL SOCIETY'S CONCERT", South Australian Register (15 July 1854), 2 

The Adelaide Choral Society's second quarterly concert was performed last evening before a very large and highly respectable audience. The first part was opened with the overture Tancredi, which was executed with admirable precision. A madrigal from the Italian, adapted to English words, the Echo song, and two glees followed; after which, the song of the Danube was sung as a solo and chorus, and encored. In the second part, Miss Chalker sang, "I Love the Merry Sunshine," in which her remarkably sweet yet powerful soprano voice was heard to great advantage . . .

MUSIC: I love the merry sunshine (Stephen Glover)

"CONCERT", South Australian Register (4 August 1854), 3 

Mrs. Edward Jupp's concert, held last evening in the beautiful Hall of Green's New Exchange, and patronised by His Excellency and Lady Young, was also honoured by the attendance of a highly respectable and numerous audience . . . Among the pieces encored were "Charlotte Stanley," by Miss Chalker, "M'Abraccia," by Miss Chalker and Mr. Mitchell, and a performance on the harp, by Miss Horn . . .

ASSOCIATIONS: Catherine Jupp (vocalist, pianist); Mr. Mitchell (vocalist); Annette Horn (harpist)

MUSIC: Charlotte Stanley (Stephen Glover)

"SACRED CONCERT", Adelaide Times (7 September 1854), 3 

The Sacred Vocal Concert in aid of the War Relief Fund took place last evening in the Freeman-street Chapel, and was, as we predicted, decidedly the most brilliant and successful musical entertainment that has ever taken place in South Australia. The building was crowded, not less we should imagine, than 700 persons being present, amongst whom were Sir Henry and Lady Young, and most of the leading residents in Adelaide and the neighbourhood . . . Mr. Daniels acted as Leader, in a manner which reflected great credit upon him . . . Miss Chalker sang with her accustomed good taste, and was, we thought, in remarkably fine voice. The old favourite "With verdure clad," and the duet from the "Creation," "Graceful Consort," sung by that young lady and Mr. Daniels, were warmly and deservedly encored . . .

"THE CHORAL SOCIETY'S CONCERT", South Australian Register (31 March 1855), 3

The quarterly Concert of this Society took place yesterday evening, at Green's Exchange. The audience, as usual, was exceedingly good, and the entertainment, we need scarcely say, was well deserving their applause which it received. Of the pieces which appeared to us most cleverly executed, we may mention amongst the concerted performance, a March and Chorus from Tancredi, and amongst the vocal, the song, "Should he upbraid," sung by Miss Chalker, whose voice appeared to be in very fine condition. Miss Pettman was rewarded with an encore in "Beautiful Flower, Herald of Spring," an exceedingly pretty song.

MUSIC: Should he upbraid (Henry Bishop)

"CONCERT", South Australian Register (30 May 1855), 2 

Miss Chalker's second annual concert took place last evening at the Exchange. It was exceedingly well attended, the body of the hall being completely filled by a most respectable audience. The programme included no fewer than sixteen pieces of music, by composers of high reputation, including Mozart, Rossini, Glover, and Cooke. The performances were commenced by the Overture to Mozart's "Titus;" and when we state that the large force of the instrumentalists connected with the Choral Society was present, under the able leadership of Herr Linger, it will be readily believed that full justice was done to this masterly effort of musical conception. The same remark is equally applicable to the performance of the no less difficult and elaborate Overture to Rossini's "Othello," which formed the first piece in the second part. We question whether a more efficient corps of amateur Instrumentalists exists in any of the Australian colonies than that which contributed so much to the success of last evening's concert. The first overture was followed by Glover's "Oh, not for me," which was sung by Miss Chalker with remarkable power, consummate taste, and judgment. We do not remember any occasion on which we have heard that lady to greater advantage. Scarcely had the echoes of her fine voice died away on the ear, before the stalely march and full chorus from the Opera of "Titus" transported the thoughts and sympathies of the audience to the startling scenes and circumstances of ancient times, when assembled warriors raised the enthusiastic shout -
"Preserve, ye gods, great Titus,
Our true friend and deliverer."
The performance of the chorus embodying the above words was truly excellent, and produced a thrilling effect upon the audience. We cannot, in this brief notice, allude particularly to each of the other pieces included in the programme; but we must not omit to state that Miss Petman sang, during the evening, two of the genuine ballads in which she so much excels . . . Amongst the other pieces which were most successfully performed may be mentioned a duet, "Ah, se de mali miei," by Miss Chalker and Mr. Mitchell, Cooke's solo and chorus, "The Gipsey's Tent," "The Outward Bound," and "The Conscript's Return." The three last-named pieces were loudly encored. The national anthem concluded the performances, and reflected no small degree of credit upon the collective efforts of the performers.

"CONCERT AT THE PORT", Adelaide Times (7 July 1855), 2 

It is the intention, we believe, of Madame Carandini and Mons. Coulon, assisted by Miss Chalker and Herr Kunze, to give a concert at the Theatre, Port Adelaide, on Monday next. This, no doubt, will be a treat to the pleasure loving people of the Port.

ASSOCIATIONS: Maria Carandini (vocalist); Emile Coulon (vocalist); Carl Julius Kunze (pianist); Port Theatre (Adelaide venue)

"MADAME CARANDINI AND MON. COULON", Adelaide Times (11 July 1855), 3

These justly celebrated vocalists gave another concert yesterday evening at the Victoria Theatre. The house was even more crowded than on the former occasion . . . We need not say that Miss Chalker sung with taste and sweetness, since she always does so. If there was any difference in her singing last night, it was decidedly for the better, the fair vocalist being apparently more confident in her novel position than on her first appearance at the Theatre . . .

ASSOCIATIONS: Royal Victoria Theatre (Adelaide venue)

"THE CHORAL SOCIETY", Adelaide Times (3 October 1855), 3 

Last evening the above Society gave their third quarterly concert at Exchange . . . Miss Chalker, as on most occasions, contributed in no small degree to the delight and satisfaction of the audience. "I'm leaving thee in sorrow, Annie" was sung with much feeling and simplicity, and which was loudly redemanded. Her most successful effort, however, was in the song, "When by the cooling breeze," a composition by Street, of much sweetness, in which she displayed great pathos and purity of expression, and which elicited a rapturous encore. A duetto, perhaps one of Balfe's best productions, "The Myrtle Bower," was beautifully sung by Miss Chalker and a lady amateur, in which they were both remarkable for the happy blending and modulation of their voices, the mezzo soprano of the one contrasting with the pure soprano of the other . . .

MUSIC: I'm leaving thee in sorrow, Annie (George Barker)

"ADELAIDE CHORAL SOCIETY'S CONCERT", South Australian Register (3 October 1855), 2 

. . . The pretty and plaintive song, "I'm leaving thee in sorrow, Annie," which was one of those ballads in which Madame Carandini so eminently excelled, was reproduced very sweetly and effectively by Miss Chalker, whose appearance in public is always a signal for some demonstration of the favourable impression she has created, and managed to make a permanent feeling. As a matter of course it was encored . . .

"MUSIC", Adelaide Times (15 December 1855), 2 

The second concert by the celebrated Hungarian violinist, Miska Hauser, was given last evening in Neales's Exchange, before a numerous, fashionable, and highly delighted auditory . . . Miska Hauser was ably supported by Mr. Bial, who displayed much ability in his accompaniments . . . Miss Chalker was allotted Nelson's pretty ballad, "Madoline," which she sung with much purity and sweetness, as also "The Captive Girl." The concert passed off with the greatest eclat . . .

ASSOCIATIONS: Miska Hauser (violinist); Charles Bial (pianist, accompanist)

MUSIC: Madoline (by Sidney Nelson)

"MISKA HAUSER'S CONCERT", Adelaide Times (10 January 1856), 3 

The concert last evening . . . was very well attended . . . The vocal selections were very good, and Mrs. Fiddes was introduced for the first time as a concert-singer . . . Miss Chalker also contributed two ballads, which she sung with such effect, that the latter was re-demanded. The duet, "What are the wild waves saying," was effectively sung by these two ladies, exhibiting in strong contrast the deep, full, and mellow tones of Mrs. Fiddes's voice, and the high soprano of Miss Chalker . . .

ASSOCIATIONS: Harriet Cawse Fiddes (vocalist)

MUSIC: What are the wild waves saying (Glover)

"MADAME CAILLY'S CONCERT AT NEALE'S EXCHANGE", South Australian Register (10 May 1856), 4 

Yesterday evening the prima donna of the French and Italian operas appeared for the first time before a South Australian audience. Already have the public been made acquainted with some of the universal attestations to Madame Cailly's extraordinary talent; and half wondering, perhaps slightly doubting, we attended the concert last evening to hear for ourselves the wondrous powers of this celebrity. The programme contained four instrumental pieces, several ballads for Miss Chalker, and no fewer than five of the most difficult compositions attempted even by singers of the first rank for performance by the fair cantatrice . . . Miss Chalker has long been considered a favourite, and she succeeded in obtaining applause for each song, in one instance receiving an encore, when she gracefully substituted the well-known "Minnie" . . .

ASSOCIATIONS: Clarisse Cailly (vocalist)

"PORT THEATRE", Adelaide Times (11 June 1856), 2 

On Monday evening, June 9th, a vocal concert came off at the Theatre. There was a very respectable audience, and consequently the applause was not so boisterous as it usually is on these occasions . . . The grand duet, "Deh Conte Norma," by Madame Clarisse Cailly and Miss Maria Chalker, was extremely well sung, and was encored. We cannot help being pleased to find we have some musical talent in the colony, and if Miss Chalker continues to improve as she has done lately, she bids fair to become a Prima Donna herself . . .

"MISKA HAUSER'S FAREWELL CONCERT THIS EVENING", South Australian Register (5 February 1857), 3 

The lovers of music of the highest order will scarcely need reminding that Miska Hauser is to leave South Australia by the White Swan to-morrow, with no prospect of revisiting the colony; nor that he has consented, at the especial request of a large number of his admirers, to give a final concert this evening at White's Room . . . he will be accompanied, as usual, by Mr. Buddee, who is also to give two solos on the pianoforte. To the charms of instrumental music will be added the vocal attractions of Miss Chalker and Mr. Edwards.

ASSOCIATIONS: Julius Buddee (pianist, accompanist); Solomon Nicholas Edwards (vocalist); White's Room (Adelaide venue)

"MISKA HASUER'S FAREWELL CONCERT", Adelaide Observer (7 February 1857), 5 

. . . Miss Chalker made her last appearance in Adelaide, being about to leave the colony for Melbourne. Her voice was rather tremulous in her first ballad, "Merry is the Greenwood;" but she subsequently gained confidence, and to the same extent was listened to with the pleasure her sweet and unaffected style of singing has always produced since her first debut in Adelaide . . .

"SHIPPING INTELLIGENCE . . . CLEARED OUT", South Australian Register (11 February 1857), 2

Tuesday, February 10 . . . Same day - The steamer Havilah, 337 tons, McLean, master for Melbourne. Passengers . . . Mrs. Chalker, Miss Chalker . . .

Melbourne, VIC (from February 1857):

[Advertisement], The Argus [Melbourne, VIC] (19 February 1857), 8

UNDER the patronage of General Macarthur.
MISKA HAUSER Has the honour to announce a
GRAND CLASSICAL CONCERT Previous to his departure for Europe, on
MONDAY next, February 23rd, At the Mechanics' Institution, when he will be assisted by
Miss EMILY SMITH, The favourite pianist.
Miss MARIE CHALKER, First Appearance . . .
Conductor - Mr. BIAL . . .

ASSOCIATIONS: Emilie Smith (pianist); Charles Bial (pianist, accompanist); Edward Macarthur (patron); Mechanics' Institution (Melbourne venue)

"MISKA HAUSER'S CONCERT", The Argus (24 February 1857), 5 

Last evening Miska Hauser gave his concert of classical music before a select and numerous audience, in the Hall of the Mechanics' Institute . . . The concert has brought before the Melbourne public a new debutante, Miss Marie Chalker, who bids fair to become a favourite. She possesses considerable power of voice, especially in the upper register, and some pretensions to execution. Her lower notes are not so good, but there is a spirit in her style of singing which with study is sure to please. She was encored in one of her songs . . .

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

Last evening, the celebrated Hungarian violinist, Miska Hauser, who has now occupied nearly two years in making a professional tour of the Australian colonies, took his leave of them in a grand classical concert, at the Mechanics' Institution . . . Miss Marie Chalker, a vocalist of very considerable talent from the sister colony of South Australia, on this occasion made her second appearance before a Melbourne audience in Glover's sweet air, "Music hath a magic," which, on being encored, elicited Romer's "Gaily I'll Roam;" both of which were very tastefully given. Miss Chalker's voice is powerful and of good quality, and only requires a little further cultivation to render it a valuable acquisition to our concerts. She also sang very feelingly the air "Oh yes, thou'rt remembered" . . .

MUSIC: Music hath a magic (Stephen Glover); Oh yes, thou'rt remembered (Foley Hall)


Yesterday evening, Miska Hauser's third concert since his return to Melbourne - on this occasion for the benefit of the talented pianiste, Miss Emilie Smith - was more numerously attended than either of those which preceded it . . . Miss Marie Chalker improves upon acquaintance. This evening she was however, manifestly unwell, or very nervous, and was unable to do herself justice. Her style of singing is entirely unaffected, and of a very superior character. Some times her upper notes are a little too forcible, which makes those of her middle register appear too weak. A little further study we feel assured will render Miss Chalker's voice a great acquisition to our concerts. Her songs this evening were Cowell's "Lonely Harp," and Balfe's "I'm a merry Zingara," with Mrs. Mackinlay's ballad "Remember thee? Yes love for ever!" as an encore to the latter. It only remains for us to pay a well merited compliment to the able pianoforte accompaniments of M. Charles Bial . . .

MUSIC: I'm a merry Zingara (Michael Balfe)

"MISKA HAUSER'S THIRD CONCERT", The Argus (6 March 1857), 5 

. . . The vocal portion of the evening's entertainment was contributed by Miss Marie Chalker, who was encored in "I'm a Merry Zingara." This lady appears to want confidence, and her voice would materially benefit by cultivation. In fact, her appearance before the public is premature for her reputation; for a Melbourne audience, though occasionally indulgent, is decidedly critical . . .

[Advertisement], The Argus (22 June 1857), 8 

PROFESSIONAL. - Miss Chalker, 6 Spring-street, Flinders-street. Communications respecting engagements to be addressed as above.

"PRINCESS'S THEATRE", The Argus (6 March 1858), 4 

Mr. Rogers may attribute the ovation - for it was nothing less - which he received yesterday evening to his own popularity and merit; for, apart from these, the programme was not sufficiently attractive to draw one-half the number of persons who assembled at this theatre last night. We scarcely ever remember witnessing such a reception as the beneficiare obtained on his appearance as Mike in Buckstone's somewhat lugubrious drama of "Luke, the Laborer." Of the cast of the piece we need not say a word. The audience were evidently assembled for the purpose of giving a benefit to a well-known and respected actor; and a benefit they certainly gave him. The house was crowded throughout. Between the first play and-the after-piece of "Secret Service," an admirable musical entertainment, in which Miss Octavia Hamilton, Miss Chalker, Mons. Coulon, Mr. Gregg, and Mr. Rogers took part, was given . . .

ASSOCIATIONS: George Herbert Rogers (actor, vocalist); Octavia Hamilton (vocalist); Emile Coulon (vocalist); John Gregg (vocalist); Princess' Theatre (Melbourne venue)

"CONCERT", The Star [Ballarat, VIC] (15 April 1858), 3 

The above concert took place at the Montezuma Theatre last evening, and though the audience was by no means so numerous as might have been expected, they were of a class of which an ordinary Ballarat assemblage is not generally composed, most of our "fashionables" ornamenting the dress circle. The programme was very attractive. Mrs. Turner, Miss Chalker, and Mrs. Vincent were the lady performers . . . Miss Chalker had but one "appearance" by herself, but she made the audience quite enthusiastic with her rendering of "Bid me discourse," and her encore ballad of the "Voices of the Past" by no means diminished the demand everywhere expressed to hear more . . .

ASSOCIATIONS: Charlotte Ann Turner (vocalist); Mrs. Vincent (vocalist); Montezuma Theatre (Ballarat venue)

MUSIC: Bid me discourse (Henry Bishop)

[Advertisement], The Star (5 July 1858), 3 

JOE MILLER HAS ARRIVED, and will appear to-night, Monday, 5th July, and every evening, in addition to the present company, consisting of
MISS MARIA CHALKER, The Eminent Soprano.
MR. McDONALD, The Scottish Vocalist.
MR. JERVIS, The Favorite Tenor.
MR. R. A. R OWEN, Pianist and Conductor.

ASSOCIATIONS: Joe Miller (comic vocalist); James McDonald (vocalist); Pryce Challis Jervis (vocalist); Richard Arthur Ryder Owen (pianist)

"THE CHARLIE NAPIER", The Star (9 July 1958), 3 

The performances last evening were announced for the benefit of Mr. Gregg, and the house was well filled. Donnizetti's comic opera of "L'Elisir d'Amore" was performed for the first time, and Miss Harland as Adina, and Mr. Sherwin as Nemorino, sang and played with their usual success. Mr. Gregg was announced to sing the part of Sergeant Belcore, did not appear, his absence being apologised for by a managerial statement that it was owing to illness and consequent inability. Mrs. Hancock undertook the incongruous part, and sang the music with a success for which we were quite unprepared, knowing the difficulties in the way of her completing her arduous task at so short a notice. Mr. Hancock sang and acted Dr. Dulcamara tolerably. Mr. Norman's management of the orchestral accompaniments, &c., deserves a meed of praise much beyond that which we can render this evening. The opera was succeeded by the first of the four last performances - the great Miska Hauser, the finest violinist who has ever visited our shores. He played a fantasia with marvellous skill, and as a natural result an unanimous encore succeeded, and the "Bird on the Tree," which has so often delighted us before, placed Miska Hauser in his old place in the estimation of a Ballarat audience . . . Miss Chalker then sang "Bid me Discourse" with great taste and execution, though her voice is far too delicate to be suited to the size of the theatre . . .

ASSOCIATIONS: Miska Hauser did finally leave Melbourne and Australia for the last time a few days later; Julia Harland (vocalist); Walter Sherwin (vocalist); Mary Ellen and Edward Hancock (vocalists); Linly Norman (musical director); English Opera Company (troupe); Charlie Napier Theatre (Ballarat venue)

"CHARLIE NAPIER THEATRE", The Star (14 July 1858), 2 

The last night of the English Opera Company was devoted to a benefit to the prima donna, Miss Julia Harland. To mark the occasion the more specially opera was for one evening laid aside and Haydn appropriated the admiration that has hither been paid to our great opera composers . . . Miss Chalker is gradually creeping into the good graces of the public, and her singing in "The marvellous work" and "On thee each living soul awaits," exhibited much sweetness and correctness . . .

[Advertisement], The Star (1 October 1858), 3 

DUCHESS OF KENT CONCERT HALL. MISS CHALKER HAS ARRIVED from Melbourne, and will appear every evening in addition to the present company . . .

"SHAMROCK THEATRE", Bendigo Advertiser [VIC] (18 January 1859), 3 

The arrival of a novelty on Bendigo has evidently as much attraction from pleasure seekers as in the palmy days of "lucky diggers." It would scarcely have been possible for the Shamrock Theatre to have been more crowded than it was last night, upon the advent of the new cantatrice, Miss Chalker, who made her debut last night. This lady though, we believe, not very well known in this colony, is a great favorite in Adelaide, where she has sung at many fashionable concerts. A more appropriate selection than the one made by the fair debutante for an introductory song could not have been chosen. She sang one of the gems from Shakespeare's "Tempest" - "Bid me discourse," in a manner that led the audience to wish that she might "discourse such sweet music" again and again. She was of course encored, and again kindly obliged her admirers. As Miss Chalker only arrived by the evening coach, about an hour before she appeared upon the stage, it was an unexpected pleasure on the part of those who were aware of the fact that she made her appearance upon the boards last night. She is almost certain to become a great favorite on Bendigo. Madame Vitelli was equally successful last evening as on Saturday night . . . Mr. Thatcher sang a new song last night upon the current topic of "Sly grog Informers" . . . The instrumental part of the performance, to which Mr. Kohler contributed considerably, was well deserving of favorable notice.

ASSOCIATIONS: Annie Vitelli (vocalist); Charles Thatcher (vocalist, songwriter); Richard Wildblood Kohler (musician); Shamrock Theatre (Bendigo venue)

"SHAMROCK THEATRE", Bendigo Advertiser (21 January 1859), 3 

the attractive cast that Messrs. Heffernan and Crowley have now at the Shamrock Theatre, continue nightly to draw very large houses. Both Madame Vitelli and Miss Chalker have caused a furor every night they have as yet appeared, and as comparisons are odious, we will not attempt to say which is the greater favorite, as each seems to call for a most exhausting number of encores. In the duets between these two ladies they shew an amount of talent and taste, which, had they sung together for several months, could scarcely have been exceeded. Thatcher sung his new song on the subject of the sly grog cases, with some additions, and was encored.

ASSOCIATIONS: William Heffernan and John Crowley (proprietors)

"News and Notes", The Star [Ballarat, VIC] (26 September 1859), 2 

On Saturday night the Criterion, under the judicious management of Mr. Owen, was again well filled by a numerous audience. The programme was varied and attractive, and if we are to judge from the plaudits of the audience, Miss Chalker and Mr. Hackett are decidedly popular favorites . . .

ASSOCIATIONS: Edward Hackett (vocalist)

[Advertisement], The Argus [Melbourne, VIC] (22 December 1859), 8 

On THURSDAY, FRIDAY, and SATURDAY, 22nd, 23rd, and 24th inst., During which period
A SERIES OF PEOPLE'S CONCERTS, a la JULLIEN, Will be held each evening in The VESTIBULE.
Artistes engaged
Mr. MARMADUKE WILSON, (The Inimitable comic vocalist.)
SOLOS on the PIANO By the eminent French artiste Mons FELIX FRAMEZELLE.
Composed for the occasion, by JULIUS SIEDE
Musical arrangements by Mr. JOHN GREGG.
Conductor - HERR SIEDE.
Doors open at half past 7 o'clock, performance to commence at 8.
Admission - Promenade, 1s.; Reserved seats, 2s. 6d.
SPIERS and POND, Proprietors.

ASSOCIATIONS: Emma Jane Corri Younge (vocalist); Thomas Wilson [sic] (vocalist); Felix Framezelle (pianist); Julius Siede (composer, conductor); Theatre Royal (Melbourne venue)

"THEATRICALS AND MUSIC . . . BEECHWORTH", Bell's Life in Victoria and Sporting Chronicle [Melbourne, VIC] (5 May 1860), 2 

The Star was re-opened on Saturday last with a concert company, including Miss Chalker, Mr. J. Small, and Mr. J. Gregg.

ASSOCIATIONS: Joe Small (comic vocalist); Star Theatre (Beechworth venue)

"THEATRICALS AND MUSIC . . . CHILTERN", Bell's Life in Victoria and Sporting Chronicle (12 May 1860), 2 

The Star was re-opened on Monday last with a concert company, including Miss Chalker, Mr. J. Small, and Mr. J. Gregg.

ASSOCIATIONS: Star Theatre (Chiltern venue)

"STAR THEATRE, CHILTERN", Ovens and Murray Advertiser [Beechworth, VIC] (7 July 1860), 2 

The Star Concert Company on the whole seem improved since they were last at Chiltern. Miss Chalker looks decidedly better, and her voice seems to have become stronger and sweeter than ever. Miss Juliana King maintains her enviable reputation admirably, but we think her health seems to be somewhat impaired, probably from over exertion. Mr. Gregg, who has lately recovered from a severe attack of illness, is himself again and his excellent voice has not suffered in the least from the indisposition he has experienced. Mr. Hurst is Mr. Hurst still, we notice no alteration in him. On Thursday evening Miss Chalker presided at the piano on the stage and acquitted herself most creditably; she is a clever pianist as well as an excellent singer. The present engagement will terminate on Monday night, after which the ladies and gentlemen of the company will take benefits previous to leaving the district.

ASSOCIATIONS: Juliana King (vocalist); Mr. Hurst (comic vocalist)

"THE NEWS OF THE DAY", The Age [Melbourne, VIC] (8 February 1861), 5 

The shilling Promenade Concerts at the Prince of Wales, seem rising in public favor. Some credit is due to the lessees, Messrs. Hancock and Varley, for the enterprising manner in which they have conducted them. The vocalists comprise Mrs. Hancock, Madame Carandini, Miss Chalker, Waiter Sherwin, and Mr. Hancock. There is an efficient band under the direction of Mr. E. King, and Mr. George Tolhurst presides at the pianoforte.

ASSOCIATIONS: Frank Varley (proprietor); Edward King (violin, leader, father of Juliana above); George Tolhurst (pianist, accompanist); Prince of Wales Theatre (Melbourne venue)

"THEATRICALS AND MUSIC . . . AVOCA", Bell's Life in Victoria and Sporting Chronicle (18 May 1861), 2 

Madame Carandini, with the assistance of Miss Maria Chalker, Mr. Walter Sherwin, and Mr. J. Small, delighted the people of Avoca with a concert on Tuesday. The walls of the Maryborough theatre echoed the strains of the same company on Thursday, and on Friday their harmonious efforts were promised to the little town of Carisbrook.

"TOWN TALK", The Herald [Melbourne, VIC] (5 July 1862), 5 

Coppin's Apollo Music Hall is to be opened for the first time to-night with a grand concert, in which Madame Carandini, Miss Chalker, the Misses Royal, and Messrs. Sherwin, Small, Tolhurst, and Barlow will make their appearance. Mr. George Loder is the musical director, an appointment which, we are sure, will receive the approval of the patrons of the establishment. It is the intention of the management to give selections from the popular operas, a feature which has proved exceedingly attractive at the large concert establishments in London. The first series of extracts will be from "II Trovatore," and the next from Benedict's last lyric production, "The Lily of Killarney." The hall has been beautifully decorated, and will he brilliantly lighted by glass gasoliers of enormous dimensions.

ASSOCIATIONS: George Coppin (proprietor); Kate and Lizzie Royal (vocalists); Robert Barlow (comic vocalist); George Loder (musical director); Apollo Music Hall (Melbourne venue)

"THE NEWS OF THE DAY", The Age (7 July 1862), 5 

Coppin's Apollo Music Hall was opened on Saturday evening with the most undeniable success. It is undoubtedly the most spacious concert room yet constructed in Melbourne, and its accoustic properties are excellent. The room, as is pretty generally known, is contained in a portion of the buildings attached to the new Haymarket Theatre, the construction of which is rapidly progressing . . . The musical entertainment was of a very excellent description. It comprised selections from opera, ballads, comic songs, and local hits. The performers appeared in plain evening dress, except in some of the burlesque songs. Madame Carandini, the Misses Royal, Miss Chalker, and Messrs. Walter Sherwin, Barlow, and Small were the vocalists . . . Miss Chalker, as accompanyist on the piano, did good service, and Mr. George Loder conducted with ability.

"NEWS AND NOTES", The Star [Ballarat, VIC] (16 October 1863), 2 

The Lancashire Bell Ringers who delighted large audiences at the Mechanics' Institute some months ago, will renew acquaintance with us and commence a series of their popular entertainments at the same place this evening. The amusements will be diversified by some vocal music by Miss Chalker, and violin playing by that wonderful young gentleman Master George Weston, the Australian Paganini . . .

ASSOCIATIONS: George Weston (violinist); Lancashire Bellringers (troupe)

"BARLOW'S ENTERTAINMENT AT THE TEMPERANCE HALL", Bendigo Advertiser [VIC] (16 December 1870), 2 

What person who has been in the colony for the last sixteen years, has not heard of "Little Barlow," as he was familiarly called in olden days? "Barlow, the Inimitable" . . . Mr. Barlow appeared and sung a variety of those characteristic [REDACTED] songs (including the celebrated "Blue Tail Fly") accompanied by the inevitable "breakdowns," which have so justly earned for him the name of "[REDACTED] Barlow." Although, as we have already stated, Mr. Barlow is sufficient in himself to entertain an audience during an entire evening, he is assisted, and ably so, by Miss Marie Chalker and Miss Florence Lucca, both of whom are accomplished vocalist[s] and pianistes, the former of whom furnishes the musical accompaniment to Mr. Barlow's singing in a very efficient manner. Both ladies have excellent voices, and in their singing display the result of finished musical cultivation. The whole entertainment is of a varied and amusing character . . .

"Deaths", The Argus (29 March 1886), 1 

CHALKER. - On the 26th inst., at his residence, Jolimont, William Charles Chalker, formerly of Weymouth, Dorset, England (beloved father of Marie Chalker), aged 79.

"DEATHS", The Argus (12 October 1918), 11 

CHALKER. - On the 9th October, at her late residence, 31 Agnes street, Jolimont, Miss Maria Louisa Chalker, daughter of the late William Chalker, of Jolimont, aged 87 years.

Will and probate, Maria L. Chalker, 1918; Public Record Office Victoria (WILL - DIGITISED) (DIGITISED)

Related musical sources:

A card folder inscribed in mid-19-century hand (probably Chalker's) "Miska Hauser's Compositions", enclosing copies of two works, one printed, and one in manuscript:

Ballad and Farewell (Hauser, 1856-57)

Ballad, composed and respectfully dedicated to Lady Mac Donnell by Miska Hauser ["Thou'rt like unto a flower"] (Adelaide: Penman & Galbraith, Lith., [1856])

"Farewell, by M. Hauser" ["Farewell dear land of hill and dale"]; manuscript, ink on ruled paper; Adelaide, SA, January 1857 (Ballad) (Farewell) (DIGITISED)

ASSOCIATIONS: Miska Hauser (composer); Blanche Macdonnell (governor's wife, patron); Penman and Galbraith (lithographers, printers)

[Advertisement], South Australian Register (29 January 1857), 1 

On THURSDAY Evening next, January 29, at White's Assembly Room, Assisted by Mr. BUDDEE, who will make his last appearance:
also Miss CHALKER and Mr. EDWARDS.
This will be POSITIVELY the LAST APPEARANCE of MISKA HAUSER in Adelaide before his departure to Europe.
In the course of the Evening Miss Chalker will sing the following "Farewell" Song (composed by Miska Hauser): -

"Farewell! dear land of hill and dale.
Of forest and of stream.
A stranger to thy shores I came,
But now a son I seem.

"Farewell! when might-crushed Hungary
And friands of youth I greet,
I'll tell of all thy blessed joys,
And liberty so sweet.

"Farewell! kind hearts and cheering words
Relieved each idle hour
More dear than all the fame I won
By Music's magic power.

"Farewell! to meet again on earth
May not to us be given;
Yet may we meet where kindly thoughts
Are known and prized - in Heaven! . . .

"MISKA HAUSER'S FAREWELL CONCERT THIS EVENING", South Australian Register (5 February 1857), 3

There was a very large and highly respectable audience on Thursday evening, at the farewell concert given by Miska Hauser at White's Assembly Rooms . . . Miss Chalker sang several pretty ballads during the evening, including a farewell song, composed by Miska Hauser, and which was encored . . .

Wedding hymn (Pounsett, 1865)

Wedding hymn, poetry by James Fawsett, music by Henry Pounsett, dedicated by the author very respectfully to Miss Marie Chalker, as a tribute of respect for colonial talent, and to the ladies of South Australia (Adelaide: B. Sander, 1865); "Printed by Joseph Elliott and Co., music printers" (DIGITISED)

"MUSICAL", South Australian Register (23 May 1865), 2 

We have received a copy of the "Wedding Hymn," written by Mr. James Fawsett, set to music by Mr. H. Pounsett, dedicated to Miss Maria Chalker and the ladies of South Australia, printed by Elliott & Co., and published by Mr. B. Sander, of Hindley-street. The music is harmonized for four voices, in the key of E flat, with pianoforte accompaniment; but the soprano is of itself sufficiently melodious to be sung as a solo. It may also be sung as solo and chorus by repeating each verse, either with or without the intervening symphony. The printing is clear, and, as a specimen of this kind of typography, a credit to the colony. And as the poetry and music are also suggestive of very pleasing ideas, the "Wedding Hymn" cannot fail of becoming a favourite, particularly with those to whom it is addressed.

ASSOCIATIONS: Henry Pounsett (composer); Bernard Sander (musicseller, publisher); James Fawsett, about whom little else is known, was a school teacher and religious instructor; while serving in the latter role on the emigrant ship Shackamaxon, at sea on 20 November 1852 he married fellow emigrant Elizabeth Cooper Viney (d. VIC, 1888) and registered the marriage in Adelaide on 26 February 1853; in 1868 a case was brought to court against him for having deserted his wife, he apparently having gone to Sydney.

CHALLON, John (John CHALLON; name incorrectly reported)

Musician, bandsman, Band of the 58th Regiment

Active Parramatta, NSW, 1844 (TROVE tagged by Australharmony) (shareable link to this entry)

ASSOCIATIONS: John Challon does not appear in the 1844 paylists of the 58th Regiment; it is likely that the prosecutor was indeed a musician in the Band of the 58th Regiment, but his name was evidently incorrectly reported


"FRAUD", Parramatta Chronicle and Cumberland General Advertiser [NSW] (21 December 1844), 2 

James Fullard (ticket-of-leave holder), musical instrument maker, of Church-street, was charged with making away with two watches entrusted to his care to repair. John Challon, a Bandsman of the 58th, had given him a silver watch to repair, but, after waiting three weeks, he found that no watch was forthcoming. Going into Fullard's shop one day, he saw the works of his watch lying there, and he immediately took possession of them. He afterwards found the case, together with a silver chain and seals, in the shop of Messrs. Stephenson and Co., where Fullard had sold it. James Walton had also given prisoner a gold watch to repair, but had never seen it since; he had discovered, however, that it had been sold to an auctioneer in Sydney, named Heydon. The above facts were detailed in evidence against the prisoner, on Thursday last, before the Police Bench, and he was remanded to Saturday next.

"NEWS FROM THE INTERIOR. PARRAMATTA", The Sydney Morning Herald (21 December 1844), 4 

James Fullard, a ticket of leave holder, was brought before the Police Court yesterday on the following charges - It appeared that about three weeks back, John Challon, one of the band of the 58th, gave the prisoner a watch to repair, but after waiting for some time found that there was very little chance of his ever getting it again. Going to prisoner's house one day he saw the works of his watch, but the case was not there, and thinking to get part of his watch was better than to lose the whole, he took away the works. He afterwards ascertained that the case together with the chain and seals attached to it had been sold to Mr. Stevenson, of Church street. Prisoner had also received a watch from James Walton, the town-crier, to repair, which watch he had sold to Mr. Heydon, of King-street. He was remanded till Saturday.

CHAMBERS FAMILY OF THEATRICAL DANCERS (TROVE tagged by Australharmony) (shareable link to this entry)


Dancer, professor of dancing

Born London, England, 13 April 1816; baptised St. Mary, Whitechapel, 26 May 1816; son of Charles CHAMBERS and Esther ?
Married Jannet CROOKS (c. 1816-1875), St. Dunstan, Stepney, 21 June 1841 [sic]
Arrived Melbourne, NSW (VIC), 24 December 1841 (per Alexander, from London 1 August and Plymouth 21 August)
Arrived Sydney, NSW, 10 February 1842 (per Alexander, from Melbourne, 26 January)
Died Sydney, NSW, 30 April 1875, aged "62", "for very many years connected with the stage of Australia" (TROVE tagged by Australharmony) (shareable link to this entry)


Dancer, premier danseur, professor of dancing

Born London, England, 9 March 1837; baptised St. Mary, Whitechapel, 25 December 1838; son of Joseph CHAMBERS and Janet CROOKS
Arrived Melbourne, NSW (VIC), 24 December 1841 (per Alexander, from London 1 August and Plymouth 21 August)
Arrived Sydney, NSW, 10 February 1842 (per Alexander, from Melbourne, 26 January)
Died Sydney, NSW, 21 July 1874, aged "37" (TROVE tagged by Australharmony) (shareable link to this entry)



Born Whitechapel, London, England, 1840 (3rd quarter); daughter of Joseph CHAMBERS and Jannet CROOKS
Married George LYON (c. 1834-1891), VIC, 1859
Died Windsor, VIC, 24 May 1921 (TROVE tagged by Australharmony) (shareable link to this entry)

CHAMBERS, Sydney (Sydney Samuel CHAMBERS; Sydney CHAMBERS; Sidney)


Born Sydney, NSW, 21 April 1843; baptised St. James, Sydney, 14 May 1843; son of Joseph CHAMBERS and Jannet CROOKS
Died Newcastle, NSW, 8 April 1871, aged "29" (TROVE tagged by Australharmony) (shareable link to this entry)



Born Launceston, TAS, 2 July 1847; son of Joseph CHAMBERS and Jannet CROOKS
Died QLD, 8 October 1922 (TROVE tagged by Australharmony) (shareable link to this entry)

CHAMBERS, Amy (Miss Amy CHAMBERS; Mrs. Charles BROWN)

Dancer, ballet master, teacher of dancing

Born Melbourne, VIC, 1853; daughter of Joseph CHAMBERS and Jannet CROOKS
Married Charles BROWN (1854-1935), Christ Church, Newcastle, NSW, 12 August 1875
Died Carlton, VIC, 15 May 1941 (TROVE tagged by Australharmony) (shareable link to this entry)


Baptisms solemnized in the parish of St. Mary, Whitechapel, in the county of Middlesex, in the year 1816; register 1813-23, page 268; London Metropolitan Archives, P93/MRY1/013 (PAYWALL)

No. 2137 / 1816 May 26 / B[orn] Ap. 13 / Joseph son of / Charles [and] Esther / Chambers / Lambeth Street / Gun maker . . .

Baptisms solemnized in the parish of Saint Mary Whitechapel, in the county of Middlesex, in the year 1838; register 1832-42, page 114; London Metropolitan Archives, P93/MRY1/018 (PAYWALL)

[1838 Dec'r] 25 / Joseph / [son of] Joseph & Janet / Chambers / Lambeth Street / Gun maker . . .

England census, 6 June 1841, St. Mary, St. George in the East, Middlesex; UK National Archives, HO107/696/9/8/7/7 (PAYWALL)

St. George's Terrace / Joseph Chambers / 20 / Gun m[aker] / [born in county]
Janet / 25 / [born in county] // Joseph / 4 / [born in county] / Whilhelmina / 9 months / [born in county]
Peter Crooks / 15 / Gun m[aker's] Ap. / [born in county]

1841, married solemnized by Banns in the parish of Stepney in the county of Middlesex; register 1840-42, page 206; London Metropolitan Archives, P93/DUN/078 (PAYWALL)

No. 412 / [1841] June 21 / Joseph Chambers / Full age / Bachelor / Gunmaker / 30 Charles St. / [son of] Charles Chambers / Gunmaker
Jannet Crooks / Full age / Spinster / - / 10 New St. / [daughter of] Alexander Crooks / Carpenter . . .

Passengers per Alexander, arrived at Port Phillip, December 1841; Biographical database of Australia (PAYWALL)

Joseph Chambers / 25 // Janet Chambers / 25 / wife // Joseph Chambers / 5 // Mina Chambers / 1

"SHIPPING INTELLIGENCE. ARRIVALS", The Sydney Herald (11 February 1842), 2 

FROM Port Phillip, yesterday, having left the 26th ultimo, the ship Alexander, Captain Ramsay, with sundries.
Passengers. - Mrs. Mossman and four children, Monsieur and Madame Gautrot, Mrs. Wallace, Mr. and Mrs. Chambers, and two children, and 12 steerage.

ASSOCIATIONS: Joseph and Madame Gautrot (violinist and vocalist)

"THEATRICAL CHIT CHAT", The Australian [Sydney, NSW] (19 February 1842), 2 

. . . A Mr. Chambers is added to the ballet department of the Olympic.

ASSOCIATIONS: Olympic Theatre (Sydney venue)

[Advertisement], The Sydney Herald (21 February 1842), 2 

FIRST APPEARANCE OF MR. J. CHAMBERS (Late Principal Dancer at the London Theatres) . . .
At the conclusion of the Farce, MR. J. CHAMBERS, (from the London Theatres) will dance the HIGHLAND FLING . . .
C. KNOWLES, Stage Manager.

ASSOCIATIONS: Conrad Knowles (actor, manager)

"THEATRICALS", The Sydney Herald (21 February 1842), 2 

The entertainments at the Olympic this evening are rather attractive. In addition to two new pieces, there are seven new performers - a Mr. Chambers, who represents himself (of course) from the London theatres, and a recent arrival here, makes his debut to the Sydney audience . . .

"THE OLYMPIC THEATRE", The Australian (24 February 1842), 2

This really pretty little place seems to meet the success it deserves . . . We were much pleased on Monday evening . . . We have also a valuable accession here in a Mr. Chambers as a dancer. This gentleman is evidently labouring under the effects of his sea voyage, and therefore has not yet exhibited the extent of his capabilities . . .

"THE OLYMPIC", The Sydney Herald (5 March 1842), 2 

Under the able and efficient management of Mr. Knowles, this theatre is continuing to furnish the endless round of amusement to the delighted visitors. The spirited Proprietor - Signor Dalle Case is sparing no expense to contribute to the comfort as well as the entertainment of the audience . . . How could we have omitted Mr. Chambers of Highland fling notoriety, one of the most graceful dancers we have ever seen? With such materials and such a manager, it is no wonder that the amusements in this theatre have been so much varied, and so well got up . . .

ASSOCIATIONS: Luigi Dalle Case (proprietor)

[Advertisement], The Sydney Herald (7 March 1842), 3 

OLYMPIC THEATRE . . . THIS EVENING, (Monday), March 7, 1842,
will be presented Kotzebue's celebrated Play, in five Acts, called THE STRANGER . . .
Francis - Mr. J. Chambers, (His first appearance in that character) . . .
For the first time, the popular Dance THE CACHOUCA, By Mrs. Brock and Mr. Chambers . . .

ASSOCIATIONS: Mrs. Brock (dancer)

[Advertisement], The Sydney Herald (10 March 1842), 3 

MISS RENNIE'S School Quarter commences on the 1st of April.
Terms - £3 3s, including Music, Singing (by Mr. Nathan) . . .
The only extra is £1 1s. per quarter for Dancing, taught by Mr. J. Chambers, just arrived from London . . .

ASSOCIATIONS: Miss Rennie, daughter of James Rennie (school teacher); Isaac Nathan (musician)

"The Olympic", The Sydney Gazette and New South Wales Advertiser (15 March 1842), 3

. . . The part of Francis was not so good as it might have been. Mr. Chambers is a much better dancer than speaker. He looks the character, well, however, and when he learns not to aspirate his vowels, to make less use, or a better use of his arms, and to speak without a constant attempt to speak finely, he will be very much improved. His second appearance in the character was decidedly better than his first, and if he be willing to learn, there can be no doubt of his ability. Our intention in making these remarks is not to damp his energies, but to increase them. No one who has seen his dancing could say any thing harsh of Mr. Chambers . . .

"VICTORIA THEATRE", The Australian (21 April 1842), 2 

This evening Mrs. Ximenes makes her reappearance on this stage as "The Don;" and Mr. Chambers makes his debut in a favourite Highland dance.

ASSOCIATIONS: Ann Winstanley Ximenes (actor, vocalist); Royal Victoria Theatre (Sydney venue)

"DANCING", The Sydney Herald (21 April 1842), 3 

There can be no doubt that our colony is rapidly advancing in the elegant arts, which contribute so much to refine society and improve the general taste. Dancing is unquestionably one of the fine arts, and as such, deserves to be cultivated in polished society. In this, as well as in Painting, Music, Oratory, and the Drama, we have made very considerable advances in Sydney within the last year or so. The arrival of Monsieur Charriere, gave us a superior dancer of the French school, and we are glad to hear that this dancer has been engaged to teach at the Sydney College, where we hope he may meet with every encouragement, and obtain a numerous class. Mr. J. Chambers, again, who arrived from London a few weeks ago, is to our taste an artiste of the highest order in fact, one of the most elegant dancers we have ever seen, though we have been frequently at the Academie Francaise in Paris, where there is the best dancing, it is said, in the world. Mr. Chambers' style is not so violent and distorted as is common on the stage of the French opera, but is more easy, more graceful, more natural, in one word, more English and gentleman-like, while the whole is greatly enhanced and set off by his unassuming modesty, unobtrusive deportment, and polished manners, very different from the forward, flippant, overdone vulgar ceremony, so common among professed dancers. We have seen him teach quadrilles, &c., and were highly pleased with his very superior and pleasing mode of imparting instruction. We understand Mr. Chambers has commenced classes in two of our ladies' schools in Sydney, and we hope he may meet with that encouragement which may enable him to maintain his family with such respectability as his superior talents well merit.

ASSOCIATIONS: Monsieur Charriere (dancer)

"CHRISTMAS PANTOMIME", The Sydney Morning Herald (27 December 1842), 2 

A pantomime, called the Fairy of the Coral Cave, was brought out at the Victoria Theatre last night, under the management of Mr. Torning. The introductory scenes are laughable, and after the change, Mr. Torning as Clown, Mr. Lee as Pantaloon, Mr. Chambers as Harlequin, and Madame Louise as Columbine, went with considerable ability through the usual evolutions of a pantomime, interspersed with a number of pretty dances and amusing tricks. Some of the scenery is very good, particularly the fairy scene, with which the piece opens and closes. The house was crowded in every part.

ASSOCIATIONS: Andrew Torning (actor, dancer, manager); John Herman Selwyn Lee (actor); Madame Louise (dancer)

Baptisms, St. James, Sydney, 1843; Biographical database of Australia (PAYWALL)

14 May 1843 / born 21 April 1843 / Joseph / son of Joseph and Jannet / Chambers / Dancing Master . . .

"NEW INSOLVENTS", The Sydney Morning Herald (12 October 1843), 2 

The following schedules were filed on the 10th instant, viz.:-
Joseph Chambers, of No. 1, Kent-street South, Sydney, professor of dancing.
Debts, £182 19s. 7d. Assets - personal property, £30; outstanding debts, £20 2s. Balance deficiency, £132 17s. 7d.

"VICTORIA THEATRE -Juvenile Night", The Australian (23 July 1844), 3 

The unfavorable state of the weather last evening, disappointed a number of the little ladies and gentlemen who had been promised an evening's amusement suitable to their tastes in the attractive bill issued by the Management . . . The entertainments, however, went off very pleasantly. Masters Simes and Chambers danced in their best style, and were deservedly applauded; whilst Master Lazar enacted General Bombastes in right gallant style, and sang the songs in a manner which elicited every commendation . . .

ASSOCIATIONS: Samuel Lazar (juvenile actor, vocalist); Master Simes = a son of Thomas Simes (actor, manager)

"STEALING", The Star and Working Man's Guardian [Parramatta, NSW] (21 September 1844), 2 

About six o'clock on Sunday morning, an entrance was effected into Mr. Chambers' dancing academy, in Castlereagh-street [Sydney], and wearing apparel, of the value of £3 stolen therefrom.

[Advertisement], The Australian (25 February 1845), 2 

THURSDAY EVENING, FEB. 27, 1845 . . . the Musical Romance, in 2 Acts, entitled KATE KEARNEY; Or, the Fairy of the Lakes . . .
After which, the Curtain will rise for A GRAND MELANGE, Of Singing and Dancing.
A Grand Pas de Deux, by Madame Louise and Signor Carandini . . .
The Highland Fling, by Master Chambers.
For the first lime in this Colony, SIGNOR CARANDINI AND MADAME TORNING Will have the honor to Dance THE POLKA . . .

ASSOCIATIONS: Gerome Carandini (dancer); Eliza Torning (dancer, actor)

"THEATRICALS", The Australian (26 April 1845), 3 

The management has given us an agreeable variety during the week . . . Mr. Chambers' favorite dance, denominated a Highland fling, is a terrible misnomer - it is a caricature upon the country. Chambers, junior, who is a better timeist than his sire, is a promising little fellow, and we shall be happy to see him occasionally . . .

[Advertisement], The Sydney Morning Herald (9 June 1845), 2 

Miss Kelk will make her first appearance this season, and perform the admired dance called the Mazourka . . .
The Neapolitan Tarantella, by Signor Carandini and Mr. Chambers . . .
An entirely new ballet, "The Bridegroom's Welcome," by Signor Carandini, Mr. Chambers, Madame Veilburn, Miss Kelk, and the Misses Griffiths . . .

ASSOCIATIONS: Miss Kelk (dancer); Madame Veiburn (Jane Williamson, dancer); Fanny and Emily Griffiths (dancers)

"STEALING A SHAWL", Morning Chronicle (11 June 1845), 2 

Yesterday, Joseph Chambers, dancing master, residing at the corner of Hunter and Phillip streets, was committed to take his trial for stealing a shawl from the shop of Mr. Farmer, draper, Pitt street, on Saturday last.

"SHAWL STEALING", The Sydney Morning Herald (10 June 1845), 2 

Joseph Chambers, one the performers attached to the Victoria Theatre, was apprehended near that place of amusement, about seven o'clock on Saturday evening [7 JUNE] on a charge of stealing a shawl, value 25s., the property of Mr. Joseph Farmer, draper, Pitt-street. It appeared in evidence, yesterday, that the prisoner entered the prosecutor's shop between three and four o'clock on Saturday afternoon, and asked to be shown some shawls, which he looked at, but made no purchase; when he left the shop, a female customer, who was standing at the counter, mentioned to one of the shopmen named Meares that the man who had been looking at the shows had taken one away in his hat. Meares went after him, found him in the precincts of the Theatre, and accused him of having a shawl in his hat, the property of Mr. Farmer, when the prisoner admitted that he had one, and gave it up, begging, for God's sake, that no more might be said about the matter. As Mr. Farmer was from home, Chambers was allowed to go at large till he was consulted in the matter. After Mr. Farmer had been told of the circumstance, he directed Chambers to be apprehended; when taken, he prayed the constable and Meares to let him go, as he had a wife and three small children: he also admitted having taken the shawl in question, but said he was drunk at the time, he was remanded for the evidence of the woman who saw him take the shawl.

"SHOPLIFTING", Commercial Journal and General Advertiser [Sydney, NSW] (11 June 1845), 2 

Joseph Chambers, professor of dancing, and member of the "corps de ballet," of the Victoria Theatre, appeared before his Worship the Mayor, on Monday last, charged with having stolen a shawl from the shop of Mr. Farmer, Draper, Pitt-street. Mr. Richard Meares, shopman, in the employ of Mr. Farmer, stated, that between three and four o'clock on the evening of Saturday last, the prisoner Chambers, came into the shop and asked to see some shawls, which were shown him by another shopman, named Skinner. After looking at the shawls the prisoner left the shop - and immediately after he was gone, a woman, who happened to be in the shop at the time, told the witness that the prisoner had taken one of the shawls away with him in his hat. He (witness) instantly went in pursuit of the prisoner, whom he found talking to Mr. Wyatt, outside the Victoria Theatre. He beckoned him aside, and told him that he was informed by a woman that he had taken one of the shawls away in his hat, and asked him if such was the case. The prisoner immediately replied "Yes, upon my soul I have, but 1 will return it to you, and I hope you will say nothing about it." They then went round under the gateway leading to the Pitt of the Theatre, where the prisoner took the shawl out of his hat and gave it to him (the witness,) again requesting of him not to say any thing about it, which he promised not to do. In consequence, however, of Mr. Farmer telling him (witness) on his return to the shop that he should have given the prisoner into custody, information was given to two policemen, who went to the theatre, where he was engaged at the time, and took him in charge. The prisoner was remanded until yesterday morning, when he was again brought up.
John Skinner, shopman to Mr. Farmer, stated that the prisoner came into the shop about one o'clock on the afternoon of Saturday last, and asked to see some things, which were shown to him, and among which was the shawl produced. He left without purchasing any thing; and returned about four o'clock, when he asked to see this shawl, and the lowest price that would be taken for it. He then requested to see some other shawls, and it was while he (witness) was in another part of the shop getting the shawls that the prisoner managed to conceal the shawl in question, which had been left on the counter before him, in his hat.
The prisoner was committed for trial; and at the request of Mr. Nichols, who appeared for him, His Worship said that directions would he given to forward the depositions immediately to the Attorney General in order that the prisoner may be tried at the present quarter sessions.
Many of our readers will recollect that about twenty months ago, Mr. John Lazar, the manager of the Victoria, lost from the drawer of his dressing table, a valuable gold watch, gold guard, and mourning ring, for which he, in vain, advertised a handsome reward. After the final examination of Chambers, yesterday morning, Mr. Lazar inquired, at the police office, if, when searching the lodgings of the prisoner, any traces of his watch, &c., had been found. Mrs. Chambers, it would seem, overhead the inquiry, and went directly to a person to whom her husband had pledged a watch and ring and begged of him to say nothing about it, in the event of any further inquiries being made. The party, however, immediately communicated with Mr. Myles, and gave up the property, which was at once minutely described by Mr. Lazar, and identified as part of that which was stolen from his dressing room.
Chambers will be brought up again this morning on this additional charge.

ASSOCIATIONS: John Lazar (actor, manager); Joseph Wyatt (proprietor)

"COMMITTAL", The Sydney Morning Herald (13 June 1845), 3 

Yesterday afternoon, the Right Worshipful the Mayor opened a Court in one of the rooms of the house of the Governor of the Gaol, for the purpose of investigating a charge of stealing against Joseph Chambers, already under committal on a charge of stealing a shawl from the shop of Mr. Farmer, of Pitt-street. The charge was, that the prisoner had stolen a gold watch, gold ring, &c., the property of Mr. Lazar, formerly manager of the Victoria Theatre. It appeared that Mr. Lazar, being engaged in his professional duties on the stage, had left his watch and appendages and ring, on a chest of drawers in his dressing-room at the Theatre; before he returned, the watch, he, had disappeared. It was advertised and so forth, but nothing was heard of it until after Chambers's committal for stealing the shawl. Subsequently to that committal, Mr. R. M. Lindsay, a dealer, residing in Kent-street, gave up the watch and ring to the police, they having been pledged to him by the prisoner Chambers. The watch was stolen in September, 1843; from Lindsay's evidence, it appeared that the watch, ring, and a brooch (not produced) had been left with him as security for £4, on 20th December, 1844. Lindsay deposed that it was at first left for sale, but that Chambers afterwards called and requested that it might not be sold, and that he would repay the money; further, that no interest was charged on the loan, as prisoner and witness had had several dealings together before, and the money was lent in consequence of Chambers stating that his son's benefit had failed, and that he was in want of money. The prisoner offered no reason why he should not be committed to take his trial, and was committed.

"A SHAWL DANCE", Parramatta Chronicle and Cumberland General Advertiser (14 June 1845), 4 

Joseph Chambers, the individual wot astonished the world at the Victoria Theatre, by the agility of his feet, was on Monday introduced to the Mayor, for surprising Mr. Farmer, of Pitt-street, by the lightness of his hands. It appeared that Chambers, on Saturday called at Mr. F's shop, and asked to look at some shawls, the request was complied with, but after they had been subjected to a thorough examination, it was decided that the "price was not suitable," and he left. A person however, observed that one of the best twenty-five shillingers, had been dropt in the prisoner's hat; and the business of the establishment being one of cash payments, this running account was not admired, and one of the shopmen pursued and overtook him, when he admitted the theft, returned the plunder, and prayed forgiveness, but which was not complied with. Mr. Nichols appeared for the prisoner, and endeavoured by "special pleading" to abate the Chamber practice, averring first that his client had been a little intoxicated, or he would never have been tippet enough to steal a shawl - and secondly that he was in the habit of dealing at the shop, and that it was impossible that a man who got so much for being a Harlequin, could be short of the needful in his pantaloons - but the Bench decreed a committal.

"SECOND COMMITTAL OF CHAMBERS, THE DANCING MASTER", Commercial Journal and General Advertiser (18 June 1845), 3 

On Thursday last, a magisterial court was holden at the Gaol, Woolloomooloo, for the purpose of hearing the charge (published in the last number of this journal) against Joseph Chambers (already under committal on a charge of shoplifting) of stealing a gold watch, and mourning ring, the property of Mr. John Lazar, the late manager of the Victoria Theatre. The Right Worshipful the Mayor presided, and Mr. G. B. Nichols appeared for the prisoner. It appeared that one evening in the early part of September, 1843, Mr. John Lazar being engaged in his duties on the stage, left his watch, guard, and ring in a drawer in his dressing room at the Theatre. That on his return to dress at the conclusion of the performance, the watch, &c., was gone, and nothing more was heard of them until the apprehension of Chambers for stealing a shawl from Mr. Farmer's shop. After his examination on that charge Mr. Lazar made some enquiries of the police as to his lost property, and being overheard by Mrs. Chambers, she went to Lindsay, a dealer in Kent-street, to whom a portion of the things had been pledged, and begged of him to say nothing about them. Lindsay, however, took them to the police, and, at this examination, proved the pledging of them by Chambers for £4 in December last: admitting, moreover, that they might have been pledged by him once before, but that he would not state that on oath. Mr. Simes also proved the loss of the watch on the evening in question, and further stated that at the instigation of several of the company - Chambers amongst the rest - a messenger named Gilderoy had been apprehended at the time and kept in custody nine days on suspicion of having stolen the property in question. The prisoner, who appeared to feel his disgraceful situation most keenly, offered no defence, and was fully committed to take his trial.

"Quarter Sessions . . . Saturday, June 14", Commercial Journal and General Advertiser (18 June 1845), 2 

Joseph Chambers, of the Victoria Theatre, was found guilty of stealing a shawl from the shop of Mr. Farmer, draper, Pitt-street, and sentenced to 3 months' hard labor in Sydney Gaol, every fourth week to be spent in solitary confinement.

"SYDNEY COURT OF QUARTER SESSIONS", The Sydney Morning Herald (29 July 1845), 3 

This Court resumed its sittings yesterday. Amongst the prisoners tried was J. Chambers, professor of dancing, at present undergoing a sentence for stealing a shawl, who was again brought up and convicted of stealing a gold watch the property of Mr. Lazar, who at the time of the larceny was manager of the Victoria Theatre. The Court ordered the prisoner to be imprisoned for six months in addition to the sentence for the shawl.

"QUARTER SESSIONS . . . MONDAY", The Sydney Morning Herald (4 August 1845), 2 

Joseph Chambers, already under sentence, under a conviction, was indicted for stealing a watch, and pleaded guilty, and was sentenced to hard labour in Her Majesty's Gaol Darlinghurst, for six calendar months, the last three days in each month in solitary confinement.

[Advertisement], The Sydney Morning Herald (8 September 1845), 2 

ROYAL VICTORIA THEATRE. THIS EVENING, SEPTEMBER 8 . . . Master J. Chambers will, for the first time, perform the admired Dance called the Mazourka . . .

[Advertisement], The Sydney Morning Herald (1 January 1846), 2 

To conclude with the Comic Pantomime of JACK AND THE BEANSTALK; OR, HARLEQUIN OGRE.
Tittle'emtwisto, Master Chambers; Jack, Mrs. Ximines, afterwards Harlequin, Mr. Fitzgerald;
Dollomopsey, afterwards Clown, Mr. Torning; Squallosquatto, afterwards Pantaloon, Mr. Douglas;
Tulip, afterwards Columbine, Madame Torning; Bean Blossom, Queen of the Fairies, Madame Carandini.

ASSOCIATIONS: Dennis Fitzgerald (dancer, actor); Andrew Torning (dancer, actor); James Augustus Douglass (dancer, actor); Maria Carandini (vocalist, actor)

[Advertisement], The Sydney Morning Herald (30 March 1846), 2 

ROYAL VICTORIA THEATRE . . . ON MONDAY EVENING, 30th MARCH . . . Gay's admired Opera of the BEGGAR'S OPERA . . .
After which, a Dance, by Master Chambers, (being his last appearance in the colony) . . .

"SHIPPING INTELLIGENCE . . . DEPARTURES", The Sydney Morning Herald (6 April 1846), 2 

April 4. - Shamrock. Steamer, Captain Gilmore, for Twofold Bay, Port Phillip, and Launceston. Passengers - . . . Mr. and Mrs. Chambers and three children . . . Mrs. Williamson, Master Williamson . . .

"THINGS THEATRICAL", Port Phillip Gazette and Settler's Journal [Melbourne, NSW (VIC)] (11 April 1846), 2 

By the "Shamrock," Mr. John Thomas Smith has received a valuable acquisition to his corps de Ballet, for the approaching season. Madame Vielburn, the celebrated Danseuse, the Taglioni of the southern hemisphere, whose "sylphide" has been termed by real judges, to be the "poetry of motion," and whose "Irish jig" has drawn thousands to the Sydney Theatre to witness it, having arrived under an engagement. In addition to the immense attraction of this lady, Mr. and Master Chambers, said to be the most polished male dancers out of London, are also engaged, and have also arrived. These artistes are well known on the Sydney boards, and are established favorites. We feet assured their visit to Melbourne will be productive of great benefit to themselves and the spirited proprietor of the Theatre, Mr. Smith.

ASSOCIATIONS: John Thomas Smith (proprietor); Queen's Theatre (Melbourne venue)

"THE THEATRE", The Port Phillip Patriot and Morning Advertiser (28 April 1846), 3 

The house was not as well attended last night, as the performances deserved. The "Somnambulist" (containing the incidents embodied in Bellini's celebrated opera, "La Somnambula") has been played here more than once, by (with a tew exceptions) the same parties. The principal attractions were Madame Veilburn and Master Chambers - their performances really merit the eclat with which they are crowned. The Tarantella, en costume, was beautifully danced by Madame Veilburn and Mr. Chambers, sen. The performance is one which calls into requisition, ease and grace, and a sprightly vigour and activity. Madame Veilburn was particularly successful. Her style and character of dancing is calmer, more graceful, and appears to be characterized by less effort, than that of any colonial danseuse we have seen. Mr. Chambers acquitted himself creditably, and was very well received - particularly in his performance of the "Highland Fling." The "infant phenomenon" of the night, was Master Chambers, a child of about eight years old. He moves with all the vigour and elasticity of a mountain cat, and dances with the grimace of a Grimaldi. His "sailor's hornpipe" alone was worth a box ticket. It is rumoured that the proprietor of the theatre contemplates getting the Howson, and other operatic performers, down from Sydney. It is to be hoped that he will do so. A favorite ballad generally draws a few pounds to the house, and we have seen a better audience induced by an indifferent song between the pieces, than a clever dramatic performance. Operatic entertainments would pay all parties well.

[Advertisement], The Melbourne Argus (19 June 1846), 3 

DANCING. MR. J. CHAMBERS, Late of the Corps de Ballet at the Italian Opera House, London, and the Victoria Theatre, Sydney,
HAS the honor to announce to the gentry of the district and the public generally, that he is now prepared to give lessons in dancing -
and from his long professional experience and recent arrival in this colony is enabled to teach the latest and most fashionable dances extant, including
The Polkas.
Mr. C. will attend private families and give private lessons to those who may object to attend his Assembly Rooms, which for the present will be opened at his residence nearly opposite the stores of Messrs. Dalgety, Borradaile and Co., off Bourke-street.
[manicule] Quadrilles guaranteed to be taught in eight lessons.
For terms, &c., apply to Mr. Chambers at his residence as above.

"Local Intelligence", The Port Phillip Patriot and Morning Advertiser (24 September 1846), 2 

On Tuesday evening last, Mr. Jacobs, one of the corps dramatique of the Theatre, gave a soiree dansante at the "Waterloo Inn," Little Collins-street, at which the pupils of Madame Veilburn and Mr. Chambers were present. The visitors were numerous and respectable - and were highly pleased with the arrangements of "mine host" . . .

ASSOCIATIONS: John Lewis Jacobs (actor)

[Advertisement], Port Phillip Gazette and Settler's Journal (3 October 1846), 3 

Queen's Theatre . . . ON SATURDAY EVENING, OCT. 3rd . . .
To be followed by a Grand Comic Ballet of Action, entitled the
During the Ballet a variety of Dances, &c., will be introduced, arranged by Mr. J. Chambers.

ASSOCIATIONS: Frederick Newson (vocalist); Arthur Falchon (vocalist)

"CLEARED OUT", Port Phillip Gazette and Settler's Journal (7 November 1846), 2 

November 5 - Swan brig 149 tons, Carder master for Launceston. Passengers . . . Mr. Chambers and son . . .

"MR. DULY'S BENEFIT", The Cornwall Chronicle [Launceston, VDL (TAS)] (11 November 1846), 871

We have the pleasure to call attention to the musical director's benefit fixed for tomorrow evening, when an attempt will be made to afford an unusual treat to the patrons of the Drama. "Fra Diavolo" was played in London with great success for many nights, and will, we expect, merit a crowded house to-morrow to witness its production, for the first time at the "Olympic." Two new actors are to make their first appearance on "this stage" - Mr. J. Chambers from the Royal Victoria Theatre, Sydney, and Master Chambers (eight years of age), who are said to be accomplished dancers . . .

ASSOCIATIONS: George Frederick Duly (musician); Anne Clarke (actor, manager); Olympic Theatre (Launceston venue)

"MR. AND MRS. STUBBS' BENEFIT", The Cornwall Chronicle (21 November 1846), 901 

If the "bumper" house on Thursday, be a criterion of the merits of there performers, little more need be said in their favor, than to congratulate them on having one of the best houses of the season. The whole of the entertainments were well-selected, and ably sustained; Stubbs, as "Guy Ruthven," in the "Inchcape Bell," made a decided hit, and Mrs. Stubbs was an excellent "Becky." Every one was astonished at Master Chambers' personification of the "Dumb Boy," which was done with much truth and effect. Rogers, as "Sir John Trevanley," and Mrs. Oliffe, as "Amelia," were frequently applauded. The "Nautical Ballet of Action," got up, we believe, under the direction of Mr. Chambers, went off exceedingly well. The dancing was varied and good; and the "Combat," by Messrs. Lee and Chambers, was a "terrific" affair indeed. But the most prodigious performance of the evening, perhaps, was the "Chinese Comic Dance," by young Chambers, who was encored, and rewarded with a passing shower of sixpences, which he richly deserved . . .

ASSOCIATIONS: William and Hannah Stubbs (actors); George Herbert Rogers (actor); Harriet Oliffe (actor); John Herman Selwyn Lee (actor, dancer)

"OLYMPIC THEATRE", The Cornwall Chronicle (25 November 1846), 911 

The performances on Monday evening, commenced with Shakspere's Tragedy in five acts, of "Richard the Third" . . . Master Chambers' "Medley National Dance," in the Interlude, elicited thunders of applause. Mrs. Rogers and Mr. Chambers went through the "Grand Bohemian Polka" in excellent style . . .

ASSOCIATIONS: Emma Rogers (dancer, actor)

"THE THEATRE", The Hobart Town Advertiser (27 November 1846), 2 

It will be seen, on reference to our advertising columns, that Mrs. Clarke has returned from Launceston, and intends to open the theatre on Monday next. She has brought down a very respectable company . . . Mr. Chambers, the well-known dancer, is also of the company, and his son, who really is an astonishing little fellow. The clown dance which Master Chambers performs on Monday night, is one of the most laughable dances we ever witnessed. The performances consist of "The Old House at Home," the ballett of "The Fair Maid of Perth," and the farce of "Cavaliers and Roundheads." A better selection could not have been made, and if the prices are continued as they have begun, we have no doubt but that Mrs. Clarke will have a good season.

ASSOCIATIONS: Royal Victoria Theatre (Hobart venue)

"THEATRICAL", The Cornwall Chronicle [Launceston, TAS] (24 February 1847), 156

Mrs. Clarke, the enterprising and meritorious lessee of the Royal Victoria Theatre, Hobart Town, intends opening the Olympic Theatre, Launceston, on Monday, the 8th of March, with a talented and efficient company. The fascinating actress Mrs. Mereton . . . Mrs. Rogers, and Mrs. Stubbs . . . with Miss Clarke (who has profited much from the instructions of Mr. Chambers), will form the principal female attraction. Messrs. Stubbs, Lee, Mereton, Kenny, Austin, &c., with Mr. Charles Young (who has been lately re-engaged); and last, though not least, the "Bill Farren" of the Australian Colonies - Mr. Rogers, will form the male portion of the corps dramatique. Mr. Chambers and his Son - Joey Grimaldi in miniature - will also accompany Mrs. Clarke . . .

ASSOCIATIONS: Thomas and Christiana Mereton (actors); Hannah and Gibson Stubbs (actors); Anne Theresa Clarke (dancer); James Richard Kenney (actor); Charles Young (actor)

OTHER REFERENCES: William Farren (English actor); Joseph Grimaldi (English dancer)

[Advertisement], The Cornwall Chronicle (12 June 1847), 4 

ROYAL OLYMPIC THETRE. FOR THE BENEFIT OF Master Chambers. Monday, June 14.
MASTER CHAMBERS has the honour to announce to the Ladies and Gentlemen of Launceston and its vicinity, that
HIS BENEFIT will take place on the above evening, and being his first appeal to the public of this side the island, he respectfully solicits their support and patronage.
The evenings entertainments will commence with the Comical, Tragical, Operatical, Farcical, Burlesque Burletta, entitled, TOM THUMB . . .
GENERAL TOM THUMB - MASTER CHAMBERS With song, "Ladies, how d'ye do" . . .
After which, for this night only, BAVARIAN BROOM DANCE!!! MISS M. CHAMBERS.
To be followed by the Grand Melo-Drama of THE DUMB BOY OF THE PYRENEES; OR THE TORRENT OF THE VALLEY!!! . . .
Myrtillo, a Dumb Orphan - Mr. J CHAMBERS . . .
After which, MASTER CHAMBERS Will (for the first time) appear in a series of Classical Delineations, entitled,
The whole to conclude with a new Ballet of Action, called, The Royal Standard OR, THE SHIPWRECKED SAILOR . . .
During the Ballet, the following Dances &c: -

[Advertisement], The Cornwall Chronicle (26 June 1847), 4 

Tom, the Piper's Son, after Harlequin - Mr. J. CHAMBERS . . .
Harlequin junior - Master CHAMBERS. Colombina - Miss M. CHAMBERS . . .

1847, births in the district of Launceston; Tasmanian names index; NAME_INDEXES:1107553; RGD33/1/23/ no 1763 (DIGITISED)

No. 1763 / 2 July / Albert / [son of] Joseph Chambers / Janet Chambers formerly Crooks / Professor of Dancing / . . . Elizabeth Street . . .

[Advertisement], The Cornwall Chronicle (21 August 1847), 4 

Mr. Chambers has much pleasure in announcing His Children's Benefit FOR MONDAY EVENING NEXT, AUG. 23 . . .
THE BOHEMIAN POLKA In Character, by Miss M. and Master CHAMBERS.
To be followed by a new Ballet, arranged by Mr. Chambers, entitled, the

[Advertisement], The Port Phillip Patriot and Morning Advertiser [Melbourne, NSW (VIC)] (20 December 1847), 3 

At which will appear for the first time, MISS CHAMBERS, 5 years old, and Master SYDNEY CHAMBERS, 3 years old.
This Evening, December 20, 1847 . . . The entertainments will commence with TOM THUMB.
General Tom Thumb - Master Chambers.
The Bohemian Polka Miss and Master Chambers . . .

"WORTH SEEING", The Port Phillip Patriot and Morning Advertiser (29 May 1848), 2 

As good a pantomime as we ever saw produced on any stage is that selected for Mr[s]. Avins' benefit, on Wednes-night, next. It is entitled "Harlequin Tom," and got up under the immediate direction of Mr. Chambers, the best ballet master in the colony. A contemporary, last week, gave a sly hit at his brethren of the broad sheet, for what he called "puffing," that is for giving praise where praise is due: an exertion, in every sense of the term, beyond our contemporary's ability; but under certain influences even the dumb speak, and we have no doubt that such would be the effect on our "non-puffing" brother, had he witnessed the representation of this brilliant pantomime, abounding in really clever transformations, humoursome incidents, and striking scenery. The pantomime is really worth seeing, and, with the exception of "Ondine," the only performance during the season, which we considered called for commendation. Amongst the "dancing" to be "introduced," we perceive that Master and Miss Chambers will dance the Bohemian Polka, a sight in itself worth a box ticket . . .

ASSOCIATIONS: Julia Avins (actor, dancer)

[Advertisement], The Port Phillip Patriot and Morning Advertiser (10 June 1848), 3 

MASTER CHAMBERS had the honour to announce to the public of Melbourne and its vicinity, that his Benefit wilt take place on the above evening, on which occasion he trusts that his endeavours to picase during the past season, will ensure him their patronage and support.
First time these three years of the celebrated Nautical Drama, entitled the INCHCAPE BELL; OR, THE DUMB SAILOR BOY OF THE ROCKS.
The Dumb Sailor Boy of the Rocks - MASTER CHAMBERS . . .
Sailor's Hornpipe (in character) MISS W. CHAMBERS.
First night of the celebrated Ballet from the BRONZE HORSE, (Brilliantly illuminated with Chinese Lamps)
Grand Chinese Pas de Deux - Mrs. Avins and Mr. Chambers.
Comic Chinese Dances - Master Chambers.
The celebrated Lantern Dance - by the whole of the Company . . .
Double Irish Jig (in character) Miss and Master Chambers.
Comic [REDACTED] Song (My long-tailed blue - first time) Master Chambers.
Grand Overture - "Les Diamans de la Couronne."
The whole to conclude with an entire new Ballet, entitled DANCING MAD; OR, THE GHOST OF THE VILLAGE.
In the course of the Ballet will be introduced the following Dances -
Rustic Pas Seul - Mr. Chambers.
Grand Elfin Waltz - Mrs. Avins and Mr. Chambers.
Pas de Trois - Miss, Master, & Mr. Chambers.
Comic Dance - Master Chambers.
Grand Characteristic Dance, BY THE WHOLE OF THE COMPANY.
In the course of the evening will be exhibited a grand display of Fireworks.
Tickets to be had of Mr. Cambers' Dancing Academy, little Bourke-street, and at the "St. John's Tavern," Queen-street.
No smoking allowed. J. T. SMITH, Proprietor.

"THE THEATRE", The Melbourne Daily News (12 January 1849), 3 

The programme for this evening is of first-rate calibre, its only fault being a little too advanced for a Melbourne audience . . . We had almost forgotten the Irish Jig between Mrs. Avins & Chambers, which is worth in itself a box ticket. Mrs. Avins, a pupil of Chambers, has made astonishing progress, and has considerably added by this accomplishment to her deserving popularity.

[Advertisement], The Melbourne Daily News (3 March 1849), 3 

Queen's Theatre. MONDAY EVENING, MARCH 5,
MR. J. CHAMBERS has much pleasure in announcing that the performances for the above Evening will be for the benefit of his children . . .
The whole to conclude with the Tragical Burlesque Opera of BOMBASTES FURIOSO.
In the course of the Opera the following Songs, &c.
Song, "Ladies how do you do," - Master Chambers . . .
Trio, "O! Cruel Man," Mrs. Chester, Master Chambers and Mr. Belfield . . .
Duet, "I'll quickly run you through," Master Chambers and Mr. Winter.
Finale, by the characters . . .

ASSOCIATIONS: Marian Maria Chester (actor, vocalist); Francis Belfield (actor, vocalist); Richard William Winter (actor, vocalist)

[Advertisement], Geelong Advertiser [VIC] (28 November 1849), 1 


ASSOCIATIONS: Theatre Royal (Geelong venue)

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

Mushapug (the Monkey) MASTER CHAMBERS, for the BENEFIT of MR. J. CHAMBERS. On Monday Evening, March 11 . . .
The evening's entertainment will commence with the new Grand Comic Pantomime, entitled
(The Pantomime written by, and produced under the sole direction of Mr. T. Chambers [sic) . . .

[Advertisement], Geelong Advertiser (20 September 1850), 4 

MR. J. CHAMBERS, Professor of Dancing, has the honor to announce to the Ladies and Gentlemen of Geelong and its environs, that (under the patronage of several distinguished families) he intends to give instructions in the above elegant accomplishment in all its fashionable varieties, as taught by him throughout the Colonies.
In addition to the Drawing-room Polka, he has introduced the New German Polka, the
"National Scottissch,"
The Valse Deux Temps.
New Valse Maszurka La Cellarius.
The Polka - Schottissch - Cellarius can be taught singly, in the course of six lessons - any hour in the day.
Schools and private Families attended at their own residence.
A JUVENILE QUADRILLE CLASS every Tuesday and Thursday.
For TERMS and particulars apply to Mr. Chambers, at the Dancing Academy, Bellerine street, Geelong.

"THEATRE ROYAL", Geelong Advertiser (8 March 1851), 2 

Mr. Chambers and his talented famiily take their benefit at the Theatre Royal, on Monday evening next. The announcement of the benefit is alone sufficient to ensure an overflowing house. To praise the dancing of the little pets - Master and Miss Chambers - would be an act of supererogation. They are well known and as well appreciated by the playgoing public of Geelong. The programme of the evening is as varied as excellent, all the pieces having been very judiciously selected. One great attraction of the evening will be the introduction of Master Sydney Chambers, aged six years, and a native of the colonies, who will make his debut on the occasion, and will dance a double hornpipe with his little graceful sister. We hope Mr. Chambers may have a bumper house for he deserves it.

And see program, [Advertisement], Geelong Advertiser (10 March 1851), 1 

"BOLTER", The Melbourne Daily News (9 May 1851), 4 

We think it advisable to put our Adelaide friends, on their guard with respect to the "Jeremy Diddler" tricks of Chambers, the Dancing Master who recently bolted from this province, per the Elizabeth for South Australia, leaving a considerable amount of debts behind him. There is very little excuse for this fellow, as the patronage he received here was far more than he deserved, his knowledge of his "art" being extremely limited, and made up of a medly of steps and positions, filched from quadrilles, mazourkas, valses, &c.; nevertheless it did "very well" for the colony; and enabled the man to get more than a good livelihood, and put him in quite sufficient funds to pay his debts. The circumstance which brought him before the Criminal Court, in Sydney, if more generally known here, would have prevented many from being "done" by "The Chambers Family." The fellow disposed of a house in Geelong only a week or two before he bolted, for £130 or £150. But the worst remains to be told; he has "didled" his printer!!! An atrocity we are bound to detail to our Adelaide Contemporaries who will doubtless resent this injury upon their "order".

"THE THEATRE", South Australian Register [Adelaide, SA] (12 May 1851), 3 

The Chambers family continue deservedly to attract full and fashionable audiences, the veteran skill and agility of the parent being all but eclipsed by the dramatic powers of his son and the winning grace of his little daughter, who seems a veritable "fairy from Fairyland;" both presenting in their finished performances an epitome of the various excellencies of all
"Who in the dance sported merry toes,
Taglionis and Ellslers, Duvernays and Ceritos."
Master Chambers advances other claims to popularity than that of an accomplished dancer. In his performance on Saturday evening he exhibited comic powers of no mean class; indeed, our old stagers, with few exceptions, might take lessons in pantomime from either of these talented children. As the short engagement of "the Chambers family" will speedily terminate, we would remind those who desire to witness a display of dancing immeasurably superior to anything heretofore produced on our stage that they have no time to lose.

ASSOCIATIONS: Royal Victoria Theatre (Adelaide venue)

[Advertisement], Adelaide Times (19 May 1851), 3 

ROYAL VICTORIA THEATRE. Doors open at 7 o'clock, commence at half past 7 precisely.
MR. CHAMBERS takes this opportunity of returning his sincere thanks for the very liberal support he and his Family have received during their short stay in Adelaide, and begs most respectfully to announce that their engagement having terminated on Saturday evening last, his
BENEFIT will take place THIS EVENING (Monday), May 19, being the LAST NIGHT BUT ONE of the Chambers Family appearing in Adelaide, when every effort will be made to render the entertainments worthy the patronage and support he solicits for the occasion.
First time in this colony of a Drama of intense interest, called the DUMB MAN OF MANCHESTER,
and the grand Ballet Pantomime DON JUAN; or, the LIBERTINE DESTROYED.
The entertainments will commence with a Domestic Drama of intense interest, in three acts, performed at Astley's Amphitheatre with unbounded success, entitled the DUMB MAN of MANCHESTER; or the FELON HEIR.
Tom Grey (the Dumb Man) - Mr. Chambers.
In the course of the piece, a characteristic Morris Dance - Miss and Master Chambers.
After which, for the first time here, the CRACOVIENNE - Miss Chambers.
To conclude with a grand serio-comic Ballet Pantomime, with new scenery, machinery, dresses, &c., called DON JUAN; or, the LIBERTINE DESTROYED.
Don Juan (the Libertine) Mr. Chambers; Scaramouch (Don's Clown), Master Chambers; Bridesmaid, Miss Chambers.
During the Ballet, the following Dances will be performed: -
Wreath Dance, Miss Chambers; Australian Hornpipe, Mr. Chambers;
Country Dance, by the Characters; Flower Polka (first time), Mr. and Miss Chambers;
Comic Dance, Master Chambers; Grand Pas de Deux, Mr. and Miss Chambers;
Spanish Galopade, by the Company.
Tickets and Boxes may be obtained from Mr. J. Chambers, Solomon's Terrace, Weymouth-street; Mr. Lazar, Temple Tavern; and Mr. Coppin, Royal Exchange Hotel.

ASSOCIATIONS: George Coppin (actor, proprietor)

[Advertisement], South Australian Register (3 June 1851), 2 

Dancing Academy, Solomons-terrace, Weymouth-street.
MR. CHAMBERS, Professor of Dancing, has the honour to announce to the Ladies and Gentlemen of Adelaide and its Environs, that he intends giving instructions in the above elegant accomplishment, in all its varieties, as now taught in London and on the Continent.
The POLKA and SCHOTTISCH can be taught singly in the course of six lessons, any hour of the day.
Schools taught, and Private Families attended at their own residence.
For terms, apply to Mr. Chambers, at his residence.
N.B. - A Juvenile Class every Tuesday and Friday.

"ROYAL VICTORIA THEATRE", South Australian (13 June 1851), 2 

Come and see the PANTOMIME! with the whole of the CHAMBERS FAMILY!! being the last night it will be performed,
in consequence of the arrangements for the OPENING OF THE PORT THEATRE.
On SATURDAY, June I4th, will be produced, for the fourth time, a new Comic Pantomime, entitled
The new Music composed and arranged by Mr. Moore . . .
Harlequin Fat, Mr. Coppin; Drone, Mr. Lazar; Harlequin Bat, Mr. Chambers;
Harlequin, junior, Master Chambers; Clown, Mr. Douglass;
Clown junior, Master F. J. Douglass; Pantaloon, Mr. Hasker;
Pantaloon junior, Master J. Douglass; Columbine, Miss Chambers;
Fortunio, Mrs. Moore; Queen Bee, Mrs. Lambert . . .

ASSOCIATIONS: Andrew and Rachel Moore (musician and actor); James John Hasker (actor); Harriett Lambert (actor)

[Advertisement], South Australian Gazette and Mining Journal (10 July 1851), 3 

ROYAL VICTORIA THEATRE. Open every Monday, Thursday, and Saturday. Proprietors - MESSRS. LAZAR AND COPPIN . . .
Highland Fling, by Mr. Chambers . . . Tambourine Pas De Deux, by Miss and Master Chambers . . .

[Advertisement], Adelaide Times (14 August 1851), 2 

upon which occasion, MR. RADFORD has kindly given the services of himself and his valuable STUD of HORSES, including the celebrated mare BEDA, and horse DANDY.
THE Entertainments will commence with (for the first time in this Colony), the Grand Comic Pantomine [sic], entitled,
HARLEQUIN PRINCE OF PERSIA; or, the Demon of the Hartz Mountains, and the Fairy of the Silver Stream.
Harlequin, MR. J. CHAMBERS. Harlequina, MASTER CHAMBERS. Columbine, MISS CHAMBERS.
Pantaloon, MR. HASKER. Clown, MR. DOUGLAS . . .
Second and last appearance (in this Colony) of MASTER SYDNEY CHAMBERS, who will, by particular desire, dance the NAVAL HORNPIPE . . .
Tickets to be had at the principal Hotels in Town, or at the residence of Mr. J. Chamber's, Sander's Terrace.

ASSOCIATIONS: Robert Avis Radford (circus equestrian performer)

"BOXING DAY. PUBLIC AMUSEMENTS . . . THE QUEEN'S THEATRE", The Argus [Melbourne, VIC] (27 December 1854), 4 

The house was crammed to the ceiling . . . "Riddle-Me-Riddle-Me-Ree, or Harlequin and Conundrum Castle," is the name of the pantomime . . . Chambers appearing as Harlequin; Mrs. Young, Columbine; Mr. Barry, clown; and Nunn, pantaloon . . .

ASSOCIATIONS: Tom Barry (comedian); Tom Nunn (comedian)

[Advertisement], The Age [Melbourne, VIC] (28 July 1855), 8 

COPPIN'S OLYMPIC. G. COPPIN, in announcing the commencement of his
Dramatic Season, most respectfully informs his friends and the public generally,
that the same liberal system of management for which he has been characterised for the last twelve years in the Australasia Colonies shall be fully carried out upon the present occasion.
The Celebrated Tragedian, Mr. G. V. BROOKE will appear for a limited period, supported by the following Efficient Company: . . .
Miss Chambers . . . Mr. J. Chambers, Mr. J. Chambers, jun., Master Chambers . . .

ASSOCIATIONS: Gustavus Vaughan Brooke (actor); Coppin's Olympic (Melbourne venue)

"QUEEN'S THEATRE", The Argus (31 December 1855), 5 

The Pantomime at this theatre continues to attract numerous audiences . . . In the sequel to the burlesque, Mr. Chambers jun. makes an excellent Harlequin. He is undoubtedly the best Harlequin we have. Miss Chambers is a capital Columbine, and the parts of Clown and Pantaloon are admirably filled . . .

"THE SALLE DE VALENTINO", The Age (15 May 1856), 2 

At the City Court on Wednesday, Mr. James Ellis appeared to answer the information of Mr. Sub-Inspector Nicolas for "causing stage dancing to be acted in a building called the Salle de Valentino without a license." Mr. Stephen said that this charge had been postponed for a week, in order to enable Mr. Ellis to obtain a license. He had written to the Governor but had not received any reply, and had closed the Salle ever since. Police Constable C. 22. attended the entertainment on the 2nd of May, paid one shilling admission to the door-keeper, and witnessed a stage performance entitled "Mad as a March Hare." He saw Master and Miss Chambers dancing. The entertainment was a species of pantomine [sic] - there was no dialogue, only acting and dancing. In this he was guided by the bill and by his own judgment. There was a Chinese dance in character, and the performance was upon a stage . . .

ASSOCIATIONS: James Ellis (proprietor); Salle de Valentino (Melbourne venue)

"COLEMAN'S LYCEUM", The Age (4 June 1856), 2 

This favorite and commodious old house, formerly the Queen's, is to be opened on Monday evening by Mr. Henry Coleman, the spirited lessee of the Castlemaine and Bendigo theatres. The house has been entirely renovated, and brilliantly lit with gas. Mr. Coleman has, with great judgment, selected Mrs. Brougham us his stage directress, and placed at her disposal one of the ablest theatrical corps in the colony. Those engaged include the names of Mr. and Mrs. Charles Young, Madame Strebinger, Miss Chambers, Messrs. Miran, Chambers, sen. and jun., and others . . .

ASSOCIATIONS: Henry Coleman (actor, manager); Emma Brougham (actor, manager); Therese Ferdinand Strebinger (dancer); Charles Miran (actor); Lyceum Theatre (Melbourne venue)

"THEATRICALS AND MUSIC. THEATRE ROYAL", Bell's Life in Victoria and Sporting Chronicle (10 January 1857), 2 

There has been little change in the contents of the playbills during the week the great success of the Pantomime having saved the company rehearsals, and the manager, much printing. The house has been well filled every night and the patronage of all classes of the community has been extended to the new colonial production. Charles Young's clown would be almost perfect if he would content himself with relying only upon his pantomimical powers . . . The graceful, fascinating Columbine has complete impersonation at the hands - or to speak by the card, legs - of Madame Strebinger, whose interpretation of the "poetry of motion" is one of the most enjoyable features in the whole performance. Joseph Chambers and his sister also render good service; the latter has much improved, and with hard study and practice under the tuition of such a proficient as Madame Strebinger, may look forward to a good position in her profession . . .

ASSOCIATIONS: Theatre Royal (Melbourne venue)

[Advertisement], Mount Alexander Mail [Castlemaine, VIC] (13 February 1857), 1 

THE Performances will commence with Diamond's Romantic Drama of the DUMB BOY OF THE PYRENEES, OR, THE BROKEN SWORD! . . .
Myrtillo (a Dumb Orphan) - Miss Mina Chambers . . .
The Interlude will consist of the Favorite Ballet d' Action arranged by Mr. J. Chambers, entitled
DANCING MAD, Or, the Ghost of Castlemaine!
Julian (a young swain betrothed to Rosalia), - Mr. J Chambers
Pierrot Nimble Toe (always on the hop) - Master J. Chambers
Rosalie (in love with Julian) - Miss Chambers
Madame Annette (Rosalie's mother) Master S. Chambers
Notary - A'Beekett Evans . . . Annette - Mrs. A'Beckett Evans.
Rustic Pas de Deux, Miss & Mr. J. Chambers
Pas de Trois Valise - Miss, Master, & Mr. J. Chambers.
Grand Flower Polka - Miss & Mr. J. Chambers
Pop Goes the Weasel - - Master J. Chambers
Pas de Quarte - Miss, Master S., J. & Mr. J. Chambers . . .
Concluding with the admired Extravaganza, BOMBASTES FURIOSO,
Bombastes Furioso - Miss MINA CHAMBERS
Fusbos (Prime Minister) - Master J. Chambers . . .
Distaffina - Mrs. A'Beckett Evans
Michael Wiggins - Master S. Chambers.
Ladies, how d'ye do - Song - Bombastes . . .
Cruel Man - Trio - Distaffina, King, & Bombastes . . .
My Lodging is on cold ground - Song - Fusbos.
Grand Finale, by the characters - Briny Tears . . .
Several Novelties in preparation, including A GRAND PANTOMIME.
. . . Manager, A'Beckett Evans.

ASSOCIATIONS: Richard and Eliza A'Beckett Evans (actors)

"Benefit of the Chambers Family", Mount Alexander Mail (23 March 1857), 2 

This evening, as will be seen by our advertising columns, this talented family take a benefit at the Albert Theatre. Their abilities have been so well recognised, and their efforts to please the public, during their engagement in Castlemaine, have hitherto been so successful, that it might almost be considered unnecessary thus to draw attention to their benefit; but in this instance we cannot avoid particularising the performances. The melodrama of "The Dumb Man of Manchester," with Mr. Chambers, sen., as Tom. Grey, introduces the entertainment: the other parts are filled with the other members of the Chambers Family, and the Albert troupe - all of whom will, doubtless, give the satisfaction that has hitherto attended their efforts. The Spider Dance, as danced most successfully by Mr. J. Chambers, jun, will be presented. Mr. Small sings "The Rowdy Barrister," Miss Montrose assists with her favorite ballads, and Mr. Chambers, jun., will furnish his poses plastiques in "The Sculptor's Studio" . . .

ASSOCIATIONS: Joe Small (comic vocalist); Miss Montrose (vocalist)

"THE OPERA", The Age [Melbourne, VIC] (21 May 1857), 5 

Last evening the Princess's Theatre was filled in every part by a numerous and brilliant audience, to do honor to the "farewell benefit" of Madame Bishop. The bill of fare included the opera of "Linda de Chamounix," the celebrated scene from Rossini's "Tancredi," and some clever dancing by the Chambers' family . . .

ASSOCIATIONS: Anna Bishop (vocalist); Princess's Theatre (Melbourne venue)

[Advertisement], The Star [Ballarat, VIC] (2 December 1857), 3 

MONTEZUMA THEATRE. Under the direction of Mr. J. P. HYDES.
Mr. Chambers, Jun. will Dance the JOCKEY HORNPIPE! In the colors of the winner of the Ladies' Purse . . .
Medley Dance - Master Sidney Chambers.
Pas Seul - Miss Mina Chambers.
The Ballarat Race Galop - Mr. T. King . . .
Acting Manager, Mr. CHARLES WALSH.

ASSOCIATIONS: John Proctor Hydes (actor, proprietor); Thomas King (musician); Charles Walsh (actor, manager); Montezuma Theatre (Ballarat venue)

[Advertisement], The Star (5 January 1858), 3 

MQUTEZUMA THEATRE. Under the direction of Mr. J. P. HYDES.
TUESDAY EVENING. The evening's entertainments will commence with a laughable farce, by Thomas Morton, Esq., entitled
MISS CHAMBERS SEEING HYDES. Susan Griffith - Miss M. Chambers.
SPIDER DANCE, A La Madame Strebinger, by Mr. J. Chambers, Jun.
The evening's entertainments will conclude with a new Pantomime, entitled
Supported by the best Pantomimists in Australia.
Harlequin - Mr. J. Chambers, Jun.
Columbine - Miss Mina Chambers.
Clown - Mr. J. P. Hydes.
Pantaloon - Mr. D. Golding.

ASSOCIATIONS: Daniel Golding (actor, vocalist)

"HAYMARKET THEATRE", Bendigo Advertiser [VIC] (14 June 1858), 3

On Saturday night this Theatre was re-opened, the proprietor, since its close on the previous Saturday, having brought up from town several attractive novelties. The performances commenced with the Drama of the "Dumb Girl of Genoa," introducing an old Bendigo favorite, Mr. Wolfe, and in which Mr. J. Chambers made his first appearance in Sandhurst. The former sustained the character of Oliver; Mr. Chambers, that of Strapado. Miss Chambers, who enacted the part of Julietta, also made her first appearance, and by her clear pantomimic acting of the dumb girl, greatly conduced to the success of the piece. The introduction of one of those terrific broadsword combats, by Mr. Chambers and Mr. Campbell, was relished exceedingly by the audience, who applauded it as vehemently as ever did the "gods" in either the Coburg or Surrey Theatres. The play was followed by a clever Ballet, supported by the Chambers Family. The dancing was capital, and had it not been for a slight hitch in some of the dances, occasioned by the defective state of the Orchestra, but which was easily accounted for when it became known that there had been only one rehearsal, in consequence of the late hour at which the performers had arrived on the previous evening. This is a fault, however, which subsequent rehearsals will correct, and we expect that this really clever family will prove a great acquisition to the Theatre. Miss Chambers is a very graceful dancer, her pirouettes are executed with a lightness which fully realises the idea of "the poetry of motion" . . .

ASSOCIATIONS: Joseph Melville Wolfe (actor); Haymarket Theatre (Bendigo venue)

"VICTORIA THEATRE", South Australian Register [Adelaide, SA] (14 September 1858), 3 

"Rob Roy" was produced last night to a good audience. Mr. Mungall was of course, the principal object of attraction, and enacted his character in a most successful manner. Mr. Chambers took the part of the Dugal Creature, and Miss Julia Huttmann that of Francis Osbaldiston. An amusing Chinese dance by Mr. and Miss Chambers followed, and was loudly applauded.

ASSOCIATIONS: John Mungall (actor)

[Advertisement], The South Australian Advertiser (30 September 1858), 1 

To conclude with the grand Comic Pantomime, entitled TOM, THE PIPER'S SON.
Clown - Mr. Mungall. Harlequin - Mr. J. Chambers. Columbine - Miss Mina Chambers.
Allowed to be the best Pantomimic Company that has ever been in Australia.
Sprite - Mr. S. T. Holmes, (Who has kindly consented to appear on this occasion.)
Pantaloon - Mr. Greville. (For this occasion only.) . . .

ASSOCIATIONS: Samuel Tuson Holmes (actor); John Rodger Greville (actor)

"THE VICTORIA THEATRE", The South Australian Advertiser (6 October 1858), 2

The performances on Tuesday evening were for the benefit of Mr. and Miss Chambers, and we were glad to see a crowded house on the occasion. The drama entitled "The Wren Boys" was repeated . . . Mr. Holloway and Miss Marie Nelson, upon whom the heavy business devolved, very creditably acquitted themselves, and indeed the whole of the characters were well sustained. A Pas de Deux by Mr. and Miss Chambers was deservedly encored, but the audience consented to forego a repetition on the ground that the parties had still a great deal of fatigue to go through in the ballet "Don Juan," which was decidedly successful. Mr. J. Chambers' imitation of Lola Montes celebrated "Spider Dance," was a very clever performance, but it would be injustice to the lady who introduced the dance into the Australian colonies, not to state that many attitudes not of the most graceful or delicate character were imported into the imitation, of which, the original was free.

ASSOCIATIONS: Edmund Holloway (actor); Marie Nelson (actor); Lola Montez (dancer)

"PORT THEATRE", The South Australian Advertiser (8 November 1858), 2 

Mr. Henderson took his benefit on Friday evening, in a more truthful acceptation of the word than is frequently the case. The house was well filled in every part, between 500 and 600 people (an unusually large attendance for this place) being present. The excellent dancing of Miss Mina Chambers, and the a genuine humor and rich brogue of Mr. Greville contributed much to the perfect success of the evening's performances . . . This is the last performance of the company in this colony, it being their intention to return to Melbourne, per Goldseeker, sailing to-day.

ASSOCIATIONS: Port Theatre (Adelaide venue)

[Advertisement], The Star [Ballarat, VIC] (20 October 1860), 3 

In a variety of most amusing entertainments,
for the Benefit of MISS AMY CHAMBERS, The Infant Wonder . . .

"THEATRICALS AND MUSIC . . . BENDIGO", Bell's Life in Victoria and Sporting Chronicle (9 February 1861), 2 

After the departure of Mr. Brooke and Miss Jones, last week, business at the Lyceum was very bad . . . On Monday a somewhat better era was inaugurated by the production of Mr. W. M. Akhurst's pantomime of "Jack Horner," which has since continued to draw tolerably good houses . . . The harlequinade is well sustained by M. Schmidt, Mdlle. Therese, and Messrs. Joe Chambers and Dherang . . .

ASSOCIATIONS: William Mower Akhurst (author); Mons. and Therese Schmidt (dancers); Alfred Dherang (dancer)

"ROYAL VICTORIA - DRAMA", Bell's Life in Sydney (21 December 1861), 2

. . . A great attraction for the last week or so (besides the drama), has been the beautiful ballet so admirably directed by Mons. Schmidt, the maitre de Ballet of the Victoria. Of Madame Therese, the favourite dansuese, we need not but repeat what we have so often said: she is all grace and lightness, a very butterfly amongst flowers. Mr. Chambers is a young and very promising Comic Dancer, who daily grows in favour with the public . . .

"TOWN TALK AND TABLE CHAT", The Cornwall Chronicle [Launceston, TAS] (2 April 1862), 5 

On Monday evening the Theatre Royal was re-opened . . . Miss Amy Chambers, a most accomplished little danseuse, next appeared in a graceful Dance of all Nations, after which she reappeared with Messrs. Chambers, senior and junior, and Mister A. Chambers, as Jack Tars ranging from five feet eight to about four feet high. They danced the Australian or Quadruple Hornpipe, which was vociferously encored . . .

ASSOCIATIONS: Theatre Royal (Launceston venue)

[Advertisement], The Mercury [Hobart, TAS] (5 May 1862), 1 

Theatre Royal . . . MONDAY EVENING, 5TH MAY . . .
To conclude with the laughable Ballet entitled LE DANSEUR DISTRAIT, or the GHOST OF THIS VILLAGE.
Julian (a young swain betrothed Mr. to Rosalie) - Mr. J. Chambers
Cerriot Nimblotoe, always on the hop - Mr. Chambers, jun. . . .
Mdme. Jeannotte - Master Albert Chambers . . .
Dances Incidental to the Piece.
Pas Seul - Miss A. Chambers.
Comic Pas de Trois - Harry Jackson, Mr. Chambers, Mr. Chambers, jun.
Comic Dance, "Pop go's the Weasel" - Mr. Chambers, jun.
Pas de Fasciatrio - Master A. Chambers.
GRAND FINALE!! Chambers Family and the Corps de Ballet . . .

[News], The Star [Ballarat, VIC] (9 September 1862), 2

This evening the performances at the Theatre Royal will be in favor of Mr. Joseph Chambers, a painstaking young actor, and the able director of the ballet so far as it finds a place on our stage. Much of the success which attended the Easter pantomime was due to Mr. Chambers' exertions and talents, and we believe his services are to be retained in the production of the Christmas pantomime. For his benefit this evening are to be performed Shakspere's comedy "As you like it", and a new ballet conducted by himself, under the title of "True Blue". We trust to see Mr. Chambers honored with a large attendance.

ASSOCIATIONS: Theatre Royal (Ballarat venue)

"TOWN TALK AND TABLE CHAT", The Cornwall Chronicle [Launceston, TAS] (7 February 1866), 5 

The Entertainment now given nightly at the Theatre Royal, is one of the most varied and attractive we have had there for a long period . . . Introduced by an appropriate overture, Miss Amy Chambers the premier juvenile danseuse of the colonies, appeared like a miniature CELESTE and illustrated the poetry of motion in so engaging and artistic a manner as to draw down thunders of applause and a determined encore . . .

"DEATH OF MR. SYDNEY CHAMBERS", Empire (10 April 1871), 2

We regret to learn that a telegram was received on Saturday evening by Mr. Joe Chambers of the Chambers family, that his brother Sydney, who was playing an engagement at Newcastle, was drowned that afternoon in the harbour while bathing.


[News], Empire (23 July 1874), 3

Poor Joe Chambers is dead. This simple announcement will be read by very many persons with sincere regret, especially by the members of the profession in which the deceased was for many years an ornament. As a balletmaster Mr. Chambers is well known in this colony, and for many years held his own against his numerous rivals in ballet teaching and dancing. Latterly, however, Mr. Chambers has led a life of much suffering, and was forced to relinquish his profession, for which he had an ardent and genuine affection, and finally succumbed to that most trying and insidious disease - consumption - at the early age of 38 years. Although his later life was hard to bear, owing to his extreme suffering, the end of poor Joe Chambers was one of peace, and was welcomed by him and his intimate friends as a happy release. May it prove to be truly so!

"DEATHS", Australian Town and Country Journal (25 July 1874), 35

On July 21, at Foxlow-place, Sydney, after a long and painful illness, Mr. Joseph Chambers, professor of dancing, aged 37 years.

"CLONTARF", The Sydney Morning Herald (2 January 1875), 8

The steamers Hunter and Manly were laid on to run to the above named recreation ground yesterday, and a large number of persons, no doubt tempted by the liberal programme of sports which was announced to take place on the ground, decided to spend their holiday there . . . Dancing, under the supervision of Mr. J. Chambers was carried out by that gentleman in a most satisfactory manner, the music being performed by the Young Australian band.

"DEATHS", The Sydney Morning Herald (5 May 1875), 1

CHAMBERS. - April 21, at Sydney, Janet, wife of Joseph Chambers, and beloved mother of Miss Amy Chambers, Sydney, and Mrs. Mina Lyon, of Beechworth, Victoria, aged 63 years.

CHAMBERS. - April 30, at Sydney, Joseph Chambers, the dearly beloved father of Miss Amy Chambers, aged 62 years, for very many years connected with the stage of Australia.

"MARRIAGE", The Newcastle Chronicle (11 September 1875), 4 

BROWN - CHAMBERS. - On August 12th, at Christ Church, Newcastle, by the Rev. James Norton, CHARLES BROWN, to AMY, youngest daughter of the late MR. JOSEPH CHAMBERS, of Sydney.

"Music and the Drama", Australian Town and Country Journal (8 January 1881), 12

. . . Miss Amy Chambers, the leader of the ballet, is without doubt one of the most popular danseuses the city has ever soon, and was well supported by the graceful young ladies she has trained. Her dancing is to many the chief charm, where all is charming.

"Old Playbills", The Lorgnette [Melbourne, VIC] (31 August 1886), 4 

QUEEN'S THEATRE ROYAL. Benefit of Mr. and Master CHAMBERS, This Evening, July 23rd, 1849.
MAZEPPA, or The Wild Horse. Master Chambers will appear as the Piccannini Congo Minstrel for the first time.
New [REDACTED] Dance "Dan Tucker Polka," Miss and Master Chambers.
A new Indian Ballet "Jacco, the Brazilian Ape" . . .

"THE MELBOURNE STAGE IN THE FORTIES. By J. S. No. IV.", The Argus (7 June 1890), 4

. . . At this time Mr. King was managing the theatre, and the company had been reinforced by the accession of Mr. and Mrs. Charles Young who danced "the true Bohemian polka" by way of interlude, between the first and second pieces, and Edward Wilson's pen is clearly traceable in a critique welcoming them back to Melbourne as quite a refreshing change, after having been "dosed with the Chambers family." Male dancers you know are apt to become wearisome after they have been hopping about upon the same stage for several years in succession . . .

ASSOCIATIONS: James Smith (memoirist); Moreton King (actor, manager); Charles and Jane Young (dancers, actors); Edward Wilson (journalist); for the original article, see "THE THEATRE", The Argus (11 May 1849), 2 

"DEATHS", The Argus [Melbourne, VIC] (4 June 1921), 11 

LYON. - On the 24th May, at her daughter's residence, Lewisham road, Windsor, Mina, widow of the late George Lyon, Spring Creek, Beechworth, and affectionate mother of Amy (Mrs. Nelson), Walter, Ada (Mrs. Hodgkiss), Edie (Mrs. Fyfe), and Mina (Mrs. Boileau). A colonist of 79 years. At rest.
LYON. - On the 24th May, at her daughter's residence, 68 Lewisham road, Windsor, Mina Lyon, widow of the late George Lyon, Beechworth. Colonist of 78 years. Peace, perfect peace.

"DEATHS", The Age [Melbourne, VIC] (16 May 1941), 1 

BROWN. - On May 15, at her residence, 276 Faraday-street, Carlton, Amy, widow of Charles Brown (Bland Holt Company), beloved mother of Annie (Mrs. R. McLeod), Edith, Charles and William, loving mother-in-law of Pearl (Mrs. C. A. Brown), Lily (Mrs. W. Brown) and R. MacLeod.

CHAMBERS, Lucy (Mary Ann CHAMBERS; called Lucy CHAMBERS; Miss CHAMBERS; Lucia CHAMBERS; Signora Enrico DONDI; Madame Lucy CHAMBERS; Lucy DONDI)

Musician, contralto vocalist, pianist, teacher of singing

Born Sydney, NSW, 3 July 1834; baptised St. Mary's chapel, 13 July 1834; daughter of Charles Henry CHAMBERS (c. 1796-1854) and Lucia McCROHAN (d. 1854)
Departed Melbourne, VIC, 29 January 1862 (per Great Britain, for Liverpool)
Married Enrico DONDI, Italy, ? c. mid 1860s (separated 1875)
Arrived Melbourne, VIC, 15 January 1870 (per Yorkshire, from Gravesend, 26 October, and Plymouth, 2 November 1869)
Died East Melbourne, VIC, 8 June 1894, aged "54" [sic] [BDM VIC "Lucy Dondi"] (TROVE tagged by Australharmony) (NLA persistent identifier) (shareable link to this entry)

Miss Lucy Chambers, 1870; Johnstone, O'Shannessy & Co., photographers, Melbourne; State Library of Victoria

Miss Lucy Chambers, 1870; Johnstone, O'Shannessy & Co., photographers, Melbourne; State Library of Victoria (DIGITISED)


Lucy Chambers was born in Sydney, NSW, a daughter of Irish parents, Charles Henry Chambers, a solicitor, and his wife Lucy McCrohan (her forename also given as Lucinda or Lucia).

Charles had arrived in the colony in 1822, and his wife followed in 1824. Charles was originally a Protestant, and before he converted to his wife's Catholic faith, their older children were first baptised as Episcopalians (Anglicans).

Lucy was almost certainly their last documented child, registered at birth as Mary A. L. Chambers (BDM NSW V1834/425/129), and whose baptism record, at St. Mary's Catholic chapel, on 13 July 1834 (as "Mary Ann") gives her date of birth as 3 July 1834. She was their second child they called Lucy (Lucia, Lucinda Ann), the first, born in Sydney on 23 February 1828, having died on 10 November 1832, aged 4 years and nine months.

Lucy made her first recorded public appearance, aged 10, at the Sydney mayoral fancy ball in August 1844, as a "fairy", accompanying her parents. By that time she may already have been a music pupil of Maria Logan, who had arrived in Sydney (from Hobart) in 1842.

Around 1853 her family gradually relocated to Tasmania, to settle there with Lucy's elder sister, Margaret Elizabeth (1825-1897), wife of George Gilmore (1814-1884), a Launceston city alderman. Her mother Lucy died there on 8 March 1854, and her father Charles less than a month later, both possibly suffering from the same severe bowel complaint.

It was accordingly in Launceston, in February 1856, that Lucy - then aged 28 - came to the attention of the touring Irish vocalist, Catherine Hayes. She was evidently by then a formidable pianist, for, at Hayes's invitation she acted as her accompanist for her second and third Launceston concerts (local professional Julius Imberg, having played for the first, perhaps found wanting). By Chambers's own later account, Hayes also offered to take her to Europe for further vocal study. But it was probably not until 1860 or 1861 (Hayes died in August 1861) that Chambers ultimately sailed from Melbourne, bound first for Britain (her sister and brother-in-law also sailed for England in March 1862, and spent most of the decade in Bristol, before returning to Launceston).

In the meantime, by later reports (1869, 1877), Chambers played a leading role in Launceston amateur music-making in the later 1850s, notably appearing as an soloist alongside Robert Farquharson in a performance of The creation on 6 May 1858 by the joint forces of the Launceston Philharmonic Society and Launceston Sacred Harmonic Society, conducted by John Adams. At the time, she came to the musical notice of the press there only once more by name, when, on 31 March 1859, she appeared as a solo vocalist, and in duets with Susan Fereday, at another concert given by the Philharmonic Society, conducted by Arthur John Marriott.

By later accounts, Chambers began her European decade in London, studying first there with Manuel Garcia, and later in Italy with Pietro Romani.

For the two years she spent studying in Florence before her public debut (1862-63), Chambers reportedly had few friends or supporters other than her teachers, the vocalist Luigi Vannuccini and the actor Ferdinando Pelzet (husband of Maddalena Pelzet).

Her operatic debut, as Azucena in Il trovatore, on 24 January 1864 at the Teatro Pagliano, Florence, was widely reported in the English and Australian press. However, a fact less widely known at first - that while in Italy she had married the Italian bass, Enrico Dondi - was only mentioned in one of her obituaries, that placed by her family in Launceston.

It was with Dondi that Chambers finally returned to Australia in 1870, as part of an Italian contingent engaged in Milan by William Lyster, though for professional (and perhaps already also for personal) reasons, she was to perform under her own name. Dondi sailed alone for Europe in November 1875, never to return, while for the remaining almost 20 years of her life, Chambers lived and worked in Melbourne as a singing teacher.

She died in Melbourne on 8 June 1894, reportedly aged 54, but correctly 59, less than month shy of her 60th birthday.


Baptisms, St. Mary's Catholic chapel, Sydney, 1834; Biographical Database of Australia; = "Mary A. L. Chambers" (BDM NSW 1834/425/129) (PAYWALL)

Mary Ann / baptised 13 July 1834 / born 3 July 1834 / [daughter of] Charles Henry Chambers & Lucia McCrohan [sic] / sponsor Henry O'Brian & Miss Elizabeth Chambers: "Papa says for Charlotte Boyde"

ASSOCIATIONS: Margaret Elizabeth Chambers, the infant's 9-year older sister, was standing proxy for Charlotte Boyd

"MAYOR'S FANCY DRESS BALL", The Sydney Morning Herald [NSW] (23 August 1844), 2 

The fancy dress ball of the Right Worshipful the Mayor to the citizens of Sydney, took place in the Victoria Theatre on Wednesday evening, the 21st instant. It was a gorgeous spectacle, and, unless we had been present, we could not have conceived it possible for Sydney, in its present condition, to have brought together such a vast variety of costly and magnificent garbs, and costumes of all nations, as greeted our eyes on the present occasion . . . The Victoria Theatre, we think, never looked more brilliant. Extensive preparations had been made to turn the capacious stage and pit into one ample ball room. The pit was for this purpose boarded over - and the extent of area enclosed by this splendid room, from the back of the stage to the boxes, will be easily understood by any person who his visited the theatre. The excellent band of the 99th regiment was stationed in the centre of the upper boxes, and the theatrical band at the back of the pit . . .
LIST OF THE COMPANY PRESENT . . . Mr. H. C. Chambers, Doctor Syntax; Mrs. Chambers, Fancy Dress; Miss Lucy Chambers, Fairy . . .

See also "THE MAYOR'S FANCY DRESS BALL", The Weekly Register of Politics, Facts and General Literature (24 August 1844), 92 

ASSOCIATIONS: James Robert Wilshire (mayor); Band of the 99th Regiment (military); Royal Victoria Theatre (Sydney venue)

? [Advertisement], The Sydney Daily Advertiser (25 July 1848), 3 

A YOUNG Lady (a pupil of Mrs. Bushelle and Mr. Nathan) is desirous to undertake the tuition of a few young ladies, at their own residences, in singing and the pianoforte. For cards of address, &c., please to apply to Mr. Grocott, Music Seller, George-street.

ASSOCIATIONS: Eliza Wallace Bushelle (vocalist, teacher); Isaac Nathan (musician, teacher); James Turner Grocott (musicseller)

"MISS HAYES CONCERT", The People's Advocate or True Friend of Tasmania [Launceston, TAS] (25 February 1856), 2 

The concert on Friday evening [22 February] by this "Sweet idol of the Passionate and Wild! / Enchantress of the soul!" was, indeed, a most brilliant triumph! . . . Never before have the Cornwall Assembly Rooms received within its walls so great, so beautiful, and elegant an assemblage, as was, on Friday evening, gathered to render homage to the Swan of Erin . . . On Miss Hayes appearing, a burst of applause welcomed her . . . then came the breathless silence that marked the deeply absorbed feelings with which her "Robert, toi que j'aime," was listened to, it was rendered with brilliant effect, and the finished perfection of the crescendo from the quick to the slow movement was divine. It is superfluous to say that the plaudits were rapturous . . . Miss Hayes's next was that beautiful Irish ballad, "The Harp that once thro' Tara's Hall," which was most deliriously rendered with all that pathos and flow of soul, which makes her so divine in the touching melodies of her country, and which marked also her "I'm sitting on the stile, Mary," which she sang as an encore . . . The Cavatina, "Come per me serena" (Sonambula) was a perfect gem, heightened in its brilliancy, and widened in its celebrity by Miss Hayes' superb and feeling execution; the delicious roulades of Miss Hayes are most exquisite, and thunders of applause shook the building as she concluded. The English ballad "Why do I weep for thee" composed expressly for her, was full of that pathos which makes every chord of the heart vibrate. The finale was the celebrated Vocal Polka, and this defies our pen to describe. Never before did we listen to such a display of flexibility and compass of voice; the fioritura of the passages was beyond conception brilliant, yet rendered with that ease and distinctness, developing the eminent powers of Miss Hayes, and so justly places her on the upmost pinnacle of Fame. In reply to the enthusiastic shouts of applause and "encore," the sublime chanteuse repeated the Polka, and amidst showers of bouquets, and wild enthusiasm the Concert closed; never, never, till time shall be no more, to be forgotten by her profound, ardent and devoted admirers. We cannot conclude without noticing the accomplished, and perfect mastery of the instrument, with which Miss Hayes was accompanied by Miss Chambers; but as we believe she appeared in public only to oblige her esteemed and richly prized friend, we feel a delicacy in even paying this slight tribute to her refined skill, and purity of style . . .

ASSOCIATIONS: Catherine Hayes (vocalist); Cornwall Assembly Rooms (Launceston venue)

"LAUNCESTON (From our own Correspondent) February 22nd, 1856", The Tasmanian Daily News [Hobart Town, TAS] (26 February 1856), 2 

. . . At 8 o'clock the concert opened with an overture by Mr. Sharp's string band, which was followed by the song, "Good bye Sweetheart," by Mr. Lyall. Miss Hayes then made her appearance, and was loudly greeted. Following her came her friend Miss Chambers, who has laid the public of Launceston under a great debt of gratitude by coming before them to accompany Miss Hayes. Through her generous exertions the want, so lamentably felt in the first concert was completely obviated, and the consequence was increased gratification to the audience, by the taste, and embellishments which Miss Hayes was enabled to throw into the performance. Miss Chambers shewed an artistic knowledge of the instrument by the admirable manner in which she played to Miss Hayes singing. The first song "Robert toi que j'aime" . . .

ASSOCIATIONS: Thomas Sharp (violinist, leader, and pianist, see below); Charles Lyall (vocalist); local professional Julius Imberg had accompanied Hayes at her first Launceston concert

"MISS CATHERINE HAYES", The Cornwall Chronicle (27 February 1856), 5 

This accomplished lady gave a second concert on Friday evening last, at the Cornwall Assembly Rooms, to a crowded and enraptured audience, who cheered and applauded her most enthusiastically. She was accompanied on this occasion by Miss Chambers, a young lady of considerable musical promise, and we must say that the fair debutante (for such as a public accompanyist we learn she is), acquitted herself in a highly creditable manner, wanting only, as was natural to expect for the first time, a little more nerve and confidence, to make her at home in that difficult and delicate part of a performance . . .


It was not Miss Hayes' intention to have sung again here after her second concert; but notwithstanding indisposition and her other engagements, she kindly consented to appear once more for a benevolent object. The Assembly Room on Thursday night [6 March] was crowded by an enthusiastic audience, and Miss Hayes had a most hearty reception. She was accompanied on the pianoforte by a lady whose musical reputation is in private circles, only inferior to her own . . .

"LAUNCESTON (From our own Correspondent) 7th March, 1856", The Tasmanian Daily News (10 March 1856), 3 

Last evening Miss Hayes added another wreath to her laurels, already so thickly accumulated in Launceston . . . Miss Hayes sang "I know that my redeemer liveth." This beautiful song, from the Messiah, gave Miss Hayes full scope to show the rich fullness of her voice; and although she was not encored, it was evident that this song made a deep impression on the audience . . . "Da quel di che," by Miss Hayes, which was vociferously encored, concluded the first part . . . Miss Hayes then sang "No jewelled beauty is my love," and on being encored sang "Oh Erin, my country." Her voice seemed to ring through the room as she sang this song. It was so clear and sparkling, as well as powerful. Her next song was "Auld Robin Gray," by desire, and being again encored she sang "Coming thro' the Rye." The usual rounds of applause followed both these, only exceeded by the cheering after the "Vocal Polka," the last song of the evening, and I suppose the last Miss Hayes will sing in public here. She returned with Miss Chambers, who had accompanied her through the evening, and gracefully acknowledged the enthusiasm of the audience, who seemed anxious to detain her in their sight as long as they possibly could . . . Mr. Sharp, jun., accompanied Messrs. Lyall and Gregg.

ASSOCIATIONS: John Gregg (vocalist); Thomas Sharp (pianist)

MUSIC: No jewell'd beauty is my love (composed for Hayes by John Adams of Launceston)

"LAUNCESTON", The Hobart Town Daily Mercury (29 April 1858), 3 

. . . Arrangements have been completed for giving a grand Amateur Concert in aid of the Indian Relief Fund on Thursday, the 6th May. Mr. Farquharson and several other well-known talented singers have kindly volunteered their services. Haydn's Oratorio "The Creation," is the piece selected for the occasion . . .

ASSOCIATIONS: Robert Farquharson (vocalist); for a report of the concert, which John Adams (above) conducted, and in which Chambers appeared as soprano soloist, see "GRAND CONCERT IN AID OF THE INDIAN RELIEF FUND", The Cornwall Chronicle (8 May 1858), 5 

"THE BIRTHDAY BALL", Launceston Examiner (27 May 1858), 2 

The Ball given by His Excellency the Governor on the occasion of the birthday of Her Majesty the Queen, took place at the Cornwall Assembly Rooms, on Tuesday night [25 May]. The following is a list (which is as nearly as possible complete) of the company: . . . Mr. and Mrs. Gilmore and Miss Chambers . . .

"TOWN TALK AND TABLE CHAT", The Cornwall Chronicle [Launceston, TAS] (2 April 1859), 4

Never within the recollection of that mythical and oft' quoted individual the oldest inhabitant, was there a greater treat offered to the music loving citizens of Launceston, than was the soiree of the Philharmonic Society on Thursday evening last, at the Cornwall Assembly Rooms. Our ticket of admission intimated that we were to prepare ourselves for a "private" soiree of the Society, and consequently when we arrived at the rooms were astonished as well as gratified at finding that the privacy of the entertainment was somewhat questionable, since were assembled all the fashionable world of Launceston. The ladies and gentlemen who delighted the audience with their sweet sounds were also more numerous than we were lead to expect - and the music itself was of that excellence seldom enjoyed in any society. The arrangements were most ably conducted by Mr. A. J. Marriott, whose musical proficiency is well known and highly appreciated. In speaking of the special performances we are at a loss to find words to describe the thorough excellence of the music tendered by Miss Chambers and Mrs. Fereday. The former lady, gifted with a power of song probably possessed by few in the world, of a rich mellow tone, yet extraordinary compass, carolled the delightful music of Mozart, Mendelssohn, and Rossini, completely enthralling her hearers. Nor was Mrs. Fereday less successful, she sang one of the most delightful solos it was ever our delight or privilege to listen to. The duetts by these two ladies were marked as well by the delightful sweetness with which they were rendered, as by the elegant and scientific precision of execution. In speaking of the chorusses were all was so excellent, it is impossible to make selections, although occasionally strains from voices struck upon the ear, that we would have been delighted to hear singing alone. A little band of gentlemen amateurs under the leadership of M. Kowarsic, consisting of five violins and a flute gave admirably one or two beautiful overtures, thereby rendering the change from the vocal to the instrumental a delightful relief. Altogether this soiree was pronounced one of the most satisfactory yet held. We shall look forward with great interest to the next.

ASSOCIATIONS: Arthur John Marriott (conductor); Susan Fereday (vocalist); Francis Kowarzik (violinist); Launceston Philharmonic Society

Names and descriptions of passengers per Great Britain, from Melbourne, January 1862, for Liverpool; Public Record Office Victoria (DIGITISED)

. . . Miss Chambers / 26 [sic] . . .

"SHIPPING INTELLIGENCE", The Argus [Melbourne, VIC] (30 January 1862), 4 

CLEARED OUT. - JAN. 29 . . . Great Britain, ship, 3,500 tons, John Gray, for Liverpool. Passengers - saloon: . . . Miss Chambers . . .

"Il Rusignolo di Australia", Il Lampione [Firenze, Italia] (13 February 1864), 48 (DIGITISED)

È stato fatto a tutti gli amatori dell'arte musicale un vero regalo con l'apparizione come Azucena nel Trovatore al Teatro Pagliano del nuovo contralto australese signora LUCIA CHAMBERS. Si sa che questa giovane signora di nascita distinta ha dovuto lottare contro molla opposizione prima di venire in Europa, e cominciare in Italia quella carriera musicale alla quale le abitudini più pratiche che artistiche di una nuova colonia non sono tanto favorevoli. Ma il risultato ha ben ricompensato il coraggio e l'energia della giovane debuttante. Noi possiamo con sicurtà profetizzare che fra non molto il nome di LUCIA CHAMBERS terrà un posto allo e generalmeute riconosciuto nel Teatri d'Europa.

[News], The Argus [Melbourne, VIC] (16 April 1864), 5

The numerous friends of Miss Lucy Chambers, and indeed the colonies at large - for this lady is a native of New South Wales - will be gratified to learn that the high opinion of her musical powers formed by a large, though private circle of admirers during her stay here some three years since have been amply justified. Miss Chambers left Melbourne for Europe in 1861 [sic], in order to study her art in Italy, and her friends here learn by the present mail that she made a highly successful debut in Florence at the close of January last. The part she chose was Azucena in "Trovatore," and an artist who satisfies so critical an audience as the opera-going public of Florence, and in so difficult a part as this can need no more powerful guarantee of success in any other place in which she may appear.

"MISS LUCY CHAMBERS. THE AUSTRALIAN NIGHTINGALE", The Cornwall Chronicle [Launceston, TAS] (20 April 1864), 4-5 

It is indeed with great felicity that we publish below the copy of a letter, and extracts from Italian journals, which we have received from this young lady, who seems likely to glisten a star of great brilliancy in the musical world of Europe. All the natives of Australia will be no less gratified and proud of the success that has marked her debut than those who knew her here in private life, and who have been charmed by her delightful melodies upon many happy occasions. May that success increase a thousand fold, and go on increasing, which from the enthusiastic commendations of the hypercritical (in matters musicale) press of Florence, we have not the slightest doubt it will. 

"Italy, Florence, Feb. 21.
To the Editor of the Cornwall Chronicle, Launceston.

"Dear Sir, - On the 24th of January, 1864, I made my debut at the theatre "Pagliano," in the character of Azucena, in Verdi's opera, "Il Trovatore," and am happy to say with much success. I have taken the liberty of forwarding you the journals in which my name is mentioned, and also translations of the different articles, and if you will kindly allow them to be inserted in your journal I shall esteem it as a particular favour. Apologising for the liberty I have taken, I have the honour to remain.
Yours truly, &c., LUCY CHAMBERS."

(From the Florentine Theatrical Chronicle.)
"SATANA. In addition to the clever artiste above mentioned, the Signora Lucia Chambers was also engaged. The metal of voice of this new artiste is so powerful that it surprises us. We know her to be a thorough musician, and she possesses a beautiful method of singing; from all which it is easy to imagine that the 'Trovatore' was perfectly rendered. At the second act La Chambers displayed such power of [5] voice and perfect musical intelligence, that at the 'Stride La Vampa,' as well as in the duet with the tenor, she was much applauded."

(From the Italiana Artistica, Feb. 3)
"The Signora Lucia Chambers, as we have already said, is a debutante, for which reason we cannot make any remark in regard to her acting. She has a magnificent voice, and the bass notes in particular are quite out of the common. She sings with taste and mastership, and was much applauded at the aria, the narrative, and duets with the tenor, and was recalled at the third and fourth acts. Under better auspices she could not commence the theatrical career, following in the study of which will be for her very brilliant. We congratulate the Signora Chambers on her beautiful requisites, and on her very happy debut."

Translation from the "Lampione" of 13th February, 1864.
"THE AUSTRALIAN NIGHTINGALE. - A true gift has been given to the lovers of music by the appearance of the new Australian contralto, Signora Lucia Chambers, in the character of Azucena in the opera 'Il Trovatore,' at the Theatre Pugliano. It is known that this young lady of distinct birth has had to struggle against much opposition before coming to Europe to commence in Italy that musical career, to which habits, more practical than artistic, of a new country are not so favourable. But the result has well compensated the courage and energy of the young debutante. We can with security prophecy that before long the name of Lucia Chambers will hold a place high and generally known in the theatres of Europe."

From "II Sistro" Literary Artistic Theatrical Journal, 5th February 1864.
"La Chambers, under the appearance of Azucena had many difficulties to surmount; that is, being a debutante and not Italian, and having to undergo the comparison with the public (accustomed to measure in the scale the merit of artistes) could make with other artistes who had already played this difficult part. La Chambers, however, was able to overcome all those difficulties and came off victorious. Her voice in beautiful, and very extensive, Italian her accent, and sufficiently dramatic her diction. The public proved how much they appreciated her beautiful gifts, and loaded her with applause, as much for the aria as in the concerted pieces."

"THE SYDNEY MONTHLY OVERLAND MAIL . . . SUMMARY OF MONTHLY NEWS", The Sydney Morning Herald [NSW] (21 May 1864), 5 

Miss Lucy Chambers - the new Australian contralto, who has made such a successful debut at Florence - is a native of this colony, the daughter of Mr. C. H. Chambers, solicitor, and was for many years a pupil of Mrs. Logan, musical artist of this city.

ASSOCIATIONS: Maria Logan (musician, teacher)

"MISS CHAMBERS", The Cornwall Chronicle (4 June 1864), 4 

The correspondent of the Morning Post, writing from Florence on February 5, says: -
By far the most important dramatic and musical event that has marked this year's carnival in Florence is the sudden, unexpected, and complete success of an English contralto from the antipodes. Lucy Chambers, "the Australian nightingale," as the prophetic admiration of her friends in the great southern colony had already termed her before she left their shores, and as the voices of four applauding Italian audiences have amply justified. Her debut last Saturday on the boards of the large Pagliano Theatre was effected under very great disadvantages. She was not, as originally arranged, to have made her first appearance before Lent, and then in one of the thorough contralto parts adapted to her peculiar powers. But from the necessity of suddenly finding some singer capable of replacing the mezzo-soprano representing the gipsy in the "Trovatore," who had been prevented from undertaking the part, the manager of the Pagliano applied to Miss Chambers, requesting her to anticipate her debut; and, after having had only two orchestra rehearsals, she complied - not without risking her chance of success - with the request. The public, which had been prepared with no preliminary puffing for the exhibition of her vocal powers, and had even, in the vast majority of cases, only learned her existence for the first time that morning by the curt announcement in the play-bill, that, "Azucena" would be performed by a certain Lucia Chambers, had mustered in less force than usual, it happening that one of the greatest balls of the season - the first at the Casino-Borghese - came off on the same night, and drained away more than the usual proportion of operagoers. Nevertheless, so great was the impression produced that on the second night the theatre was crowded to over flowing, and the admiration of her remarkable powers has increased with each subsequent representation. The depth and power, and richness of her lower notes are absolutely startling; and when I mention that most accomplished and fastidious critics are instituting elaborate comparisons between her and an Alboni or a Trebelli, it will perhaps be admitted that, in the present instance, Australia has done something more than send to the opera-going world of Europe a precious musical nugget, and that even the later and more complete stages of artistic refinement have been aimed at and secured. Indeed, by nothing have the musical connoisseurs of Florence been more surprised than by the degree of self-possession and self-command in purely histrionic matters which, on her very first appearance, Miss Chambers has revealed. To be sure she has had excellent training during her sixteen months' residence in Florence, under both Vannuccini and Romani, for the cultivation of her voice, and under the veteran Ferdinando Pelzet for the thousand little niceties of stage effect. At the same time a degree of flexibility in her stage movements and gestures is still wanting, as well as a little more study of that all-important matter, stage costume, in which it is, perhaps, hardly fair to expect that the Australian eye should be found at once educated up to the mark of the decorative taste in costume of the Pagliano or the Pergola, the San Carlo or the Scala. From the vast proportions of the Pagliano (I believe that there is the difference of but a few feet between it and the Scala) it is evident that the notes of "the Australian nightingale," which make themselves heard in the remotest corners of the building, will equally fill any other theatre in Europe; and it may be safely predicted that before long as regards some of the most renowned theatres such will be the case. Nowhere were the great depth and richness of her voice, as well as the perfect command possessed by her over its most delicate modulations, so remarkably displayed as in the last act in which her sad dreaming chant -
"Ai nosti monti ritorneremo . . .
L'antica pace . . . ivi godremo!"
made itself felt with a mingled power and pathos that justly elicited universal and heartfelt applause. I have just heard that, immediately after the "Trovatore," there is to be represented as the Pagliano, Pacini's opera of "Saffo," in which Miss Chambers will find a more appropriate opportunity of displaying her full contralto excellence. Nothing, I ought to add, could be more gratifying or flattering than the sympathizing spirit which this Australian lady's success has called forth, not only in the other members of the Pagliano company but generally, in the Florentine press and public - serenades and most laudatory criticisms being the order of the day, ever since her first appearance. When I add that the new Australian debutante is of very good family - a perfect gentlewoman, and highly esteemed and honoured in the domestic and social relations of her life for her many excellent qualities of head and heart - when I further mention that not a few difficulties, akin to those by which Madlle. Piccolomini's earnest longing to tread the boards was for some time thwarted, have in the present case too been bravely and honorably overcome - I trust I have said enough to awaken elsewhere in her behalf some slight portion, at least, of the interest which she now commands in Florence.

ASSOCIATIONS: Marietta Alboni (contralto vocalist); Zelia Trebelli-Bettini (mezzo vocalist); Luigi Vannuccini (vocalist, teacher); Ferdinando Pelzet (teacher, actor), husband of Maddalena Pelzet (actor); Marietta Piccolomini (vocalist, famously overcame her family's moral objections to her pursuing a stage career)

For the original, see "ITALY . . . FLORENCE, FEB. 5", Morning Post [London, England] (11 February 1864), 6 (PAYWALL)

"THE DEBUT OF MISS LUCY CHAMBERS, AT THE OPERA HOUSE, FLORENCE (From our Paris Correspondent)", The Sydney Morning Herald (16 June 1864), 5 

Do your readers happen to remember the allusion contained in one of my recent letters, to the approaching debut of a young lady, Miss Lucy Chambers, a native of Australia, possessing a most magnificent contralto voice, and promising, with the aid of that splendid organ, and of an organization admirably fitted for the stage, to throw the renowned Alboni into the shade. Miss Chambers, after many fruitless attempts to hit upon a practicable Italianising of her obstinately English name, has made her appearance at the Pergola - the first opera house in Florence, where the sustained the role of Azucena with an easy power that sufficiently indicated the genuineness of her dramatic vocation; while her voice, with its unusual range, its wonderful volume, and extreme richness of tone, trained after the best traditions of the Italian school, by Professor Vannuccini, of Florence, excited the enthusiasm of the house to a degree rarely called forth by a debutante. Her action excited as much admiration as her singing; plaudits and bouquets were showered upon her; three of her solos were encored, and the young aspirant for popular favour was called for after each act, and called back three times at the close of the performance. The first appearance of "La Signora Lucia Chambers" in the very arduous part selected for the occasion, has been followed by her appearance in other parts, in all of which she has been equally successful. The Italian journals are loud in the praise of the young foreigner, whom they declare to speak their beautiful tongue without the slightest foreign accent, and with whose aid they anticipate the revival of many operas which it has been impossible of late to bring out properly for lack of that rarest of all classes of voice - the rich, round, mellow, passionate contralto.

The Paris journalists are as loud as their Italian brethren in proclaiming the triumph of the Australian cantatrice, whom, however, they persist in designating as "a creole." They are impatient to hear her here, and are predicting for her, on the faith of the descriptions given of her powers by their Italian correspondents, a success as brilliant as that which she has achieved in Florence. What renders more remarkable the signal success achieved by this young lady - the first native warbler produced by Australia! - is the fact that she had no friends in Italy beyond the professors, who have taken so earnest an interest in the training of their gifted pupil; so that the plaudits won by her first appearance were prompted solely by the brilliant qualities displayed by her. Not only has the course of training she has gone through been unusually short, but her debut was preceded only by one partial rehearsal and two full ones; a fact without precedent in operatic annals, the first appearance of a new dramatic vocalist being usually preceded by nine or ten rehearsals, and often by double that number. The physique of the new diva is admirably adapted for the stage. Her figure is large, ample, and flexible, like her voice; her features are expressive; her black eyes and her masses of black hair set off the play of the countenance; and lastly, the ensemble of her personal appearance is of a character which comes out well under the footlights. It is Miss Chambers' intention, after gathering the laurels which undoubted await her in all the great capitals of Europe, to visit all the great dependencies of the British crown, taking the United States on her way; and ending her career among her family and friends in the great insular continent of the South, for which she cherishes so enthusiastic an affection.

[News], The Argus [Melbourne, VIC] (30 January 1865), 5 

The Italian journals continue to record the growing popularity of the Australian contralto, Miss Lucy Chambers. At the opening of the Opera-house at Lucca, on the 23rd of August last, when "Il Ballo in Maschera" was performed, Miss Chambers sustained the part of the fortuneteller, Ulrica; and Lo Tenzero (a daily paper published in Florence) characterizes her voice as "a colossal contralto, rich, agile, and flexible;" while she is described as acting her part like an old artiste. The Cosmorama Pettorica describes her voice as magnificent, and her acting as perfection. The Satana compliments her on her rare intelligence and refined taste, and predicts a brilliant future for her. Lo Tenzero, noticing Miss Chambers' delivery of the cavatina of Arsace, in the opera of "Semeramide," [Semiramide] states that she produced an immense effect in it, was rewarded by the enthusiastic plaudits of a crowded house, and was honoured with two calls. At Florence, the Teatro Pagliano was re-opened on the 5th of October, with the ever-popular "Trovatore," when Miss Chambers appeared as Azucena and experienced a cordial reception. L'Italia Artistica says of her in this part: -
"Her voice is very beautiful, rich, and extensive; and the bass notes are magnificent. She sings with taste, feeling, and spirit; is full of intelligence and talent, and plays the character of the gipsy superbly. Her Stride la vampa, in the racconto, was given with true dramatic accent, and warmly applauded; and after her duet with the tenor she was called for, amidst enthusiastic demonstrations of applause. We congratulate this excellent artiste on the splendid future she has before her; as she is certain to become an ornament of the most celebrated theatres in Europe."
The other journals are equally laudatory in their criticisms on Miss Chambers, who at the latest date was about to proceed to Rome, in order to fulfil an engagement in that city during the carnival week. From thence she will probably make her way to Naples and Milan, preparatory to undergoing the final test of her powers before Parisian and London audiences.

[News], The Argus (27 April 1865), 5 

It is gratifying to be able to state that Miss Lucy Chambers, the Australian contralto, has appeared with unequivocal success at La Scala. The Milanese papers are delighted with her superb voice, and astonished at her pure accent. La Revista Teatrale characterises her voice as Californian in its richness, and a somewhat similar comparison is employed by another journal, La Lombardia. The musical critic of La Revista Melodrammatica describes her voice as extraordinary alike for its power, its compass, and its sweetness; while La Ghironda congratulates the Italian stage upon the acquisition of a songstress possessing so magnificent an organ, combined with such a thorough knowledge of music, so good an accent, and so natural a style of acting. La Perseveranza, after remarking that "Miss Chambers has a splendid voice, which one can hear, and a person one can see," goes on to observe that "her Italian accent is so pure and perfect that she shames many of the native artistes, who mumble their words preposterously. Her contralto voice is full, extensive, very powerful, and extremely sweet." The completeness of Miss Chambers's success in the noblest theatre in Northern Italy may be inferred from the fact that engagements have been offered her by the managers of the opera-houses at Barcelona and Vienna.

"LAUNCESTON . . . MADAME ANNA BISHOP'S CONCERTS", The Tasmanian Times (8 March 1869), 2 

The music-loving people of Launceston are now being indulged with a series of the richest musical treats they have enjoyed since the year 1857, the period when the lamented Catherine Hayes, and shortly after Madame Anne Bishop visited Tasmania. At that time our small musical world was at its zenith, led by Miss Chambers (who has since become a world-renowned Cantatrice, though I have not heard of her recently), Mr. Adams, Mr. Marriot, Rev. W. A. Brooke and numerous other amateurs of high standing . . .

ASSOCIATIONS: Anna Bishop (vocalist); Warren Auber Brooke (amateur musician, pianist)

"MISS LUCY CHAMBERS", Evening Journal [Adelaide, SA] (29 December 1869), 3 

Regarding Mr. Lyster's new prima donna "Mr. Viellard, en music," sends us the following: -
"Seeing in your journal of Saturday last an extract from the Melbourne Argus, quoting a letter from Mr. W. Lyster in reference to his new operatic speculations, I find the name of Miss Lucy Chambers prominently mentioned as having very much facilitated his arrangements in Italy with the artistes he has succeeded in engaging for the colonies. I trust I am not out of place in saying that all things pertaining to the cultivation of native Australian talent, no matter by what sort or order, nor of what colony, reflect credit upon all, and should be on every occasion possible, but more especially so in things relating to les beaux arts. We have, I maintain, talent, if not genius, equal, or perhaps greater, in proportion, to the older countries had we but even half the means of producing it in the shape of education. I hope, therefore, for these reasons you will be good enough to let appear in your paper the few remarks I make in reference to the lady whose name heads this letter.

"Miss Lucy Chambers was born in Sydney; is the youngest daughter of the late Charles Henry Chambers, Esq., a Magistrate of the colony of New South Wales, in his time a leading member of the legal profession (Chambers, Holden, and McArthy), as well as a man of great probity and benevolence. From her earliest years she was remarkable for her vivacity and talent. At 13 years of age she could - I was going to say render, but the word is too fearful to contemplate - sing a scena from "Semiramide," or "Tu che accendi," from "Tancredi," or anything else you like, in her even then rich contralto - not like an amateur, but comme un vrai musicien. Later she became naturally a good pianist and comprehensive musician. She was the delight of her own circle and those who came within its circumference - possessing a keen sense of wit, and, above all, a good heart. I may as well mention here she is a descendant of Erin by both parents, and hereditarily has all the best characteristics of that unfortunate land of genius and song.
"Times change, and we change with them."
All who have lived long in these colonies know well the uncertainties and fluctuations of commercial prosperity. One of those changes came over the Chambers family. The subject of our remarks saw the change, and bravely determined to meet it. The necessity for action was immediate. She determined to follow the musical profession - declined no doubt many good alliances, and devoted herself to art. She went some 17 years ago [sic] to Italy, studied made her debut (if I forget not in Bologna) with good success, and was at once received - something, mark ye, for a young Australian. She sung in La Scala and other great theatres. Went to Spain, sung in Madrid, always increasing in favour, and gaining fresh laurels. Back again to Italy, where she has remained nearly ever since, till she was engaged by Mr. W. Lyster as prima contralto, with perhaps one of the finest operatic troupes that ever came to these shores. No doubt she will have Benvenuto" wherever she goes in the colonies; therefore let us not be the last in the field, but rather first, and give honour where honour is due. The time may come when South Australia may have a fair cantatrice coming back to do her honour, as this lady is now doing her compatriots in Sydney and Melbourne. I trust you will insert this little effusion as a compliment to Miss Chambers, whom we may soon have the pleasure of seeing and hearing here. I forgot to mention that it was principally owing to Kate Hayes Miss Chambers finally determined upon taking to the stage."

ASSOCIATIONS: William Saurin Lyster (manager, entrepreneur)

Names and descriptions of passengers per Yorkshire, from Gravesend, 26 October 1869, for Melbourne, 15 January 1870; Public Record Office Victoria (DIGITISED)

Cabin . . . Chambers / Lucia / 30 [sic] / Artiste // Dondi / Enrico / 28 / Actor . . .

ASSOCIATIONS: Enrico Dondi (vocalist, husband)

"SHIPPING INTELLIGENCE", The Argus [Melbourne, VIC] (17 January 1870), 4

ARRIVED. - JAN. 15, Yorkshire, ship (Money Wigram and Sons' line), 1,000 tons, Frederick Anderson, from London, via Plymouth 2nd November. Passengers - cabin: Miss Lucy Chambers, Signora Lucia Barratti, Signor Enrico Dondi, Signor Barratti . . .

[News], The Argus (17 January 1870), 4-5

The first instalment of Messrs. Lyster and Smith's English, Italian, and French opera company (who are to open at the Theatre Royal on February 5), arrived in Melbourne per ship Yorkshire, from London, on Saturday last. It includes the "leading ladies" of the troupe - Mdlle. Lucia Barratti, prima donna soprano; Miss Lucy Chambers, prima donna contralto - and the primo basso, Signor Enrico Dondi. So soon as the Yorkshire was telegraphed, Mr. J. W. Smith started from Sandridge in the steamer Resolute, in order to welcome the strangers, who were thus enabled to reach shore and establish themselves at the Port Phillip Hotel at an early hour. They appear to have gained golden opinions on board, and their performances at a few musical reunions not only secured the gratitude of the passengers, but impressed every one who heard them sing with the belief that their vocal powers were higher than any yet known in Melbourne. Whether this splendid anticipation will be realised remains for the future to prove. The two ladies and the gentlemen appear in excellent health, and on Saturday evening witnessed the performance of the pantomime-burlesque at the Theatre Royal from the manager's box. Miss Lucy Chambers, who is of Australian birth and family, has already been warmly welcomed by numbers of old friends. Mdlle. Barratti is accompanied by her father, a composer of some fame. She has recently been performing in the leading Italian theatres. Miss Chambers has already achieved celebrity at La Scala at Milan, at Madrid, and elsewhere, and had she not received Mr. Lyster's offer, which gave her an opportunity of revisiting the scenes of her early youth, she would have appeared next season in London. Signor Dondi has also been making a reputation for himself in Italy. The news of the arrival of these distinguished vocalists having spread through the professional musical confraternity of Melbourne, a plan to welcome them by serenade was hastily formed, and would have been executed but for the interference of Mr. J. W. Smith, who objected to a demonstration the meaning of which was open to misinterpretation. The remainder of the company is expected to arrive, with Mr. W. S. Lyster, by the incoming mail [5] steamer. It consists of Signor Neri, primo tenore; and Signor Mari Cornia, primo baritone . . .

"THE NEW OPERA COMPANY", The Age (24 January 1870), 3 

The first appearance of the five operatic performers introduced by Messrs. Lyster and Smith to the colonies will probably prove the most important event in our musical annals so far; and as the new comers are of European fame, a few biographical particulars respecting them may not be uninteresting . . . Miss Lucy Chambers was born among us, and pursued her studies in Italy under Romani and Lamberti. Her standing in the profession is evidenced by the fact that she played for three seasons at the La Scala Theatre, and three seasons also at Berlin, where she was honored with the highest distinction. She has also performed in Hamburg, Brussels, Madrid, Lisbon, Oporto, Turin, Venice, Bologna, Florence, Naples and elsewhere. Miss Chambers was making arrangements to proceed to London, when she received an offer from Mr. Lyster which led her to determine upon first visiting her native land. She is an accomplished performer in English as well as Italian opera, and will no doubt become the prime favorite among the company . . .

Lucy Chambers as Maffeo Orsini, Melbourne, 1870 (State Library of Victoria)

Lucy Chambers as Maffeo Orsini in Lucrezia Borgia, Melbourne, February 1870 (Johnstone, O'Shannessy & Co., photographers) (State Library of Victoria) (DIGITISED)

"ROYAL ITALIAN OPERA. LUCREZIA BORGIA", The Argus (15 February 1870), 6 

The opera of "Lucrecia Borgia" was selected for the first appearance of Signor Mario before a London audience. In Melbourne it was chosen for the debut of Miss Lucy Chambers. In 1839 it was denounced by those who were supposed to guide and elevate the popular opinion (we quote the language of the leading review of that day) as "utterly worthless." Here in Melbourne after a vigorous existence of over 30 years, it is looked forward to and welcomed by the most crowded audience of the season, and it would be a hazardous thing to say that there was one amongst the audience last night to whom the work was not familiar or who had not felt his admiration for it increase with every repetition . . . It will be almost needless to say that the reception of Miss Lucy Chambers by a Melbourne audience was such as to satisfy the anticipations which she must have formed many a time since the idea of return to this country first assumed tangible shape. The scene may be described as consisting of noise, bouquets, and waving handkerchiefs on one side of the footlights, and a splendidly-dressed and somewhat jaunty young nobleman of stalwart build, with jet moustaches and a Brutus wig of black hair, bowing and kissing his hand to all the friends who had come to see him. This was a very good beginning, and from this point the opera went on swimmingly, except for the interruptions caused by the entrance of the Lucrezia (Signora Barratti) and the other members of the Italian corps, who were all subjected to the peculiar warmth of a Melbourne welcome. The performance of the short aria, "Nella fatal di Rimini," at once put the minds of the audience at rest that they heard a voice of rare power, and the applause which followed was of course hearty in the extreme. The character of the brave and choleric yet placable young Orsini is not one which admits of any great display of vocalisation, the principal opportunity for which occurs in the well-known drinking song where the young fellow, who has just been withheld with difficulty from killing Gubetta, or being killed by him, at the request of his friends begins to smile, and taking a glass in his hand tells them, after the manner of young men in such circumstances, "The way to be happy" (Il segreto per esser felice). This was received with great favour by the audience, who were evidently charmed at the power, depth, and sweetness of the lady's voice - a voice the like of which we have not heard since Sara Flower was in her prime. The appearance of Miss Chambers serves to strengthen the company materially, and it may be that in parts such as Arsace, Orsini, and others of like calibre, our Melbourne opera will be as well supported as it is at this time likely to be in any country. Her appearance and performance were altogether gratifying . . .

ASSOCIATIONS: Sara Flower (vocalist)

"THE OPERA", The Age (15 February 1870), 2-3 

. . . The performance last night was a great success, and was remarkable for giving an opportunity for the first appearance of Miss Lucy Chambers, a lady - a native of Australia - who having studied under the best masters in Europe, and having in many cities in Germany, Italy and Spain, achieved great success, has now returned to charm those amongst whom her earlier years were passed. Miss Chambers possesses a contralto voice of great compass in the lower register, and has also much histrionic talent. The part she undertook [3] in Lucrezia has, with one exception, no great scope for the display of her vocal abilities; but in the celebrated Brindisi in the last act, she fairly carried all before her, and retired with the sincere wish of all that her most deserved success might be the forerunner of many other triumphs, and prove that her country is by no means destitute of vocal and musical talent . . .

"THE ITALIAN OPERA COMPANY. LUCREZIA BORGIA", The Herald (15 February 1870), 2 

The debut of Miss Lucy Chambers last evening drew a crowded house at the Royal. The opera chosen for the occasion was Donizetti's "Lucrezia Borgia," in which the debutante took the part of the hot-headed and jaunty Maffeo Orsini . . . Miss Chambers, who was dressed with exceeding taste, and who looked the pompous, reckless nobleman of the period, was greeted with a perfect storm of applause that lasted for several seconds. The opening aria of "Nella fatal di Rimini" was successfully sung, and all doubt as to the quality of Miss Chambers' voice was at an end . . . Miss Chambers came well out of the ordeal of "Il Segreto." Her low notes are exceedingly fine, and she possesses a perfect control over her voice. A certain degree of nervousness, palpably observable, lessened the effect of her efforts to please. We have no hesitation in saying that [after] to-night, when the trepidation attendant upon a first appearance has worn off, she will do full justice to the music of "Il Segreto" . . .

"Miss Lucy Chambers", Bell's Life in Sydney and Sporting Chronicle (2 July 1870), 3 

On her departure from her native city and scene of her recent vocal triumphs, a few passing notes of the professional career of this highly gifted and much esteemed Australienne will not prove uninteresting to her many personal friends and admirers in Sydney. For reasons - into which it is now unnecessary to enter - Miss Chambers, in the year 1855 [sic], being then seventeen years of age, left Sydney for the purpose of studying music with a view to following its practice as a profession. Gifted by Nature with a voice of rare excellence and endowed with talents of a high order, her progress in the acquisition of musical proficiency was remarkably rapid, and in little more than two years she made her first appearance on the lyric stage, with unqualified success . . .

"RETURN OF MISS LUCY CHAMBERS TO TASMANIA", The Tasmanian [Launceston, TAS] (11 February 1871), 11 

Mr. Henry Beaumont arrived here on Wednesday from Melbourne as the avaunt courier of Miss Lucy Chambers and a company of opera singers who are to pay us a visit during the race week. Miss Lucy Chambers has never been in Launceston since she became a world-wide celebrity in Italy as a great prima donna, and no doubt she will receive a hearty welcome back to the town upon which her great ability has reflected credit during her public career in Europe and the adjoining colonies. Miss Chambers will be accompanied by Signora [sic] Dondi, Signora Devoti [sic], Mrs. J. H. Fox, and Mr. Charles Lascelles, the latter one of the greatest favorites who has ever delighted a Launceston audience.

ASSOCIATIONS: Ugo Devoti (vocalist); Sarah Hannah Fox (vocalist); Charles Lascelles (pianist, vocalist); on the concert, see "MISS LUCY CHAMBERS'S GRAND CONCERT", Launceston Examiner (18 February 1871), 5 

[News], The Ballarat Courier [VIC] (13 February 1871), 2 

The statement has found its way into the Press that the lady we have we long known on the operatic stage as Miss Chambers has been Signora Dondi for some years, but that it was preferred that the lady should retain her maiden name upon the stage. Now that the season is over, so is the reason for withholding the fact.

"THE OLD PHILHARMONIC AND LUCY CHAMBERS. To the Editor of the . . .", Launceston Examiner (16 February 1871), 5 

SIR, - Perhaps it may be unnecessary to remind the old members of the Philharmonic and other musical societies (all but the pleasant memories of which have now passed away) of the claims of Lucy Chambers - of her former kind association with them, under the late John Adams, and subsequently to his death of her unselfish efforts to make their meetings agreeable as well as instructive; and her readiness at all times to render their benevolent efforts for our local charities successes. All will remember, too, her most successful appearance in the old Cornwall room, in aid of the Indian Fund, in which concert, with old Farquharson, she delighted her audience in the grand "Creation" of Haydn. Let every member of the Philharmonic unite with their follow townsmen and townswomen in rendering the concert on Friday, evening as successful in a pecuniary way as the limited space of the Town Hall will permit. It is indeed much to be regretted that the Mechanics' Hall is occupied; for in that hall, where she has so often delighted a Launceston audience, she ought to make her new appearance. It would be a most generous act on the part of Mr. Coppin, if for this one night only he were to offer the use of the hall - I will not say to Miss Chambers only, but to the people of Launceston; they would not forget it as a favor conferred on themselves.
Yours obediently, PHILHARMONIC.

ASSOCIATIONS: John Adams (late conductor); George Coppin (theatrical manager)

[News], The Express and Telegraph [Adelaide, SA] (2 February 1874), 3 

"For circumstantiality and a sort of epistolatory loquacity, the following, from a private letter descriptive of the late fracas at the Opera House in Melbourne," writes the Western Independent, "puts to shame the celebrated letters of Lord Chesterfield to his son": -
"I suppose you have heard something of the row at the Opera. However, I will give you full particulars, which you know you can rely on. Last (Thursday) night week they were playing 'Poliuto'; Dondi came on the stage tragically, as usual, but got no applause. He got savage and made a mess of the first bars he had to sing. Gunning, of the chorus, was talking to Miss Smith, and Dondi rushed him (knocked down two supers) and caught him by the throat and threw him off the stage in the second act. A large portion of the audience thought it part of the 'acting' of the piece, but the 'cognoscenti' knew better. Gunning went away, and did not show up until the end, when the curtain fell on the final recall, when he rushed on and knocked Dondi down. Lucy Chambers in the meantime had come to the theatre, and hearing of the first row, and fearing its consequences, brought with her Nobili, who now keeps the Garrick's Head, and was an Italian prize-fighter, who rushed at Gunning, but was met by your friend Francisco, who struck him fair between the eyes. Dondi went away into his room and cried. Nobili struck out wildly a hit Bell, who smashed in his face for him. The women were clapping and crying out, and the audience, who were just going out, did not know what to make of it. The usual cry of fire was raised, Lady Bowen and others fainted. Nenoni was swearing at 'you --- English,' and Mrs. Bell collared and woolled her. Mrs. Benham slapped Lucy Chambers in the face. Kitts told Dondi what he thought of him; Lyster swore all round indiscriminately, and sacked everybody; Miss Flemming nursed Dondi, with whom she is smitten, and got abused by Lucy for her pains. Lyster at last decided on sacking Gunning, Benham, and his wife. The whole chorus then struck and advertised a meeting at George Hudson's next day, when Lyster met them and gave in, the quarrelsome members going to Sydney instead of Ballarat. I was awfully excited, and went out and saw all the round, after leading the audience off with cries of 'shame.'"

ASSOCIATIONS: James Edward Kitts (vocalist)

"Signor Dondi", The Herald [Melbourne, VIC] (5 November 1875), 3 

The departure of Signor Dondi for Europe by the mail, may render a few notes of his career in Australia of interest. This grand basso singer and actor took his passage from Italy for Melbourne in the year 1869, in company with Signor Neri, tenor, Signor Contini, baritone, Signora Baratti, prima donna, and Signora Lucy Chambers, contralto, all under engagement to Mr. W. S. Lyster, who secured them during his visit to Milan. They opened at the Theatre Royal, Melbourne, in Verdi's Ernani, Signor Dondi performing Don Silva . . .

"A CORRECTION. To the Editor of the Examiner", Weekly Examiner [Launceston, TAS] (10 November 1877), 16 

SIR, - In a recent issue you stated that the late concert by St. Joseph's Band for the Indian Famine Fund gave the largest sum that has been realised in Launceston by any one concert. Allow me to inform you that one given in aid of the Crimean Relief Fund, conductor, the late Mr. J. Adams, Miss Lucy Chambers, Mr. Farquharson, and the members of the Philharmonic and Sacred Harmonic Societies, the amount realised was £106, the reserved seats being 10s 6d, and the work performed Haydn's "Creation." -
Yours truly, W. STOKES. Nov. 5.

ASSOCIATIONS: William Stokes (former member); see also "W. S." 1892 below

"MADAME LUCY CHAMBERS", The Argus (25 November 1884), 7

The familiar name of this well known artist and teacher appears in another column, in connexion with an entertainment to be given in the Town hall next Saturday night, in the presence of His Excellency the Governor and Lady Loch. This will be the first benefit concert given in Melbourne in favour of Madame Chambers. It is the suggestion of a number of her pupils, who will themselves take part in the concert, at which will also appear the following well known artists, namely, Mr. Armes Beaumont, Mr. S. Lamble, Mr. T. H. Guenett, Miss Gertie Frazer, and the Metropolitan Liedertafel, conducted by Mr. Julius Herz. Madame Chambers will accompany the performance of her pupils.

Madame Chambers, the daughter of Charles Henry Chambers, is a native of Sydney, where her father was in practice of the law. Early developing a contralto voice of superior quality, she began to cultivate it under the tuition of Mrs. Logan, a pupil of Logier, and cousin of Wallace, the composer of "Maritana." Miss Chamber's first incentive to adopt the Italian operatic stage as a profession came from Catherine Hayes. This impulse, which was at first resisted, was at last obeyed, and in January, 1862, the subject of this notice went to London, where she studied for a while under Garcia, and from thence took her departure for Italy . . .

"SACRED HARMONIC SOCIETY (W. S.)", Launceston Examiner (19 November 1892), 7 

. . . At the time of the Indian mutiny the society united with the Philharmonic and produced the "Creation" in aid of the fund for the wounded, which was a great success, the tickets being 10s 6d and 7s 6d, and the proceeds upwards of £600. The leading parts were Miss Lucy Chambers, soprano; Mrs. Hamilton, contralto; Mr. Henslow, Hobart, tenor; Mr. Farquharson, bass; Mr. J. Adams, conductor; Rev. W. A. Brook, pianist. This society teen numbered 100 members, but, like everything in this city, interest and attendance declined, and eventually the society was dissolved, the property sold, and the books, etc,, placed in care of the Mechanics' Institute, where, I suppose, they might be perused on application to the librarian, Mr. Johnetone, who was one of the old members.


The high esteem in which Madame Lucy Chambers is deservedly held by the general public was evidenced by the very large audience that assembled in the Town hall yesterday evening at her benefit concert, whilst the number of ladies and gentlemen who generously placed their services at her disposal testified to the kindly feelings entertained towards her by the members of the musical profession. When the receipts and expenses have been balanced there will no doubt be a handsome balance on the right side of the ledger. A well assorted programme included two numbers that were of special interest to many of the citizens who were able to call to mind the concert and state appearances of Madame Chambers about 20 years ago. These were Sullivan's "The Lost Chord" in which the vocalist had the assistance of Herr Scherek the pianoforte and an organ obbligato skilfully played by Mr. Ernest Wood, and Giordani's well known "Caro mio ben." As the beneficiaire stepped on to the platform she was welcomed with a hearty and continued round of applause. Without entering into particulars concerning a voice that is of course not exactly what it was 20 years ago, it is sufficient to state that in her singing of both numbers Madame Chambers proved that she still possesses those artistic qualifications which she has so successful imparted to her numerous pupils with such results as have secured for herself distinction and fame as an instructress. After the first song she was presented with a larger number of floral tributes and after the second she was prevailed upon to add "Answer" (Robyn) as an encore . . .

"Melbourne Gossip", The Sydney Mail and New South Wales Advertiser [NSW] (28 October 1893), 905 

"Hard times" have brought Madame Lucy Chambers once more before the public, and a most enthusiastic and sympathetic audience assembled in the Town-hall on Wednesday evening on the occasion of her benefit concert . . . A few fathers and mothers remembered her as a girl of 16 in Sydney, her native city; even at that age, her fine contralto voice and power of dramatic expression used to bring crowds to the windows of her friends' houses when she sang. Her brilliant career as a prima donna was over 20 years ago; but she has done excellent work as a teacher . . .

"DEATHS", The Argus (9 June 1894), 1

CHAMBERS. - On the 8th inst., at her residence, 510 Albert-street, East Melbourne, Lucy, youngest daughter of the late Charles Henry Chambers, of Sydney.

"DEATH OF MADAME LUCY CHAMBERS", The Argus (9 June 1894), 8

It is with the utmost regret that we announce the death of Madame Lucy Chambers, which took place rather suddenly yesterday afternoon. The sad event was not entirely unexpected, as Madame Chambers had for some months previously suffered from an affection of the heart of so serious a nature as to necessitate the attendance of Mr. Fitzgerald. The symptoms of her illness first made themselves apparent after her benefit performance in the Town-hall in October last, but it was not until her Christmas holiday, which she spent in Tasmania with her sister, Mrs, Gilmore, that she was really prostrated. Her vacation was indeed practically passed on a sick bed, but thanks to careful nursing she recovered sufficiently to take up her teaching work. Still her health was so impaired that she suffered from continual attacks of illness, although the energy which was so marked a feature of her disposition enabled her to rally to a surprising degree. The insidious progress of the disease was, however, fully apparent to her medical adviser, and some three weeks ago he wrote to Mrs. Gilmore in Tasmania pointing out that the case was hopeless, and advising her to come to Melbourne at once. Mrs. Gilmore lost no time in responding to this warning, and for the last three weeks had been visiting her sister every day. Yesterday afternoon Madame Chambers insisted upon going through her usual round of music lessons, but while at the piano was taken suddenly ill. Restoratives were applied without effect, and the unhappy lady was assisted to her bed, where she died in her sister's arms. Mr. Fitzgerald was present some 20 minutes before the fatal occurrence, and almost immediately afterwards.

The deceased lady was a sister of Mrs. Gilmore, of Crosby lodge, Launceston, widow of Captain Gilmore. Her nephew, Mr. G. C. Gilmore, is a member of the Tasmanian House of Assembly. Her brother, Mr. D. D. Chambers, was widely popular as inspecting Superintendent of the Victorian police.

Madame Chambers was born in Sydney, where her father was a solicitor, and a partner of the celebrated William Charles Wentworth. At an early age she proved herself the possessor of a very fine contralto voice, and Catherine Hayes offered to take her to Europe and superintend her training. The proposal was not accepted, but a few years later Madame Chambers proceeded to England, where, under Manuel Garcia (the teacher of Madame Marchesi), she began her artistic education. In pursuit of her studies she passed under the tuition successively of Pietro Romani (teacher of Grisi, Mario, Pasta, Ungher, and the old Australian favourite Lucy Escott), Cavalier Francisco Lamperti, Lauro Rossi, and Vannucini. During this time she appeared as principal contralto in almost all the leading lyric theatres in Italy, and was the first and only Australian who had sung at La Scala, Milan, until Madame Melba's recent appearance at that theatre. She also sang at Berlin, Hamburg, Spain, Portugal, and Brussels, and returned to Australia under the auspices of the late Mr. W. S. Lyster in 1870. At the termination of her engagement she took up her residence in Melbourne as a teacher of singing, and achieved considerable success in her profession. Most of the leading Australian vocalists were trained by her, including Miss Alice Rees, Miss Amy Sherwin, and the Misses Colbourne-Baber, Edith Moore, Fannie Liddiard, Ida Osborne, Violet Varley, Cicely Staunton, and Florence Young. Her last public appearance was in the Town-hall, Melbourne, on October 18 last year, when her many friends assembled in large numbers at a complimentary benefit concert organised on her behalf. The deceased lady will be long remembered, not only by her pupils, who must number many hundreds, but by a very large circle of friends both in the musical profession and in private life.

"OBITUARY. MADAME LUCY CHAMBERS", Launceston Examiner (11 June 1894), 5 

In our cable messages on Saturday notification was given of the death of the celebrated singer, Madame Lucy Chambers, news which will cause a feeling of profound regret throughout the musical world, for the talented lady had during her career on the lyric stage won the admiration of all who had the pleasure of hearing her in opera. The deceased lady was born in Sydney, and was the daughter of Charles H. Chambers, of the well known firm of Chambers and Wentworth, solicitors, of that city. She first studied in Sydney under Mrs. Logan, a well-known teacher and accomplished musician. When Catherine Hayes came to Australia she was so struck with Miss Chambers's remarkable voice that she at once offered to take her to Italy and supervise her vocal education as a cantatrice. This offer could not then be accepted, but subsequently she went to London and studied under Manuel Garcia, the teacher of Madame Marchesi. She also spent some eight years studying for lengthened periods under other great masters, such as Pietro Romani (teacher of Grisi, Mario, Pasta, Migher, and Lucy Escott), Cavalier Francesco Lamperti, Lauro Rossi, Vannaccini, Ettore Fiore, and Tamburini. During this time she sang as principal contralto in all the leading lyric theatres of Italy, notably La Scala of Milan, Il Regio of Turin, La Pergola of Florence, Bologna, Venice, Lucca, and others. She was the first Australian who had the honour of singing at La Scala, and until Madame Melba's recent triumph at that theatre the only one. The local press in criticising her performance paid her the compliment that she possessed "the voice of Albani, the hand of a duchess, and the grace of an Andalusian." As the Gipsy in "Un ballo in Maschera" she was said to have been the only contralto who ever made the part stand out, and those who saw her in that opera never forgot her splendid singing and her magnificent tragic acting. At La Scala she was complimented by the composer of the opera. Contraltos did not as a rule care about the part, regarding is as a secondary one, but Madame Chambers's performance always brought it into [6] prominence. She also sang as principal contralto in Berlin, Hamburg, Spain, Portugal, and at the Theatre de la Monnaie, Brussels, where Madame Melba made her brilliant debut. During two seasons she was principal contralto with the companies of which Madame Patti was the star.

On the late esteemed and lamented William Saurin Lyster visiting Italy for the purpose of forming an Italian opera company for Australia, Madame Chambers was induced by him to return to her native land as prime contralto of his company. On the conclusion of her engagement with Messrs. Lyster and Smith, Madame Chambers retired from the stage, and undertook the practice of her profession as a teacher of singing, for which naturally her training and experience thoroughly fitted her, and which she followed most successfully for 21 years. Amongst her numerous pupils were Miss Alice Rees (since married to that clever artist, Herr Max Vogrich, of New York), and who, when she sang in New York, created such a furore that the critics were loth to believe that her musical education had been solely received in Victoria; Misses Colbourne Baber, Edith Moore, Lucinda Blackham, Fannie Liddiard, Ida Osborne, Violet Varley, Cicely Staunton, Florence Esdaile, Ada Walker, Florence Young, and Alice Dunning Lingard and others who occupy at the present time prominent positions on the lyric stage of Australia. Among male pupils the following may be mentioned: - Henry Stockwell and William Walshe, well-known vocalists.

On October 18 last Madame Chambers, after a retirement of 20 years, made her re-appearance in the Melbourne Town Hall in a benefit concert. The reception which the beneficiare received on that occasion was a remarkable one, and after the singing of her first number, "The lost chord,"

"men and women," recorded an exchange "stood on all sides, and the heartiest of cheers were mingled with the deafening handclaps, that told the singer how tenderly she dwelt in the hearts of the Melbourne public. The floral display had never before been equalled; from every direction rushed bearers of beautiful floral gifts until the platform became one mass of flowers, wreaths, horseshoes, and dozens of lovely baskets were piled round the singer, who bowed her acknowledgments again and again, the number of offerings being so great that no attempt was made to remove them from the platform until the close of the performance."

The press published full descriptions of the floral offerings, many of which were from professional musicians, and who held the singer in very high esteem. The event was an epochal one in the history of music in Australia, and will long be remembered by those who were present.

Madame Chambers was married during her residence in Italy to Signor Dondi, the celebrated basso, with whom she returned to Australia. She was popular, not only on account of her artistic talents, but her wit and genial qualities. She was a clever linguist, having spoken four languages fluently. Besides her husband she leaves a sister, Mrs. George Gilmore, and nephew, Alderman G. Crosby Gilmore, M.H.A., of this city, to mourn their loss. The deceased lady had no children.

"THE LATE MADAME LUCY CHAMBERS", The Daily Telegraph (11 June 1894), 5 

The good woman, and once celebrated singer, who passed away in Melbourne last Friday, and a brief chronicle of whose death appeared in our issue of Saturday, was in many respects a representative and distinguished Australian. For over 20 years the late Mme. Lucy Chambers, whose age could not have been much less than 55, has been known in the public only by her phenomenal success as a teacher of singing, but those who can go back in memory to the sixties can recall the time when Australia's first contralto going as a girl from Sydney to Europe won fame for herself and honor for her country in the world's chief centres of musical art. All Australians interested in music received with feelings of pardonable pride last year the news of Mme. Melba's brilliant success in opera at La Scala, Milan, but it is safe to say that only a few old colonists were aware of the fact that when Mme. Melba was but a prattling infant Lucy Chambers had conquered the most critical operatic audience in the world in La Scala. Lucy Chambers was born, and spent her youth, in this city. Her father was for many years in partnership with William Charles Wentworth, the lawyer and statesman, who is honored to-day as the most commanding figure in the whole political history of the Australian colonies. The clever Sydney girl made rapid advance in her musical studies under Mrs. Logan, who was a pupil of Logier, and a cousin of William Vincent Wallace, the composer of "Maritana" and "Lurline." While the budding contralto was charming her friends with her rich voice it so chanced that Catherine Hayes, "the swan of Erin," visited Sydney [sic]. Impressed by the girl's voice and talent, the gifted Irish singer, whose triumph in Australia is a matter of history, volunteered to lake her to Europe and superintend her studies. This generous offer was declined, but some years later Lucy Chambers plucked up courage to go to London . . .

ASSOCIATIONS: John Bernard Logier (musician); William Vincent Wallace (composer)

Bibliography and resources:

H. Morin Humphreys (comp.), Men of the time in Australia, Victorian series, second edition (Melbourne: McCarron, Bird & Co. 1882), [xxvii]-[xxviii] (DIGITISED)

Chambers, Madame Lucy, was born in Sydney, and is the daughter of the late Chas. Henry Chambers, Esq., who was a well-known legal practitioner in that city. Being gifted by nature with a beautiful contralto voice, she began to cultivate it when quite young, under the tuition of Mrs. Logan, a lady who holds a very high position in Sydney as a teacher of music. Mrs. Logan is cousin to the author of "Maritana," and was a pupil to the celebrated Logier. When Catharine Hayes came to Australia she heard Miss Chambers sing, and at once offered to take her to Italy and superintend her vocal education as a cantatrice. This offer was not accepted for family reasons, which, however, eventually gave way, and in January, 1862, Miss Chambers went to London, studied there for a few months under Garcia, and from thence took her departure for Italy. At Florence she became the pupil of Vannuchini, conductor of the opera there; also of the great teacher Romani, the master who taught Grisi, Mario, Pasta, Ungher, Lucy Escott, &c. After a year's tuition she made her first appearance as Azucena in "Il Trovatore" at the Pagliano Opera House, Florence, with Madame Medore and Signori Villani, Pizzicati and Dellacosta. Her success was very great, and the opera ran for a month. From Florence she went to Lucca, and sang there during the Fair season with Mademoiselle Perrelli and Signori Collini and Sirchia. From Lucca went to Milan, where she found a telegram summoning her again to Florence, to which city she returned and sang her old part in "Trovatore" for two weeks. Her next appearance was at La Scala, Milan, where she sang in the operas "Trovatore," "Faust" and "Un Ballo in Maschera," with Mesdames Galletti, Lotti Dellasanta and Colson. [xxviii] The male singers were Signori Annastasi, Carrion, Saccomano, Medini and Bartolini. During her residence at Milan, Miss Chambers studied under the great teacher Lamperti, and from that town went to Venice, under special engagement to sing the role of Climene, in Pacini's opera "Sappho," at the Malibran Opera House, the Venice Opera House being closed for some political reason, as Venice was at the time occupied by Austrian troops. From Milan she went to Lugo, and played Maffeo Orsini in "Lucrezia Borgia," with the celebrated Bendazzi, and Signori Bignardi, Cotogni and Rigo. Her next trip was to Bologna, where she was engaged for a season, and at a benefit performance sang the great scena in "Semiramide" (in costume) a few nights after Alboni had sung it at a concert. Miss Chambers made an immense hit, and was recalled four times. From Bologna returned to Milan, and then she went to Turin, where she sang with Adelina Patti at the Regio Theatre, and there sang the contralto part in the opera "Matilda di Shabran" with the celebrated Signor and Signora Tiberini. She next paid a visit to Portugal, and sang in Lisbon and Oporto; thence to Germany, where at Berlin she made her first appearance at the Victoria Theatre, with Mesdames Sarolta, Artot and Carozzi and Messieurs Vizzani, Tombisi and Perdilha. With this company Miss Chambers went to Hamburg, from thence to Berlin, and then to the Theatre de La Monnaie at Brussels, where she appeared with the celebrated Madame Sass. In 1870 Madame Chambers came to Australia, under engagement to Mr. Lyster, together with Signora Barratti and Signori Neri, Dondi and Contini, and took a premier position at once. For several years Madame Chambers was the leading contralto in Australia, but after singing throughout the colonies she decided upon leaving the lyric stage to commence the profession of musical instructress. In this vocation she has been very successful, and has presented to the public some very promising pupils, amongst whom may be mentioned Miss Alice Rees, Miss Blackham, Miss Marie St. Clair, and Miss Ada Gardiner. She also prepared Mrs. Alice Dunning Lingard for the role of Josephine in "H.M.S. Pinafore." The result of the teaching in this case everyone knows.

James D. Brown and Stephen S. Stratton, British musical biography . . . (Birmingham: S.S. Stratton, 1897), (DIGITISED) (DIGITISED)

Chambers, Lucy, contralto vocalist, born Sydney, New South Wales, where her father was a lawyer. Her early studies were under Mrs. Logan, a cousin of W. Vincent Wallace; and, encouraged by Catherine Hayes, at the time in Australia, she decided to adopt the lyric stage as a profession. In January, 1862, she went to London, and studied under Garcia; then, proceeding to Italy, became a pupil of Luigi Vannuccini, and Romani, at Florence. After a year, she made her appearance as Azucena, in Il Trovatore, at the Teatro Pagliano. She was then engaged for two seasons at La Scala, Milan, and while there continued her studies with Lamperti. A general tour of Europe followed, and in 1870 she returned to Australia. There she had a long career of unbroken success, her repertory being extensive and varied. She formed an Academy at Melbourne, and died in that city in 1894.

Nicole Anae, "A crowned and selected band of women": Tasmanian actress/celebrities of the nineteenth century and "home-grown" identity (Ph.D thesis, University of Tasmania, 2005) (DIGITISED)

Colin Fowler, "An early Catholic household at Pyrmont: The family of Sydney's first Town Clerk (Charles Henry Chambers)", Australian Catholic Historical Society 38 (January 2017), 6-19


Amateur bellringer, bell captain, change ringer, hatter, publican, licensed victualler

Born Gloucestershire, England, 12 September 1801; baptised St. Peter, Frampton Cotterell, 15 September 1801; son of Peter CHAMPION (d. TAS, 1852) and Hester GOULDING (d. VDL, 1838
Married (1) Maria MANN (d. TAS, 1855), St. Stephen, Bristol, England, 23 March 1822
Convicted Gloucester, England, 7 April 1823 (14 years transportation)
Arrived Hobart Town, VDL (TAS), 17 January 1824 (convict per Asia, from England, 27 July, aged "22")
Married (2) Elizabeth CHAMPION, Dursley church, Gloucestershire, England, 5 July 1856
Died Hobart Town, TAS, 25 September 1871 (TROVE tagged by Australharmony) (shareable link to this entry)

CHAMPION, William (William CHAMPION; Mr. CHAMPION, jun.)

Amateur bellringer

Born Hobart Town, VDL (TAS), 16 December 1827; baptised St. David's, Hobart, 20 April 1828; son of William CHAMPION and Maria MANN
Married Ellen WISEMAN, Hobart, TAS, 28 May 1852
Died Hobart, TAS, 10 March 1853, aged "25/26" (TROVE tagged by Australharmony) (shareable link to this entry)

Bell tower, Trinity Church, Hobart; foundation stone laid October 1841; from a stereo photograph, c. 1865; Tasmanian Archive and Heritage Office (DIGITISED)

William Champion's handbell set

Champion's handbell set, bell chamber, Trinity Church, Hobart; see also Daniels 1998


Baptisms, Frampton Cotterell, Gloucestershire, 1801; England, select births and christenings (PAYWALL)

15 September 1801 / William / son of Peter and Hester / Champion

Marriages solemnized in the parish of Saint Stephen in the county of Bristol in the year 1822; bishop's transcripts, c. 1822, page 80; Bristol Archives, Ep/V/4/44 (PAYWALL)

No. 240 / William Champion of this parish and Maria Man [sic] of this parish were married in this church by banns this [23 March 1822]

"Sessions & Assize Intelligence", Bath Chronicle and Weekly Gazette [Somerset, England] (17 April 1823), 2 (PAYWALL)

Gloucester Assizes . . . TRANSPORTATION: Seven Years: Wm. Martin, for stealing a great quantity of materials used in the manufacture of hats, from his master, Mr. W. A. Glover, of Tetbury. Fourteen Years: Wm. Champion, for receiving the same knowing them to stolen.

Baptisms solemnized in the parish of Dursley in the county of Gloucester in the year 1823; register 1813-28, page 132; Gloucestershire Archives, P124 in 1/10 (PAYWALL)

No. 1053 / [1823] October 9th / Hesther Maria D'r of / William & Maria / Champion / Dursley / Hatter . . .

Convict records, William Champion, per Asia, 1824; NAME_INDEXES:1380070; CON23/1/1 No 604; CON31/1/6$init=CON23-1-1-P078 (DIGITISED)

[no.] 604 / Champion William / 5 ft 7 / . . . [age] 22 / Hatter / Gloucester / 7 April 1823 / 14 / . . . [born] Gloucestershire . . .$init=CON31-1-6P207 (DIGITISED)

[No.] 604 / Champion Wm. / Gloster Apr' 7 1823 14 [years] /
Transport'd for receiving stolen goods / Gaol report "former character good respectably connected very orderly" . . . Married . . .
Cond'l Pardon 469 30th March 1833 . . .

Baptisms solemnized in the parish of Hobart Town in the county of Buckingham in the year 1828; Tasmanian names index; NAME_INDEXES:1080228; RGD32/1/1/ no 2586 (DIGITISED)

No. 297 /[1828] 20th April / [born] 16th December 1827 / William / [son of] William and Maria / Champion / Hatter . . .

[Advertisement], Colonial Times [Hobart, VDL (TAS)] (3 August 1847), 1 

THE Undersigned having promised to do all in his power to form a COMPANY of RINGERS for the new Bells in Trinity Church Belfrey, will feel obliged by the attendance at his house on Tuesday evening, the 10th of August, at 7 o'clock, of those who are desirous of assisting in such an object as Ringers.
Jolly Hatters, Melville-street, July 30, 1847.

ASSOCIAIONS: Trinity Amateur Ringing Association (association)

"BELLS AND BELL-RINGING", The Courier (7 August 1847), 2 

We have before observed that the bells which have arrived for Trinity Church were cast at the manufactory of Messrs. Mears and Co., of Whitechapel, and have hinted at the celebrity they have attained in the trade . . . We now refer to the peal intended to gladden the hearts of our citizens. We believe that upwards of two hundred pounds have been subscribed to hang them, and that preparations are being made to carry out the object. Additional sums are required, and we doubt not but the liberality of our citizens will readily furnish them. Meantime, Mr. Champion, an experienced ringer, is endeavouring to raise a troupe of artists. From his abilities, we augur that the first peal will have an electrifying effect in the bosoms of the population. Happy may the bride be whose nuptials are first announced in a merry, joyous, wedding peal!

"BELL RINGING", The Britannia and Trades' Advocate (12 August 1847), 2 

The meeting called for Tuesday evening, to organize a company of Bell Ringers, was attended by more than thirty persons. After several excellent peals had been rung on the hand bells belonging to Mr. Champion by several old ringers present, and one or two amateurs, Mr. W. G. Beaumont, of the Old Wharf, was called to the Chair, and the business of the evening commenced. A rough draft of Rules for the government of the Belfry operative Council were read, and referred for re-consideration on Friday (to-morrow) evening, at 7 o'clock. They were prepared by an old English ringer, assisted by the master of the bells, Mr. Champion. Eight persons entered themselves as acquainted with the art of bell-ringing, and eight others as students. There cannot be a doubt therefore, that a very considerable musical noise will be made on the first trial at a treble bob major. There will be no sleep that night, for some people. Three peals were rung at the conclusion of the proceedings, in honor of the Chair, and then
"All went merry as a marriage bell."
Lord John Manners, the present regenerator of old British sports, ought to have been present. His health must not be forgotten on the night the first peal is opened.

"VICTORIA THEATRE", Colonial Times (31 August 1847), 3 

. . . By an announcement in our present number, it will be seen that on Monday next, the Theatre will be re-opened for the benefit of the Masonic Benevolent Fund, an instance of liberality on the part of the managers for which they deserve great praise. The entertainments have not yet been announced, but we may mention a very striking novelty which will be produced by the chimes of Mr. Champion's Bells, as a sort of miniature prelude to those of Trinity Cathedral, whose melodious and sonorous peals we may soon expect to hear from the well-adopted eminence of Trinity Hill. With respect to the performances generally, they will no doubt be selected with the usual taste and judgment of the management . . .

ASSOCIATIONS: Royal Victoria Theatre (Hobart venue)

"MASONIC BENEVOLENT FUND. THE THEATRE", The Britannia and Trades' Advocate (9 September 1847), 3 

The call made by the members of the Masonic Benevolent Institution, in aid of its funds, were most generously responded to on Monday last . . . Messrs. Mezger, Toby, Champion, W. G. Beaumont, Downer, and Lovett were in attendance, to receive visitors and strangers . . . During the evening, the Hand-bells, kindly lent for the occasion by Mr. Champion, were rung in a way which promises a very successful opening of the Belfrey of Trinity Church by the same artists. They are entitled to our best thanks. The Band of the 96th regiment, under the direction of its talented and very obliging master, Mr. Bishop, played some splendid and animated pieces, such as were likely to rouse the better feelings of our nature . . .

ASSOCIATIONS: Edward Bishop (master); Band of the 96h Regiment (military)

[Advertisement], Colonial Times (15 October 1847), 2 

THE BELLS. A Considerable difficulty having arisen in the way of completing the Belfrey of Trinity Church in time for the next ensuing Regatta, in consequence of more money being required to meet expences than was contemplated in the first instance, it is, at the request of many of the Subscribers, suggested that a meeting of all interested should be held
THIS EVENING, at seven o'clock precisely, at Mr. Champion's Inn, Melville-street, to adopt such measures as may then be considered advisable under the circumstances.
October 15, 1847.

"THE CATHEDRAL BELLS" [sic], Colonial Times (29 October 1847), 3 

We are glad to announce that measures have been adopted to ensure the completion of the cathedral [sic] tower, and the hanging of the bells in time for the regatta and through the liberality of certain of our worthy citizens, who at the meeting held at Mr. Champion's, on Tuesday evening last, handsomely came forward and furnished the Rev. Mr. Palmer (the Rural Dean) with a guarantee for £200, the sum at which the work is estimated . . .

"TRINITY CHURCH BELLS", The Courier (13 November 1847), 2 

Since our last notice, the frame-work has been elected in the steeple by Mr. Wright, the contractor, and the light bells hung in their places, without the slightest accident, under the superintendence of Mr. Champion. The latter operation was commenced on Wednesday morning, and concluded yesterday afternoon. So complete are the preparations, that if the ringers were well practised in performing with each other, a peal might be rung at an hour's notice. The young men will, however, exercise themselves daily in going through all the complicated evolutions of a "peal," although by a process of what is called "tying the bells," they will emit no sound audible to the community. The bells will be "publicly opened" on the morning of the Regatta.

"THE BELLS", The Courier (17 November 1847), 2 

We have had the satisfaction of inspecting the eight bells now hanging in the tower of the belfry of Trinity Cathedral. Under the superintendence of Mr. Champion, with the assistance of some able coadjutors, the whole of the arrangements are so far completed tlint the ringers will commence practice immediately with dumb bells, and be ready to usher in the morn of the Regatta day with a sonorous peal.

"Local Intelligence", The Britannia and Trades' Advocate (2 December 1847), 3 

THE BELLS rung a merry peal at half-past three, a.m. yesterday morning. The following were the ringers: -
No. 1 Norton, 2 Champion, Jun., 3 Davis, 4 Creswell, Jun., 5 Hilton, 6 Bastian, 7 Milson, and 8 W. G. Beaumont,

"THE CHURCH BELLS OF ST. TRINITY", The Courier (4 December 1847), 2 

We have casually noticed, in our regatta report, the public opening of the bells at an early hour in the morning. After that, the bells were twice rung-first at half-past eight, and again at a quarter-past four in the afternoon, with a marked improvement in the performances. When we consider that, with two exceptions, the ringers are native youths, who have had no experience but by practice with Mr. Champion's hand-bells, and a very brief period of ringing with the muffled bells since they were placed in the tower, much more was achieved than might have been anticipated giving promise of future excellence. The following are the names of the ringers who opened the bells:-
No. 1, Norton; 2, Champion, junr.; 3, Davis; 4. Creswell, junr.; 6, Hilton; 6, Basstian; 7, Milson; and 8, W. G. Beaumont.

"THE CATHEDRAL BELLS", Colonial Times (7 December 1847), 3 

Certain hyper-critical connoisseurs (!) in the art and mystery of bell-ringing, have been pleased to find fault with the manner in which the "merrie peals" were rung on the Regatta Day; but these worthy persons have forgotten one circumstance, and that is, the (at present) inexperience of the young ringers. "Aye," quoth the wiseacres, "very true; but why not engage 'old hands,' accustomed to the business at home?'" For two very good reasons we answer. First, although doubtless "old hands" could be obtained to handle the ropes, and who for the very novelty of the thing, would have proffered their services on the Regatta Day, yet, what dependance could be placed upon them in the event of any emergency, a wedding, for instance, or a similar joyous occurrence? Why, in our opinion, very little for business or pleasure might interfere to prevent their attendance. Not so, however, with our colonial youth, who, trained up to the practice, will take a praise worthy pride and emulation in their exertions to perfect themselves, and be at all times most ready and willing to favour the public with as many "merrie peals" as may be required. We really think that great credit is due to Mr. Champion and his coadjutors, no less for their unremitting exertions in the hanging of the bells, and in arranging definitively for their purchase by becoming security for a considerable sum of money, but for their judgment in selecting colonial youths as ringers, who will become, as it were, identified with the vocation, and very soon acquire the means of delighting us with a peal as well rung, as any in Old England itself. The bells have been cast by one of the first founders in London, and all that is required is attentive practice to ensure perfect success. In the meantime those who have placed their names upon the subscription list, ought to make good their payments, while others who have not done so, should forthwith perform this pleasing duty, so that the bells may be exclusively the property of the public.

"THE BELLS", The Britannia and Trades' Advocate (6 July 1848), 3 

The choir of Bell-ringers deserve greater praise than can be awarded. Night after night they practise without any remuneration, or reward beyond the satisfaction of gradually making themselves perfect in an art which cannot but afford pleasure to others. Mr. Champion, as the number one of the club, deserves a testimonial which he can hand down to after times, and every other promoter of the manly British exercise, so congenial to the feelings of us all, ought also to be held in kindly estimation. Let every one remember that the bells ring nearly every night, without any charge upon the community of a single shilling, and let those who grumble at a wrong pull now and then, just think of what we have now stated in favour of the ringers.

"THE BELLS", The Britannia and Trades' Advocate (29 March 1849), 3 

Although we never hear the bells ring but we think of the manner in which the trustees have been treated (which muffles, as it were, the pleasure of their sound), yet we conquered this feeling on Thursday last and threaded our way up into the belfry, where the ringers were pulling away joyously after the fashion of "merrie" England, that mother and nurse of manly pastimes and enjoyments. All the day, excepting the usual hours for refreshment, was devoted to the marriage of Miss Dunn, the ringers having previously been very generously provided with a liberal retaining fee from Mr. Wilmot, by the hands of Mr. Champion, who has taken so much interest in the bells. Experienced ringers inform us that the members present on that day rung well, and that they will very soon be equal to any club in either of the colonies. Great praise is due to them, and as far as we are concerned we feel obliged for their exertions. Perhaps, at some time or other, the clergy or the laity will make an effort to pay the debt due to the trustees. We think it is the especial duty of the former to look to this. But to return to the practical working of the bells, as we said, the day was devoted to Major Smyly's marriage, and the evening ended by an hour's peal for Mr. Thomas Mezger (married the same morning), which closed the ringing harmony of the day.

"MARRIAGE", The Courier (29 May 1852), 2 

On the 28th instant, by special Licence, at the residence of the bride's father, by the Rev. Dr. LILLIE, WILLIAM CHAMPION, jun., son of Mr. Champion, Melville street, to ELLEN, eldest daughter of Mr. John Wiseman, Elizabeth-street.

"DEATHS", The Courier (14 March 1853), 2 

On the afternoon of the 10th, at his residence, Melville-street, in the 26th year of his age, WILLIAM CHAMPION, jun., after an illness of 14 days. His loss will be sincerely felt by his relations and friends, by whom he was universally esteemed. He has left a young wife and infant child. The funeral will take place on Friday, the 18th instant, at 2 o'clock in the afternoon. Friends are invited to attend.

On Sunday morning, the 13th instant, the infant daughter (aged 10 days) of Mr. William Champion, jun., whose decease is noticed above. The funeral of the child will take place on the same day and at the same hour as appointed for that of the father.

See also obituary, "THE LATE MR. CHAMPION", The Hobart Town Advertiser (19 March 1853), 2 

"DIED", Colonial Times (6 March 1855), 2 

At her residence, Melville-street, on Sunday, the 4th instant, MARIA, the beloved wife of Mr. William Champion, after a long and painful illness, aged 57 years. Friends are respectfully informed that the funeral will take place on Friday, the 9th instant, at half-past two o'clock p.m.

1856, marriage solemnized by licence in the parish of Dursley in the county of Gloucester; register 1837-88, page 113; Gloucestershire Archives, P124 in 1/14 (PAYWALL)

No. 226 / July 5 / William Champion / Full [age] / Widower / gentleman / Dursley / [son of] Peter Champion / Deceased
Elizabeth Champion / Full [age] / Spinster / - / Dursley / [daughter of] Samuel Champion / Saddler . . .

"BIRTHDAY PEAL", The Mercury (13 September 1869), 2 

Yesterday morning at eight o'clock the "Trinity Amateur Ringing Association" rung a peal in honor of Mr. William Champion having completed his sixty-eighth year. Twenty years ago Mr. Champion took the leading part in promoting the hanging of Trinity Church Bells, and was successful in organising a company of ringers. Under his instructions they were enabled to ring the bells for the first time on the 1st of December 1847, the occasion being the tenth anniversary of the Hobart Town Regatta. The successive companies of ringers, practising in later years in the Trinity Church Belfry, have in many ways been indebted to Mr. Champion, who has uniformly manifested a deep interest in the progress of the art of Change-ringing. The compliment paid to him yesterday was a genuine and cordial mark of respect.

ASSOCIATIONS: Trinity Amateur Ringing Association (organisation)

"DEATHS", The Mercury (26 September 1871), 1 

CHAMPION. On 25th September, at his residence, No. 3, Burnett-street, William Champion, in the 71st year of his age. Friends are invited to attend the funeral on Wednesday next, 27th inst, at half past 2 o'clock. 57

"THE LATE MR. CHAMPION", The Mercury (26 September 1871), 2 

Scarcely had the grave closed over one of our oldest fellow-colonists when the ceaseless hand of death removed another from amongst us. Mr. William Champion, so well known throughout the colony, died yesterday morning at his residence in Burnett-street, in the forty-eighth year of his sojourn in this Island, and in the 71st year of his age. The deceased was a useful colonist in his day, and it may be interesting to mention that he produced, from his own hands, the first hat that was ever made in this colony, starting business in his trade shortly after he landed in the year 1824 in a small stuccoed cottage, up two or three steps, just opposite the Elephant and Castle in Bathurst-street. There, on the 6th of August in the year aforesaid, the first Tasmanian beaver was sent into the sunshine on the head, strange to say, of one who still survives in Mr. Isaac Froud, of the Native Corners. The article in question, and now far beyond all question we suppose, was formed of wool, and the hair of the silver-grey rabbits, which animals had been only a year or two before introduced to the colony, and set at liberty on Betsy's, now called Franklin, Island, by one Captain King, who, for some time afterwards, made money of the skins in the China market. The hat trade failing, Mr. Champion commenced business as an hotel-keeper, and for a long, long time the Jolly Hatters, in Melville-street, was the home of most of the opulent settlers when they visited the metropolis. The good old man's success in life enabled him to afford spirited and benevolent assistance on many occasions, and, although he never mentioned the matter himself, we happen to be aware that the Trinity bells, which chime so sweetly over the city on gala days, owe to his liberality something like one hundred and twenty-five pounds, that sum having been contributed by Mr. Champion towards the expenses of their suspension, and never repaid to this day. He died of the decay of nature, and without a pang or a struggle.

"BELLS AND BELLRINGING", The Mercury (9 July 1887), 3 

. . . It is with pleasure we draw attention to our own peal of bells at Trinity Church, and trust that all who hear them will take a greater interest in them after reading the short history of them which we give below. No small amount of trouble has been taken to collate the facts which follow, and it may be that one or two little details are missing, but if so, they are likely to be brought to light by the publicity now given. During the year 1844 the Reverend Philip Palmer, who held the office of rural dean, and was perhaps better known as Dean Palmer, went to England for the purpose of collecting money to build what is now Holy Trinity Church. His mission was attended with great success, and amongst other who gave substantial subscriptions to the fund, were Her Majesty Queen Victoria, her mother the Duchess of Kent, and the Earl of St. Germains. Dean Palmer finding that he had collected more than enough to pay for the construction of the church decided to apply the surplus to the purchase of a peal of bells. The surplus, however, was not sufficient for the purpose, but upon his (Dean Palmer's) return to the colony the late Mr. William Champion took the matter up, and called a meeting at which it was decided to open a subscription list to defray the residue of the coat, Mr. Champion himself heading the list with a very substantial sum. Indeed, we find in the obituary notice of this gentleman, which appears in The Mercury of September 26, 1871, the following sentence: -
"Although he never mentioned the matter himself we happen to be aware that the Trinity bells which chime so sweetly over the city on gala days owe to his liberality something like £125, that sum having been contributed by Mr. Champion towards the expenses of their suspension, and never repaid to this day."
Two days after the above-mentioned date The Mercury, in referring to Mr. Champion's funeral, wrote: -
"Before and after the funeral service the Trinity bells tolled a muffled peal, and then the fine old man was silently left in his resting place."
There is no authentic record of the cost of the bells, but they must have totalled over £700 for purchase, freight, and fixing. At the present time a similar peal would cost very nearly the same, as the selling price in England is £475. The bells, eight in number, are considered the best in the colonies next to the Balaarat peal. A very popular error exists in that the bells are believed to be the property of the Trinity parish, but that is not the case, as they are public property, and are only in the possession of the Trinity churchwardens as custodians. After they were hung in 1847 a bellringer's association was formed, and the bells were heard chiming week in and out for a number of years. Mr. C. B. Hardinge was master ringer for many years, and after his resignation Mr. Bryant Webb took the mastership; but a few years ago the association collapsed, mainly on account of the dangerous state of the framework on which the bells are hung . . .

"HOLY TRINITY DIAMOND JUBILEE", The Mercury (28 August 1909), 7 

. . . The bells (still supplying the only peal we have in the city), eight in number, were obtained from Messrs. Mears and Stambank, of Whitechapel, London, at a cost of £500, and brought out by the Rev. Philip Palmer when he returned from England in 1847. The weight of the tenor bell, which is the heaviest, is 10cwt., and upon it is cast in raised letters the inscription - "Their sound is gone out into all lands, and their words into the ends of the world." Mr. Champion, a brewer, residing in Melville-street, took much interest in procuring the bells and in the training of the first ringers . . .

Bibliography and resources:

William Denison, Varieties of vice regal life . . . volume 1 (London: Longmans, Green, and Co., 1870), 65

[Regatta day, 1 December 1847] . . . The day was ushered in by the sound of the first peal of bells I believe that have ever been heard in the southern hemisphere, or at least in Australia. It has amused me to hear so many of the young people who have been born here say that they never heard a peal of bells and express their curiosity to hear these. The bells have recently been purchased by subscription, and brought out from England for the new Church which is now nearly finished here. Great exertions have been made to get them up in time to ring the first peal today. I thought that they should have reserved this honour for Christmas Day, but it seems that this, the birthday, as one may call it, of the island into the civilized world, is the great day of the year here . . .

Lou Daniels, "Champion, the master bellringer", Tasmanian ancestry (Genealogical Society of Tasmania) 19/3 (December 1998), 165-67 (DIGITISED)

Milford McArthur, "William Champion, a colonial cabinetmaker?", Australiana (February 2001), 20-23 (DIGITISED)

Patricia Jane Graham, Church and community: the changing social role of Holy Trinity Church in Hobart, 1833-1945 (Ph.D thesis, University of Tasmania, 2015), 176 and following (on the bells), especially 182-92, and 217 (DIGITISED)

CHANSON, George (George CHANSON) = alias of George LOYAU

CHAPMAN, Abraham Western (Abraham Western CHAPMAN; A. W. CHAPMAN)

Music engraver, printer, postage stamp engraver and printer

Born Westernport settlement, NSW (VIC), 6 July 1827; baptised St. Mary's chapel, Sydney, NSW, 1 January 1828; son of Abraham CHAPMAN (c. 1798-1874) and Hannah GLYNN (c. 1796-1880)
Married Bridget Mary CHERRY (c. 1829-1914), Newcastle, NSW, 24 August 1850
Died Surry Hills, NSW, 31 March 1892, aged "64/65" (TROVE tagged by Australharmony) (shareable link to this entry)


Abraham Western Chapman was born at Western Port, in what is now Victoria, on 6 July 1827 (though the date is usually reported as 17 July), where his father was then stationed as a soldier in the 57th Regiment, and where, in July-August 1827 it was documented that "Mrs. Chapman and child" were given an extra ration of milk "from the Government cows". Back in Sydney, he was baptised at St. Mary's Catholic chapel on 1 January 1828.

Aged 16, and probably already learning his future trade as a print worker, he was in Sydney in early 1844, perhaps living with his sister Catherine and her husband, Sergeant Thomas Bagot, when he was allowed a passage on the government transport, the Governor Phillip, from Sydney on 20 April, to join his parents on Norfolk Island. When he returned to Sydney again on the Fortescue in January 1846, the passenger manifest listed his profession as engraver. Probably dating from later in that same year, his earliest identified signed work was an engraved cover for Francis Ellard's sheet music edition of In happy moments, from his cousin William Vincent Wallace's opera Maritana.

In late 1855 and early 1856, for the pianist and composer Edward Boulanger and the publisher Frederick Mader, he executed the 53 pages of elaborately scored and intricately engraved piano music that originally made up Boulanger's musical keepsake for 1856. The sole identified surviving copy is now missing its first 10 pages; but those 43 pages that remain attest to Chapman's skill and artistry as a music engraver, barely less singular and virtuosic as a colonial production than the piano music itself.


Baptisms, St. Mary's Catholic chapel, 1828; Biographical database of Australia (PAYWALL)

1 January 1828 / born 6 July 1827 / Abraham Western / son of Abraham Chapman, 57th Regiment . . .

"DEPARTURES", The Sydney Morning Herald [NSW] (29 February 1844), 2 

. . . yesterday . . . For Norfolk Island, the same day, the brig Governor Phillip, Captain Boyle, with stores, &c. Passengers . . . Mr. A. Chapman, two in the steerage, and a military guard.

"Shipping Intelligence", The Weekly Register of Politics, Facts and General Literature [Sydney, NSW] (27 April 1844), 561 

. . . Saturday [20 April] . . . Same day, for Norfolk Island, the brig Governor Phillip, Boyle, master, with stores. Passengers, Mr. Chapman, Captain Reid, a sergeant, corporal, and 10 rank and file of the 99th Regiment, and 11 prisoners of the crown.

Report of the Fortescue, from Norfolk Island, 14 January 1846, arrived Port Jackson, 29 January 1846; State Records Authority of NSW (PAYWALL)

. . . Abraham Chapman / Engraver / Settler . . .

"SHIPPING INTELLIGENCE. ARRIVALS", The Sydney Morning Herald (30 January 1846), 2 

January 29 - Fortescue, barque, 300 tons, Captain Pellatt, from Norfolk Island the 19th instant. Passengers - . . . and Mr. Chapman.

[Advertisement], Empire [Sydney, NSW] (10 May 1855), 6 

A. W. CHAPMAN AND CO., Music Punchers, Engravers, and Copperplate Printers, No. 1, Charlotte-place.
Work done for the trade with punctuality, despatch, and moderate terms.

"DEATHS", The Australian Star (1 April 1892), 1 

CHAPMAN. - March 31, 1892, at his residence, 362 Bourke-street, Surry Hills, Abraham Western Chapman, in his 65th year; 35 years foreman of the Postage Stamp Branch, Government Printing Office.
First white child born Western Port, Victoria. Requiescat in pace.

Musical prints:

In happy moments (published by Francis Ellard, Sydney, c. 1846; cover only engraved by Chapman)

In happy moments, ballad, sung by Mr. H. Phillips, in the grand opera Maritana, composed by W. Vincent Wallace (Sydney: F. Ellard, [? c. 1846-47]); cover: "Sc. Chapman" (DIGITISED)

ASSOCIATIONS: William Vincent Wallace (composer); Francis Ellard (musicseller, music engraver, publisher, Wallace's cousin); Ellard's edition was pirated from the London original edition, and Chapman also emulated the style and detail of the original engraved cover; see which: (DIGITISED)

Final page of Boulanger's caprice, engraved by A. W. Chapman, 1856

Boulanger's musical keepsake for 1856 (published by Frederick Mader, Sydney, 1856; all music engraved by Chapman)

Boulanger's musical keepsake for 1856 (Sydney: F. Mader); "Engd. A. W. Chapman" (ONSITE LINK)

ASSOCIATIONS: Edward Boulanger (composer); Frederick Mader (publisher); the edition was a set of 6 titles, separately paginated; a unqiue copy, missing 10 of music pages at the beginning, is preserved at University of Sydney, Library, Rare Books, RB CON 860 9080, in a bound album originally belonging to Boulanger's Sydney pupil, Teresa Curtis (1843-1910; Meillon-Boesen) [Curtis 9080]; [1] Serenade from Don Pasquale (only page 11 now survives, unsigned), to view follow link above;
[2] Nocturne de concert (5 pages, at foot of 5: "Engd. by A. W. Chapman"), to view, see off-print below;
[3] Caprice sur Norma (13 pages, at foot of 13: "Engd. by A. W. Chapman", see image above);
[4] Concert waltz (12 pages, at foot of 12: "Engd. by A. W. Chapman");
[5] Caprice nocturne (7 pages, at foot of 7: "Engd. by A. W. Chapman");
[6] Souvenir d'Amerique (5 pages, unsigned)

See also later off-print, Nocturne de concert (Sydney: J. R. Clarke), from same plates as above: "Engd. A. W. Chapman" (DIGITISED)

"REVIEW", The Sydney Morning Herald (11 February 1856), 5 

Bibliography and resources:

Prue Neidorf, A guide to dating music published in Sydney and Melbourne, 1800-1899 (M.A. thesis, University of Wollongong, 1999), 144 (DIGITISED)

"Abraham Western CHAPMAN", Voices from the past 


Musician, band leader, cornet-a-piston player, flageolet player, harpist, musical instrument maker, music seller

Born Shoreditch, London, England, c. 1826; son of William CHAPMAN (b. c. 1806)
Married (1) Sarah Orynthia GIGNEY (1829-1866), St. John's, Hackney, London, 5 June 1845 ["full age"]
Arrived Melbourne, VIC, 26 November 1852 (per Arundel, from London, 14 July, via Plymouth, 26 July, aged "27")
Married (2) Harriet ATKIN (widow MARSHALL) (c. 1831-1909), St. Paul's, Melbourne, VIC, 3 October 1868
Died Elsternwick, VIC, 6 April 1895, aged "69/70" (TROVE tagged) (shareable link to this entry)

George Chapman, lithograph by Ludwig Lang, 1864

George Chapman, lithograph by Ludwig Lang, from the cover of Chapman's L'arpeggio polka (1864) (DIGITISED)

ASSOCIATIONS: Ludwig Lang (lithographer)


England census, 6 June 1841, St. Leonard Shoreditch, Tower Hamlets; UK National Archives, HO107/707/1/12/17 (PAYWALL)

[Wilson St.] / William Chapman / 35 / Musician / [born in county]
Ann [Chapman] / 25 / - / [born in county]
George [Chapman] / 15 / [Musician] / [born in county]
Mary / 13 // Emma / 8 . . .

1845, marriage solemnized at the parish church in the parish of Hackney in the county of Middlesex; register 1843-47, page 14; London Metropolitan Archives (PAYWALL)

No. 28 / June 5th / George Chapman / Full age / bachelor / Professor of Music / Morning lane / [son of] William Chapman / Professor of Music
Sarah Orynthia Gigney / underage / Spinster / - / Morning Lane / [daughter of] Samuel Gigney / Baker . . .

? [Advertisement], Sheffield Independent [Yorkshire, England] (5 October 1850), 1 (PAYWALL)


ASSOCIATIONS: Louis Jullien (conductor); John Winterbottom (musician, also later in Melbourne); the Chapman listed here was also possibly Samuel Chapman (see below), who toured with Winterbottom and other soloists from Jullien's band in 1852

England census, 30 March 1851, St. Botolph Bishopgate, Middlesex; UK National Archives, HO107/1524/563/47 (PAYWALL)

33 Primrose Street / George Chapman / Head / Mar. / 25 / Musician / [born] [Middlesex] Shoreditch
Sarah [Chapman] / Wife / Mar. / 22 / - / [born Middlesex Shoreditch]
William [Chapman] / Son / 5 / - / [born Middlesex Shoreditch]
George Chapman / Son / - / 1 / - / [born] Midd'x Bishopgate
William [Chapman] / Brother / Un. / 27 / Musician / [born] [Middlesex] Shoreditch
Martha [chapman] / Sister / Un. / 21 / Box Maker / [born Middlesex Shoreditch] . . .

Melbourne, VIC (from 26 November 1852):

Names and descriptions of passengers per Arundel, from London, 14 July 1852, for Melbourne, 26 November 1852; Public Record Office Victoria (PAYWALL)

. . . Chapman George / 27 / Musician . . .

ASSOCIATIONS: Alfred Oakey (musician, fellow passenger)

"THE WEEKLY CONCERTS", The Argus [Melbourne, VIC] (23 December 1852), 5 

The following is the programme for this evening: -
Part 1. Overture. - Zauberflote - Full band.
Glee. - O, by rivers. - Mrs. Hancock, Mrs. Fiddes, Messrs. Lyon, Ray, and Hancock.
Solo (Cornopean). - Air and variations - Mr. Chapman . . .
Grand Wedding March. - Full band . . .
Part II. Overture. - II barbiere di Seviglia . .
. Waltz - Die Rheinfahrt . . .
Overture - Guy Mannering. (By desire.) . . .

ASSOCIATIONS: Mary Ellen and Edward Hancock (vocalists); Harriet Cawse Fiddes (vocalist); William Charles Lyon (vocalist); Edgar Ray (vocalist); Thursday concerts (series); Mechanics' Institution (Melbourne venue)

[Advertisement], The Argus (27 December 1852), 8 

ROYAL HOTEL. Grand Opening Ball.
MESSRS. CHAS. WILKIE & J. GREGG beg to announce that they will open the large room of the Royal Hotel, with a
Grand Ball, on Monday, December 27th, 1852.
The Room has been most gorgeously decorated by Messrs. Hancock and Dassett.
The Band is under the direction of Mr. G. Chapman, late of Jullien's Band.
Pianist: M. Sa1amon.
1. Quadrille - Rein de Var.
2. Polka - Alice.
3. Waltz - Prima Donna.
4. Lancers - Original.
5. Schottische - Hungarian.
6. Quadrille - La Favorite.
7. Polka - Bijou.
8. Waltz - Star of night.
9. Schottische - Original.
10. Gallop - Sturm march.
11. Country dance.
12. Quadrille - Steeple chase.
13. Polka - Drum.
14. Caledonian - Original.
15. Waltz - Faust.
16. Schottische - Hungarian.
17. Quadrille - La belle aux Cheveax d'or.
18. Polka - Sontag.
19. Waltz - Fairest of the fair.
20. Schottische - Original.
21. Galop - Post Horn.
God Save the Queen . . .
Master of the Ceremonies - Mr. J. E. Jones.

ASSOCIATIONS: Charles Wilkie (musician, manager); John Gregg (vocalist, manager); Edward Salamon (pianist)

[Advertisement], The Argus (10 January 1853), 5 

MR. CHARLES WILKIE'S Fifth Grand Ball, January 10th, 1853.
Tickets on admission 10s. 6d., with the priviledge of introducing a lady. Dancing to commence at nine o'clock.
The Band is without exception the best in the Colony; it is under the direction of Mr. George Chapman, M.C., Mr. J. E. Jones.

[Advertisement], The Argus (22 January 1853), 8 

Chapman's Celebrated Quadrille Band. Admission 2s. 6d. Dancing to commence at Nine o'clock.

[Advertisement], The Argus (24 January 1853), 1 

MR. GEORGE CHAPMAN, Professor of Music,
who has had the honor of appearing before Her Majesty the Queen, at Buckingham Palace, and late of Jullien's Band,
begs respectfully to inform the inhabitants of Melbourne and its vicinity that he has opened classes for instruction on the
Cornet a-piston, Harp, Violin, and Flute, and hopes they will favor him, as they have hitherto done, with their kind patronage.
Music provided for Balls and Quadrille Parties.
For terms, &c., Address George Chapman, at Mr. E. Plummer's,, Chemist and Druggist, 145, Elisabeth-street.

[Advertisement], The Argus (3 February 1853), 8 

ROYAL HOTEL. CHARLES WILKIE'S Cider Cellars, open every evening . . .
Mr. Chapman, the celebrated Cornopean player, will play a solo this evening, Thursday, 3rd January . . .
Mr. Salamon, Pianist. To commence at eight o'clock. Admission, 1s.

[Advertisement], The Argus (12 February 1853), 8 

MR. GEORGE CHAPMAN, teacher of the Cornet-a-Piston, Flageolet, Flute, Violin, and Harp,
136, Queen-street. N.B. - Music provided for balls and quadrille parties.

[Advertisement], The Argus (22 February 1853), 3 

ADMISSION ONE SHILLING. Great Combination of Musical Talent, at the
CIRCUS, Top of Bourke-street, east. Open every Evening.
Immense Success of the Grand Promenade Concerts, a la JULLIEN, every evening.
Vocalists: Mrs. Fiddes, universally popular as Miss Harriet Cawse;
Mr. John Gregg, the eminent Basso, from the Theatre Royal, Drury Lane, &c.
Mr. W. F. Sayer, from the London Concerts; Mr. Dawson, comic.
Principal Instrumental Solo Performers: Cornet-a-Piston, Mr. Chapman; Violin, Mr. Weston, Ophicleide, Mr. Hartigan.
Conductor : Mr. J. Winterbottom, Who will perform a Solo on the Bassoon every evening.
IN consequence of the enthusiastic reception of the Derby Galop and the Drum Polka, they will be repeated every evening.
The Great Exhibition Quadrille, composed by M. Jullien, on THURSDAY next.
Mr. Creed Royal will perform one of his celebrated Solos on the Flute, on Wednesday next.
Doors open at half-past seven; Concert commences at eight o'clock.
Admission, one shilling. Dress circle, half a-crown.

ASSOCIATIONS: William Francis Sayer (vocalist); Mr. Dawson (comic vocalist); John Winterbottom (conductor, bassoon); John Weston (violin); Joseph Hartigan (ophicleide); Creed Royal (flute); Rowe's American Circus (Melbourne venue)

[Advertisement], The Argus (25 February 1853), 8 

MR. CHAPMAN begs to announce to the Ladies and Gentlemen of Melbourne, Collingwood, and vicinity, that his
First Select Full Dress Ball will be held as above, when his celebrated Band, including the most popular musicians in Melbourne, will attend.
The services of Mr. Denning, proprietor of the Quadrille Assemblies, have been engaged as Master of the Ceremonies.
Tickets to admit one Gentleman and Two Ladies, 10s 6d.
Tickets to be had of Mr. Denning, 186, Great Bourke-street, east, and at the Protestant Hall; and on the Assembly Evening, at Passmore's Hotel;
at Mr. Chapman's 136, Queen-street and Mr. Plummer's, Druggist, 146, Elisabeth-street.
Refreshments will be supplied by Mr. Tuck, at moderate charges.
Dancing to commence at 9 o'clock.

ASSOCIATIONS: Cornelius Peter Denning (dancing master); Protestant Hall (Melbourne venue)

[Advertisement], The Argus (9 March 1853), 12 

TO NIGHT, MR. CHAPMAN'S BENEFIT. Vocalists: Miss Lewis, Mr. Dawson.
Instrumental Solo Performers: Cornet-a-piston - Mr. Chapman;
Bassoon - Mr. Winterbottom; Violin - Mr. A. Moore. Admission One Shilling.

ASSOCIATIONS: Annie Lewis Salamon (vocalist); Andrew Moore (violinist)

[Advertisement], The Argus (14 March 1853), 12 

SELECT QUADRILLE ASSEMBLY. Protestant Hall, MR. DENNING, Proprietor. THE Orchestra for this evening will be considerably augmented and complete; including Mr. Chapman, Signor Maffei, Mr. Sayer, Mr. Cooze, and other talented musicians, conducted by Mr. Reed.

ASSOCIATIONS: Joseph Maffei (musician); William Joseph Cooze (musician); Thomas Reed (musician)

[Advertisement], The Argus (16 March 1853), 12 

THE CIDER CELLARS IMPROVED!! New and additional Attractions! . . .
Instrumental Solo Performers: Mr. Charles Wilkie, concertina.
Mr. Chapman, who stands unrivalled on the cornet and flageolet.
And the celebrated violinist, Mr. Moore . . .

"THE WEEKLY CONCERTS", The Argus (24 March 1853), 9 

The following is the programme for to-night [Thursday]: -
PART I. Overture - Il Italiani in Algeri (full band) . . .
Waltz - Amelia (full band) . . .
Polka - The Bridesmaid's (full band).
PART II. Overture - Guy Mannering (full band) . . .
Solo - (French Flageolet) Mr. Chapman . . .
Gallop - Duke of Cambridge, (full band) Cornet Variations, Mr. Chapman . . .

"THE WEEKLY CONCERTS", The Argus (31 March 1853), 9

The reorganisation of the orchestra of the weekly concerts under the auspices of Mr. Megson,
has resulted, as might be anticipated, very successfully, and last week's concert was a very good one indeed, and very well attended . . .
The following is the programme of to-night [Thursday]: -
PART I. Overture - Tancredi - Full Band . . .
Solo (Cornet a piston) - Mr. Chapman . . .
Waltz - Pensees d'Amour - Full Band.
PART II. Overture - Les Diamans de la Couronne - Full Band . . .
Quadrille - English - Full Band . . .
Gallop - Crystal Palace - Full Band . . .

ASSOCIATIONS: Joseph Megson (violinist, leader)

[Advertisement], The Argus (14 April 1853), 3 

MR. GEORGE CHAPMAN can attend private or public quadrille parties, with violin, harp, flageolet and cornopean,
136, Queen-street. - N.B. Cornopean, violin, flageolet, and harp taught.

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

THIS Society has been formed for the purpose of presenting to the public a series of Concerts at which no expense shall be spared to secure the services of the first musical talent in the Colony, and to perform the compositions of the most eminent composers.
The Committee also beg to state that their first Concert takes place on Monday Evening, the 25th instant, at the Protestant Hall, on which occasion they hope to receive a liberal patronage.
For particulars see future advertisements. Leader of the Band, Mr. Fischer. Musical Director, Mr. George Chapman.

ASSOCIATIONS: Mr. Fischer (musician); a very slightly earlier manifestation of the Melbourne Philharmonic Society (association) formed in October-November of that same year

[Advertisement], The Argus (27 April 1853), 12

Principal Vocal Performers - Miss Graham (her second appearance). Mr. Moran.
Leader - Mr. F. Fischer.
Director - Mr. G. Chapman.
THE Band will consist of the following talented performers: -
Violins - Mr. A. Fischer, Mr. Strebinger, Mr. Thomson.
Viola - Mr. Thomas. Basso - Mr. C. Elza and Mr. Hardman.
Cornet-a-Piston - Mr. G. Chapman. Clarionet and Oboe - Sig. Blume.
Flute - Mr. Rosenstengel. Pianoforte - Mr. Hertz and Mr. Thomson.
Overture - Anna Bolena - Donizetti.
Song - Annie Laurie (by desire), Miss Graham.
Waltz - Crystal Palace - D'Albert.
Solo, Oboe - Adagio Bolero, Sig. Blume - Kavalgiofsky.
Song - In this old Chair, Mr. Moran.
Polka - Infant (first time) - D'Albert.
Overture - Don Juan - Mozart. Song - Peace of the Valley, Miss Graham (first time)
Solo, Violino - Concerto, De Beriot, Mons. F. Strebbinger.
Waltz - Die Aelpler - Lanner.
Solo - All is lost (Sonnambula) Cornet-a-Piston, G. Chapman - Bellini.
Quadrille - Cherbourg - D'Albert.
Song - Madoline (by desire), Mr. Moran.
Finale - God save the Queen, full band.
Concert to commence precisely at 8 o'clock.
Prices of admission: Reserved Seats, Three Shillings. Body of the Hall, Two Shillings.

ASSOCIATIONS: Amelia Graham (vocalist); Mr. Moran (vocalist); Frederick Strebinger (violin); Mr. Thomson (violin, piano); Herbert Thomas (viola); Mr. Elze (double bass); Daniel Hardman (double bass); Sig. Blume (clarinet and oboe); Ferdinand Nichols Rosenstengel (flute); Mr. Hertz (pianist)

[Advertisement], The Argus (25 May 1853), 12 

By general desire will be held THIS EVENING, 25th instant. At the Protestant Hall.
THE orchestra will include Mr. Megson, (his final professional engagement), Mr. Johnson, Band Master 40th regiment,
Mr. Reed, Messrs. Cooze, Chapman, and other talented musicians . . .

ASSOCIATIONS: Henry Johnson, master of the Band of the 40th Regiment (military)

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

MR. GEORGE CHAPMAN, Musician, can attend private or public quadrille parties, with violin, harp, flageolet, or cornopean,
143, Swanston-street. N.B. Violin, harp, flageolet, or cornopean taught.

[Advertisement], The Argus (30 June 1853), 4 

MUSICIANS. - Musicians provided for balls, dinners, and quadrille parties, on the shortest notice.
Mr. George Chapman, 143, Swanston-street. N.B. A brass band can attend if required.

[Advertisement], The Argus (2 August 1853), 8 

GRAND BALL, Protestant Hall.- To-night, Tuesday August 2nd . . . Chapman's Band . . .
for the benefit or Mr. George Chapman; tickets to be had at Mr. Peck's Music Ware-house Swanston-street, and at the rooms.

ASSOCIATIONS: George Peck (musician, musicseller); by early 1855 Chapman had taken over Peck's music business and premises at 117 Swanston-street

"TERPSICHOREAN HALL", The Argus (12 August 1853), 9 

Crowther's Assembly rooms, under this classical designation, were opened with a public ball on Wednesday night. The hall is of considerable size, and very tastefully decorated and lighted. Nearly a hundred persons were present at the opening ball, which passed off with great spirit and propriety, the company being decorous and respectable. Mr. Chapman's excellent quadrille-band kept Terpsichore alive till daylight did almost appear, when the party broke up highly delighted with their evening's amusement.

ASSOCIATIONS: Frederick Crowther (dance hall proprietor); Terpsichorean Hall (Melbourne venue)

[Advertisement], The Argus (18 August 1853), 3 

GEORGE CHAPMAN, professor and teacher of Music. Large or small bands provided for balls or quadrille parties;
address by letter to G. C., at Peck's music warehouse, Swanston-street.

"SANDRIDGE", The Banner (19 August 1853), 10 

On Friday evening a concert in connection with the Mechanics' Institution took place here. The fullness and attention of the audience gave us great pleasure and hope, as indicating that these recreations must speedily become general, both here and in the neighbouring townships, and take the place of less gentle enjoyments. It was ably conducted by Mr. Power, of Melbourne, who acquitted himself with ability. His delivery of "As I view those scenes so charming," was very masterly, and elicited a loud applause. Mr. Peck and Mr. Chapman gave each a solo, the former on the violin, and was loudly encored - the latter on the harp, with equal results . . .

ASSOCIATIONS: William Pierce Power (vocalist)

[Advertisement], The Argus (19 August 1853), 8 

ROWE'S CIRCUS. - TO MORROW, August 20th. WINTERBOTTOM'S Grand Monster Concert, nearly One Hundred Performers . . .
Solo, flageolet - La Rosignol, Mr. Chapman - Collinet . . .

ASSOCIATIONS: Hubert Collinet, French flageolet player who performed with Jullien's band (see 1850 above); the composition was perhaps Jullien's waltz Le rossignol

[Advertisement], The Argus (3 September 1853), 8 

QUADRILLE Bands. - George Chapman, Musician, begs to inform his friends and the public, that he is ready to provide large or small bands for public or private parties.
From his long experience, and thorough knowledge of all kinds of dance and appropriate music, as well as having at his command some of the best professional musicians in Melbourne, he flatters himself he will be enabled to give entire satisfaction to those who may honor him with their preference, and is not afraid to enter into competition with any other advertising parties whatever, English or foreign.
Address Peck's Music Warehouse, 117, Swanston-street, N. B. Every instrument taught

"THE OPENING OF THE LONSDALE-STREET ARCADE", The Argus (26 September 1853), 5 

The ceremony of opening the Arcade is announced to take place to day at eleven o'clock . . . The festivities of the day are to terminate in a grand full dress ball, which will be held in the evening at the Arcade . . . Mr. Denning being the Master of the Ceremonies. The orchestra is to consist of upwards of twenty persons, under the conductorship of Mr. G. Chapman, and many of the most talented and efficient musicians in the colony have been engaged . . .

"OPENING OF THE LONSDALE-STREET ARCADE", The Argus (27 September 1853), 4 

. . . At three o'clock the Arcade was re-opened for the performance of the concert . . . under the direction of Mr. Winterbottom . . . The performance consisted of the following compositions: the overture of Auber's opera Fra Diavolo, which was given with great spirit, accuracy and precision; it elicited much admiration. The Dew Drop, and Montgomery's valse, The Ladies of England, followed . . . The other musical selections performed by the Band were, "The Abbotsford Polka," and "Ibrahim Pasha's Quadrilles." Among the vocal performances . . . "The shells of the ocean" was given by Miss Martin, with a harp accompaniment by Mr. Chapman, executed with good effect . . .

The whole of the day's festivities were wound up by a Ball in the evening, which was extremely well attended, there being about 600 persons assembled. The dancing, which principally consisted of quadrilles, polkas, and schottisches, was kept up in a very spirited manner until a late hour in the morning. The music, under the direction of Mr. Chapman, was excellent; and several new pieces, composed by him for the occasion, were very effectively executed by the band.

ASSOCIATIONS: Charlotte Martin (vocalist)

MUSIC: Shells of the ocean (Cherry)

[Advertisement], The Argus (29 September 1853), 8

MECHANICS' INSTITUTION, Thursday, September 29th, 1853. Sacred Concerts . . .
Tickets to be had of . . . Mr. G. Chapman, Musicseller, Queen's Arcade, Lonsdale-street . . .

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

ALL kinds of musical instruments bought, sold, and repaired at Mr. G. Chapman's Music Warehouse, Queen's Arcade. A choice collection of new music always on sale.

[Advertisement], The Argus (21 October 1853), 6 

A BAND for the Diggings. - To be Disposed of, a splendid Barrel Organ, in Spanish mahogany case, upwards of thirty tunes; to be seen at Chapman's Music Warehouse, Queen's Arcade.

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

MUSIC! Music! Music! - Mr. GEORGE CHAPMAN, in returning his sincere thanks to the ladies and gentlemen of Melbourne and its vicinity for the kind and liberal patronage bestowed upon him since the commencement of his musical career in this colony, begs to inform them that at his music warehouse Nos. 8 and 9 Queen's Arcade, a constant supply of music and musical instruments of all kinds and at all prices - Violins, Harp, and Guitar Strings, Music Paper, and every requisite of the profession is continually on hand.
Mr. Chapman does not intend to follow the puffing system now so prevalent in Melbourne; but he challenges competition in any branch of the business.
He proves and warrants every instrument himself, engages Bands for parties, balls, &c., numbering from two to thirty performers, all gentlemen of known and proved efficiency.
Tunes and repairs all kinds of instruments, and respectfully solicits from the amateur, as well as the members of the profession, a visit to his establishment, feeling sure that any one will be amply repaid for so doing.

[Advertisement], The Banner (17 January 1854), 15 

MUSICIAN. - MR. G. CHAPMAN, Professor of Music, is still attending quadrille parties dinners, balls, &c. The only establishment where punctuality and ability are combined. 8 and 9 Queen's Arcade.
MUSIC. - Pianoforte and Harp taught by a professional lady. MR. G. CHAPMAN'S Music Warehouse, 8 and 9 Queen's Arcade. Pianofortes and all kinds of musical instruments tuned and repaired.

[Advertisement], The Argus (13 February 1854), 2

MUSICAL INSTRUMENTS - Wanted a man that understands the Repairs of Musical Boxes, Flutinas, and all kinds of Musical Instruments at Mr. G. Chapman, Music Warehouse, 8 and 9 Queen's Arcade.

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

PIANOFORTES, Harps, Harmonicons, Organs, and every description of musical instruments on Sale . . .
PIANOFORTES, Musical Boxes, Accordeons, and every description of musical instruments tuned and repaired, at Mr. G. CHAPMAN'S Music Warehouse, 8, 9, 10, 11, Queen's Arcade.

[Advertisement], The Argus (6 April 1854), 8 

PIANOFORTES, Harpsichords [sic], and all kinds of Musical Instruments, for Sale. Pianos, Flutinas, Musical Boxes accurately tuned. Mr. G. Chapman, Music Warehouse, 8, 9, 10, 11 Queen's Arcade.

[Advertisement], The Argus (8 April 1854), 8 

CRITERION HALL, Criterion Hotel, Great Collins-street, Melbourne.
Grand Concert Promenade (a la Gungle), THIS EVENING (Saturday), 8th April, 1854, and every evening during the week, with change of programme,
Madame Maria Carandini, accompanied by Mons. Lavenu, Herr Strebinger, Herr Harendorf, Mr. Winterbottom,
Mr. George Chapman, Mons. Frank Koehler, Mr. Johnson, and a full Orchestra, carefully selected from the best talent of the colony . . .
Leader of the Orchestra - Herr Strebinger.
Conductor - Mr. George Chapman . . .

ASSOCIATIONS: Maria Carandini (vocalist); Lewis Henry Lavenu (pianist); Herr Harendorff (musician); Franz Andreas Kohler (musician); Criterion Hall (Melbourne venue)

"THE TRADESMEN'S BALL", The Argus (4 October 1854), 5

This long-talked-of affair came off last night at the Criterion Hall. His Excellency Sir Charles Hotham and Lady Hotham and suite arrived about half-past nine o'clock . . . The room was very dusty, and required frequent watering to keep the atmosphere at all tolerable. Chapman's band was in attendance and performed various new pieces of dance music with much taste . . .

ASSOCIATIONS: Charles and Jane Hotham (governor and wife)

[Advertisement], The Argus (3 February 1855), 8 

THE Stock-in-Trade of Mr. George Chapman, 8, 9, 10, and 11 Queen's Arcade, having been purchased by Mr. George Rice, the business will be carried on in the same premises as usual.

ASSOCIATIONS: George Rice (musicseller, vocalist, M.C.)

[Advertisement], The Argus (24 February 1855), 8

CRITERION HALL. - Grand Bal Masque on Wednesday next. Mr. Chapman and band will attend.
CRITERION HALL. - Bal Masque, Wednesday next, nine o'clock. M. C., Mr. George Rice.

ASSOCIATIONS: Criterion Hall (Melbourne venue)

"NEW INSOLVENT", The Argus (3 August 1855), 5 

George Chapman, of 117, Swanston-street, Melbourne, musician: debts, £1395; assets, £385 15s.
Causes of insolvency arise from dullness of his profession and trade, pressure of creditors, and a long period of ill health.

"INSOLVENT COURT. Wednesday. 19th September, 1855 . . . IN RE GEORGE CHAPMAN", The Age (20 September 1855), 5 

This was a second meeting. The insolvent was examined by the Commissioner, and stated as follows: I have been carrying on the business of a musician and music seller for the last two years. In July 1854, Mr. Silverlock and I contracted with William Robertson, through his agent, for the purchase of certain land and two cottages, at the rear of the North Star, in North Melbourne, for £1200, payable, £200 in cash, and the remainder by bills. We paid the £200 cash equally between us, and gave bills for the remainder with interest. We have never been able to get a conveyance of this property, nor possession. We brought an action against Robertson for the £200 paid, and have recovered a verdict for that amount against him. The bills are still outstanding; one is in the hands of the Bank of Victoria, I do not know where the others are. I attribute my insolvency to this transaction. The allowance of £8 per week until the third meeting, which was fixed for 31st October.

"INSOLVENT COURT. Wednesday, October 31st, 1855 . . . IN RE GEORGE CHAPMAN", The Age [Melbourne, VIC] (1 November 1855), 5 

This was a third meeting. Mr. Sievewight appeared for the insolvent . . .
The official assignee read the following report: - "In this estate the stock-in-trade has been a sold at a fair price; this insolvent appears to have made some landed property over to a Mr. Rice without having received any consideration for it, and having executed a conveyance to Rice; he has by this means prevented the estate from being promptly realised. (Signed) R. E. JACOMB, Official Assignee."
It was intimated that a special meeting would be called for the purpose of going into Mr. Rice's transaction with regard to this land. A suit in Equity was also spoken of. The insolvent was allowed to retain his furniture, and the meeting closed.

"INSOLVENT COURT. Monday, 17th December, 1855 . . . IN RE G. CHAPMAN", The Age (18 December 1855), 5 

This was a certificate meeting in the estate of Mr. George Chapman, of Swanston street, musicseller.
The official assignee and the insolvent, with his solicitor, Mr. Sievewright, were present.
His Honor said there was a voluntary conveyance of certain property to a person who was not present.
This bore upon the face of it the suspicion that it was done for the purpose of defrauding the creditors.
Mr. Sievewright said the conveyance was made to protect Mr. Chapman from the holders of three bills of exchange, who had sold him goods not worth a straw.
His Honor said that it was not right to meet one fraud by committing another.
It might have been mere thoughtlessness. Mr. Sievewright said Mr. Chapman was the victim of misplaced confidence.
His Honor: It was clear that to the extent of the value of this land, the creditors have been wronged.
Mr. Sievewright: He might have said nothing about it.
His Honor: Well, he would then have committed a fatal fraud, and rendered himself liable to a punishequal to fifteen years transportation, and would have richly deserved it.
Mr. Sievewright said Mr. Rice might possibly be in Melbourne by Christmas.
His Honor said he would therefore adjourn the meeting till the first Monday in February.

"INSOLVENT COURT. Monday, 16 June 1856 . . . IN RE GEORGE CHAPMAN", The Age (18 June 1856), 3 

This was a certificate meeting. The insolvent, who for some time carried on business as a music seller, in Swanston street, where he is still residing, having been enabled to re-commence operations. The Official Assignee having spoken in the highest terms of the insolvent. The certificate was granted.

"THE ODD FELLOWS' BALL", The Argus (4 October 1856), 5 

The annual ball given by the members of the Manchester Unity of Odd Fellows, in aid of the funds of the Melbourne Hospital and the Benevolent Asylum, took place last evening in the Exhibition Building . . . the band of the 40th regiment and Chapman's quadrille band I provided the musical portion of the entertainment . . . Mr. Denning officiated as M.C.

ASSOCIATIONS: Exhibition Building (Melbourne venue)


On Friday evening the Philharmonic Society gave their fifth subscription concert for the year at the Exhibition Building, to one of the most numerous and brilliant audiences that have for some time assembled to listen to the efforts of this meritorious body . . . The first portion of the concert consisted of Handel's Dettingen "Te Deum." This magnificent work has not previously been produced in Melbourne, consequently some amount of curiosity was excited - and we must say was not disappointed, though it had the imperfections necessarily attendant on a first attempt. For the purpose of rendering this fine work with due effect, the Society had largely supplemented the band, and provided the requisite solo talent. Trumpets and drums were not forgotten - the latter kindly supplied by Mr. Chapman, music-seller. Some little unsteadiness was noticeable in the chorus in the earlier part of the work, but before long they acquired greater confidence, and under the assuring conduct of Mr. Russell's baton they brought the work to a successful conclusion . . .

ASSOCIATIONS: John Russell (conductor)

"POLICE. CITY COUTY (Friday)", The Argus (15 December 1856), 5

Frederick Higham was charged with picking pockets. Mr. Isaac Barnet heard a noise in the back part of his premises early in the morning, and saw two men, one of whom was the prisoner, rifling the pockets of a third, who was drunk. Mr. Chapman, the music-seller, of Swanston-street, said that the prisoner was in his employ, and that he and the drunken man were shipmates. The latter was present, and said that he had been up the country before with prisoner, and had always found him very honest. There did not appear to have been any dishonest intention on the part of the prisoner, and he was discharged.

ASSOCIATIONS: Frederick Higham (employee)

"THE BLACKWALL LINER SWIFTSURE", The Age (17 April 1857), 4 

On Wednesday evening the celebrated Blackwall liner Swiftsure was the scene of some elegant festivities held in celebration of her first visit to Hobson's Bay . . . The decks were fully awned and curtained from the taffrail to the break of the topgallant forecastle, and lined with every imaginable national and fancy flag. On the last named spot were stationed the Band of H.M. 40th Regiment; immediately beneath, were placed Chapman's excellent quadrille band . . . The ball was continued with great spirit all night long, and the guests did not attempt to separate till daylight did appear. This fine vessel is announced to sail on the 28th inst. . . .

"COUNTY COURT (£200 jurisdiction) Friday, 15th May, 1857 . . . CHAPMAN v. LAURIE", The Age (16 May 1857), 6 

This was an action brought by the plaintiff, who is a music-seller, against the defendant, keeper of a public-house, for the recovery of the expenses attendant on providing three musicians on Christmas Eve last. Mr. Stark appeared for the plaintiff; no appearance for the defence, but a plea of not indebted had been entered. Verdict for the plaintiff for 10l 10s, with costs. Immediate execution to issue.

"DEATHS", The Argus (21 April 1858), 4

On the 20th inst., at his father's residence, Brighton Road, Alfred Felix, fifth son of George Chapman, music-seller, Swanston Street, Melbourne, aged 11 months.

"BIRTHS", The Argus (15 February 1859), 4

On the 13th inst., at her country residence, Elsternwick, wife of Mr. G. Chapman, music-seller, of a daughter.


George Chapman, a music seller, was summoned by Laura Prater, the wife of Mr. Hugh Fraser, of Mount Moliagul, for illegal detention of property. This case has been on a previous occasion, but in another form, before the Court, when defendant was charged with obtaining goods under false pretences. The complaint in that form could not be sustained, and fresh action was taken at the suggestion of the Bench. After a somewhat lengthened examination and cross-examination of both parties, and some special pleading had been heard on one side at least, Mr. Hackett set aside the agreement defendant had drawn up and got signed by Mrs. Fraser, and, deciding that the piano had been illegally removed from the complainant's house, ordered the instrument, or its value, which he assessed at 25l., to be given up to the complainant, with costs, 2l. 2s.


Sir, - In justice to myself and the Castlemaine band, over which I have the pleasure to preside, I must protest against the very unfair manner in which the prize for the best volunteer band was awarded on Tuesday last, at the Werribee. The judges appointed were Captain Wilkie, and Messrs. Chapman and Glen . . .
I remain yours, &c.,
SAMUEL TAYLOR, Bandmaster. Castlemaine, April 25.

ASSOCIATIONS: Joseph Wilkie (judge, musicseller); William Henderson Glen (judge, musicseller); Samuel Taylor (musician)


Sir, - I am extremely sorry in being under the necessity of replying to Mr. Taylor's letter in your issue of this morning. Mr. Taylor says he "must protest against the very unfair manner in which the prize for the best volunteer band was awarded." It is very remarkable that Mr. Taylor does not in one instance attempt to bring forward anything to prove that the prize was unfairly given. He certainly ought to have known better than to have listened to what Captain Wilkie or anybody else might have said, considering he was master of his own band, and was not bound to play any particular class of music. I, as a musician, consider he (Mr. Taylor) sacrificed his band by the selection he made in competing for the prize, and, as Bell's Life justly remark in their report, that the performance was "somewhat marred by an injudicious accompaniment of the bass drum." The main object in my replying to Mr. Taylor's letter is because he has not confined himself to the truth. He says distinctly that I told him the decision was left with Captain Wilkie and Mr. Glen. I most emphatically deny it, for I never saw or spoke to Mr. Taylor on the subject after the prize was awarded. I, moreover, called on Mr. Glen this morning, and he also denies ever having said that the decision was left with Captain Wilkie and himself.
By inseiting this in your journal, you will oblige, -
Your obedient servant,
Music Warehouse, 117 Swanston-street, April 28.


A grand banquet was given, in St. George's Hall, on Saturday evening, under the auspices of St. Patrick's Society . . . An efficient band, under the direction of Professor Hughes, was in attendance, and some capital songs were given during the evening by Messrs. Donaldson, Angus and Amery, who were accompanied by Professor Hughes on the piano, and by Mr. Chapman on the harp . . .

ASSOCIATIONS: Patrick Henry Hughes (musician); Charles Alexander Donaldson (vocalist); Silvanus Angus (vocalist); Edwin Amery (vocalist); St. George's Hall (Melbourne venue)

"DEATHS", The Argus (16 June 1866), 4 

CHAPMAN. - On the 15th inst., at Elsternwick, of bronchitis, Sarah Orinthia, wife of George Chapman, musicseller, Swanston-street, aged thirty-six years, leaving six children to mourn their loss.

"MARRIAGES", The Argus (5 October 1868), 4

CHAPMAN - MARSHALL - On the 3rd inst., at St. Paul's Church, Melbourne, by the Rev. S. L. Chase, Mr. George Chapman, music-seller, Swanston-street, to Harriet Marshall, of Melbourne.

"MR. CHAPMAN'S BAND", The Cornwall Chronicle [Launceston, TAS] (13 February 1871), 2

Mr. George Chapman, musical instrument make, of Swanston-street, and the Royal Arcade, Melbourne, arrived here yesterday with his brass and string bind, with a view of offering the services of the band at some of the race festivities. Mr. Chapman was patronised by His Royal Highness the Duke of Edinburgh, and received a letter of approval from Lieut. Haig. He conducts the music at the leading balls in Victoria, and his visit affords a good opportunity for securing first-class music for a race ball. The band will march from the steamer Derwent, in uniform, at 11 o'clock this morning, and perform through some of the leading streets in the town.

"VICTORIA", Morning Bulletin (16 January 1882), 2

Eliza Burke, who recently caused a sensation in Swanston-street by attempting to shoot George Chapman, an assistant in a music warehouse, has been discharged, as Chapman has left the colony for New Zealand.

"NEW INSOLVENTS", The Argus (28 August 1894), 5

George Chapman the elder, of 155 Swanston-street, music seller. Complete schedule - Liabilities, £7,490 8s. 3d.; assets, £17,747 10s.; surplus, £10,257 1s. 9d. Debts owing on mortgage, £6,072 11s. 6d.; and to unsecured creditors, £1,417 16s. 9d. Value at present of insolvent's real property, £16,185; of his personal property not held as security, £1,505; and of debts owing to him, which he believes will be paid on demand, £57 10s.

[News], The Argus (16 February 1895), 6

Certificates of discharge from their debts were granted in the Insolvency Court yesterday by Judge Molesworth to the following insolvents: - George Chapman, sen., of Melbourne, music-seller, on the application of Mr. L. S. Woolf . . .

[news], The Lorgnette (April 1895), 3 

We record, with great regret, the death of Mr. George Chapman, the veteran musician, which took place at his residence, Elsternwick, on Saturday, April 6th, in his 70th year. Mr. Chapman was a colonist of over forty years, and prior to his arrival in Australia, he was a member of the world-famous Julian's [sic] Band, and had the honor of appearing on more than one occasion before Her Majesty the Queen. The deceased was one of the founders of the Australasian Dramatic and Musical Association, and was one of the vice-presidents and trustees of the same. His death was not unexpected, as he had been suffering for some time from heart disease and dropsy.

"Music and Musicians", Table Talk (12 April 1895), 6 

THIS week's obituary includes Mr. George Chapman, the respected music seller. It is forty years since he started business in Melbourne. He married the widow of George Marshall, the eminent predecessor of Blackham, as a cricketer, behind the sticks, with his "How's that umpire?" Marshall was the first to establish an important cricketing depot in Melbourne. On a reduced scale the widow continued it for a number of years, next to Chapman's music shop.

"DEATHS", The Argus (13 April 1895), 1 

CHAPMAN. - On the 6th inst., at his residence, Suffolk-cottage, Cole-street, Elsternwick, George Chapman, music-seller. Passed away in his 70th year after a painful illness; deeply regretted by his widow and family. A pioneer musician, he arrived in Melbourne in 1852. Interred in the Melbourne General Cemetery, April 7, 1895.

"TOPICS OF THE DAY", The Herald (13 April 1895), 2 

Mr. George Chapman, one of the oldest musicians in the colony of Victoria, died at Elsternwick, on Saturday last, 6th April, in his 70th year. The deceased had been identified with musical matters from 1852, being a well-known performer on the cornet. Prior to his arrival in Melbourne, he was a bandsman in the Royal Navy, was one of the principal cornet players in Jullien's band which created a furore at the time of the first Exhibition in London, 1851. Soon after his arrival Mr. Chapman organised "Chapman's Band," which was to be heard at every public and many private functions in Melbourne for a number of years. Mr. Chapman also embarked in business as a music-seller, and continued this business to the day of his death. The deceased has left a widow and several children.

Will, probate, administration, George Chapman, musical instrument seller, 1895; Public Record Office Victoria (DIGITISED) (DIGITISED) (DIGITISED)


. . . There also appeared Mr. George Chapman, an excellent cornet player, afterwards much better known as the founder of the music ware house, in Swanston street, later conducted by Wright and Rowden, and later still by the father of the present Collin Brothers, himself a great French pianist. Mr. Chapman did not often play in public, but we find his name in conjunction with those of Messrs. Weston (violin), Hartigan (ophicleide), and Winterbottom (bassoon) in a concert given at the Olympic Circus on February 5, 1853. He was not well adapted to the conduct of the music business, for he was very impatient with customers who gave him any trouble, some times saying sarcastic things, which were not always appreciated. One customer inquired if she might speak to Mr. Smith, whom she had been accustomed to see there. "He is not with us now," said Chapman. "Will you please let me know where I can find him?", was the next inquiry. "Well," said Chapman, "shortly after leaving me he was taken to the cemetery, but where he is now I would not like to say except that he always liked warm weather." Eventually, having sold his business to Messrs. Wright and Rowden, he turned his attention elsewhere . . .

ASSOCIATIONS: Alfred Montague (musician, memoirist)

Musical works and editions (extant in red bold; non-extant in black bold):

The Yarra Yarra schottische (1857)

The Yarra Yarra schottische, arranged by George Chapman and respectfully dedicated to Capt'n Stoney, of Her Majesty's 40th Regiment, Melbourne ([Melbourne]: G. Chapman's Music Warehouse, [1857]); "F. Price, Litho." (DIGITISED)

ASSOCIATIONS: Henry Butler Stoney (dedicatee); Frederick Price (lithographer)

[Advertisement], The Argus (7 September 1857), 8 

MUSIC! Music! - The YARRA YARRA SCHOTTISCHE is now being published at G. Chapman's, 117 Swanston-street.

L'arpeggio polka (1864)

L'arpeggio polka, dedicated by permission to Lady Darling, composed for the piano forte by George Chapman (Melbourne: Music Warehouse, [1864]): "L. Lang" (DIGITISED)

ASSOCIATIONS: Ludwig Lang (lithographer)

[Advertisement], The Age (1 November 1864), 1 

MUSIC. - Just published, L'Arpeggio Polka, dedicated, by permission, to Lady Darling. Chapman's, 117 Swanston street.

"NEWS AND NOTES", The Star [Ballarat, VIC] (8 November 1864), 2

"L'Arpeggio Polka," is the title of a new piece of dance music, composed for the pianoforte by Mr. George Chapman, of Melbourne, and on sale by the various music-sellers. The polka is simple, has a pleasing melody, and as the subject is treated harp-fashion, it has the charm of novelty.

[Advertisement], The Argus (28 September 1866), 8 

MAYOR'S BALL. - L'ARPEGGIO POLKA, successfully played by Chapman's Band, may be obtained. Chapman's, 117 Swanston-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), 263 (DIGITISED)

CHAPMAN, Henry [1] (Henry CHAPMAN)

Amateur musician, teacher of psalmody, singing instructor, builder, carpenter, architect

Born London, England, 27 March 1794; baptised St. Martin in the Fields, 27 April 1794; son of Isaac CHAPMAN (d. TAS, 1850) and Elizabeth Catharina BLANDY (d. TAS, 1847)
Married Eliza PERKINS (1801-1843), St. Saviour's church, Southwark, England, 10 July 1819
Arrived Hobart Town, VDL (TAS), 26 January 1825 (free per Phoenix, from the Downs, 16 September 1824)
Died Hobart, TAS, 4 June 1855, aged "61/62" (TROVE tagged by Australharmony) (shareable link to this entry)


Baptized in April 1794, St. Martin in the Fields, Middlesex; register 1791-1808, page 74; City of Westminster Archives Centre, STM/PR/1/18 (PAYWALL)

[1794 April] 27 / Henry Chapman of Isaac & Elizabeth Catharina [born] 27 Mar. [1794]

Marriages solemnized in the parish of Saint Saviour Southwark in the county of Surrey in the year 1819; register c. 1819, page 138; London Metropolitan Archives, P92/SAV/3048/001 (PAYWALL)

No. 412 / Richard Henry Chapman of this Parish Batchelor [sic] and Eliza Perkins of this Parish Spinster
were married in this Church by Banns this [10 July 1819] . . .

Arrivals, per Phoenix, Hobart Town, 26 January 1825; Tasmanian names index; NAME_INDEXES:412599; HTG 28 JAN 1825 

. . . Mr. and Mrs. Chapman and 3 children . . .

[News], Hobart Town Gazette and Van Diemen's Land Advertiser (28 January 1825), 3 

The following is a list of passengers per the ship Phoenix . . . steerage . . . Mrs. Chapman and 3 children . . .

"WESLEYAN SUNDAY SCHOOL UNION (From a Correspondent)", The Hobart Town Courier (29 June 1832), 4

The report of the Anniversary of this useful Institution which was held in the Wesleyan Chapel, Melville street, on Whit-Monday last has been unavoidably delayed . . . We would not be faithfully discharging our duty, if we omitted to notice the superior singing displayed by the children of this school, both on Sunday at divine services and also on Monday evening before the general meeting. We learned that the public derived this pleasure through the indefatigable exertions of Mr. Henry Chapman, whose ability in sacred singing, is so well known. He convened and attended the children on the week evenings, several weeks previous to the anniversary, and a special vote of thanks was unanimously given him at the meeting, for his said services. Above 800 children have been under tuition in this institution.

ASSOCIATIONS: Music in Wesleyan churches (general)

"Wesleyan School Meeting", The Hobart Town Courier (31 March 1837), 2-3

A meeting, which we would have desired to see better attended, of the friends of the Wesleyan Schools, took place on Monday evening, Joseph Hone, Esq. in the chair . . . [3] . . . The singing of the children (taught, we believe, by a Mr. Chapman) was exceedingly creditable to both master and pupils. We wish we could hear and see something of the kind attempted at St. David's Church, where the congregation, instead of joining with, and participating in the psalmody, as a part of their devotions, seem rather to endure it as an interruption, to be employed in staring at the organ, or at each other.

ASSOCIATIONS: Joseph Hone (musical amateur); St. David's church (Hobart)

"WESLEYAN CENTENARY CHAPEL", The Courier (27 November 1840), 3

The new Methodist Chapel, in Melville-street, now presents a finished appearance, and Divine worship has been performed within its precincts for three or four weeks past. As this building is rather out of the ordinary style of architecture and magnitude, it may not be deemed unworthy of notice. This chapel presents an attraction quite English in its appearance. Usefulness, and not ostentation, being the order of the day with the Wesleyans, their places of worship seldom exhibit anything but what is exceedingly plain; but as regards the new edifice in Melville-street, the interior portion of it is fitted up with a degree of elegance and beauty that is seldom surpassed. There is a spacious gallery, one portion of which is occupied by the singers; all round the interior this is supported by Ionic columns; these present nothing very peculiar in their appearance but their seeming durability; they are however remarkably neat . . . The chapel is well supplied with windows, so that during the winter solstice an abundance of light will be admitted; this is also of advantage both to the preachers and congregation; there is also an excellent clock. Having noticed so far, we cannot withhold our meed of praise from the spirited architect, Mr. Henry Chapman, who has displayed throughout a considerable degree of professional tact, combined with economy . . .

"WESLEYAN SUNDAY SCHOOL", Colonial Times (25 March 1845), 3 

The branches of this school are five in number, one in Melville-street, one in High-street, one in Harrington--street, one in Davey-street, and one in O'Brien's Bridge Chapel. The number of children under tuition is stated to be above five hundred, and the total number admitted since the establishment of the schools amount to 4471. The examination of the children yesterday . . . gave great satisfaction. After the examination the children were entertained with tea and cakes in the usual way. At five o'clock the teachers and friends of Sunday schools took tea together in the male school room. At seven the annual meeting was held in the Chapel, and was opened by the Rev. Mr. Turner giving out a hymn, which was excellently sung by Mr. H. Chapman and his young selected choir . . .

"THE WESLEYAN CHURCH", The Britannia and Trades' Advocate (26 April 1849), 3 

We omitted to notice the service of this church on Easter Sunday, and although late, we do so now, in order to acknowledge the gratification we experienced at hearing the choir under the direction of Mr. Chapman, sing the hymns selected for the day, one particularly, composed, as we understand, by the late Bishop Heber, the music of which is very beautiful . . .

1855, deaths in the district of Hobart; Tasmanian names index; NAME_INDEXES:1193030; RGD35/1/4 no 1967 (DIGITISED)

[No.] 1967 / [1855] June 4th / Henry Chapman / Male / Sixty two years / Surveyor / Apoplexy . . .

"DIED", Colonial Times (6 June 1855), 2

On Monday, the 4th inst., at his residence, Elizabeth-street, Hobart Town, Mr. HENRY CHAPMAN, Surveyor, in his 62nd year.


Actor, comedian, theatrical manager, ship builder

Born c. 1832
Arrived Melbourne, VIC, 14 May 1853 (per Stratheden, from London, 6 December 1852, and Portsmouth, January 1853)
Active Geelong, VIC, by November 1854
Married Eliza Rosa MOSSENTEN (Mrs. SHINTON alias DEERING), VIC, 1856
Active Bendigo, VIC, by August 1859
Died Melbourne, VIC, 12 July 1872, aged "40" (TROVE tagged by Australharmony) (shareable link to this entry)

CHAPMAN, Eliza Rosa (Eliza Rosa MOSSENTEN; [1] Mrs. DEERING; [2] Mrs. Henry CHAPMAN) see main entry Eliza Rosa DEERING

Actor, dancer, vocalist (shareable link to this entry)

Henry Chapman, in character, c. 1860s

Henry Chapman, in character as Bailie Nicol Jarvie in Rob Roy, c. 1860s (courtesy of Andrew Chapman, 2024)


Names and descriptions of passengers per Stratheden from London, 6 December 1852, for Port Phillip, 14 May 1853; Public Record Office Victoria (DIGITISED)

. . . Henry Chapman / 21 / Shipbuilder / [English] . . .

[Advertisement], The Argus [Melbourne, VIC] (19 May 1853), 12 

WE, the undersigned passengers per barque Stratheden from London to Melbourne, Port Phillip, cannot separate without expressing our warmest approbation of the great ability, tact, zeal, good judgment, and care displayed by Frederick Turner, commander of the said barque . . .
[Signed] . . . Henry Chapman . . .

"THE THEATRE", Geelong Advertiser and Intelligencer [VIC] (9 November 1854), 4 

Yesterday evening the musical drama of Rob Roy was acted at the Theatre. The part of Rob Roy was taken by Mr. C. Kemble Mason, who delineated the character of this bold, but at the same time honorable freebooter, with much force and effect. Mrs. W. Evadne Evans personated Helen Macgregor, and portrayed with much ability, the masculine daring combined with feminine softness, which formed the two principal features in the character of Macgregor's wife. The Baillie Nicol Jarvie of Mr. Chapman was a most excellent piece of acting, and was well sustained throughout. Mr. Elrington as Rasleigh Osbaldistone, most correctly conveyed to the mind of his audience the deep cuning and villany of which the character of Rasleigh is composed. Mr. Clement White as Francis Osbaldistone, acquitted himself satisfactorily in several songs which he sang. The rest of the characters were creditably sustained.

ASSOCIATIONS: Charles Kemble Mason (1805-1875, actor); Mrs. W. Evadne Evans (actor); Richard Goodall Elrington (actor); Clement White (actor, vocalist); Theatre Royal (Geelong venue)

"THE THEATRE", Geelong Advertiser and Intelligencer (11 November 1854), 4 

Yesterday evening . . . The first piece ehosen for reprerentationa was Shakspeare's play of "King Lear" . . . Mr. Chapman took the part of Prince Edgar, and showed much in those scenes where the Prince, being disguised, feigns to be mad . . .

"MONTEZUMA THEATRE", The Star [Ballarat, VIC] (21 January 1857), 3 

There was a full house on Monday night, to witness the play of "Macbeth" . . . Mrs. Brougham's Lady Macbeth was carefully and effectively played . . . Mr. Chapman's Macduff did not strike us as a very happy intepretation, although it would be difficult, perhaps, to tell in detail where our disappointment lay . . . Mr. Walsh, as Hecate, and Mesdames Hydes, Chapman, and Webster, as the weird sisters, went through their parts very well, if we except a little deficiency of Mrs. Hydes, who needed the prompter in the cauldron scene . . . At the close of the performance Mr. Buchanan, Mrs. Brougham, and Mr. Chapman, were called before the curtain. The piece was repeated last night.

ASSOCIATIONS: Emma Brougham (actor); Charles Walsh (actor, vocalist); Augusta Huttmann Willis Hydes (actor, vocalist); Montezuma Theatre (Ballarat venue)

"CHARLIE NAPIER", The Star (21 May 1857), 2 

Mr. and Mrs. Chapman made their first appearance at this Theatre last night in Guy Mannering, and were honored with an enthusiastic call before the curtain at the close of the Play. The house was well attended, and the performances went off with great spirit.

ASSOCIATIONS: Charlie Napier Theatre (Ballarat venue)

"MONTZEUMA THEATRE", The Star (3 May 1858), 3 

On Saturday evening Mr. and Mrs. Chapman took a benefit at this theatre. On this occasion the first and second acts of Guy Mannering were performed. Mr. Chapman played Dandie Dinmont in that style which showed how thoroughly at home he was in it. Mrs. Chapman's Meg Merrilies was also a telling and effective piece of acting, her make up being excellent. The [other] parts . . . were undertaken by amateurs, who acquitted themselves very creditably . . . Mr. Chapman was called before the curtain, and thanked the audience for their attendance, and stated that it was his intention to proceed to England, but he would return to Australia in a short time, when he hoped to receive that support which he had enjoyed hitherto.

Voyage to and from Liverpool, England (14 May to 28 December 1858); England (1 September to 22 October 1858):

Names and descriptions of passengers per Eagle, from Melbourne, 14 May 1858, for Liverpool, 1 September; Public Record Office Victoria (DIGITISED)

. . . Mr. & Mrs. H. Chapman / 35 / 32
Wardock Chapman / [male, sic] 9 . . .

Names and descriptions of passengers per Royal Charter, from Liverpool, 22 October 1858, for Melbourne; Public Record Office Victoria (DIGITISED)

. . . 303 / Henry Chapman / 37 / Shipbuilder [sic]
Mrs. Rosa [Chapman] / 34 / Wife
Wardeck Deering / [female] 9 . . .

From 28 December 1858:

"THE HAYMARKET THEATRE", Bendigo Advertiser [VIC] (4 August 1859), 2

The performances at this house yesterday evening were not as well attended as the character of the entertainment provided would have led us to expect. The operatic drama of "Guy Mannering" was performed. Miss Kate Warde played Julia Mannering with her accustomed vivacity. Mrs. Chapman's rendering of Meg Merrilies showed a good conception of the character. Mrs. Moore was well worthy of notice in Lucy Bertram, and sang remarkably well in the concerted pieces of music. Mr. Chapman as Dandie Dinmont, was the hard-drinking and fighting Liddesdale Borderer to the life, both in make up and dialect. Mr. Conna as Henry Bertram, sang most effectively, especially in the Echo duet with Julia. Mr. Vinson as Dominic Sampson, was " prodigious!" The other characters were fairly filled, and the piece was as well put on and carried through as could be expected from the appliances of the establishment . . . The pieces selected for this evening's entertainment are "Guy Mannering" and "Jack in the East."

ASSOCIATIONS: Kate Warde (actor, vocalist); Rachel Lazar Moore (actor, vocalist); F. W. Conna (actor, vocalist); James Hetters Vinson (actor); Haymarket Theatre (Bendigo venue)

[Advertisement], The Star [Ballarat, VIC] (20 October 1859), 3 

First appearance of MR. & MRS. CHAPMAN Since their return from England,
in the musical drama of GUY MANNERING.
Meg Merriles - Mrs. Chapman; Dandie Dinmont - Mr. Henry Chapman . . .

"CHARLIE NAPIER THEATRE", The Star [Ballarat, VIC] (3 January 1860), 3 

Messrs. Chapman and Barrick, having now assumed the lesseeship of the above place of amusement, determined to signalise their opening night of the new dramatic season by a reduction of the prices to the old scale. The result was seen in an excellent house. The first piece selected for performance last night was "The Sea of Ice" . . . Mr. Chapman sustained the character of Captain de Lascours, in which he evinced his usual judgment and discrimination . . .

ASSOCIATIONS: Thomas Bowes Barrick (property master, basket-maker) Charlie Napier Theatre (Ballarat venue)

"DEATHS", The Argus [Melbourne, VIC] (15 July 1872), 4 

CHAPMAN. - On the 12th inst., Mr. Henry Chapman, comedian, formerly of the Theatre Royal, Melbourne, aged 40 years.

ASSOCIATIONS: Theatre Royal (Melbourne venue)

"Funeral Notices", The Argus (15 July 1872), 8 

The Friends of the late Mr. HENRY CHAPMAN, comedian (formerly of the Theatre Royal), are respectfully invited to follow his remains to the place of interment, Melbourne General Cemetery. The funeral to move from his late residence, Lincoln street, off Church street, North Richmond (near Simpson's-road), on Tuesday, 15th inst., at half past 2 o'clock p.m.
JOHN DALEY, Undertaker, Latrobe and Spring-streets, Melbourne.

"INQUESTS", The Argus (17 July 1872), 1 supplement 

On the 13th inst. [? 15th], Mr. Candler, the district coroner, held several inquests at the Yarra Bend Lunatic Asylum . . . on the body of Henry Chapman, who was admitted on the 14th November, 1869, and died on the 14th inst. [? 12th]. In accordance with the medical evidence, a verdict of death from apoplexy was found . . .

"THE NEWS OF THE DAY", The Age (16 August 1872), 2 

The benefit of Mrs. H. Chapman, at the Polytechnic, this evening, deserves a special notice. She is the widow of a well-known actor, who was engaged in a responsible position at the Theatre Royal during Mr. Barry Sullivan's management; and, through an accumulation of misfortunes, she has been left very badly off. Mr. Richard Stewart, Mr. T. S. Bellair, Mrs. J. R. Greville, and Miss Maggie Stewart have kindly proffered their assistance, and will appear this evening . . . Mrs. Greville and Miss Stewart will sing in the course of the evening; and the Wielands and Mons. Klaer's educated dogs also give their performances.

ASSOCIATIONS: Barry Sullivan (actor, manager); Richard Stewart (actor); Thomas Smith Bellair (actor); Charlotte Greville (actor, vocalist); Maggie Stewart (actor, vocalist)

"ENTERTAINMENTS", The Herald (17 August 1872), 3 

The benefit for Mrs. Chapman was not such as we expected, in spite of the excellence of the entertainment. This is to be regretted, as the object was a legitimate one for public support . . .


Musician, professor of music, violoncello player, cellist, double bass player, viola d'amore player

Born ? England, c. 1821; son of James CHAPMAN
Married Charlotte HAYWARD (widow PULHAM) (c. 1803-1868), St. James, Clerkenwell, London, England, 31 March 1845
Active Melbourne, VIC, by September 1853
Died Richmond, Melbourne, VIC, 10 August 1881, aged "60" (TROVE tagged by Australharmony) (shareable link to this entry)


1845, marriage solemnized at the parish church in the parish of St. James Clerkenwell in the county of Middlesex; register 1837-45, page 227; London Metropolitan Archives, P76/JS1/046 (PAYWALL)

No. 454 / [1845] March 31st / Samuel Chapman / full [age] / B[achelo]r / Musician / 18 Garnault Place / [son of] James Chapman / Watch Maker
Charlotte Pulham / full age / W[ido]w / - / 18 Garnault Place / [daughter of] John Hayward / Miller & Farmer . . .

[Advertisement], Berkshire Chronicle [England] (13 March 1852), 4 (PAYWALL)

MR. T. PAYNE ASHLEY begs to announce that he has engaged the
Principal Solo Performers of MONS. JULLIEN'S BAND, to give a GRAND CONCERT, Vocal and Instrumental, at the
Mansion House, Newbury, on Tuesday Evening next, March 16th, 1852, to commence at Eight o'clock.
PRINCIPAL, Viotti Collins, Violin; J. Winterbottom, Bassoon; A. C. Rowland, Double Bass; F. Collins, Flute;
E. Stanton Jones, Cornet a Piston; T. Winterbottom, Clarionet;
S. Chapman, Viola d'Amour; G. Collins, Violoncello; M. Rice, of Her Majesty's Theatre, Alto . . .

ASSOCIATIONS: Louis Jullien (conductor); John Winterbottom (bassoonist, also later in Melbourne, see immediately below)

Melbourne, VIC (by September 1853):

[Advertisement], The Argus [Melbourne, VIC] (10 September 1853), 12 

ROWE'S CIRCUS. - Winterbottom's Benefit Saturday next, September 10th.
Jullien's Exhibition Quadrille. Jullien's Drum Polka! Laughing Jackass Galop!
Vocalists: Miss Lewis, who will sing Shells of the ocean.
Mr. John Gregg, the renowned basso, who will sing The Slave Sale.
Last time of the Singing Lesson.
Solo Instrumentalists: M. Tucker, M. Edwards, Radford, Louthusl, Webb, Burgess, Chate, Boullemer, Tranter,
S. Chapman, Wigney, Holt, Hore, Simpson, Wheeler, Oakey, Marks, Thatcher, &c.
Cornet-a-Pistons, M. Chapman.
Leader, M. Tucker.
Conductor, M. Winterbottom.
Mr. Hore and his sons will perform several of their grand operatic selections on the Saxe Horns.
Programme: Part I.
Overture - Fra Diavolo - Auber
Quadrille - Bloomer - Jullien
Song - The Slave Sale, Mr. Gregg - Russell
Valse - Prima Donna - K. Bulla -Cornett-a-piston Obligato - M. Chapman
Song - Ocean Shells, Miss Lewis - Cherry
Solo, Violin - Carnival de Venice, M. Tucker - Paganini
Great Exhibition Quadrille, founded on the all absorbing question of that day, the Exhibition of 1851 - Jullien
Part II.
Quadrille - Jetty Treffz, with solo for cornet and flute - Jullien
Duetto Buffo (last time) - The Singing Lesson, Miss Lewis and Mr. Gregg - Barnet
Valse - The Prize - Oakey
Song - Erin my country, Miss Lewis - Lee.
Polka - Drum - Jullien
Solo Bassoon, M. Winterbottom - Winterbottom
Song - As I View, Mr. Gregg - Bellini
Galop - Laughing Jackass - Farmer
Prices of admission: Dress Boxes, 5s.; Boxes, 2s. 6d. Promenade, One Shilling.
Doors open at Seven, to commence at Eight.

ASSOCIATIONS: Annie Lewis Salamon (vocalist); John Gregg (vocalist); Edward Tucker (violin); Henry Edwards (violin); Mark Radford (violin); Joseph Bird Burgess (violin); Alfred Henry Chate (double bass); Anthony Boullemier (musician); William Tranter (double bass); William Wigney (musician); Stephen Thomas Wheeler (musician); Alfred Oakey (conductor); Charles Thatcher (flute); Joseph Hore and sons (saxhorns); Joseph Andrew Rowe (proprietor); Rowe's American Circus (Melbourne venue)

[Advertisement], The Argus (12 November 1853), 8 

ROWE'S AMERICAN CIRCUS. Grand Promenade Concert. Saturday Evening, 12th November, 1853.
Under the direction of Mr. Alfred Oakey.
In announcing he the inhabitants of Melbourne the first of a Series of Saturday Evening Promenade Concerts, Mr. Rowe begs to state that he feels great confidence in submitting the Evening's Entertainments to his patrons . . .
The Monster Band
Will embrace all the available talent in Melbourne, assisted by several members of the band of the 99th regiment.
Miss Hartland, her first appearances.
Mr. Walsh
Mr. Foster, (his first appearance)
Herr Rahm and Herr Gross . . .
Grand Pianoforte - Mr. Alfred Oakey.
Violin Primo - M. Tucker and Mr. Peck.
Violin Secondo - Mr. Howson and Mr. Mathers.
Viola - Mr. Boullimeir.
Violoncello - Mr. J. Chapman [recte S. Chapman].
Contra Bass - Mr. Tranter and Mr. Chate.
Flute - Mr. Hill and Mr. Thatcher.
Cornet Primo and Saxe Clavicore - Mr. P. C. Burke.
Saxe Horn - Mr. Hore and Sons.
Clarionet Primo - Mr. R. Martin.
Clarionet Secondo - Mr. J. Bull.
Ophecleide - Mr. Wigney.
Trombone - Mr. Freeman.
Tambour and Triangle - Mr. Sharp.
Gran Cassa Cymbals - Mr. Shottan.
Leader, Mr. Edward Tucker.
Conductor - Mr. Alfred Oakey.
- Madame Sara Flower is hourly expected . . .

ASSOCIATIONS: Charles Walsh (vocalist); Veit Rahm (zither); George Peck (violin); Henry Howson (violin); William Mather (violin); Robert Martin (clarinet), master of the Band of the 99th Regiment (military); Arthur Silvester Hill (flute, 99th band)
Peter Constantine Burke (cornet player); Frederick Sharp (percussion); Sara Flower (vocalist)

[Advertisement], The Argus (17 December 1853), 8 

ROWE'S AMERICAN CIRCUS, Corner of Stephen and Lonsdale Streets.
The sixth of a series of Grand PROMENADE CONCERTS will take place at the above place of amusement on Saturday evening, December 17th, 1853.
Mr. Alfred Oakey's Monster Orchestra, aided by several members of the band of the 40th Regiment, including Mr. Hartigan, the celebrated performer on the Ophicleide . . .
Instrumentalists. Pianoforte - Mr. Alfred Oakey.
Violino primo - Mr. Radford and Mr. Peck.
Violino Segundo - Mr. Mather and Mr. Burgess. Viola - Mr. Tolhurst.
Violincello - Mr. S. Chapman and Mr. Minton . . .
Leader - Mr. M. Radford. Conductor and Composer - Mr. Alfred Oakey . . .

ASSOCIATIONS: Band of the 40th Regiment (military); George Tolhurst (viola) of his father William (also viola); Thomas Minton (cello)

[Advertisement], The Argus (28 January 1854), 8

MECHANICS' INSTITUTION - Monday, January 30th, 1854.
Mr. Winterbottom's GRAND MUSICAL FESTIVAL . . .
Solo instrumentalists - Bassoon, M. Winterbottom.
Violoncello, Mr. S. Chapman (from Jullien's Band, and the Royal Italian Opera - his first appearance.) . . .
Pianist - M. Salaman. Conductor - M. Winterbottom.
PROGRAMME. Part I . . . Solo - Violoncello, Mr. S. Chapman, his first appearance . . .

ASSOCIATIONS: Edward Salamon (pianist, accompanist); Mechanics' Institution (Melbourne venue)

"MUSIC AND THE DRAMA", The Age (23 February 1857), 5 

This evening also the veteran violinist, Miska Hauser is to give a grand concert at the Mechanics' Institution, supported by Miss Emilie Smith, so favorably known for her brilliant execution on the pianoforte, and Miss Chalker from the Adelaide concerts. Besides ordinary attractions, the concert is to include the novelty of Beethoven's quartette, No. 4, C. Minor executed by Miska Hauser, Mr. E. King, H. Thomas, and S. Chapman, on first and second violins, tenor, and violincello. The same gentlemen will also perform Onslow's variations of God Save the Queen. This is the first time we believe that an instrumental quartette has been produced at a public concert, within the colony, and a great treat may be anticipated by the music loving community.

ASSOCIATIONS: Miska Hauser (violin); Edward King (violin); Herbert Thomas (viola)

"MISKA HAUSER'S CONCERT", The Argus (24 February 1857), 5 

Last evening Miska Hauser gave his concert of classical music before a select and numerous audience, in the Hall of the Mechanics' Institute. Independent of the fame of the maestro himself, great interest attached to the concert from the production, for the first time in this colony, of a species of music of the highest class. The performance of Beethoven's, No. 4 Quartette, in C minor, must be considered as an event, and we trust that the experiment, which was last night in every point perfectly successful, will be repeated while the public taste is still alive to it. Miska Hauser, Mr. E. King, second violin, Mr. H. Thomas, tenor, and Mr. S. Chapman, violoncello, were the instrumentalists, and it was satisfactory to find that we were in possession of sufficient musical talent to enable M. Hauser to attempt so difficult and critical a work. The various movements, four in number, were executed with commendable precision, the andante, in particular, was delightfully rendered, and elicited the loudest tokens of satisfaction from the audience . . . In the third part M. Hauser and his three assistants performed Onslow's variations on "God save the Queen." It was a musical treat of a very attractive character . . .

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

. . . Miska Hauser has latterly introduced a novelty into his concerts which should commend them to the favorable notice of the public. We refer to the performance of sinfonies of Hayden, Beethoven, and Mayseder, by Messrs. Reed, Chapman, Thomas, King, and himself. The credit of having introduced this choice element into our concerts is due to Miska Hauser, and we are glad to say has been duly recognised by the public.

ASSOCIATIONS: Thomas Reed (violin, viola, cello)

"MUSIC AND THE DRAMA . . . THE PRINCESS'S THEATRE", The Age (13 April 1857), 5 

The Princess's Theatre, as the Amphitheatre in Parliament place (late Spring street) has now been designated, is fast approaching to completion, and will decidedly be ready for use by Monday night, though the opera will not be opened till Thursday . . . The operatic corps includes Madame Anna Bishop . . . The chorus will include no less than thirty well trained voices, and the band twenty-five performers, all carefully selected. Mr. Geo. Loder is to be conductor and musical director, and Mr. E. King, leader of the band. This will include the well known names of Mr. Chapman, (double bass); Mr. Johnson, (clarionet); and Mr. Usher, (violin). The whole has been under assiduous rehearsal for several days, and cannot fail in rendering the opera in a style surpassing any former attempt in Victoria . . .

ASSOCIATIONS: Anna Bishop (vocalist); George Loder (conductor); Henry Johnson (clarinet); Alfred Usher (violin); Princess Theatre (Melbourne venue)

"PHILHARMONIC SOCIETY", The Age (25 April 1857), 4 

The second concert of the year is to be given on Tuesday next at the Exhibition Building. The selection of music is to be chiefly secular . . . The chorus will sing several part songs and glees; and Mr. S. Chapman will introduce the novelty of a solo on the double bass, taken from Mayseder Op. 40. The concert promises to be one of the most popular of the season.

ASSOCIATIONS: Melbourne Philharmonic Society (association); Exhibition Building (Melbourne venue)

MUSIC: Variations brillantes (Mayseder, op. 40, originally for violin, as adapted for double bass)

[Advertisement], The Age (25 April 1857), 1 

THE EXHIBITION BUILDING, On Tuesday Evening, April 28th, 1857 . . .
Contra-Basso Soloist: Mr. Chapman (late of her Majesty's Theatre) . . .

ASSOCIATIONS: Her Majesty's Theatre = Theatre Royal (Melbourne venue)

"MUSIC AND THE DRAMA . . . PHILHARMONIC SOCIETY", The Age (27 April 1857), 5 

To-morrow evening this society will give their second concert for the year . . . In addition to these attractions Mr. S. Chapman, the clever double-bass player from her Majesty's Theatre, is to play a solo on that instrument from the works of Mayseder - the orchestral parts arranged by Mr. G. Loder. Altogether we anticipate a rich treat.

"PHILHARMONIC SOCIETY'S CONCERT", The Age (29 April 1857), 4 

The second concert for the year came off yesterday evening, at the Exhibition Building, before a numerous and brilliant audience . . . The band was full and effective, and performed in the most brilliant manner the overture in "Semiramide" and one of Romberg's symphonies. They also proved of the best service in the accompaniment to Mr. S. Chapman's able contra-basso solo from the works of Mayseder. Mr. Chapman's playing was loudly applauded . . .

"MELBOURNE PHILHARMONIC SOCIETY", The Argus (29 April 1857), 5 

. . . The next instrumental composition was Bottesini's favourite Contra-basso Solo, Op. 40, with orchestral accompaniments, arranged by Mr. G. Loder. The solo was taken by Mr. Chapman, who is already known favourably to the Melbourne public as having obtained a distinguished position as an instrumentalist at her Majesty's Theatre. Mr. Chapman though not ranting a second Bottesini, is yet no mean performer, and, when the difficulties of the contra-bass are taken into consideration, it may be fairly said that he far exceeds the ordinary manipulators in mastery over the instrument; and it must be remembered that a solo on the contra-bass is always a wonder when accomplished . . .

ASSOCIATIONS: Giovanni Bottesini (Italian double bass player)

"MISKA HAUSER'S CONCERT", The Argus (4 June 1858), 4

It is a healthy sign of an improved taste for the highest class of musical entertainments in this city that last night, notwithstanding the powerful counter attractions presented at each of the theatres, there was a very large audience at the concert given in the Mechanics' Institute, and we believe that there was not an individual present who was not highly gratified with the musical treat provided. The concert opened with Mozart's quartet if we mistake not, the same which the great composer himself was accustomed to take part in at the musical parties given by the Storaces, when Haydn played the first violin, Baron Dittersdorf the second, Mozart the tenor, and Vaubull [Vanhal] the violincello. On the present occasion it was performed by Miska Hauser, Messrs. Strebinger, King, and Chapman, and admirably did they combine to render this glorious work, written when Mozart was in the zenith of his power as a composer, and exhibiting the affluence of his genius not less remarkably than did the operatic chef d'oeuvres first produced in the preceding year. The quartett party must have felt that the rapt attention with which each portion of the composition was listened to was as complimentary to their interpretation of it as was the applause which broke forth at its close . . .

ASSOCIATIONS: Frederick Strebinger (violin)

"DRAMATIC AND MUSICAL", The Age (15 June 1858), 6 

. . . Miska Hauser the celebrated Hungarian violinist, after having been amongst us for some years, takes his departure for Europe by the mail. He has given a series of farewell concerts which have been attended by overflowing audiences. He was assisted by our principal vocalists, and by Messrs. Strebinger (second violin), Mr. E. King (tenor), and Mr. Chapman (violoncello). The quartett party played in the most admirable style several of the most remarkable of Beethoven's, Haydn's and Onslow's symphonies.

"M. BOULANGER'S CONCERT", The Age (21 January 1859), 5 

M. Boulanger's concert at the Mechanics' Institution, last evening, attracted the usual knot of connoisaeurs [sic], and a few others, who ordinarily support the givers of miscellaneous musical entertainments. Those who were not present lost the opportunity of hearing one of the most classical and successful performances which it has been our lot to note in this city . . . The performance was strictly confined to instrumental music, and evidently intended to afford M. Boulanger the fullest opportunity of displaying his abilities personally. Notwithstanding, the aid afforded by Mr. E. King on the violin, Mr. Chapman on the violincello, and Mr. Bial on the second piano, relieved the entertainment of anything like monotony or want of interest. The first part of the concert chiefly consisted of the performance of Beethoven's Third Trio in C minor, the various movements being played at thrice, in order, we assume, to prevent the feeling of tedium apt to be experienced by mixed audiences if such works are performed in their entirety without interruption. The trio was given with wonderful brilliancy and precision, epithets which we must also employ in describing the admirable manner in which the allegro from the same composer's first trio in B flat, was given by Messrs. Boulanger, King, and Chapman, the artistes engaged in each . . .

ASSOCIATIONS: Edward Boulanger (pianist); Charles Bial (pianist, accompanist)


. . . The first part of the concert consisted of trios by Messrs. Boulanger, King, and Chapman, on the piano, violin, and violoncello, the subject being Beethoven's 3rd trio in C minor, divided into three portions, in the intervals of which Mr. Boulanger executed solos . . .

"SATURDAY NIGHT CONCERTS", The Age (31 January 1859), 5 

The success which attended the concert, given at the Mechanics' Institution on Saturday evening, ought to justify the projectors, Messrs. E. King, Megson, and S. Chapman in continuing similar entertainments once a week, for the benefit of a large body of the citizens of Melbourne, who are anxious to listen to the performances of first-class music at a moderate expense, and under circumstances as far removed from the influences of the hotel as from the rigid observances supposed to be indispensable to the due conduct of first-class musical entertainments. The happy medium has been struck, and a desideratum so long felt bids fair to be supplied, provided the management do not slacken their endeavors, and the public give them their countenance at the outset of the undertaking. In time, we have no doubt, it will be found necessary to procure the uses of a larger structure, in which case the Exhibition building would afford ample room for promenade, a feature which made Jullien's concerts so popular. As may be seen from the subjoined memorandum, the programme was sufficiently varied to please all tastes: -
Overture - Semiramide - Rossini
Song - The White Squall (Mr. Ewart) - Barker
Quartette - For two violins, tenor, and bass - Mozart
Quartette - Sonnambula
Song - Up to the Forest, hie! (Miss King) - Lee
Waltz - Peri - D'Albert
Overture - Masaniello - Auber
Song - Willie We have Miss'd You (Miss King) - Foster
Quartette Allegro Movement - Beethoven
Song - Tom Bowling (Mr. Ewart) -
Fantasia on American Melodies - J. B. Wheaton
Duett - I've Wandered in Dreams (Miss King and Mr. Ewart) - J. A. Wade
Galop - Champagner - Lumbye
The band, numbering fourteen persons, and including Messrs. King, Thomas, Chapman, Johnson, and Hartigan, was most effective. Nothing could be finer than their execution of Rossini's splendid overture to "Semiramide," or that to the "Masaniello" of Auber, and we can unhesitatingly affirm that better instrumentation has not been heard in the colony. The dance music was also admirably performed, as were the accompaniments to several of the songs. The classical music of Mozart and Beethoven was skilfully and tastefully interpreted by the veteran quartette party - King, Megson, Thomas, and S. Chapman. In accordance with a custom which seems to be obtaining here, Mozart's quartette was played at twice. The vocal element in the concert was supported by Miss Juliana King and Mr. Ewart. The former had the advantage of a good instrumental accompaniment, and sang as encores to her songs "I am a merry Zingara," and "Bessie Gray." With Mr. Ewart she sang Wade's pretty duett, "I've wand'red in dreams," and for an encore engaged with him in a comic duett. Mr. Ewart must not let his desire to be useful and accommodating tempt him to imperil his deserved repute as a vocalist, by the repetition of any similar miscalculation. This gentleman sang very pleasingly as an encore to his "Tom Bowling," Shield's touching little air "The Thorn." We had almost forgot to mention in terms of praise Mr. Wheaton's solo on the pianoforte, founded on American airs. The entertainment went off smartly, and closed at a reasonable hour.

ASSOCIATIONS: Joseph Megson (violin); Juliana King (vocalist); Thomas Ewart (vocalist); J. B. Wheaton (pianist); Joseph Hartigan (musician)

"THE NEWS OF THE DAY", The Age (7 February 1859), 5 

Messrs. E. King, Megson, and S. Chapman's concert at the Mechanics' Institution on Saturday evening, was very sparingly attended notwithstanding the high character of the programme. The performers were identically the same as those who made their appearance on the Saturday previous. We hear some talk of a change of night for these entertainments, but dispute the success likely to attend such a change.

[Advertisement], The Argus (11 March 1859), 8 

MR. S. CHAPMAN, of Her Majesty's Theatre, TEACHER or PIANO and MUSIC, 100 Clarendon-street, Victoria-parade.

[Advertisement], The Age (1 June 1859), 1 

THEATRE ROYAL. Sole Proprietor - Mr. G. V. Brooke.
The Public is respectfully informed this this establishment will re-open for the
NEW SEASON, and under NEW MANAGEMENT, On Thursday next, June 2nd . . .
THE ORCHESTRA Carefully selected, will comprise the following members: -
Leader - Herr Strebinger. Clarionet - Mr. Lundborg
1st Violin - Mr. F. Coppin. Cornet - Mr. Richardson
2nd Violin - Mr. Levy. Trombone - Mr. Bury [Berg]
Contra Basso - Mr. Chapman. Harp - Mr. Seabrooke
Drums - Mr. Hillsey [sic]. Flute - Mr. Julius Siede
Conductor - MR. JOHN WINTERBOTTOM (His first appearance these four years) . . .

ASSOCIATIONS: Gustavus Vaughan Brooke (actor, manager); John William Lundborg (clarinet); Frederick Coppin (violin); James William Richardson (cornet); Barnett Levy (violin); Charles Berg (trombone); George Seabrook (harp); Robert Ilsey (drums); Julius Siede (flute)

[Advertisement], Empire [Sydney, NSW] (4 July 1859), 6 

On TUESDAY, July 19th, and THREE FOLLOWING DAYS, a series of
GRAND MUSICAL PERFORMANCES Will be held to celebrate the opening of the HALL of the Sydney University in which the performances will take place . . .
CONDUCTOR - Mr. L. H. LAVENU . . . The ORCHESTRA will, be more numerous and efficient than any that has over before been heard in these Colonies . . . CONTBABASSI. Mr. Chapman, from Melbourne; Mr. J. Brown; Mr. A. H. Chate . . .

ASSOCIATIONS: Lewis Henry Lavenu (conductor); Walter James Brown (double bass); Alfred Henry Chate (double bass); Sydney University Musical Festival (event)

"SYDNEY UNIVERSITY FESTIVAL", The Sydney Morning Herald (20 July 1859), 4 

YESTERDAY afternoon commenced the long expected series of grand musical performances collectively termed a "Festival," and held in celebration of the opening of the Hall of the Sydney University . . . Mr. Packer presided at the organ. Mr. Chapman (of Melbourne) had the double bass and Mr. Kohler (also of Melbourne) the cornet . . . The orchestra was a very numerous and efficient one, playing with great precision and brilliancy (especially the violinists) and was as stated by part of the band of the Twelfth Regiment . . .

ASSOCIATIONS: Charles Sandys Packer (organist); Richard Wildblood Kohler (cornet); Band of the 12th Regiment (military)

[Advertisement], The Argus (1 October 1860), 8 

Mr. BOULANGER Has the honour to Inform the public that his
CONCERT Will take place at the TOWN-HALL, ST. KILDA, On MONDAY NEXT, OCTOBER 1, 1860,
On which occasion he will be assisted by Miss OCTAVIA HAMILTON, Mr. CHAPMAN, and A GENTLEMAN AMATEUR . . .
Programme: Part 1. 1. Trio (in C minor), for piano, violin, and violoncello - Messrs. S. Chapman, Boulanger, and a Gentleman Amateur - Beethoven . . .

ASSOCIATIONS: Octavia Hamilton (vocalist)

[News], The Argus (12 June 1861), 5 

The second subscription concert of the Philharmonic Society, which took place last night, drew a large audience to the Exhibition Building . . . The society may be congratulated on the decided improvement which has taken place in its position since Herr Elsasser has held the post of conductor . . . We must not omit to notice the performance of the overtures to "Der Freischutz" and "Fidelio" by the band, which had the benefit of the valuable assistance of Herr Strebinger and Mr. Chapman (double bass). Mr. Lewis presided at the organ with his customary ability.

ASSOCIATIONS: Charles Elsasser (conductor); Louis Lucas Lewis (organist)

"TOWN TALK", The Herald (30 December 1861), 5 

Mr. Alexander's concert at Hockin's Assembly Rooms on Saturday evening called up reminiscences of four or five years ago, when Miska Hauser was here, and when a classical concert could be announced with a much greater assurance of success than at present, - a fact not flattering to us, for it indicates anything but an advanced stage of social culture. It is indeed a pity that concerts, of which the performance of classical instrumental music should form the principal feature, are not more frequently given. The reason cannot be that we have not the material, for the orchestra of the Theatre Royal, for example, includes three or four musicians of very great ability; and in fact the concert of Saturday, though far from exhausting the resources of Melbourne in this respect, showed what we can do even now . . . The chief concerted composition on Saturday was Beethoven's trio in C minor, which was admirably performed by Messrs. Alexander (piano), Strebinger (violin), and Chapman (violoncello). The performance was most attentively listened to . . .

ASSOCIATIONS: Albert Alexander (piano); Hockin's Assembly Rooms (Melbourne venue)

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

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

ASSOCIATION: Charles Edward Horsley (pianist)

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

The second of Mr. Horsley's series of chamber concerts took place in the Mechanics' Institute, on Saturday afternoon, in the presence of a numerous audience, in which we noticed several of the leading musical professors and well-known dilettanti of Melbourne. The programme was as much distinguished for the variety as for the excellence of the compositions to which it referred. First came Beethoven's quartette in E flat - a charming work, admirably interpreted by Messrs. Horsley, Strebinger, Thomas, and Chapman. The pianoforte was well subdued in all instances in which it became simply an accompanying instrument, and the executants generally seemed to be completely at one in their determination to play the music as well as it could be played. This quartette was, to our mind, unquestionably the gem of the concert . . .

"THEATRICALS AND MUSIC", Bell's Life in Victoria and Sporting Chronicle (31 May 1862), 2 

The few short days which elapsed between the close of the opera season, and the commencement of the promenade concerts, have sufficed to enable Mr. Lyster to effect a compete metamorphosis in the appearance of the room . . . On Saturday night the house was so crowded that many hundreds of people were unable to obtain admission; and despite the unpleasant weather of the week the theatre has been fairly attended. And, indeed, it would have been discreditable to the music-loving population of the city had Mr. Lyster's enterprise not received a considerable share of public encouragement. The solo performers, several of whom have attained a high degree of eminence include Mr. Strebinger, violin; Mr. Siede, flute; Mr. Chapman, double bass; Mr. Berg, trombone; Mr. Lundberg, clarionet; Mr. Kohler, cornet-a piston, besides an infinite number of other instruments, and Mr. Canna, tympan. The vocal artistes are Madame Escott, Miss Hodson, and Messrs. Squires and Farquharson; while the conductor is Mr. Reiff. The opening concert on Saturday was one of the best, if not the best, ever given in Victoria. The magnificent overture to "Oberon," with which it commenced, the National Anthem sung by the four principal performers, and the magnificent scena from "Robert le Diable" - "Robert toi que j'aime," by Madame Escott, were amongst the most successful morceaux. The programme was varied every evening, but on each occasion the audience heard a selection of music, vocal and instrumental, from the best composers. Mr. Lyster's new experiment deserves to prove quite as successful as his attempt to acclimatise Opera in Victoria.

ASSOCIATIONS: William Saurin Lyster (manager); Pietro Canna (drums, timpani); Lucy Escott (vocalist); Georgia Hodson (vocalist); Henry Squires (vocalist); Robert Farquharson (vocalist); Anthony Reiff (conductor); Lyster Opera Company (troupe)

"A FEW NOTES FROM A MUSICIAN ON TRAVEL", The Sydney Morning Herald [NSW] (29 March 1864), 4 

The following extracts are from the letter of a gentleman well known in musical circles here, who left Sydney a short time since, and proceeded to Italy; he is an American by birth, and his idea of Continental "men and things" is expressed in a very amusing way. The letter is dated Rome, December 7, 1863. "According to promise, I will give you some of my musical and other impressions of Italy . . ." The next letter is dated Genoa, December 18th, 1863. "Thank goodness I am out of the Roman States, for there residents are very hard upon the pockets of travellers. At Florence I went to see an opera - the orchestra was composed of about sixty performers, but there were no players in it to compare with Chapman, Siede, Strebinger, or Rice . . .

ASSOCIATIONS: The correspondent was Anthony Reiff (above); Walter John Rice (Sydney violinist)

"THE HARMONIC SOCIETY'S CONCERT", The Ballarat Star [Ballarat, VIC] (17 April 1865), 1 supplement 

The performance of Haydn's charming oratorio, "The Creation," on the evening of Good Friday, was the latest achievement of the Ballarat Harmonic Society . . . The local talent was largely supplemented from Melbourne, and the score or more of instrumentalists included Mr. E. King (principal violin); Mr. David Lee, conductor of the Emerald Hill Philharmonic Society (violin); Messrs. Ernest and Alfred King (violas); Mr. Johnson, master of the Head Quarters Band (oboe); Mr. Chapman, (double bass.) . . . Mr. Rutter's abilities as conductor were displayed throughout the evening . . .

ASSOCIATIONS: David Lee (violin); Ernest King and Alfred King (sons of Edward King above); Henry Johnson (as above) on oboe; George Oswald Rutter (conductor); Ballarat Harmonic Society (association)

"DEATHS", The Argus (10 July 1868), 4 

CHAPMAN. - On the 9th inst., at her residence, Victoria-parade, Mrs. Charlotte Chapman, wife of Samuel Chapman, Esq., of the Theatre Royal, and relative of Mr. John Hayward, rate-collector, of Fitzroy.

"MUSIC", The Australasian Sketcher with Pen and Pencil (14 June 1873), 47 

By the time this paper sees publication the Italian opera season of 1873 will have come to an end . . . Signor Zelman and his instrumentalists, and Mr. John Hill and his chorus singers, have done their duty well throughout the season. The orchestra Has lost one good player in Mr. S. Chapman, a violoncellist of the right school, whose long connexion with music in this country has made his name a household word amongst professional players. He takes an extended pleasure trip to China and Japan . . .

ASSOCIATIONS: Alberto Zelman (conductor); John Hill (chorus master)

"SHIPPING INTELLIGENCE. HOBSON'S BAY . . . ARRIVED. - AUG 28", The Argus (30 August 1875), 4 

Somerset, E. and A. M. Co.'s ss 1500 tons, H. M. Morris, commander, from Foochow 10th ult., and Sydney 26th Inst. Passengers-saloon: Five Sisters of the Order of St. Joseph, Mr. Brown, Mr. S. Chapman; and three Chinese in the steerage. D. Jack, purser; Bright Bros and Co., agents.

[News], The Argus (1 August 1876), 5 

A meeting of the trustees of the Musical Association of Victoria was held at Nissen's Cafe on Saturday evening. Mr. S. Chapman was unanimously elected a member . . .

ASSOCIATIONS: Musical Association of Victoria formed in 1876, successor to the Victoria Musical Association (association)

"THE OPERA. FAUST", The Argus (4 August 1877), 7 

"Faust" was performed last night in the Opera-house in a manner which was greatly admired by all who witnessed it . . . The present combination, under the management of Mr. Lyster, means the union of the best two bands of choral singers that could be brought together and far more than this, it means an orchestra hitherto unequalled in Melbourne for individual talent and concerted skill. We have the opera played in the orchestra with as near an approach to the original scoring as can be hoped for with a band of 30. We have not 30 players in this orchestra, but there are those amongst the artists who are conducted just now by Signor Giorza who can make themselves equal to the work of two or three men - witness Herr Luttich and Mr. McCoy men who can double their parts whenever the "reed" instruments are wanted. It is not likely that at any time we shall hear better first violins than the five who are to be heard during this season. There is one violoncello, Mr. Hart (backed up by another player, name unknown), who has touch at his fingers' ends, which brings out all that can be desired in the way of tone. Mr. S. Chapman is the best contra bassist in this part of the world, and he has two others after him in the same orchestra who have only a little less skill than be. The rest of the instrument are to be ranked as the reader likes, and they must be acknowledged to be in the hands of good players . . .

ASSOCIATIONS: Paolo Giorza (conductor); Frederick Luttich (musician, d. 1913); Thomas McCoy (musician)

"INQUESTS . . . FOUND DROWNED", The Argus (1 February 1879), 8

An inquest was held by Dr. Youl at the morgue yesterday concerning the death of David Marks, aged 54 years, a money lender who was found drowned in the Yarra on the previous day.
Samuel Chapman, professor of music, living in Gipps street, Richmond, said the deceased had lived with him for 11 years. The deceased was a widower and had left no children. Took tea together last Wednesday evening. Witness then went out, and on returning found the deceased gone. Occasionally the deceased drank, and he was drinking on Wednesday. Was not aware of anything which might have driven him to commit suicide.
Rose Steele, barmaid at the London Tavern stated that the deceased called at that house at 8 o'clock on Thursday morning, and had some brandy and soda. He was in good spirits and appeared to be sober.
B. Bolger, ironmoulder, living in Carlton deposed that at about half past 12 o'clock on Thursday he was walking on the north bank of the Yarra with some friends, when they saw the deceased lying upon the bank of the river, with the lower portion of his body in the water. They pulled him out and he gave a moan, but that was the only sign of life.
Constable Kealy, who was called to take charge of the body, said he found the deceased dead, and removed his remains to the morgue. Found a purse containing £5 17s 11d in his pocket.
Charles S. Ryan, surgeon, who had made a post mortem examination, said there were no external marks of violence on the body. The cause of death was drowning.
Verdict - That the deceased was found drowned, but that there was no evidence before the jury to show how he got into the water.

"THEATRICAL AND MUSICAL", The Age (3 October 1879), 3 

. . . At a musical entertainment given by the Musical Association of Victoria, Schubert's Octett for strings and wind was performed by Messrs. Weston and Ryder (violins), Jaeger (viola), Hart (violoncello), Chapman (contra bass), Lundborg (clarionet), Kohler (horn), and Lutich (bassoon), in a truly artistic manner, under the direction of Mr. T. H. Guenett . . .

ASSOCIATIONS: George Weston (violin, son of John Weston above); George Hopwood Ryder (violin); Ernest Augustus Jager (viola); Sidney Herbert Hart (cello); Franz Andreas Kohler (horn); Thomas Harbottle Guenett (conductor)

"THE MUSICAL ASSOCIATION OF VICTORIA", The Australasian (19 February 1881), 1 supplement 

A meeting of this body was held in Glen's rooms on Saturday night, and was numerously attended. Mr. Julius Siede was in the chair . . . After this business the following programme of music was performed: - Schubert's quartette in A minor, Op. 29, a work of great originality and much beauty, was played by Messrs. Curtis, Ryder, Wiedemann, and S. Chapman. A little more rehearsal would have produced a smoother effect . . .

ASSOCIATIONS: Henry Curtis (violin); Traugott Wiedemann (viola)

"Deaths", The Argus (11 August 1881), 1

CHAPMAN. - On the 10th inst., at his residence, Adelaide-cottage, Lennox-street, Richmond, Samuel Chapman, musician.

"NEWS OF THE DAY", The Age (11 August 1881), 3 

The death which took place yesterday of Mr. Samuel Chapman, the well known musician, will be heard of with deep regret by his many friends, more especially those of the musical profession. Mr. Chapman's skill as a double bass and violoncello player has been often enough recognised, and well appreciated by both public and press during his long residence in the colony. Mr. Chapman arrived in Australia nearly thirty years ago. He was one of the members of the celebrated Julien [Jullien] orchestra in England, and has been associated with the Opera House band in this city since the opening of that theatre. The funeral of the deceased is to start from his residence in Lennox-street, Richmond, at two o'clock to-morrow.


. . . Thanks, however, chiefly to my friend Mr. "Sam" Chapman, who was himself a 'cello player, but was then playing contra bass, I was soon elevated to the first desk . . . My two first friends in the orchestra of the Philharmonic were Mr. Daniel ("Daddy") Hardman and Mr. "Sam" Chapman, 'cello and double bass players respectively . . . Mr. "Sam" Chapman came to us from London, and was a member of the celebrated Julien [sic, Jullien] band, one of the most efficient orchestras in Europe. He also played both 'cello and double bass, and was a fine solo player on the 'cello. On the double bass he had no rival, keeping the premier position till the close of his life. Chapman frequently spoke of the band he had belonged to, and told many anecdotes of the conductor. Julien's name was continually before the public in my early youth, and I had a great dislike of him because he turned my favourite operas and even symphonies into quadrille and other dance music. Opinion was much divided whether he was a great mountebank or a great musician. Chapman, however, was all in his favour, speaking of his enormous orchestras of 80 to 100 players, and the artists from all over the world who played with him. He objected, however, to Julien's extraordinary mode of dressing, and to his affectation of wearing new gloves when conducting any of Beethoven's works. At all events, it seems certain that there were never such concerts before or after as those of Julien's time . . .

ASSOCIATIONS: Alfred Montague (musician, memoirist); Daniel Hardman (musician)

DISAMBIGUATION: Samuel Lithgow Chapman; S. L. Chapman (d. 1898, musicseller, South Yarra, unrelated); see "INSOLVENT COURT", The Australasian (11 August 1883), 21 

Charles J. Lee, late music-seller, of Prahran, who is now under sentence for larceny as a bailee, was examined on the 9th inst. at the Insolvent Court, before his Honour Judge Noel. The principal creditor in the estate is Samuel L. Chapman, who sold his business for £898 to insolvent, who got into arrears with the monthly payments of the purchase-money . . .

CHAPMAN, William (William CHAPMAN; Mr. W. CHAPMAN; Mr. CHAPMAN, senior)

Musician, amateur and semi-professional, violinist, orchestral and band leader, cornet-a-piston player, viola player, tailor, letter carrier, postal worker

Born Sevenoaks, Kent, England, 20 August 1820; baptised Sevenoaks, 29 October 1820; son of Thomas CHAPMAN and Catherine MARRIOTT (d. SA, 1872) (m. Knockholt, Kent, 10 August 1820)
Married Julia WIGZELL (1823-1891), Halstead church, Kent, England, 24 December 1843
Arrived Adelaide, SA, 26 December 1849 (per Asiatic, from London and Plymouth)
Died Adelaide, SA, 1 January 1897, aged 76, in his 77th year (TROVE tagged by Australharmony) (shareable link to this entry)

CHAPMAN, William (William CHAPMAN, junior; Mr. W. CHAPMAN; Mr. CHAPMAN, junior)

Musician, amateur and semi-professional, violinist, letter carrier, postal worker

Born Sevenoaks, Kent, England, 1844; baptised Sevenoaks, 14 April 1844; son of William CHAPMAN and Julia WIGZELL
Arrived Adelaide, SA, 26 December 1849 (per Asiatic, from London and Plymouth)
Married Jemima EMERY (1846-1920), Methodist New Connexion Church, Adelaide, SA, 4 May 1865
Died North Kensington, SA, 8 August 1930, aged "86" (TROVE tagged by Australharmony) (shareable link to this entry)

William Chapman senior

William Chapman senior (DIGITISED)


Baptisms solemnized in the parish of Sevenoaks in the county of Kent in the year 1820; register 1813-34, page 98; Kent History & Library Centre, P330/1/B/1 (PAYWALL)

No. 779 / October 29th [1820] / William son of / Thomas & Catherine / Chapman / Sevenoaks / Servant . . .

England census, 6 June 1841, Sevenoaks, Kent; UK National Archives, HO107/485/3/17/27 (PAYWALL)

Tho's Chapman / 40 / Post Boy / [born in county]
Catherine / 40 / [born in county]
William / 20 / Tailor Ap. / [born in county]
Thomas / 15 / Gardener / [born in county]

1843, marriage solemnized by banns in the church of Halstead in the county of Kent; register, from 1839, page 7; Kent History & Library Centre, P166/1/D/2 (PAYWALL)

No. 14 / December 24 1843 / William Chapman / 23 / Bachelor / Tailor / Halstead / [son of] Thomas Chapman / Postboy
Julia Wigzell / Under age 20 / Spinster / Working Woman / Healstead / [daughter of] George Wigzell / labourer . . .

Baptisms, Sevenoaks, Kent, April 1844; register 1831-53; Kent History & Library Centre, P330/1/A/15 (PAYWALL) (PAYWALL)

[1844] April 14/ William son of / William & Julia / Chapman / . . . Tailor

Adelaide, SA (from 26 December 1849):

"SHIPPING INTELLIGENCE. ARRIVALS", Adelaide Times (27 December 1849), 2 

Wednesday, December 26 . . . Same day - The ship Asiatic, 700 tons, A. S. Waddell, master, from London and Plymouth . . .
Passengers per Asiatic - . . . And the following in the steerage: - William Chapman wife and four children . . .

"LOCAL INTELLIGENCE", South Australian Register (6 February 1850), 3

We perceive by advertisement, in another column, that the new "Dramatic Hall," in Leigh-street, over Mr. Crawford's offices, will be opened on Thursday next (to-morrow), by some of the performers who have seceded from the Queen's Theatre. Mr. Opie has very neatly decorated the house, and painted a pretty drop scene and proscenium . . . The managers, Messrs. Jacob, Elmer, and Gardener, announce their intention to conduct this place of recreation that "families can visit it without fear of being insulted by obscene language on the stage, or elbowed by improper characters among the audience." A Mr. Chapman makes his debut as a solo player on the cornet a piston. The musical arrangements are very creditable, and we have no doubt, if conducted on a respectable plan, with careful study, and short intervals between the acts, the public will support and encourage the concern.

ASSOCIATIONS: Edward Andrew Opie (scene painter); John Lewis Jacobs (actor, manager); John Adam Elmer (actor, manager); Joseph Gardiner (actor, manager); New Queen's Theatre (Adelaide venue)

[Advertisement], South Australian Register (6 February 1850), 2 

Dramatic Hall, Leigh-street, Adjoining Mr. HILL's Hotel . . . will open on Thursday, February 7th . . .
A variety of singing and dancing. In the course of the evening, a solo on the Cornet-a-Piston, "Love Not," by Mr. Chapman (lately arrived from London) . . .

MUSIC: Love not (John Blockley)

[Advertisement], Adelaide Times (18 March 1850), 2 

SIX GRAND PROMENADE CONCERTS A LA JULIEN - At the Exchange, King William-street.
Under the Direction of MR. W. WALLACE. The first Concert will take place on Tuesday evening, 19th March.
The Chorus and Orchestra will consist of upwards of thirty-five performers,
and the programme will be selected from the works of Julien, Mozart, Labitzky, Rossini, Lanner, Weber, Strauss.
The evenings amusements will embrace Waltzes, Quadrilles, Gallopades, Polkas, and Overtures; also Solos both Vocal and Instrumental.
Miss Lazar, Mr. Lee, Her Cranz, Mr. Cobbin, Her Fisher, Mr. Cobbin, jun.
Her Kidel, Master Cobbin, Her Zeigler, Mr. Richards, Her Matter,
Mr. Harwood, Her Huenerbiers, Mr. Bennett, Mr. Chapman, Mr. Hewett.
Also a Chorus of German Gentlemen Amateurs.
PROGRAMME. PART I. 1. Overture (Il Italiana in Algierio) Rossini - Orchestra . . .
4. Quadrilles, from Auber's Les lac de Fees - Julien - Full Orchestra . . .
9. Le Courier (Polka) - Koenig - Orchestra.
PART II. 1. Overture (Le Nottze de Figaro) Mozart - Orchestra . .
. 4. Waltz (Les pensees D'Amour) Lanner - Orchestra . . .
9. The Post Horn Galop (first time in this, colony) Full Orchestra . . .

ASSOCIATIONS: Spencer Wellington Wallace (musician, director); Rachel Lazar (vocalist); Philip Lee (violin); August Cranz (musician); William Cobbin and sons (musicians); George Fischer (vocalist); Augustus Keidel (musician); Charles Ziegler (musician); Henry Augustus Richards (musician); Charles Albert Frederic Mater (musician);; William Harward (musician); August Christian Huenerbein (musician); George Bennett (musician), Mr. Hewett (musician)

[Advertisement], South Australian Register (11 April 1850), 1

New Queen's Theatre. THURSDAY, APRIL 11th . . .
Comic Duet - "Ballad Singer" - Miss Lazar and Mr. Coppin.
Solo - Cornet a Piston - "Love Not" - Mr. Chapman . . .

ASSOCIATIONS: George Coppin (actor, vocalist, manager)

"THE PROMENADE CONCERT", Adelaide Times (27 April 1850), 5 

The concert of Friday evening, as we anticipated, was more numerously attended than any that have preceded it. From the commencement of the first overture the spacious room of the Exchange was thronged, and the colonists having at length got rid of the gaucherie they first manifested at the novelty of being compelled to stand during a concert, walked about and enjoyed the ad libitum, freedom of the scene. The introduction of Promenade Concerts in England mainly contributed to the direction and cultivation of that taste for the higher branches of music which our countrymen are rapidly acquiring. By their agency, thousands have become acquainted with the works of our best composers, the splendid masterpieces of Beethoven and Mozart, who, under other circumstances, would inevitably, from the high prices of admission, and the exclusiveness of musical societies, have remained ignorant almost of their immortal names. Jullien, Musard, Strauss, and their brethren, empirics though they be called, have done more real service to music than multitudes of soi disant composers who have fancied that high art can only be appreciated by the aristocratic coteries. The entertainment of Friday evening fully sustained the reputation acquired by its predecessors, and as the members of the band are now getting well drilled and accustomed to each other, the ensembles of the instrumental pieces performed, were more effective. Mozart's Titus Overture, and Boieldieu's Dame Blanche, were well given, the latter particularly, and the usual infusion of Polkas, &c., were spiritedly played, Koenig's Post horn galop being encored. By the way, we should like to know the reason why every piece of dance music performed, should be laid at Jullien's door, that individual having quite sufficient to answer for, without the credit of the authorship of the L'Amour Annen, or Agnes Polkas, and the Railroad Galop, the latter a stupid, tricky thing by Gung'l, which was the only failure of the evening, the individual who got the steam up, forgetting that if the vapour escaped in the manner he wished to convey it did, the locomotive would have some slight difficulty in reaching its destination . . . The solo on the tuba basso by Herr Huenerbein was played better than at Herr Cranz's concert. It was much relished by the audience. While upon the instrumental portion of the entertainment we must not omit to mention Mr. Chapman's cornet-a-piston playing, it was really excellent, and his post horn obligato reminded us of the original . . .

"ODDFELLOWSHIP", South Australian Gazette and Mining Journal (9 May 1850), 2 

The sixth Anniversary Dinner of the Albion Lodge of Oddfellows, Manchester Unity, took place on Tuesday night last at Host Potters, Morphett-street . . . About one hundred and fifty brothers, friends, and visitors sat down to a sumptuous dinner, served up in excellent style . . . A band, led by Mr. Chapman, performed polkas in fine style during the removal of the covers, while a welltoned piano, presided at by Mr. Bennett, accompanied by the vocal talent of Messrs. Harwood and Mitchell, left nothing to be desired . . .

ASSOCIATIONS: Thomas Harward (amateur vocalist); Mr. Mitchell (amateur vocalist)

[Advertisement], South Australian (19 July 1850), 1 

85 PERFORMERS!!! . . . INSTRUMENTAL. Conductor - Mr. Wallace.
Principal 1st Violins. Messrs. Wallace, Osborn, Lee, and F. Coppin.
2nd Violins. Messrs. Chapman, Berry, Cobin, jun, and Herr Matter . . .

ASSOCIATIONS: Ferdinand Osborne (violin); Frederick Coppin (violin); Mr. Berry (violin)

"CONCERT", Adelaide Times (1 August 1850), 3 

The Concert of the Adelaide Choral Society took place, yesterday evening, in the New Exchange, but owing to the roughness of the weather the attendance was very limited, there being only one hundred and twenty persons present, including, however, His Excellency, Lady Young, Bishop Short, and a large proportion of the elite. The music, in general, was very good. The first overture, and glee, and chorus, gave entire satisfaction . . . Chapman's solo on the Cornopean was well executed, but he appeared to feel uncomfortable in playing alone . . .

ASSOCIATIONS: Henry and Augusta Young (governor and wife); Adelaide Choral Society (association)

[Advertisement], Adelaide Times (15 October 1850), 2 

MR. A. MOORE BEGS to inform the Public of Adelaide and its vicinity, that he intends giving
A SERIES OF Four promenade concerts, TO TAKE PLACE On the 15th and 29th October, and the 12th and 26th November.
MR. MOORE Is happy to say that in conjunction with his own Band, which comprises the principal talent of South Australia,
he has succeeded in obtaining the kind assistance of the
FORMING THE LARGEST ORCHESTRA Ever yet brought together in this Colony . . .
Leaders: MR. LEE & MR. OSBORNE.
Leader of Reed and Brass Band: HERR HEUNERBEIN.
Conductor and Director: - ANDREW MOORE.
PROGRAMME OF FIRST CONCERT. PART I . . . 3. Solo, Cornopean, "Thema," with variations, Chapman - Mr. Chapman . . .

ASSOCIATIONS: Andrew Moore (violin, conductor)

[News], South Australian Register (16 October 1850), 3 

We were pleased to observe a very good attendance at the first of Mr. Moore's promenade concerts, which came off last evening in the Exchange-hall . . . Mr. Chapman's Solo Cornopean, and Herr Mater's Solo Clarionet, were both superior performances . . .

"PROMENADE CONCERT", South Australian Register (27 November 1850), 3 

The last series of promenade concerts, given by Mr. Andrew Moore, took place last evening, and was tolerably well attended. The programme presented no very imposing array of performers or pieces, but everything attempted was done to the satisfaction of the audience, who appeared to enjoy most heartily the entertainment. Mr. Chapman's solo on the cornopean, and a duet on two clarionets by Messrs. Huenerbein and Mater, in the first part, were exquisite performances, and elicited loud and repeated manifestations of approval . . .

[Advertisement], South Australian Register (23 December 1850), 3 

Royal Victoria Theatre . . . MESSRS. LAZAR AND COPPIN
BEG most respectfully to acquaint their friends and the public generally, that the above Splendid Theatre,
Being now completed, will open for the Season, THIS EVENING, Monday, December 23rd . . .
THE ORCHESTRA will embrace the leading talent of the colony, viz: -
Leader - Mr. Andrew Moore, assisted by Mr. S. W. Wallace, Herr Mater, Herr Zeiglar, Mr. Harwood,
Mr. Lawrence, Herr Heunerbein, Herr Kierdel, and Mr. Chapman.
The performances will commence with a Musical Extravaganza, entitled THIS HOUSE TO BE SOLD . . .
To be preceded by Mozart's Overture to Don Giovanni . . .
In the course of the evening the Band will play Several New Polkas, Waltzes, &c. . . .

ASSOCIATIONS: John Lazar (actor, manager); Royal Victoria Theatre (Adelaide venue)

[Advertisement], South Australian Register (13 March 1851), 2 

will be performed, for the first time at this Theatre, Bulwer's celebrated and much-admired Play of the LADY OF LYONS . . .
In compliance with the request of several families, who have signified their intention of visiting the Theatre on this evening, and in order to produce an additional novelty, a
GRAND CONCERT will be given, upon which occasion Messrs. Lazar and Coppin have great pleasure in announcing that, in conjunction with their own unrivalled Band, the
AMATEUR BRASS AND REED BAND have kindly consented to attend, under the direction of their Leader, Herr Huenerbein, and will play during the evening some favourite pieces as performed at Mr. Moore's late Promenade Concerts . . .
7. Quartette for four brass instruments on the favourite German air "Lorilu" [? Lorelei] - Messrs. Chapman, Harward, Huenerbein, and Mater . . .

"MAD. 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 . . . We are no admirers of the cornet a piston, but that instrument was done full justice to by Messrs. Chapman and Harward, who played the duet "I know a bank" . . .

ASSOCIATIONS: Francesca Allen (vocalist)

MUSIC: I know a bank wheron the wild thyme grows (C. E. Horn)

[Advertisement], South Australian Register (21 May 1851), 2 

WE the undersigned Members, in accordance with Rule number "15" of the above Society, providing for "Special General Meetings,"
request that a MEETING of the MEMBERS of the "ADELAIDE CHORAL SOCIETY" may be convened . . . [concerning] Mr. Thurlow's letter
[signed] W. F. Osborne; Aug. Fried. Cranz; Redford Clisby; Wm. Harris;
John Snaith; Wm. Chapman; Wm. Cobbin; C. Linger; Matthew Sharp; Robert Wiener.
D. J. Hiskens; Amil R. Weber.
To the Secretary of the Adelaide Choral Society . . .
E. PARIS, Hon. Sec.

ASSOCIATIONS: Charles Alston Thurlow (member); Redford Clisby (member); John Snaith (member); Carl Linger (member); Robert Wiener (member); Emil Rudolph Weber (member); Eugene Adolphus Paris (secretary)

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

THIS EVENING (Wednesday, September 17th) . . . at the EXCHANGE, King William-street . . .
PROGRAMME. PART I . . . 9. Grand Chorus, from the Opera "Euryanthe," C. M. v. Weber,
with Bass [sic, ? Brass] Accompaniment by Messrs. Chapman, F. Coppin, Herren Huenerbein, Keidel, and Ziegler - Deutsche Liedertafel . . .

ASSOCIATIONS: Deutsche Liedertafel (association)

"LOCAL COURT, ADELAIDE. Wednesday, September 8th . . . CIVIL JURISDICTION . . . CHAPMAN v LAZAR", South Australian Register (24 September 1852), 3

For £3 3s., for lessons on the violin, to the defendant's son. £2 2s. paid into Court. Postponed for the attendance of Mrs. Lazar, whom the plaintiff desired to call as a witness.

ASSOCIATIONS: Samuel Lazar (pupil, son of John Lazar above)

? Names and descriptions of passengers per Queen of Sheba from Adelaide, 18 September 1852, for Melbourne; Public Record Office Victoria (DIGITISED)

Cabin passengers . . . W. Chapman . . .

? Names and descriptions of passengers per Queen of Sheba from Melbourne, 27 October 1852, for Adelaide; Public Record Office Victoria (DIGITISED)

. . . Will'm Chapman / 30 / English . . .

[Advertisement], Adelaide Observer (25 December 1852), 1 

MUSIC. MUSIC. MUSIC. MR. W. CHAPMAN begs to inform his friends and the Public generally,
that having returned from Victoria, he is ready to provide MUSIC for Balls, Quadrille Parties, Dinners, &c., &c.
Terms may be known on application to the above at the Royal Victoria Theatre, where all letters, &c., will meet with immediate attention.

[Advertisement], Adelaide Times (14 April 1853), 4 

CONCERT. MADAME M. CRANZ'S CONCERT will take place at the Exchange, on
THURSDAY, this evening, April 14, under the patronage of His Excellency and Lady Young.
PROGRAMME. PART FIRST . . . 5. (By desire) Fruelings Wenderschaft, Cornopean Obligato - Kücken - Mad. Cranz and Mr. Chapman . . .
PART SECOND . . . 4. The Standard Bearer, with Cornopean obligato - Lindpainter - Mr. J. W. Daniel and Mr. Chapman . . .
Mr. Linger will preside at the Piano . . .

ASSOCIATIONS: Mathilde Cranz (vocalist); Josiah Wyke Daniel (vocalist)

"DINNER TO J. H. FISHER, ESQ., M.L.C.", Adelaide Times (19 May 1853), 2 

In celebration of a triumph which the political admirers of J. H Fisher, Esq., have lately obtained by the return of their candidate for the important district of West Adelaide, a dinner was given last evening to that gentleman in the saloon attached to the Theatre. Fully two hundred gentlemen were present . . . An excellent band occupied a kind of balcony at the end of the room, and enlivened the intervals between the toasts with appropriate airs. The cloth having been drawn, the usual loyal and introductory toasts were proposed from the Chair, and duly responded to . . .
Alderman Solomon . . . proposed "The Clergy of all denominations in South Australia" . . .
Solo (cornet-a-piston) "Love Not" - Mr. Chapman . . .
Alderman Sherwin had great pleasure in proposing, "The Bench and the Bar" . . .
"Rogue's March" - by the band . . .
The Chairman having called for bumpers, rose to propose the health of their worthy and honoured guest, J. H. Fisher, Esq . . .
Air "Old English Gentleman, by the band, the company joining in the refrain . . . Polka, by the band . . .
Toast from the Chair - "Our Native Land." Air - "Home, Sweet Home," by the band . . .

ASSOCIATIONS: James Hurtle Fisher (member of the legislative council)

"ASSEMBLY BALL", Adelaide Times (21 May 1853), 2 

The third of the series of Assembly Balls took place on Thursday evening, at the Exchange. His Excellency and Lady Young were present, and the company numbered almost one hundred and sixty. Mr. Chapman's band was in attendance and performed some novelties in dance music. We have heard of some singular proceedings on the part of the Stewards with reference to excluding some highly respectable parties on the score of their being tradesman, but we are reluctant to believe that such unmitigated "snobbism" can exist in this colony. We however intend to make further enquiries, and if the allegations we have heard prove to be facts, the exclusionists shall not escape exposure.

[Advertisement], South Australian Register (19 October 1853), 2 

ROYAL VICTORIA THEATRE. THIS EVENING (Wednesday), Oct. 19. Under the immediate patronage of Capt. Cadell, the navigator of the Murray, who has signified his intention of being present.
MISS BLACKHURST'S SOIREE MUSICALE. Miss Blackhurst, nine years a pupil in the Royal Academy of Music, London . . .
Instrumental Performers - Messrs. Thurloe, Lillywhite, John Cobbin, Swift, John Cobbin, jun., McCullagh, Walker, Tuxford, Smith, Mantegeni . . .
Leader - Mr. Chapman . . .
Part I. 1 Overture - Massaniello - Auber - Band
Part II. 1 Overture - Guy Mannering - Band . . .

ASSOCIATIONS: Miss Blackhurst (vocalist); Charles Alston Thurlow; William Lillywhite (musician); correctly William Cobbin sen. and jun. as above; Thomas Swift (musician); Robert McCullagh (musician); Alfred Mantegani (musician)

[Advertisement], South Australian Register (10 January 1854), 2 

SELECT BALL. ROBERT RAMSEY begs to intimate, that he intends giving a
SELECT BALL, at his new room adjoining the Napoleon Buonaparte Hotel, on Thursday evening next, the 12th instant.
Tickets, 7s. 6d. each, to be had at the bar; refreshments included.
Dancing to commence at 9 o'clock. Chapman's Quadrille Band will be in attendance.

[3 advertisements], South Australian Register (21 February 1854), 2 

FLOWER-SHOW BALL. A SELECT BALL will be held at the Napoleon Bonaparte, King William-street, on Thursday next, the 23rd instant. Tickets, single or double, 7s. 6d. each, to be obtained at the bar.
Mr. Chapman's Quadrille Band will be in attendance.

A SELECT BALL will be held at the Thistle Inn, Weymouth-street, on Friday, 24th instant. Tickets 7s., single or double, to be obtained at the bar.
Mr. Chapman's Quadrille Band will be in attendance.

FARRIERS' ARMS, STURT. C. S. HANNINGTON begs to inform his friends and the public generally that a
BALL will be held at the above house on the second night of the BRIGHTON RACES, March 2nd next. Single Tickets 3s. 6d., double 5s.
Messrs. Swift and Chapman are engaged for the occasion.

"PROMENADE MUSICALE", Adelaide Times (5 April 1854), 4 

To a bumper "house," Mr. Eldin, to whom great credit is due for his praiseworthy efforts to introduce a novel species of entertainment for the denizens of Adelaide, held, last evening, the first of a series of Promenades Musicales he contemplates at his newly established and elegant Pantheon. It was not strictly speaking, a "promenade," for so attractive was the character of the evening's programme, that there was barely room to stir, or for friends to come in contact when once separated. The band, consisting of 3 violins, a piano, violincello, cornet-a-piston, and trombone, played a variety of pieces and fearfully exciting polkas, to the manifest delight of the audience. The instrumental portion of the entertainment was diversified by interludes of vocal music, in which new adjuncts to the musical corps of Adelaide "assisted" most creditably. The whole affair was admirably conducted, and will doubtless be a popular resort if the subsequent soirees be as judiciously conducted as the premier pas. Mr. Chapman led the band; Mr. Cobbin was first violin, and Mr. McCullagh's cornet-a-piston harmonised sweetly throughout.

ASSOCIATIONS: Henry Edlin (proprietor, promoter); Pantheon Assembly Rooms (Adelaide venue)

"PROMENADE MUSICALE", South Australian Register (10 May 1854), 3 

The attendance at the musical entertainment provided last evening by Mr. Edlin, at the Pantheon, was exceedingly good. His Excellency and Lady Young were present . . . A large number of the fair sex also graced the room with their presence. The orchestra was led by Mr. Chapman, as first violinist, and included Mr. MacCullagh, and several other gentlemen of known musical talent. Mr. Montegani presided at the pianoforte. The programme consisted of no fewer than sixteen musical compositions, and with but one trifling exception was strictly observed. Miss Pettman was in excellent key, and was encored in "The Maid of Switzerland" . . . The instrumentalists acquitted themselves on the whole with great credit but we think a few perceptible defects might have been avoided by two or three rehearsals previous to the concert. The whole, however, passed off extremely well, and we trust it will not be long before a similar entertainment is provided by the spirited proprietor, and that it will be as well supported.

ASSOCIATIONS: Mary Ann Pettman (vocalist, later Mrs. Smart, as see below)

"APPOINTMENTS", South Australian Register (9 June 1854), 3

William Chapman, to be a Post Office Letter carrier, vice Michael, resigned.

See also "SOUTH AUSTRALIA. [Public Service] SUPERANNUATION FUND (. . . December 18, 1855)", South Australia votes and proceedings of the Legislative Council during the first session, 1855-6 (Adelaide: W. C. Cox, government printer, 1856), 2 (DIGITISED)

RETURN showing NAMES of PRESENT CONTRIBUTORS . . . their AGES, the DATES on which they respectively ENTERED the SERVICE . . .
Robert McCullagh / 40 / 8th Dec., 1852 . . . // William Chapman / 35 / 1st June 1854 // . . . Emanuel Spiller / 32 / 16th April, 1849 // . . . William Cobbin / 52 / 6th Oct., 1851 . . .
B. T. FINNISS, Colonial Secretary.

[Advertisement], South Australian Register (11 October 1854), 1 

beg to inform, their friends and the public generally, that they will give a
at the PANTHEON, King William-street, for which occasion Mr. P. LEE has kindly offered his services, as also the following well-known talent: -
Vocalists: Miss Chalker, Miss Pettman, and Mr. Marshall (being his first appearance.)
Instrumentalists: - 1st Violins - Mr. P. Lee and Mr. Chapman.
2nd Ditto - Mr. Wm. Cobbin, jun., Mr. Watts and Mr. Mark Thayer, who has also kindly offered his services.
Viola - Mr. W. Cobbin, sen.
Violincellos - Mr. J. R. Smith and Mr. Swift.
Contra Bass - Mr. Betteridge.
Cornet-a-Piston - Mr. McCullagh.
Flutes - Mr. R. Clisby and Mr. Phillips.
Oboe - Mr. Sumsion.
Pianists - Mrs. Young and Mr. Linger.
1. Overture, "Don Juan," Orchestra - Mozart.
2. Song, "My Father Dear," Miss Pettman - S. Nelson.
3. Song, "England, England, Glorious Land," Mr. Marshall, his first appearance.
4. Solo, Cornet-a-Piston, Cavatina, from the Opera "Romeo and Juliet," Mr. McCullagh - Bellini.
5. Song, "Dream on, Young Hearts," Miss Chalker - Sporle.
6. Song, "The Maid of Switzerland," Miss Pettman - J. H. Tulley.
7. "The Star of the Night Valses," Orchestra - Charles D'Albert.
An interval of fifteen minutes.
1. Overture, "Il Barbiere di Siviglia," Orchestra - Rossini.
2. Song, "An Angel Bright," Miss Pettman - Donizetti.
3. Quartette, Slow Movement, Messrs. Chapman, Watts, W. Cobbin, sen., and J. R. Smith - Haydn.
4. Song, Miss Chalker.
5. Solo, Pianoforte, "La Pluie de Perles," Mrs. Young - Osborne.
6. Song, "England, Home of Freedom," Mr. Marshall - Hopkinson
7. Song, "As if you didn't know," Miss Pettman - L. Phillips
8. The Etna Galop, Orchestra - Par Charles D'Albert.
Tickets, 5s. each, reserved seats, 7s. 6d. . . .

ASSOCIATIONS: Marie Chalker (vocalist); Mr. Marshall (vocalist); James Watts (violin); Mark Thayer (violin); John R. Smith (cello); Henry Betteridge (double bass); William Sumsion (oboe); Rebecca Cash Young (piano)

"GRAND EVENING CONCERT", Adelaide Times (12 October 1854), 3 

The Concert given last evening by Miss Pettman and Mr. Chapman, in the Pantheon, was most numerously attended. The attractions displayed in the programme were more than realised, especially in the instrumental selections. Before particularising any part of the performance, we must express our regret that the Pantheon was chosen as a concert-room on the present occasion, as the construction of the building, and the peculiar nature of the roof, marred most materially some of the finer effects in the orchestral performances, while it deadened and rendered at times offensively flat the vocal selections. The entertainment opened with Mozart's Overture to "Don Juan," which was creditably produced, and was followed by a Song by Miss Pettman, "My father dear." The first appearance of Mr. Marshall was tolerably successful; and Mr. McCullagh made a most decided hit, his Solo on the cornet-a-piston being equal to most of those heard at first-rate provincial concerts in England. Miss Chalker, who was very flatteringly received, sang tastefully, and in a very pleasing style, the song "Dream on, young hearts;" and the song which succeeded, "The Maid of Switzerland," received a more successful rendering at the hands of Miss Pettman. The performance of the very charming "Star of the Night" valses, gained a meed of deserved applause, and was followed by an interval of fifteen minutes. The second part opened with a very brilliant execution of the Overture to "Il Barbiere di Siviglia;" and Miss Pettman gained an encore in her song "An angel bright." A finely and well executed quartette, by Messrs. Chapman, Watts, W. Cobbin, sen., and J. R. Smith, paved the way for the introduction of the gem of the evening, the pathetic and familiarly-known ballad "Annie Lawrie," sung by Miss Chalker. We never recollect to have heard the song interpreted in a more chaste or beautiful style. It was warmly encored. The solo on the pianoforte, "La Pluie de Perlis," by Mrs. Young, was a performance of great merit. The unpretending and graceful style of this lady's execution, while thoroughly effective, possesses a pleasing attraction which more florid, but less meritorious performances, will never gain. We must not conclude this short notice without remarking upon the excellence of the instrumentation throughout; and we may be permitted to express a hope that it has been in all points equally successful.

"HERR LINGER'S CONCERT", South Australian Register (26 September 1855), 2 

There was a large and highly respectable attendance at the concert of sacred music given by Herr Linger last evening at Neales's Exchange. His Excellency and Lady MacDonnell were present. The performances commenced with Handel's stately overture to the oratorio of "Saul," which was performed with spirit and precision by a full and efficient band. The quartette and chorus "Tuba mirum," and "Dies irae," from the Requiem of Mozart, followed. Its solemn strains formed a striking contrast to the joyous, spirit-stirring overture which preceded it . . . The orchestra was led by Mr. Chapman, who in fast rising in public estimation as a skilful violinist. Taken as a whole the concert was eminently successful.

ASSOCIATIONS: Richard and Blanche Macdonnell (governor and wife)

"MADAME CAILLY'S CONCERT AT NEALE'S EXCHANGE", South Australian Register (10 May 1856), 4

Yesterday evening the prima donna of the French and Italian operas appeared for the first time before a South Australian audience . . . In justice to the orchestra, under the leadership of Mr. Chapman, we must say that their instrumentation exhibited a very marked improvement, especially in Herrmann Schmidt's overture, "The King's Command" . . .

ASSOCIATIONS: Clarisse Cailly (vocalist)

"AMUSEMENTS", South Australian Register (23 August 1856), 4

. . . The great musical event of the season was a grand concert given in White's Assembly-room on the 18th inst., for the benefit of the widows and orphans of the soldiers who fell in the late war . . . As announced, the concert was conducted by Herr Linger, and Mr. Chapman was the leader. The band of instrumentalists and the choir of vocalists were more numerous and complete than on any former musical festival within our recollection in Adelaide . . .

ASSOCIATIONS: White's Rooms (Adelaide venue); the proprietor was George White, a tailor by profession, for whom Chapman had worked as a tailor before taking employment as a government letter carrier

"THE CHORAL SOCIETY", Adelaide Times (2 July 1857), 2 

This Society is advancing very favourably in the estimation of the public, and deservedly so, for almost every successive concert shows a marked improvement in some respect over the preceding one. The concert of last evening at White's Assembly Room, must have been as gratifying to the performers as it certainly was to the audience, who applauded freely and very judiciously. Herr Linger, the conductor of the Society, is deserving of all praise, for the great care he has constantly evinced to render the Society as effective as possible under existing conditions. The excellence of his pianoforte accompaniments must be well appreciated by his pupils, and the choir generally. The instrumental department played effectually with great precision some operatic selection; Mr. Chapman, the leader, cleverly sustaining the difficulties . . .

"VICTORIA THEATRE", South Australian Register (22 April 1858), 2

. . . On Wednesday evening, the charming spectacle of "Cinderella" was repeated, with all its enchantments and fairy-like accompaniments . . . Chapman's band formed the orchestra, and the house was brilliantly lighted . . .

"THE HANDEL FESTIVAL", South Australian Register (15 April 1859), 3 

The second part of this entertainment took place on Thursday evening . . . "Alexander's Feast" was the oratorio chosen for this part of the festival . . . To the instrumentalists generally too much praise can hardly be given when it is considered that they are all amateurs; and foremast amongst them is Mr. Chapman, the leader, whose violin-playing would be no disgrace to the best orchestra in the world. Mr. Jarvis, tenor violin, also deserves honourable mention . . .

ASSOCIATIONS: Thomas Jarvis (viola); Handel Centenary (general)

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

. . . The first part of the commemoration took place on Wednesday, the 13th inst., in White's large concert room; and the second on the following evening . . . The following is a list of the instrumental performers with the instruments which they severally played upon: - Violins - Chapman, White, Lower, King, Schrader; viola - Schrader; violoncellos - Lillywhite, Allen, Marshall; double bass - Betteridge, Schrader; flutes - Proctor, Spiller; clarionets - Heydecke, Sumpse [? Sumpsion], Clisby; harmonium - Light; sax horns - Vincent, Wheatley; cornopean - Wheatley . . . Mr. Linger wag the conductor and Mr. Chapman leader, while Mr. Daniel filled the important office of choral master on the occasion. The [first] oratorio selected was the "Messiah" . . . To the instrumentalists generally too much praise can hardly be given when it is considered that they are all amateurs; and foremost amongst them is Mr. Chapman, the leader, whose violin-playing would be no disgrace to the best orchestra in the world. Mr. Jarvis, tenor violin, also deserves honourable mention. The number of persons in attendance at both concerts has amounted to nearly a thousand . . .

ASSOCIATIONS: Richard Baxter White (violin); Frederick William Lower (violin); Heinrich Schrader (violin &c.); Nicholas Proctor (flute); Emanuel Spiller (flute); Theodor Heydecke (clarinet); George Thomas Light (harmonium); James Edward Wheatley (saxhorn and cornopean)

"MR. WHITE'S CONCERT", The South Australian Advertiser (18 May 1859), 2

An instrumental and vocal concert, announced by advertisement as under the patronage of His Excellency the Governor, took place in White's Room, on Tuesday evening, May 17. In consequence of the inclemency of the weather, there was a small attendance, which, however, was highly respectable, and included several members of the Ministry . . . The instrumental portion was occupied principally by Mr. White, who performed several very difficult and beautiful solos on the violin with wonderful proficiency and taste . . . The performance of Mr. Chapman on the violin was deserving of special notice . . .

"NORWOOD PHILHARMONIC SOCIETY", The South Australian Advertiser (22 October 1861), 3 

On Monday evening the Norwood Philharmonic Society gave their second grand concert, and notwithstanding the threatening state of the weather, there was a good attendance, the Town Hall being tolerably well filled with a highly respectable audience, numbering about 250. The performance commenced with an introduction by the band, which was followed by Handel's chorus, "Sing unto God," sung by the whole company, comprising seven female and 14 male voices, and 11 instrumental performers, viz.- one cornopean, Mr. McCulloch [McCullagh]; one clarionet, Mr. Sumsion; two flutes, Messrs. Spiller and Proctor; five violins, Messrs. Chapman, Finniss, Chapman, jun., and Schrader; one bass viol, and one double bass. This piece was well performed, but the volume of sound was too great for the size of the hall. Mrs. Smart then sung "Oh, had I Jubal's Lyre," in which she was deservedly encored. Mr. Herbelet accompanied her on the harmonium, and Mr. Chapman on the violin. The entire company next gave that magnificent chorus from Haydn's Creation, "The heavens are telling," and it was admirably sung, and drew forth a hearty round of applause. Horsley's beautiful trio (sacred), "When shall we three meet again," was then very sweetly sung by Mesdames Wishart and Smart, and Mr. Fry. Mrs. Wishart was in very good voice, and sung with great taste and precision. They were accompanied by Mr. Herbelet on the piano, and Mr. Chapman on the violin. The first part of the performance was concluded by the whole company giving the chorus from Handel, "Unto us a child is born," which was done with very good effect.

The second part of the entertainment (secular) began with Auber's Overture "Fra Diavolo " which was performed by the band with great spirit and execution, and was loudly applauded and encored. The whole company then gave Rossini's Grand Ode, which was followed by C. F. Adams' Serenade "Maiden Listen," sung by Messrs. Bundle, Harris, Gooden, and Fry; after which Mrs. Wishart sung Hobbs's "Nina" in her best style; being encored she substituted "Lovely Night." The male performers then sang the chorus from Tancredi (Rossini) accompanied by the band. The next song was "The Blind Girl to her Harp" by Mrs. Smart, and this also was encored, when "Mary of Argyle" was substituted. Mr. Proctor then played a flute solo by Clinton, with a quartette accompaniment, which was also encored. Glover's Duet, "A Voice from the Waves" was then sung by Mrs. Smart and Mrs. Wishart. An attempt was made by a number of noisy and ill behaved boys to get up an encore, but the performers did not seem inclined to yield; the lads, however, kept up a disturbance for several minutes; at last the band commenced the last piece, but were completely put down by the noise. Mr. Chapman, the conductor, then addressed the assembly, saying that he thought there had been quite encores enough, and any reasonable person should be satisfied without another at that late hour (past 11 o'clock). The sensible portion of the meeting agreeing to this, the last piece was brilliantly executed - The chorus of Gipsies - from "II Trovatore" (Verdi.)

The entertainment did not close till past 11 o'clock almost too late an hour for the quiet inhabitants of Norwood and Kensington, but the length of the evening was somewhat protracted by the repeated encores, even in the case of songs which in themselves were quite long enough. It is really too bad to tax the singers to such an extent when a good programme is prepared, and displays neither good taste nor good manners. After making these remarks we feel bound in justice to say that the encores were entirely got up by a number of boys, who ought to have had some one to keep them in order. The whole entertainment was a highly creditable one to this Society, which is still in its youth, and most of the performers being amateurs. We thought before hearing the concert that the charge for admission was rather high, but from the large attendance and excellent entertainment provided, we were inclined to alter our opinion, for we have frequently heard performances in Adelaide where the charge has been higher, and the entertainment not a whit better. We are very glad to see the Norwood Town Hall called into such frequent requisition for rational amusement and instruction. We think the Norwood Philharmonic Society might venture on giving then next concert in White's Room.

ASSOCIATIONS: Boyle Travers Finniss (violin); Mrs. Smart (vocalist, Mary Ann Pettman above); Susannah Wishart (vocalist); James William Heberlet (piano); Norwood Philharmonic Society (association)

"THE GROCERS' ASSOCIATION DINNER", The South Australian Advertiser (18 December 1863), 3

The anniversary dinner of the above Association was held at the Norfolk Arms, Rundle-street, on Thursday evening, December 17. About 60 gentlemen partook of an excellent and abundant repast, prepared by the well-known host, Mr. George James.
Chapman's band was in attendance, and its enlivening strains added a great deal to the enjoyment of the evening . . .
The Chairman proposed the usual loyal and patriotic toasts, which were responded to, the band playing the usual loyal airs . . .
Band - "St. Patrick's Day" . . . Band - "Here's a health to all good lasses" . . .
Band - "Song of Australia" . . . Band - Selections from Operatic pieces . . . Band - "Overture" . . .
Solo on the violin, Mr. Chapman - "Auld Robin Gray" . . . Band - "He's a jolly good fellow" . . .

"MARRIAGE", The Adelaide Express (5 May 1865), 2 

CHAPMAN - EMERY. - On the 4th May, at the Methodist New Connexion Church, Franklin-street, by license, by the Rev. James Maughan, Mr. William Chapman, Jun., eldest son of Mr. William Chapman, of the Post Office, to Jemima, second daughter of Mr. John Emery, of New Woodford, near Magill.

"DEATHS", South Australian Register (31 December 1872), 4 

CHAPMAN. - On the 29th December, at her son's residence, Angas-street east, Catherine Chapman, aged 72 years, mother of Mr. William Chapman, sen.

"DEATHS", South Australian Register (12 August 1891), 4 

CHAPMAN. - On the 11th August, at her residence, Sevenoaks Cottage, Angas-street, Julia, the beloved wife of William Chapman, sen., aged 69 years.

"THE LATE MR. WILLIAM CHAPMAN", The Advertiser (2 January 1897), 7

The death is announced at the age of 77 years of Mr. William Chapman, who was well-known in the city as "the father of the post-men." Some years ago Mr. Chapman had an attack of influenza from the effects of which he never recovered, and he died at his residence, Angas-street, on Friday. Mr. Chapman was born at Sevenoaks, Kent, England, on August 20, 1820, and was educated at the local school. He was afterwards apprenticed to the tailoring trade at Sevenoaks, and worked at the trade for some years in England, and also in South Australia with the late Messrs. G. Barclay and G. White. He arrived in the colony by the ship Asiatic on December 26, 1849, and had resided in Adelaide ever since, with the exception of two visits to the Victorian diggings in 1852 and 1853, though with little success. He entered the Government service as a letter-carrier on June 1, 1854, and held that position up till May 31, 1893, when he was compelled to resign owing to failing health, having completed 39 years in the Post-Office. Mr. Chapman was very fond of music and received his first lessons on the violin when only seven years old. He played with the celebrated Jullien's band in London in the early forties. For many years he was conductor of one of the first bands in Adelaide, being connected with the late Herr Carl Linger as leader of the choral society, which first produced the now well-known Song of Australia. He was in possession of a certificate from the Handel Commemoration Festival, given for services rendered at the first production of the Messiah and Alexander's Feast, in this colony. The certificate is signed by Mr. E. W. B. Glandfield, chairman, Herr Carl Linger, conductor, Mr. J. W. Daniel, choral master, and Mr. William Chapman, leader. There was not a ball or dance of any consequence for which he did not supply the music, being famed for accenting and timekeeping, and he was also a member of the Philharmonic Society which was instrumental in getting the beautiful organ now in the Town Hall. Chapman's Band was likewise well known at the flower shows and concerts, Victoria Theatre and operas. He could also play the cornet and viola when required to make up a part if short of a man. He was a life member of the Adelaide Liedertafel. Mr. Chapman was a Freemason, having been a member of the Lodge of Harmony No. 3. He was a member of the Manchester Unity Order of Oddfellows from the time he arrived in the colony, and for some time he was a trustee of the Adelaide Lodge. His wife, who accompanied him from England, died five years ago. Besides four sons who came out with him he had eight children born in the colony; nine of the twelve survive him. The eldest son (Mr. William Chapman) is now No. 1 letter-carrier, having been in the public service for 34 years. The deceased also leaves 25 grandchildren. The funeral will take place at the West-terrace Cemetery, to-morrow afternoon.

ASSOCIATIONS: Adelaide Liedertafel (association); on the funeral, see also "THE LATE MR. WILLIAM CHAPMAN", The Advertiser (4 January 1897), 7 

"DEATHS", The Advertiser (4 January 1897), 4

CHAPMAN. - On the 1st January, 1897, at Sevenoaks Cottage, Angas-street, William Chapman, sen., in his 77th year. For 39 years a letter carrier G.P.O.


. . . My friend also reminds me of a very old identity in Paddy McCullogh [Robert McCullagh], who played in the orchestra for most of the visiting companies, and was quite a host in himself. He used also to be much in demand for private dances. Poor old Paddy! Always up to some mischief! If a pea was discovered in the mouthpiece of Schrader's cornet, or a handful of feathers in the bell of the trombone, Paddy got the credit of it whether he was guilty or not; but I am bound to admit that he generally was. Paddy was a letter-carrier all day, and his massive form and genial Irish face were well known by Adelaideans. Chapman, another letter carrier, was also a musician, and played second violin under Johnny Hall for many years at the Theatre Royal with Wiedenhofer as bass, Weber as clarionet, Proctor as flute, and dear old Schrader as cornet . . .

ASSOCIATIONS: John Henry Lyons (memoirist); John Thomson Hall (violin); Dietrich Heinrich Weidenhofer (double bass); Peter Weber (clarinet)

"EARLY DAY LETTER CARRIERS", Observer (7 February 1925), 34 (with photographs) 

From May, 1885, Adelaide letter carriers for many years wore a uniform of belltopper with band, scarlet cut-away coats (as shown in the photographs), and blue trousers. Later white cut-away coats were worn in summer. Our photo graphs show:-
William Chapman, letter carried for 30 years, and leader of Chapman's musical band.
William Chapman, jun., of Kent Town, postman for nearly as many years as his father.

"LETTER CARRIERS OF OLD ADELAIDE", The Register (10 February 1925), 14 

From A. T. SAUNDERS: In last week's Observer are photographs of Mr. William Chapman and his son, William, in the uniform of Adelaide letter carriers. The father joined the postal service on June 1, 1854, and retired in 1893, and the son joined on November 1, 1863, and retired in 1909: so, for 55 years father and son were well known to Adelaide's citizens. Mr. William Chapman, a tailor by trade, and an ardent musician, left Seven Oaks, England, arrived in the Asiatic (26/1[2]/49) during a howling dust storm, and worked at his trade in the employ of Mr. White and Mr. Barclay (before he became a postman).
The Weekly Dispatch of 21/5/53 has a petition from the five Adelaide postmen who then were Robert McCullagh, Frederick Strong, Otto Michoel, William R. Cobbin, and Robert May.
In the Blue Book for 1868 are the names of the then 10 Adelaide letter carriers, and Robert McCullagh, who joined the service in 8/12/52, is the only survivor of the five of 1853.
The other nine, in 1868, were William Chapman, joined 1/6/54: J. Eichoff, 11/7/60; William Maley, 10/7/61; William Chapman, jun., 1/11/63 (now of 13 Howard street, North Kensington); C. J. Gent, 14/9/64; S. Bosher, 5/3/66; E. L. Virso, 16/6/67; W. T. Marlow, 1/6/67; and F. W. Geisler. 15/4/1868.
In May, 1855, a scarlet uniform, coat, dress coat patterns, and black belltopper with a 2 in. gold band, were issued to the letter carriers, and subsequently blue coats and waistcoats, and afterwards caps, as shown in the photographs, succeeded the belltoppers. Light unbleached drill coats were worn in the summer. The surviving Mr. Chapman has preserved an almost unused scarlet coat.
Mr. Chapman brought with him, in 1849, four sons, William, born 18/3/1844, and still on deck, as is George, the youngest, born 27/2/1847, and still carrying on his trade as a tailor in Freeman street. Henry, who was in the employ of Mr. W. Kither, and of The Advertiser, is dead, as is also Charles, an iron moulder, who died, 3/3/1924.
Mr. William Chapman, jun., delivered letters to Lower North Adelaide, in the early days before the present bridge and King William road existed, and when the Devil's half-acre, Frying Pan Alley, and Irish Town, were parts of Lower North Adelaide.
Early Adelaide people from 1849 knew Mr. William Chapman as a musician. He played the violin and cornet, and was taught the former instrument in England, at the instance of Lord Stanhope. Chapman's Band was an institution, and provided music on the visit of the Duke of Edinburgh, in 1867, and on the visit of the present King in 1880. He was leader of the Victoria Theatre Orchestra, and furnished music for Government House functions, flower shows, and &c. The late Carl Linger and he were associated, and the Italian opera companies of the '80's and '70's had his services. He was a foundation member of the chamber music concerts, in connection with the father of the now famous Percy Grainger. Mr. George Chapman, of Freeman street, was apprenticed to John A. Northmore, draper, of Rundle and King William streets, and father of Judge Northmore, of Western Australia.

ASSOCIATIONS: Alfred Thomas Saunders (memoirist); Philip Stanhope (Lord Stanhope, of Kent, patron); John Harry Grainger (amateur musician)

"Walked Six Times Around The Earth", The Register News-Pictorial (9 August 1930), 2

Mr. William Chapman, 86, who died yesterday at Howard street, North Kensington claimed to be the oldest living scholar of Pulteney Grammar School. Born at Sevenoaks, Kent, he was brought to Australia when five years old. He was 45 years in the postal service, and was a letter carrier for 35 years, in which time, he reckoned he walked the equivalent of six times around the earth. He was a capable violinist, and his father formed Chapman's Band, the first orchestra in South Australia to take part in the performance of Handel's Messiah.

"LINKS WITH CARL LINGER", The Advertiser (17 February 1936), 14 

. . . William Chapman was one of South Australia's most prominent violinists in his day, and was leader of the orchestra which Carl Linger conducted in the "Adelaide Rooms," or "White's Rooms," King William street, Adelaide, on April 13 and 21, 1859, on the occasions of the first performances in this state of Handel's immortal Messiah. A Handel Festival Committee had been formed for the purpose of organising a centenary commemoration festival in honor of the hundredth anniversary of this master's death. With a choir of 70 and an orchestra of 20 performers, and an audience of distinguished citizens, which included the Governor and Sir Charles Cooper (Chief Justice) - suitable homage was paid to Handel; and when the poetical eulogy of "The Register" musical critic of that time is read, it is realised that every effort was made to do justice to the occasion in this department also: -

"All who were at White's room last evening, at least all who are sensible of the potent influence of that divinest science which 'takes the prisoned soul and laps it in Elysium,' must have en- joyed no inconsiderable treat. The very occasion - an in memoriam to the genius of Handel, to whom belongs par excellence the fame of having clothed Christian verities in grandest tones, was attractive and congenial, while the thought that the tribute of admiration was being paid on the very day on which 100 years before the soul of that mighty musician passed to the quirestry of eternity, spread a diapason of deep and solemn feeling . . ."

Mr. Stephen Parsons, who was good enough to turn up the old files of "The Register" for the writer, remembers well the singing of J. W. Daniel in the early eighties, and also the excellent violin playing of William Chapman, who was described in the press report already quoted from as being "worthy of a place in any orchestra in the world" . . .



Amateur musician, piper, bagpiper, bagpipes player, farmer

Born Scotland, c. 1821; son of John CHARLESON (c. 1802-1880) and Mary FINLAYSON (c. 1804-1875)
Arrived VIC, c. 1848
Married Jessie LAMOND, VIC, 1851
Died Clunes, VIC, 7 August 1918, aged "97" (TROVE tagged by Australharmony) (shareable link to this entry)

ASSOCIATIONS: Scottish music in colonial Australia (general)


"GATHERING OF COMUNN NA FEINNE", Geelong Advertiser (3 January 1860), 2 

At half-past nine o'clock yesterday morning the piper played the "Gathering of the Clans," and by ten o'clock a tolerable muster of the members of Comunn na Feinne formed in a procession from the Mechanics' Institute and marched to the ground in South Geelong. The weather was far from favorable, and as the day wore on, it became decidedly worse and worse . . . PIPE MUSIC (MARCHES). Peter Bruce, 1st prize; Peter Mitchell, 2nd prize.
PIBROCH. Mr. Charleson, 1st prize (set of silver mounted bagpipes, valued 30 guineas); Peter Bruce, 2nd prize. STRATHSPEYS AND REELS (MUSIC). Peter Bruce, 1st prize; Mr. Mitchell, 2nd prize . . .

ASSOCIATIONS: Peter Bruce (piper); Peter Mitchell (piper)

"CALEDONIAN GATHERINGS", The Star [Ballarat, VIC] (6 January 1862), 3

. . . The Caledonian Games at Sandhurst were also held on New Year's Day. The attendance was greater than on any previous occasion; the occasion was made a holiday, and, says the Bendigo Advertiser, there were about 7000 present. In selecting the programme of games for the first day, the committee very judiciously avoided the strict nationality which characterised the first day of the last gathering . . . The music, too, which was provided for enlivening the proceedings, was not confined to the national bagpipe, but the Sandhurst band were stationed at the grandstand, and performed at intervals during the day. Some dozen or fifteen gentleman appeared in the tartans of their respective clans . . . The first prize for marches and strathspeys fell to Charleson, the second to Edgar.

"THE CALEDONIAN GAMES", The Star (2 January 1863), 2 

The fifth annual gathering of the Ballarat Caledonian Society come off on New Year's Day at the Copenhagen Grounds, when from 4000 to 5000 persons assembled to honor the occasion . . . The band of the B.V.V.R. and bagpipe players, with lungs of invincible power and resource of wind, kept the whole day long alive with music, so that what with crowds, colors, music and shouting, the scene, from the bagpipe overture of "Auld lang syne," to the brass band finale of "God save the Queen," was one of ceaseless life and thorough holiday jollity. The first note of the day's proceedings was the starting of the procession from Roy's Hotel, in Bridge street, headed by pipers, whose performances alternated with the music of the brass band . . . The following were the events of the day: -
Best dressed Highlander.- Society's silver medal and chain, value £4. Judges, Messrs. McLennan, H. Gray, and McLachlan.
Entries- A. McDonald, J. Edgar. F. Charleson, J. Brown, Finlayson, Watty. The prize was awarded to Charleson, who was dressed in the "Blackwatch" or "Auld forty-two" tartan. A prize of £2 was also awarded to Edgar, who wore the Tullievardine tartan, and one of £1 to Watty, who wore the Forbes tartan.
Pipe Music, Pibroch - 1st prize, £4; 2nd do, £2. Judges - Messrs. McLennan, Rankin, and McLachlan.
Entries- McDonald, S. Edgar, F. Charleson. 1st prize, McDonald, air "Farewell to Kintyre;" 2nd do, Charleson, "Battle of the Park." Edgar played "McDonald's Lament" . . .
Pipe Music - Marches and Strathspeys - 1st prize, £4; 2nd do, £2. Judges - Messrs. McLennan, J. D. Rankin, and McLachlan.
Entries- S. Edgar, G. Edgar, Charleson, Finlayson. 1st prize, Finlayson (march, "Bodach na Briogaisein," or, "Carl o' the Breeks;" strathspey, "Moniemusk"); 2nd do, Edgar (strathspey, "Brachin Castle") . . .

"THE BUNINYONG HIGHLAND SOCIETY", The Star (28 December 1864), 4 

The eighth grand gathering of this society, instituted for the preservation of the music, dress, and athletic games of the Highlands of Scotland, came off on Monday on the Society's grounds, contiguous to the quiet but ancient and picturesque township of Buninyong . . . the number of spectators could not have been very far short of 1000 persons . . .
3. Music - Piabaireachd on the great Highland bagpipes - First prize, six guineas; second prize, £2.
The kilted rivals in pipe music were J. Finlayson, F. Charleson, and D. Charleson, and the prizes were assigned to the two first in the order named.
4. Music - Strathspeys and Reels - First prize, £4; second prize, £2. A. Wattie, D. Charleson, and J. Finlayson competed. The two first obtained the rewards . . .

"COUNTRY SPORTS . . . MARYBOROUGH", The Argus [Melbourne, VIC] (4 January 1905), 8 

The 48th annual gathering of the Highland Society in Prince's-park was attended by between 10,000 and 12,000 people. Results: - . . . Pibrochs. - F. Charleson, Clunes, 1; R, M. Morrison, Burnley, 2 . . .

"Horsham Caledonian Society. ANNUAL SPORTS GATHERING", The Horsham Times [VIC] (26 October 1906), 3 

On Wednesday morning [24 October] . . . when the clans gathered at the White Hart corner at 11.30, there was the largest and most picturesque muster seen for many years past. Here the procession was formed . . . They were followed by no fewer than eleven pipers, all of course correctly garbed down to the smallest detail of their clans' traditions. This unique band of masters on the national instrument comprised Messrs. Pipe-Major Stewart, James Stewart, O. P. McGlashan, R. Morrison, F. Charleson, H. Fraser, D. Cameron, A. Cameron, L. Fraser, G. Dickson, L. Cunningham . . .

"OBITUARY", Clunes Guardian and Gazette (9 August 1918), 2 

The death occurred on Wednesday of a very well-known and highly respected resident of the district in Mr. Farquhar Charleson, of Lord Clyde. The deceased was one of that band of sturdy pioneers who did so much in connection with early settlement in this country and he lived to a ripe old age to see the great progress made. He was only three years short of the century, having succumbed at the age of 97. The funeral will leave his late residence, "Hillside," Lord Clyde, this afternoon at 12.30 p.m. for the Creswick cemetery.

"OBITUARY", Creswick Advertiser (9 August 1918), 3 

A very old and highly respected resident of Lord Clyde district passed away on Wednesday last, 7th inst., in the person of Mr. Farquhar Charleson, and at the time of his death he had peached the great age of 97 years. The late Mr. John Charleson, of Green Hill, the late Mr. Christopher Charleson, and the late Mr. Finlay Charleson, of Glendonald, were brothers of the deceased. Mr. Christopher Charleson died on 2nd August, 1914, at the age of 81 years, and Mr. Finlay Charleson on 26th July, 1915, at the age of 69 years. The deceased came to Victoria from the Old Country with his parents in the year 1848, and he was thus a colonist of 70 years' standing, being the eldest of six brothers. The family sett led at Glendonaid 56 years ago. For the past five months the deceased had been confined to his bed, and was given skilled and loving attention during his failing days. His wife had predeceased her husband, but a grown-up family of five daughters and three sons survive to mourn their loss, these being Christina, Mary, Jessie, Annie, Martha, Hector, Farquhar and John, and they have the sympathy of very many friends in their bereavement, the demise of such an old and sterling pioneer being deeply regretted. The funeral of the deceased will take place to-day (Friday), the cortege leaving his late resilience, "Hillside," Lord Clyde," at 12.30 o'clock for the Creswick Cemetery.

"Crossed the Bar", Weekly Times [Melbourne, VIC] (17 August 1918), 24 

Mr. Farquhar Charleson, 97, a pioneer of the Chines district, died at his residence at Lord Clyde on August 7. He was a colonist of 72 years. In his younger days he had a reputation as a player of bagpipes.

Will and grant of probate, 1918; Public Record Office Victoria (DIGITISED) (DIGITISED)

See also "Wills and Estates", Weekly Times (26 October 1918), 26 



Active Adelaide, SA, 1850 (TROVE tagged by Australharmony) (shareable link to this entry)


[News], South Australian Gazette and Mining Journal [Adelaide, SA] (12 October 1850), 2 

MR. A. MOORE begs to, inform the Public of Adelaide and its vicinity, that he intends giving a Series of
FOUR PROMENADE CONCERTS, TO TAKE PLACE On the 15th and 29th October, and the 12th and 26th November . . .
Conductor and Director - ANDREW MOORE.
Programme of First Concert:
PART I. 1. March, Figlia de Regimento, Donizetti - Full Band.
2. Song, By the Sad Sea Waves, Benedict - Mr. Robert Charleton - his first appearance . . .
PART II. 1. Polka - The Drum, Julien - Full Band.
2. Song - Molly Bawn, Lover - Mr. Robert Charleton . . .

ASSOCIATIONS: Andrew Moore (violinist, conductor)

MUSIC: By the sad sea waves (Benedict); Molly Bawn (Lover)

"MR. MOORE'S CONCERT", South Australian Gazette and Mining Journal (17 October 1850), 4 

On Tuesday evening Mr. Moore gave the first of his series of Promenade Concerts at the Exchange, being assisted by Mr. Ellard, Miss Lazar, Herr Hunerbein, Herr Matter, Mr. Charleton, and a most efficient band. The March from the Filia de Regimento, with which the concert commenced, was very well given by the band. Mr. Charleton's song, "By the Sad Sea Waves," was less successful. This gentleman, who made his first appearance on Tuesday, though possessed of a good voice, must endeavour to sing a little more in time and tune if he wishes to acquire a good reputation here. He must also try to introduce some expression into his style, and not, as on Tuesday, sing, "The Sad Sea Waves" and "Molly Bawn" with equal solemnity . . .

ASSOCIATIONS: Frederick Ellard (vocalist, pianist); Rachel Lazar (vocalist); August Christian Huenerbein (musician); Charles Albert Frederic Mater (musician); Exchange Rooms (Adelaide)

"LOCAL INTELLIGENCE", Adelaide Observer (19 October 1850), 3 

. . . A Mr. Robert Charleton made his bow to a South Australian audience, and in two successful efforts gave promise of becoming our best male vocalist, a position, considering his competitors, not very eminent. He possesses the great desideratum a good voice, and a tolerable ear, but his manner is open to great improvement. He must, to give effect to his songs, endeavour to express their spirit, and not, as on Tuesday night last, give a droll ditty with all the solemnity of the De Profundis . . .


Actor, vocalist, songwriter

Born c. 1823
Active Green Hills, VIC, by late 1856
Died Forest Hill, VIC, 4 February 1859, aged "36" (TROVE tagged by Australharmony) (shareable link to this entry)


? [Advertisement], The Argus [Melbourne, VIC] (28 February 1853), 1 

Male Vocalists . . . Mr. Charlton, Ballad singer . . .

ASSOCIATIONS: Royal Exchange Hotel (Melbourne venue)

"GREEN HILLS", The Star [Ballarat, VIC] (31 December 1856), 2 

The storekeepers and others residing on the Green Hills, having generously given a purse of money to be expended in prizes to be given away on Boxing-day, several old English sports took place on the Main-road, climbing the soapy pole, jumping in sacks, diving for oranges, and foot and hurdle races for boys, &c, &c. Above 400 persons were present, who appeared to be highly delighted with the sport. A grand rifle and several shooting matches took place on Saturday, at which a great number were present. The whole of the sports, and the ball at Jullien's Salle de Dance, were under the management of Mr. W. F. Charlton. - Communicated.

"CHRISTMAS SPORTS ON FOREST CREEK", Mount Alexander Mail [Castlemaine, VIC] (5 January 1859), 2 

. . . The evening entertainments consisted of free concerts, etc., supported by Mrs. Byrne, so long a favorite on Forest Creek, Mr. Ingles, the comedian and comic singer, Mr. Smith, pianist, who sung some of Henry Russell's compositions very creditably, Mr. W. F. Charlton, local writer and singer, (this gentleman convulsed his audience with three or four of his local compositions; his song on the late Bazaar is well worth a trip to Forest Creek to hear). Miss Burnett and Mr. J. Carroll diversified the entertainments with some really capital dancing, ably accompanied by Mr. W. Hunter, the violinist, who has recently joined the company, which, together with a ballet, played by the whole of the corps dramatique, forms a pleasing and rational evening's amusement, and it is to be hoped the public will support the proprietor for his endeavors to promote their gratification . . .

ASSOCIATIONS: Mrs. Byrne (vocalist); W. Hunter (violinist)

"DEATH OF AN ACTOR", Mount Alexander Mail (11 February 1859), 4 

On Friday, Mr. W. F. Charlton, an actor, who has been performing for some time past at the Mount Alexander hotel, died very suddenly, from congestion of the brain. While out shooting with Mr. Cowper, and several other friends near Mount Alexander, the deceased after partaking of a hearty dinner, suddenly complained of illness, and almost immediately expired. His companions were exceedingly shocked at this unexpected event. In seeking the assistance of the police, the party lost themselves in the bush, and experienced some difficulty in finding their way back to the corpse. The unfortunate man is said to have been excessively addicted to ardent spirits, and there is no doubt that this habit had predisposed him to sunstroke. Mr. Charlton was the author of some verses of local celebrity.

Inquest, W. F. Charleton, 5 February 1859; Public Record Office Victoria (DIGITISED)

. . . The Examination of Joseph Patrick of Forest Creek . . . I am a miner and reside at Forest Creek. Have known deceased for several months . . . He has been drinking hard of late . . .

. . . The Examination of George Ingles of Forest Creek . . . I am a professional singer and reside at Forest Creek. I have known deceased for two years . . . I don't know the age of deceased but he may be about 36 years old . . .

ASSOCIATIONS: George Ingles (vocalist)

"INQUESTS", Mount Alexander Mail (11 February 1859), 5 

The following inquests have been held by Dr. Preshaw, district coroner. On the 5th instant, at Harcourt, on the body of W. F. Charlton, aged 36. It appeared that deceased died from congestion of the brain, caused by exposure to the sun; and the jury accordingly returned a verdict to that effect. In his pocket was found an order on Mackay, Baines, and Co., for a sum of money; the coroner directed the police to hand it to the curator of intestate estates . . .



Active Parramatta, NSW, 1855 (TROVE tagged by Australharmony) (shareable link to this entry)


[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.
PART I . . . Romance - "Childhood's Days" (Joseph) - Mehul. Master Charlton (his first appearance) . . .
PART II . . . Song - "The merry Sunshine" - S. Glover. Master Charlton . . .
Mr. Packer will preside at the pianoforte . . .

ASSOCIATIONS: Mrs. Frank Andrews (vocalist); Charles Sandys Packer (pianist, probably Charlton's music teacher); Miss Griffiths (pianist, probably another of Packer's pupils)

MUSIC: "Childhood's days" probably = Romance (Mehul, from Joseph, act 1 no. 2); I love the merry sunshine (Stephen Glover)

"A NEW CANDIDATE FOR PUBLIC FAVORS", The Goulburn Herald and County of Argyle Advertiser (28 July 1855), 2 

An accomplished vocalist, named Mrs. Frank Andrews, has recently arrived in Sydney, where she has been giving a variety of concerts which met with a very cordial reception. Mrs. Andrews gave a concert in the hall of the King's school, Parramatta, last Monday evening, Mr. Packer presided at the pianoforte. Besides Mrs. Andrews, the other vocalists were Miss Griffiths, Mr. Packer, Mr. Banks, and Master Charlton. The entertainment comprised a list of favorite songs, duets, &c., and was well and respectably attended. It is probable that Mrs. Frank Andrews will visit Goulburn in the course of her professional tour.

ASSOCIATIONS: Thomas Banks (vocalist)

CHARLTON, John Thompson (John Thompson CHARLTON; Mr. J. T. CHARLTON)

Merchant, importer of pipe organ

Born Hull, Yorkshire, England, 1826; baptised Hull, 21 June 1826; son of Thomas CHARLTON and Rebecca THOMPSON (m. Selby, 17 July 1825)
Married Hannah Elizabeth BREEZE, St. Mary, Lambeth, Surrey, 30 September 1850
Arrived Melbourne, VIC, by 1852
Died Bridbane, QLD, 10 December 1878. age "51" (TROVE tagged by Australharmony) (Wikipedia) (shareable link to this entry)


"Deaths", Maryborough Chronicle, Wide Bay and Burnett Advertiser [QLD] (10 December 1878), 2 

THOMPSON - On the 26th November, in Brisbane, of consumption, aged 51 years, Mr. John Charlton Thompson [sic], surveyor, of Townsville, late of Rubyanna, Burnett, beloved and only brother of Mrs. Sibley, of South Brisbane, the only son of the late Thomas Robert Charlton, of Hull, Yorkshire. His end was peace.

"THE MELBOURNE PHILHARMONIC SOCIETY. I", The Argus (25 December 1878), 6

[History] . . . The first performance was given in the hall of the Mechanics Institution on Christmas Eve, 1853, the performance being a selection from Handel's "Messiah." Mr. Russell conducted, Mr. Ashton, organist of the Wesleyan Chapel, Collins street, was organist, playing on an instrument lent to the society for three months by Mr. J. T. Charlton . . .

ASSOCIATIONS: John Russell (conductor); Michael Ashton (organist); Melbourne Philharmonic Society (association)

Bibliography and resources:

Enid Noel Matthews, Colonial organs and organbuilders (Melbourne: Melbourne University Press, 1969), 111, 134 

John Thompson Charlton, 


Bookseller, theatrical printer and publisher of songsters

Born Charlwood, Surrey, England, 15 April 1798 (date on gravestone); baptised, St. Nicholas, Charlwood, 3 June 1798; son of James CHARLWOOD and Phoebe WICKS (PENFOLD)
Married Jane LAKER (1800-1883), St. Nicholas, Brighton, Sussex, England, 28 April 1823
Arrived Melbourne, VIC, 4 March 1851 (per Success, from London and Plymouth, 24 October 1850, via Adelaide)
Died Kew, VIC, 27 April 1860 (TROVE tagged by Australharmony) (shareable link to this entry)


Bookseller, theatrical printer and publisher of songsters

Born Norwich, England, 10 September 1827 (date on gravestone); son of Arthur CHARLWOOD and Jane LAKER
Arrived Melbourne, VIC, 7 January 1850 (per Harpley)
Died Kew, VIC, 5 October 1858, aged "31" (TROVE tagged by Australharmony) (shareable link to this entry)


Bookseller, theatrical printer and publisher of songsters

Born Norwich, England, 28 March 1836; son of Arthur CHARLWOOD and Jane LAKER
Arrived (1) Melbourne, VIC, 4 March 1851 (per Success, from London and Plymouth, 24 October 1850, via Adelaide)
Married Hepzibah Parker ANTHONY (1832-1922), Norwich, England, 1863 (2nd quarter)
Arrived (2) Melbourne, VIC, 9 September 1863 (per Suffolk, from London, and Plymouth, 28 June)
Died Beechworth, VIC, 25 November 1905 (TROVE tagged by Australharmony) (shareable link to this entry)

Trading as Charlwood and Son (also "Charlwood and Sons"): (TROVE tagged by Australharmony)

ASSOCIATIONS: Charles Thatcher (songwriter, comic vocalist)

Charlwood and Sons [sic], Bourke-street east; lithograph by Calvert [c. 1855]

Charlwood and Sons [sic], Bourke-street east; lithograph by Samuel Calvert [c. 1855]

ASSOCIATIONS: Samuel Calvert (artist, engraver)


Baptisms, St. Nicholas, Charlwood, Surrey, 1798; register 1794-1812, Surry History Centre (PAYWALL)

June - 3d. Arthur son of James & Phoebe Charlwood

Marriages solemnized in the parish of Brighthelmston [St. Nicholas, Brighton] in the county of Sussex in the year 1823; register 1820-23, page 276; East Sussex Record Office, PAR 255/1/3/3 (PAYWALL)

No. 836 / Arthur Charlwood of this parish bachelor and Jane Laker of this parish spinster were married in this church by banns this [28 April 1823] . . . [witness] Phoebe Charlwood . . .

England census, 6 June 1841, St. Andrew, Norwich; UK National Archives, HO107/788/1/15/23 (PAYWALL)

[Brideswell Alley] / Arthur Charlwood / 40 / Printer / [not born in county]
Jane / 40 // Stephen / 13 // Elizabeth / 11 // [all not born in county]
Phebe / 9 // Phillip / 7 // Edward / 5 // Charles / 8 months / [all born in county]

"SHIPPING INTELLIGENCE. ARRIVED", The Argus [Melbourne, VIC] (5 March 1851), 2 

March 4 - Success, ship, 621 tons, from London via Adelaide 19th ultimo. Passengers (cabin) . . . Mr. and Mrs. Charlwood and family . . .

[Advertisement], The Argus (25 January 1855), 8 

THEATRICAL. - Professional Ladies and Gentlemen wanted to complete a company for the country. Thespis, Charlwood Son's.
THEATRICAL, - Musicians, Singers, Dancers wanted. State terms and full particulars. Address (by letter), Thespis, Charlwood and Son's.

"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 . . .

ASSOCIATIONS: John Henry Anderson (magician); The era (London theatrical and general weekly newspaper)

"DIED", The Age (7 October 1858), 4 

On the 5th October, at his residence at Kew, in deep consumption, Stephen, the eldest son of Mr. A. Charlwood, of the firm of Charlwood and Son, Bourke street, Melbourne. Deeply lamented by his relations and friends. Aged 31 years.

Probate, Stephen Charlwood, 1858; Public Record Office Victoria (DIGITISED) (DIGITISED)

"DEATHS", The Argus (28 April 1860), 4 

On the 27th instant, at his residence, Kew, Mr. Arthur Charlwood, aged 62 years, of the firm of Charlwood and Son, Bourke-street.

See also headstone transcription (PAYWALL)

Here rest in sure and certain hope of a joyful resurrection to eternal life the mortal remains of Arthur CHARLWOOD born 15 Apr 1798 died 27 Apr 1860 and Jane his beloved wife born 8 Jun 1800 died 17 Apr 1883 also their children Stephen born 10 Sep 1827, died 5 Oct 1858 Philip born 10 Apr 1834 died 3 May 1856 Susanna born 29 Aug 1842 died 7 May 1871 Elizabeth CHARLWOOD born 23 Oct 1829 died 4 Aug 1893 . . .

Probate, Arthur Charlwood, 1860; Public Record Office Victoria (DIGITISED) (DIGITISED)

Names and descriptions of passengers per Suffolk, from London, 20 June 1863, for Melbourne; Public Record Office Victoria (DIGITISED)

Steerage Continued . . .
Charlwood Edward / 28 / Goldseeker / English . . .
[Charlwood] Hepzibah / 29 / Wife / [English] . . .

"DEATH OF MR. EDWARD CHARLWOOD", Ovens and Murray Advertiser (29 April 1905), 5 

Just as the business of the day was commencing in Beechworth on Tuesday morning, the sad news was circulated of the death of Mr. Edward Charlwood, at his residence, in John-street, at the age of 68 years. The deceased was a native of Norwich, England, and came to Victoria many years ago to rejoin his father who had established a bookselling and printing business, in which theatrical work was a specialty, adjoining the general post office in Bourke-street, Melbourne. Here he was employed for a number of years and at Royal-lane, to which place the printing business was removed at the death of Mr. Charlwood, senior. He sustained serious financial reverses and, about 25 years ago Mr. Edward Charlwood took a printing plant to Bright and attempted to establish a newspaper. The venture did not prove successful and, acting upon advice, Mr. Charlwood shifted his type and machinery to Beechworth, where it was purchased by A. Porritt & Co., of the "Ovens Register" office, who also gave the deceased and his son positions on their staff. For upwards of 20 years he remained in the employ of the firm, until failing health caused his retirement some three years ago. Mr. Charlwood was one of the founders of the now defunct Beechworth Liedertafel, and his geniality so endeared him to members that, when he was no longer able to sing with the society, he was always an honoured guest at their festive gatherings, where his remarkable, ready wit always formed a feature of the evening's amusement. For the past three years his health, though not good, still permitted him to get about, and he was in full possession of all his faculties. He was reading his Bible on Easter Monday night and retired in his usual health. Early next morning he tried to turn in his bed and only then found that be was partly paralysed. The discovery came as a great shock and he died in a few minutes. He leaves a widow, two sons and one daughter.

Extant playbills:

[Playbill], Cremorne Gardens, 22 November 1856; Charlwood and Son (State Library of Victoria)

[Playbill], Cremorne Gardens, 22 November 1856; Charlwood and Son (State Library of Victoria)

Several favorite Overtures, Marches and Operatic Pieces will be introduced by the
will commence the
Will introduce the following Dances on the
La Tyrolienne, Pas de Chasse, and a Sailor's Hornpipe.
will give a GRAND SELECTION from the
7 feet 6 inches high,
Mr. PRESCOTT will give a
Consisting of Waterpieces, Rockets, Shells, Balloons, and Set Devices, concluding by
Illuminating MOUNT VESUVIUS with Colored Fires!
after which,
Dancing will take place on the Rotunda.
It is the intention of the Manager to give a GRAND JUVENILE NIGHT every Saturday Evening during the Season.
GALA NIGHTS - Monday, Wednesday, and Friday,
Upon which occasion the ERUPTION of MOUNT VESUVIUS will take place.
Charlwood & Son, Printers, 7, Bourke-street, East.

See also [Advertisement], The Age (22 November 1856), 1 

ASSOCIATIONS: Anna Dalle Case (acrobat, dancer); Felix Lalanne (acrobat, dancer); English Opera Company (troupe); Cremorne Gardens (Melbourne venue); George Coppin (proprietor)

Theatre Royal, vice-regal command, this evening Friday, June 16, 1865, Barry Sullivan (Melbourne: Charlwood & Son, 1865) (DIGITISED)

ASSOCIATIONS: Barry Sullivan (actor); Theatre Royal (Melbourne venue)

Published songsters:

The Victoria songster, parts 1-4, 1855-56

List of contents of The Victoria songster, parts 1-4

See here, in the Charles Thatcher mainpage, for a full listing of contents of all the Charlwood songsters below

The Victoria songster (5 parts; Melbourne: Charlwood, 1855-58; new edition of part 5, 1859; second edition of part 5, 1860)

The Victoria songster (part 1)

The Victoria songster, containing various new and original colonial songs together with a choice selection of the most popular songs of the day from the best authors [part 1] (Melbourne: Charlwood & Son, 1855)

Copy at State Library of New South Wales; incomplete (not digitised) 

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

NOW READY, Part I, of the Victoria Songster, containing several new and original Colonial Songs; together with a choice selection from the most popular authors of the day. Price One Shilling. Charlwood and Son, 7 Bourke-street east.

[Advertisement], The Argus (24 April 1855), 8 

THE VICTORIA SONGSTER contains Villikins and his Dinah, original version; Forty Shillings and take him away.
THE VICTORIA SONGSTER: New Songs - Cockney Emigrant, Song of the Gold-miners, Where's your License, Lilly Dale.
THE VICTORIA SONGSTER; Original Songs - New Aristocracy, Persevering Gold-digger, Unlock the Lands; Barrister at Melbourne.
THE VICTORIA SONGSTER, price 1s., contains a choice selection of Colonial Songs, Charlwood and Sons [sic], 7 Bourke street east.

"VICTORIA SONGSTER", The Argus (25 April 1855), 5 

A collection of favorite songs, with a large infusion of ditties of colonial authorship, has been published by Messrs. Charlwood and Sons, of Bourke-street. The book contains a well-executed cut of Coppin, singing "Villikins and his Dinah."

The Victoria songster (part 2) [Melbourne: Charlwood & Son, 1855]


[Advertisement], The Argus (7 July 1855), 7 

THE VICTORIA SONGSTER. New Songs in No. 2: Foreigners in Melbourne, The Worked up Gully, Lilly Bell.
THE VICTORIA SONGSTER. Original local Songs in No. 2: I'll away with my Swag, Jack Jolt, Happy Land.
THE VICTORIA SONGSTER, No. 2, contains They've all got a Down upon me, Brigg's Dream, Lads of Australia.
THE VICTORIA SONGSTER - Choice songs in No. 2: Fairy Car, Thou art gone from my Gaze, The Russian War.
THE VICTORIA SONGSTER, No. 2, will be published on Monday. Price One Shilling.
Charlwood and Son, 7 Bourke-street east; and all booksellers.

"VICTORIA SONGSTER", The Argus (10 July 1855), 5 

The second number of this work was published yesterday, by Messrs. Charlwood and Son, Bourke-street. The collection of songs includes many original ones by local authors, and some of them are remarkably well written. The price of the book is only sixpence, and as the contents have been compiled with much care, and are well printed, it ought to command a rapid and extensive sale.

The Victoria songster (part 3) ([Melbourne: Charlwood & Son, 1855])


[Advertisement], The Argus (24 December 1855), 7 

THE VICTORIA SONGSTER No. 3, now ready, price Is. Charlwood and Son, 7 Bourke-street, and all booksellers.
THE VICTORIA SONGSTER contains The Adventures of Barney O'Keefe in Australia, and Shaking the Washing-Stuff.
THE VICTORIA SONGSTER No. 3 contains the Pathetic Recital of the Loves of Lilly-white Sand and the Ratcatcher's Daughter, with a first-rate Engraving.
THE VICTORIA SONGSTER. - New Songs, The New Constitution, Advance Victoria, Hail Columbia, Star-Spangled Banner, Jack Robinson.
THE VICTORIA SONGSTER contains A Conversation between a Nugget and a Sovereign, Miss Briggs, The Digger Bold.

[Advertisement], Bendigo Advertiser (1 August 1856), 1 

On Sale at the ARGUS STATIONERY DEPOT, THE VICTORIA SONGSTER, Containing Parts 1, 2, and 3, amongst which will be found several of Mr. Thatcher's favorite Songs, New and Original Colonial Songs; also, a choice Selection of the most Popular Songs of the day.

The Victoria songster (part 4)

The Victoria songster . . . [part 4] (Melbourne: Charlwood & Son, 1856)

Copy at State Library of New South Wales, pp. 110-32, incomplete at end 

[Advertisement], The Argus (18 August 1856), 7

THE VICTORIA SONGSTER. - This Day is Published, price one shilling, the 4th number of the Victoria Songster. Also, may be obtained, stitched in a neat wrapper, price 2s. 6d., the first three numbers of the above popular Song Book, containing the best selection of colonial songs ever published. CHARLWOOD and-SON, 7 Bourke-street, and all booksellers in town and country.
THE VICTORIA SONGSTER, No. 4, contains - "The New Black and White List," "All There," "Billy Barlow," "Minnie Grey."
THE VICTORIA SONGSTER, No. 4, contains - "Who's your Hatter?" "John Chinaman, My Jo," "Walk round and show your muscle."
THE VICTORIA SONGSTER, No. 4, contains - "Colonial Travelling on the Corduroy Road," "Coming down the Flat," "Norah McShane."

[Advertisement], Bendigo Advertiser (25 August 1856), 4 

THATCHER'S SONGS. VICTORIA SONGSTER, No. 4, Containing Six Original Songs by Thatcher, including "Bendigo Runaway." GEO. SLATER, Bookseller, Three doors from the Shamrock.

The Victoria songster (part 5)

The Victoria songster . . . [part 5] (Melbourne: Charlwood and Son, 1858; new edition, 1859; second edition, 1860) (147-80)

Copy (second edition, 1860) at National Library of Australia (DIGITISED) (DIGITISED)

Copy second edition, 1860) at Stanford University, facsimile (Libraries Board of South Australia, 1964) (DIGITISED) (DIGITISED)

Note, in addition to Thatcher's and unattributed songs:

Willie, we have missed you - As sung by Miss Emma Stanley, at the Princess' Theatre (151)

I'm the pet of my papa - As sung by the inimitable Sprightly, with vociferous applause; Tune - "Low-back'd car" (When first I saw my papa . . .) (154-56)

Australian humbugs - Written by Mr. Mulholand; Tune - "The king of the cannibal islands" (If attentive ears you'll yield to me . . .) (163-65)

The white-washed Yankee - Written by Mr. Mulholand; Tune - "The old English gentleman" (I'll sing you quite a novel song, made by a colonial brick . . .) (168-69)

Yankee fixins - As sung by Mrs. Barney Williams; Tune - "Old dog Tray" (I don't mind telling you . . .) (172)

ASSOCIATIONS: Emma Stanley (vocalist); James Mulholland [sic] (vocalist); Maria Pray Williams (1828-1911, Mrs. Barney Williams) (American vocalist and delineator active in Britain, George Coppin had earlier offered her an Australian engagement)

[Advertisement], The Argus (25 August 1858), 8 

THE VICTORIA SONGSTER. - The FIFTH NUMBER of this popular songbook, just published, contains, in addition to a variety of best local songs by Thatcher, the only correct version of "Old Dog Tray," "Willie, we have missed you," "My Maryanne," "Bobbing Around," "Wait for the Waggon," &c. Charlwood and Son, 7 Bourke street, and all booksellers in the colony.

[Advertisement], The Argus (18 July 1859), 7 

THE VICTORIA SONGSTER. - In consequence of the great demand for this popular song-book, a new edition of the fifth number has been published, which contains, in addition to the choice selection of colonial songs, the popular ballads of "Willie we have missed you," "Ever of Thee," "Good News from Home," and Tennyson's new war song, &c, price 1s. each number, or four parts in a neat wrapper, 8s. 6d. sold by all booksellers in the colony. Charlwood and Son, 7 Bourke-street east.

Thatcher's colonial songster (3 parts; Melbourne, Charlwood, 1857-58)

Thatcher's colonial songster, containing all the choice local songs, parodies, &c., of the celebrated Chas. R. Thatcher [Parts 1 and 2] (Melbourne: Charlwood & Son., 1857)

Copy at State Library of New South Wales; 72 pages (not digitised) 

Thatcher's colonial songster (part 1)

Thatcher's colonial songster . . . [part 1] (Melbourne: Charlwood & Son., 1857) (3-36)

Copy at State Library of Victoria (DIGITISED) (DIGITISED)

"THATCHER'S SONGS", The Age (25 April 1857), 4 

We have received from the publishers, Messrs. Charlwood and Son, copies of he first part of "Thatcher's Colonial Songster." The number, which is exceedingly well got up, contains seventeen of the vocalist's best compositions, and is exceedingly well worthy public patronage.

Thatcher's colonial songster (part 2)

Thatcher's colonial songster . . . [part 2] (Melbourne: Charlwood & Son., 1857) (37-72):


[Advertisement], The Age (12 August 1857), 3 

THATCHER'S COLONIAL SONGSTER. - No. 2 now ready. All Colonial Songs. Charlwood, 7 Bourke street, and all Booksellers.

[Advertisement], The Argus (12 August 1857), 8 

THATCHER'S COLONIAL SONGSTER contains Faithless Nursemaid, The Fight at the Rush, Lake Burrumbeet, Life of a Loafer.
THATCHER'S SONGSTER contains Mary's Dream, and the celebrated song of Petticoat lane (sung by him 275 nights at the Charlie Napier, Ballaarat; Rifle Brigade.
THATCHER'S COLONIAL SONGSTER contains Scrumptious Young Gals, Song of the Trap, State of the Markets.
THATCHER'S COLONIAL SONGSTER No. 2, contains The Chinaman, Tom Jones. Price one shilling. All new colonial songs.
THATCHER'S COLONIAL SONGSTER. - Nos. 1 and 2 are now ready; also the Victoria Songster Nos. 1, 2, 3, and 4. Price one shilling each, or the four parts of the Victoria Songster, stitched in a neat wrapper, may be had for 8s. 6d. The above are, without exception, the most popular Song Books ever published. CHARLWOOD and SON, 7 Bourke-street east, and all Booksellers.
THATCHER'S COLONIAL SONGSTER, No. 2. containing- "Ballaarat in 1855," "Best Way to Spend Your Pile."
THATCHER'S COLONIAL SONG, No. 2, contains "Blatherskyte," "By-and-bye," "Changes since 1852," "Chinaman's Fate."
THATCHER'S COLONIAL SONGSTER, Second Number, contains - "Cockney's Lament," "Colonial Curiosities," "Dream of Home," "English Notions of Diggings Life."

Thatcher's colonial songster (part 3) [Melbourne: Charlwood & Son., 1858]


"REVIEW", Bendigo Advertiser (2 July 1858), 2 

THATCHER'S COLONIAL SONGSTER: - Charlwood and Sons [sic], Melbourne.

A week or two since we gave a passing notice of the last publication of this amusing and interesting production, containing parts 1, 2, and 3, and including all the choice local songs, parodies, &c., written by Mr. Thatcher. The work, how ever, deserves something more than a mere record of its appearance, and we gladly take an opportunity of devoting some further space to its notice. Mr. Thatcher's career as a songster, is bound up with the goldfields, and more especially with Bendigo, where, we believe, he first gained that applause which has since become general . . .

Thatcher's colonial minstrel (3 parts, Charlwood, 1859-61; reissue under single cover, 1864)

Thatcher's colonial minstrel; new collection of songs by the inimitable Thatcher, only authorized edition of his songs [parts 1-3] (Melbourne: Charlwood and Son, 1859-61)

Thatcher's colonial minstrel; new collection of songs by the inimitable Thatcher, only authorized edition of his songs [parts 1-3] (Melbourne: Charlwood and Son, 1864) 

Copy at the State Library of New South Wales; 108 pages (PARTLY DIGITISED - 8 pages only) 

Copy at Stanford University (108 pages) from facsimile (Libraries Board of South Australia, 1964) (DIGITISED) (DIGITISED)

Thatcher's colonial minstrel (part 1)

Thatcher's colonial minstrel [part 1] (Melbourne: Charlwood and Son, 1859; 1864) (3-36) (DIGITISED)

[Advertisement], The Argus (13 June 1859), 8 

THATCHER'S COLONIAL MINSTREL. On Wednesday will be published (price one shilling) the first number of a new collection of SONGS by the inimitable Thatcher, to be completed in three numbers, uniform with Thatcher's famed Colonial Songster. Sold by all booksellers in town and country Charlwood and Son, booksellers, stationers, and printers, 7 Bourke-street east.
THATCHER'S COLONIAL MINSTREL. - The first number of a new collection of SONGS by the inimitable Thatcher.

Thatcher's colonial minstrel (part 2)

Thatcher's colonial minstrel [part 2] (Melbourne: Charlwood and Son, 1859/61; 1864) (37-72) (DIGITISED)

Thatcher's colonial minstrel (part 3)

Thatcher's colonial minstrel [part 3] (Melbourne: Charlwood and Son, 1861; 1864) (73-108) (DIGITISED)

"THATCHER'S COLONIAL MINSTREL", Ovens and Murray Advertiser [Beechworth, VIC] (16 March 1861), 2 

We have received No. 3 of Thatcher's Colonial Minstrel; comment on this work is needless, as Mr. Thatcher is well known as a song writer of the first class, the humorous style of his writing is admired by all, and in this series he has displayed more than ordinary ability. We would advise all who wish to make themselves acquainted with the history of the colony for the last eight years to purchase a copy of this little work, and they will never have cause to regret the expenditure of a bob.

Bibliography and resources:

Don Charlwood, "Charlwood and Son, printers and booksellers: some family notes", La Trobe journal 78 (Spring 2006), 4-10 (DIGITISED)

ASSOCIATIONS: Don Charlwood (author, descendent)


Dancer, professor of dancing, theatrical dancer, ballet dancer, actor

Arrived Sydney, NSW, 9 July 1841 (per Salazes, from Bourbon, Mauritius, 27 May)
Departed Sydney, NSW, 22 January 1843 (per City of Aberdeen, for New Zealand) (TROVE tagged by Australharmony) (shareable link to this entry)


Dancing teacher, actor

Arrived Sydney, NSW, 9 July 1841 (per Salazes, from Bourbon, Mauritius, 27 May)
Departed Sydney, NSW, 22 January 1843 (per City of Aberdeen, for New Zealand) (TROVE tagged by Australharmony) (shareable link to this entry)

DISAMBIGUATION: A French refugee, Mons. Le Charriere, opened a dancing academy at Southernhay, Exeter, England, in the late 1780s. Lewis Charriere, jun., was likewise active as a dancing master at Oxford, England, by 1798. He married Ann Turner at St. Mary the Virgin, Oxford, on 12 April 1801, and his name appeared intermittently in the press until the end of 1813, when his 11-year-old son Lewis reportedly died. He was again advertising subscription balls at Oxford in November 1834, and a Mrs. Charriere, noticed as "formerly of this city" [Oxford], died in 1838, aged 54. What relation they were, if any, unknown; although, since the Sydney couple appear to have spoken English with difficulty, they are unlikely to have spent much time in England.


Batavia (2 October 1836 to 31 July 1838):

"BATAVIA. Aangekomen", Javasche courant [Batavia, Java] (5 October 1836), 1 

Oct. 2. - . . . Frans. schip Alexander, van Bordeaux den 29sten junij, passagiers, der heer Minard en vrouw, de heer Alexander en vrouw, de heer Charriere en vrouw, de Heer Condraij en vrouw, de heer Gautrand [sic, recte Gautrot] en kine, en de heeren Noël, Donadieu en Ropert.

ASSOCIATIONS: Joseph and Madame Gautrot (musicians, later in Australia)

[News], Javasche courant (15 October 1836), 2 

M. Charriere et son Epouse, se proposent de donner des lecons de Danse; s'adresser a l'hotel de Provence.

"THÉATRE FRANÇAIS", Javasche courant (16 November 1836), 2 

. . . A la fin de I'opéra-comique les Rendez-vous Bourgeois, pièce qui nous a fait rire, M. Charrière nous donna, par son pas de Polichinelle une grande preuve de son talent; nous souhaitons beaucoup que le climat de ce pays n'aura point d'influences pernicieuses sur son physique . . . Le vaudeville les Gants Jaunes, est tres-bien exécuté, M. Charrière a prouvé qu'il est au-dessus du médiocre, dans son genre; cette petite pièce a bien amuse l'auditoire . . .

"THÉATRE FRANÇAIS", Javasche courant (7 December 1836), 1 

. . . Mme. Alexandre et M. Charriere ont dansé le pas espagnol avec autant de grâce que d'habileté . . .

"VERSCHILLENDE DEKENDMAKINGEN", Javasche courant (5 July 1837), 1 

. . . an he geven van danslessen wijden kan. CHARRIÈRE . . . donner des leçons de danse. CHARRIÈRE . . .

[2 advertisements], Javasche courant (18 July 1838), 1 

SPECTACLE-FRANÇAIS . . . Vendredi 20 Juillet 1838 . . .
LE BOUFFE ET LE TAILLEUR, Opera en 1 acte . . . Mme. GAUTROT . . .
Entre les 2 pièces LA POLICHINELLE, Dansé par M. CHARRIERE . . . F. Minard, gérant.

VERTREKKENDE PERSONEN. M. Charrière et son épouse partent pour Maurice; messieurs Herment et Blavet sont chargés de leurs pouvoirs. Batavia, 17 Juillet 1838.

ASSOCIATIONS: François Minard (actor, manager, later in Australia with the Gautrots)

[Shipping], Javasche courant (1 August 1838), 2 

Julij 31 . . . Frans. bark La Lucile, J. F. Lebesque, naar Bourbon, passagiers, de heer J. Charriere echtgenoot en kind . . .

Mauritius (? 1838-41):

Sydney, NSW (10 July 1841 to 22 January 1843):

"SHIPPING INTELLIGENCE", The Sydney Gazette and New South Wales Advertiser (13 July 1841), 2

From Bourbon, same day [10 July] whence she sailed the 27th May, the French ship Salages, Captain Williams, with sugar. Passengers, Monsieur Charrier, Lady, and servant [and child], Monsieur Dellacas [Dellecase] and two children, Monsieur Froget, Monsieur Fourcade, Monsieur Jourbert [Joubert], and Monsieur Mayuel [? Mazuel].

ASSOCIATIONS: Luigi Dalle Case and the signorinas Anna and Emilia (circus performers)

[News], The Australian (13 July 1841), 2

The French ship just arrived brings us a curious importation which promises to add materially to the means of amusement for our towns' folks. Signor Dalcase has arrived here with two Brazilian feminine rope dancers of the respective ages of seven and nine years, who were indentured to him, under the promise, that when they arrived at the age of sixteen, they would be returned to their native country, with a certain sum of money in their possession. We have had an interview with the Signor, who gives us a wonderful account of the performances of these girls, who are able to ascend a rope at any elevation without the use of balancing poles. The Signor himself is a "professor of the Herculean sciences," and performs wonderful notions such as the lifting of weights, and the management of the Olympic column. We also have to add that a Monsieur Charriere will make his appearance before an admiring Sydney audience as a comic ballet dancer, in which "profession" he is said have great merit; and though last, not least, we hear of a clever dog that plays at cards like a discreet dowager, and of a monkey that fires a gun. This corps of "acrobates" and "funambules," in other words, of tumblers and rope-dancers, will, no doubt, vastly amuse the younger portion of our friends, and reap a substantial reward for their arduous and dexterous labour.

[2 advertisements], The Sydney Monitor (16 July 1841), 3

DANCING Taught in Twenty Lessons.
MONSIEUR CHARRIERE, HAVING recently arrived in Sydney by the Salazes, from Paris,
hastens to announce to the Public of Sydney that he intends forthwith, to open an
ACADEMY for the reception of Pupils who are desirous of taking
LESSONS IN DANCING, and acquiring a knowledge of the various
which Mr. C., by a new method, can teach those who honour him with their patronage, in the
MONSIEUIR CHARRIERE having whilst in Paris, for a number of years given Lessons in Dancing in the first circles of Society, is hopeful that his exertions in the Colony will meet with that support from the Gentry of Sydney, that it will ever be his anxious care to deserve.
Letters addressed to Monsieur Charriere, at Messrs. Guion & Co., Jewellers, George-street, will meet with immediate attention.

MADAME CHARRIERE, WHO has recently arrived from Paris, begs to announce to the Gentry of Sydney, that it is her intention to
GIVE LESSONS IN DANCING at the Residences of those Ladies who may require her Attendance, or at those Academies where Young Ladies are taught Dancing.
As MADAME CHARRIERE can within a very short period teach the whole of the
ELEGANT PARISIAN DANCES recently introduced, it will be an Acquisition to those Ladies who already are perfect in the Dances hitherto in vague [sic].
[manicule] MADAME CHARRIERE does not intend Dancing in public, as it is her intention to devote her energies solely to Private Tuition.
Letters addressed to Madame Cherrier, at Messrs. Guion & Co., Jewellers, George-street, will meet with immediate attention.

[Advertisement], The Sydney Gazette and New South Wales Advertiser (17 August 1841), 3

Royal Victoria Theatre. First appearance of Monsieur Charriere.
Between the 1st and 2nd Acts of Simpson & Co., Mons. Charriere Will Dance the Pas Seul called
"THE POLICHINELLE," With characters as represented in The Carnival of Venice,
Paddy's Wedding, by Mr. Falchon.
To conclude with the celebrated Comic Ballet of Action entitled The Family of the Turncoats; OR THE BIRTH OF LOVE.
C. KNOWLES, Stage Manager.
T. SIMES, Acting Manager.

ASSOCIATIONS: Arthur Falchon (vocalist, actor); Conrad Knowles (actor, manager); Thomas Simes (actor, manager); Royal Victoria Theatre (Sydney venue)

[Advertisement], The Australian (17 August 1841), 3 

To conclude with for the first time at this Theatre the celebrated Comic Ballet of Action, as performed at the French Theatres with unbounded applause called
Matharide [sic, ?] (the Father of the Innocents) - Mr. Fenton
The three Innocents - INNOCENT - MONSIEUR CHARRIERE; Lucas - Mr. Lee; Basil - Mr. Fitzgerald
Dame Michaud - Mrs. Larra
The Three Sisters - Annette - Miss Strickland; Flora - Mad. Veilburn; Louise - Miss Jones
Visitors - Mesdames Knowles and Grove, Messrs. Dyball and Riley . . .

ASSOCIATIONS: Charles Fenton (actor); John Herman Selwyn Lee (actor); Dennis Fitzgerald (actor); Mary Ann Larra (actor); Eliza Strickland (actor); Jane Adele Veilburn (dancer); Matilda Jones (actor); Harriet Knowles (actor); Mr. Dyball (actor)

"THEATRE", The Australian (19 August 1841), 2 

Theatricals are "looking up." Within the last week we have had two valuable accessions, which both from their intrinsic excellence and novelty of character, give an agreeable change to the current of histrionic proceedings. On Monday evening Mrs. Montigue made her first appearance in the excellent little farce of "Simpson and Co" . . . On the same evening, we had, under the direction of Monsieur Charriere, the novel introduction of a legitimate ballet. That he is perfect master of his business, is unquestionable. His style is first-rate, and his action, in the highest degree, graceful. But notwithstanding the great capabilities of Monsieur Charriere, to make the ballet department really effective, there must be a little additional strength. With one or two tolerable dancers, there can be no doubt that this gentleman would produce something worthy of being seen. The ballet on Tuesday evening was simple in plot, humorous in incident, and most successfully executed, and we need hardly say, that the audience was highly diverted. Between the act of "Simpson and Co.", Monsieur Charriere danced Le Polichinelle most unexceptionably; his grotesque action and suppleness of limb were quite a treat. He was loudly encored, but he excused himself on the ground of indisposition and the succeeding labours of the evening, which apology the audience very good-naturedly accepted. We hope to hear that Monsieur Charriere purposes to remain in the colony, inasmuch as his services would tend, not only to enhance the character of the drama generally, but would furnish pleasant relief to the everlasting see-saw of sanguinary melo-drama and common-place farces.

"Royal Victoria Theatre", The Sydney Gazette and New South Wales Advertiser (19 August 1841), 2-3 

[3] . . . Between the acts, Monsieur Charriere made his first appearance; he danced the pas seul, called Polichinelle, with such grace and animation, as to draw from all parts of the house, an uproar of applause that was truly deafening; his pantomimic tricks, evolutions, and attitudes, were certainly astonishing, and confirmed all who beheld him, that the clever Frenchman was a clown of the first order. Monsieur Charriere has made an impression, and we have little doubt that he will long continue a favourite with the public. In the ballet, he exerted himself greatly, and during the whole piece, acquitted himself to the perfect satisfaction of the whole audience. This talented performer makes his second appearance this evening.

"THEATRICALS", The Australian (28 August 1841), 2 

The introduction of the Ballet seems to have given a new impetus to stage matters. And certainly the style and action of Monsieur Charriere presents something that can always be viewed with pleasure. Under the skilful guidance of this gentleman, with Madame Veilburn, Mr. Phillips, and others, this department of the drama may be advanced on our boards to considerable excellence; in which case the Proprietors of the Theatre may calculate on the presence and patronage of the higher classes. This evening Monsieur Charriere favours us with an excellent new ballet, in the progress of which there will be some elegant dancing, and in the interval of the acts of the first piece, he will go through the graceful and much admired dance of La Tarantalla [sic, Tarantella]. The ballet is entitled The Millers; or, The Night Rendezvous - a light, well arranged, humourous little piece.

ASSOCIATIONS: Morrice Phillips (actor, dancer); for the program and cast, see [Advertisement], The Australian (28 August 1841), 3 

At length we have something in the Theatrical department that is really genuine. We hardly remember to have seen anything on the boards in this Colony, which afforded us so rich a treat as the Ballet on Saturday evening last, under the direction of Mons. Charriere. An entertainment of this description was doubtless novel to many of the visitors; but there did not appear to be one who did not relish it exceedingly, nor could it in the nature of things, from its real excellence, be otherwise. The action of the Ballet was in the highest degree amusing, while in Mons. Charriere, both in elegance of style and graceful movement, with a rich vein of humour, superadded to a consummate knowledge of his business, we find every thing that could be desired. The exertions of this gentleman must give a high stimulus to the business of the drama here; we therefore, congratulate Mr. Knight, on his acquisition in the services of Mons. Charriere, and play goers, that such a choice fund of entertainment is opened to them. An ample audience may be relied upon whenever a Ballet is announced. We hope that they will not be at long intervals.

ASSOCIATIONS: William Knight (proprietor)

"Theatricals", The Sydney Gazette and New South Wales Advertiser (23 September 1841), 2 

On Monday night a ballet entitled the "Deserter," was produced for the first time at the Victoria Theatre - it was got up under the management of Monsieur Charriere, at a very heavy expense to the spirited proprietor. The labour attending the excellent manner in which the performers went through their parts must have been excessive - we can say with truth that we never saw an audience that more fully appreciated the exertions made for their amusement than on this occasion. Charriere's acting is inimitable, his forte lies in taking every person by surprise, under the guise of the veriest simplicity he conceals an expression of the most arch humour. It would be impossible for us to do ample justice to this certainly very talented performer in any brief notice - our advice therefore is that all those who have any curiosity on the subject, should visit the Victoria when the "Deserter" is next brought forward, which we hear will be shortly, and we promise them an evening's amusement that rarely fails to the lot of the play-going world of Australia.

"THEATRICALS", The Omnibus and Sydney Spectator (2 October 1841), 3 

. . . We saw Mr. and Mrs. Bushelle with their two pupils the very interesting Brazilians the senoritas Anna, and Emilia, who though they do not understand English, seemed to enjoy, with childish delight all they saw - more particularly the very clever grotesque dancing of their Compagnon de Voyage, M. Charriere, in the, ballet of the Maturins, with childish delight, one of them declaring that she had sustained a principle character in it herself, a great while ago - when she was young. The ability of M. Charriere as a dancer and teacher of his art, is now too well known to require remark - he has shown, us that the Sydney Theatre is not without the material to form good dancers - we seldom find the versatility of talent exhibited by Miss Strickland, and little Miss Jones, Mrs. Grove, and Mrs. Montigue, every one of whom dance well and gracefully, in the Quadrilles, while two of the them are good singers, and the other two excellent actresses in their respective lines. Mrs. Knowles was quite at home in her lively part in the play too . . .

ASSOCIATIONS: John and Eliza Bushelle (vocalists); Signorinas Anna and Emilia (vocalists); Eliza Strickland (dancer); Mrs. Montigue (dancer, actor)

[Advertisement], The Omnibus and Sydney Spectator (9 October 1841), 14 

MONSIEUR CHARRIERE, INTENDING to Establish himself in Sydney, will continue to give lessons in Dancing, to Pupils in their own houses and in Ladies' Schools, on reasonable terms. Address at Mr. Guion's, Watch and Clockmaker, in George-street.

"THEATRICALS", The Omnibus and Sydney Spectator (30 October 1841), 34 

We understand that M. Charriere will shortly, take a benefit at the Victoria; on which occasion the French Vaudervilles [sic] will be performed, besides the favorite Ballet called Le grand Galop de Gustave; or, Le Bal Masque. Besides Monsieur and Madame Charriere, the public will enjoy a treat, as well as a novelty, in witnessing the performance of Mrs. Larra, who has passed a large portion of her life in France, - and speaks the language well; and also that of Mr. Knowles, who is, we believe, a good French scholar, assisted by other ladies, and gentlemen amateurs, who have consented to take a part in the two Vaudevilles. We sincerely hope, for the honor of Australia's claim to good taste, that, when the day is named, the fashionables will be in a hurry to secure seats, for, independent of the talents of this young couple as artistes, and the great additional attraction given to our theatrical entertainments by the performance of his Ballets, M. Charriere has claims, on the patronage of the public, as a modest gentleman, such as an English parent would select for introduction to his family, to teach his art.

ASSOCAITIONS: Conrad Knowles (actor)

MUSIC: Galop (Auber, from Gustave III)

"THE THEATRE", The Sydney Gazette and New South Wales Advertiser (11 December 1841), 2 

On Thursday night, our oldest actress, (Mrs. Larra) took her benefit at the Victoria - the house was well attended, and, though not full to overflowing, was such as to mark Mrs. L. as no ordinary favourite with the public. The pieces chosen on this occasion, were . . . the ballet of "The Millers" the life and soul of which was the inimitable Frenchman (Monsieur Charrier) who, as usual, notwithstanding his bad state of health, astonished the natives, by his wonderful agility . . .

ASSOCIATIONS: Mary Ann Larra (actor)

[Advertisement], The Australian (27 January 1842), 3

Under the distinguished Patronage of SIR MAURICE O'CONNELL . . .
MONSIEUR CHARRIERE . . . MONDAY, JANUARY 31st, 1842 . . . his BENEFIT . . .
MADAME CHARRIERE Will make her first appearance before a Sydney public on this occasion, in a popular French character . . .
The Entertainments will conclude with the comic Ballet, in one Act, to be performed by six of Monsieur Charriere's Pupils, ENTITLED
INFANTINE GIMNASE; Or, the Family of the Innocents. Ballet in One Act.
Father la Joie - MONS. CHARRIERE.
his sons - Innocentin - Miss Jones; Basile - Miss Thompson; Lucas - Miss Mears.
Madame Michaut - Mrs. Larra.
Her daughters - Jeanette - Miss E. Jones; Fauchette - Miss Stanley; Suzette - Miss Mears.
Tickets to be had of Mrs. Mears, Tobacconist, Pitt-street . . .

ASSOCIATIONS: Maurice O'Connell (patron); Mary Thomson (dancer); Emma Jones (dancer); Sarah Mears (dancer, actor)

"Theatricals", The Sydney Gazette and New South Wales Advertiser (3 February 1842), 2 

On Monday night last, Charriere had his benefit at the Victoria, and we have not seen so well and brilliantly attended boxes for this long time. It really delighted us, to see the galaxy of rank and beauty that thronged the dress circle, imparting to us a hope that the "light of other days" had not entirely faded, but that the star of Australian theatricals which had long been on the wane, was about to shine forth in its former splendour. "Une Passion" is a fiery pretty petite comedie, and Charriere played his part with considerable spirit, and altogether in a rather amusing manner. Nothing is more easy to play, to a person possessed of the slightest judgement, than the characters in the light French vaudevilles. They are mere impersonations of characters, known by heart by all the bons enfans of Paris. Of Madame Charriere, we can say but little in praise; her acting was lame, cold and lifeless, without one redeeming point, except that she spoke the few words she had to say so quickly as possible. Knowles' French was peculiarly English, and beautifully incomprehensible. Mrs. Larra acquitted herself a merveille, and with the amateur, being a Frenchman, of course we can find no complaint; his French servant being a character that any Frenchman, and no Englishman, can play properly. Charriere's Polichinelle, upon stilts, was executed in an excellent style, and was a real treat. He was loudly encored, but as usual, found an excuse for re-appearing. No doubt, Monsieur Charriere is quite right in not making himself too common, by dancing too often, but he must know that an English audience do not like to be bearded by a person who draws his living from them. We rather expected an émeute on Monday night, but respect for the persons who filled the boxes served in a great measure to allay the irritation of the populace. The Irishman in London went off very well. The Ballet of the "Innocents" closed the performances played by some of the young pupils of Monsieur Charriere. Altogether we had a pleasant evening.

[Advertisement], The Sydney Gazette and New South Wales Advertiser (5 February 1842), 3 

Australian Olympic Theatre, HUNTER-STREET.
SIGNOR DALLE CASE most respectfully informs his friends and the public generally . . .
that . . . he has formed engagements, for the ensuing season . . .
with MONS. CHARRIERE & MRS. BROCK for the Ballet department and principal Dancers . . .
An Efficient Orchestra is now forming, which will be led by Mr. Deane, jun. . . .
C. KNOWLES,. Manager.

ASSOCIATIONS: Mrs. Brock (dancer); John Deane (musician, violinist); Olympic Theatre (Sydney venue)

[Advertisement], The Sydney Herald (28 February 1842), 1 

DANCING taught in the most fashionable style by MR. CHARRIERE, No. 5, Pitt-street North, nearly opposite the Union Bank; Private lessons at all hours to ladies and gentlemen of any age wishing privacy and expedition.
An evening class twice a week, on Tuesdays and Fridays, from seven until nine o'clock in the evening.
Terms - Two guineas a quarter for those attending the class, to be paid in advance. Schools and private families attended.

"THEATRRICALS", The Australian (5 March 1842), 2 

At the Olympic, Monsieur and Madame Gautrot had a benefit night. The entertainments were of the most varied and liberal description: French and English farces, vocal and instrumental melange, et ceteras. Of this evening's performance we may truly say, "where is the choice where all are fit to choose." But, if we were to select, we should certainly give priority to Monsieur Charriere and Monsieur Gautrot. The characters taken by the former in the two French pieces, were exquisitely well played. While their respective outlines were faithfully preserved, the artistic colourings imparted an unmistakeable individuality in the most humorous and interesting points of view: the achievement of which, is, indeed, the perfection of the mimic art. As a dancer, Monsieur Charriere is unquestionably first-rate . . .

ASSOCATIONS: Joseph and Madame Gautrot (violinist and vocalist); see also the program, [Advertisement], The Sydney Herald (2 March 1842), 1

"DANCING", The Sydney Herald (21 April 1842), 3 

There can be no doubt that our colony is rapidly advancing in the elegant arts, which contribute so much to refine society and improve the general taste. Dancing is unquestionably one of the fine arts, and as such, deserves to be cultivated in polished society. In this, as well as in Painting, Music, Oratory, and the Drama, we have made very considerable advances in Sydney within the last year or so. The arrival of Monsieur Charriere, gave us a superior dancer of the French school, and we are glad to hear that this dancer has been engaged to teach at the Sydney College, where we hope he may meet with every encouragement, and obtain a numerous class. Mr. J. Chambers, again, who arrived from London a few weeks ago, is to our taste an artiste of the highest order in fact, one of the most elegant dancers we have ever seen, though we have been frequently at the Academie Francaise in Paris, where there is the best dancing, it is said, in the world . . .

ASSOCATIONS: Joseph Chambers (dancer)

"THEATRE FRANCAIS", Australasian Chronicle (5 May 1842), 2

The first performance of this company was given last evening, and, making due allowance for unavoidable deficiencies, may be said to have gone off well. The chief faults were in the selection, and the extreme length of the performances, caused by the interpolation of songs unconnected with the pieces, and the great delay between the parts. The first piece, Remi, is contemptible at best, and not very delicate. For instance, Mlle. Baptistine, when discovered issuing from Anatole's chambre a coucher, answers quite naivement, "ce n'est pas la premiere fois." The Buffo Singer is a piece of far different character. It contains much wit and some good music. The part of Barbeau was admirably performed by M. Charriere, who also represented the itinerant accordeur des pianos in the subsequent piece with much humour . . .

ASSOCIATIONS: Foreign Operatic Company (troupe)

"THE FRENCH THEATRE", The Sydney Herald (6 May 1842), 2 

About two hundred persons assembled in the saloon at the Royal Hotel, on Wednesday evening, to witness the performance of the little company which has been formed of French and Italian performers. Charriere is inimitable here, and Madame Charriere will make an excellent actress; Madame Gantrot was not in voice; Mr. and Mrs. Bushelle did well, but theirs was not "French," - the singing, however was good; the two young gentlemen, Adolphe and the amateur, want practice.

ASSOCIATIONS: Eliza and John Bushelle (vocalists); Monsieur Adolphe (actor); Royal Hotel (Sydney venue)

[Advertisement], The Sydney Herald (9 June 1842), 1 

MONSIEUR CHARRIERE, gratefully acknowledging the patronage extended to him since his arrival in Sydney, begs to announce that he continues to give private lessons at any hour of the day, at his residence, Hunter-street at the corner of Phillip-street.
He has also opened a Class fur adults and young persons, Tuesdays and Fridays from seven till ten in the evening, the terms for that class and for schools, are Two Guineas per quarter payable in advance.

[Advertisement], The Sydney Herald (18 June 1842), 1 

FRENCH AND ENGLISH Seminary for Young Ladies, Victoria House, Macquarie-street, Parramatta.
MADAME DALMAS, having been induced to open a select establishment for young ladies . . .
Monsieur Charriere, dancing master, attends weekly . . .

ASSOCIATIONS: Caroline Dalmas (teacher)

"INSOLVENCY PROCEEDINGS. TUESDAY . . . PROOF OF CLAIMS", The Sydney Herald (23 June 1842), 2 

In the estate of Aloes Lubeski, a third meeting; J. Tegg, £22 18s.; J. Charrier, £18 13s. 6d.

ASSOCIATIONS: Aloes Lubeski (schoolmaster); James Tegg (bookseller)

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

Subscription Fancy Dress Ball.
MESSIEURS CHARRIERE AND GAUTROT beg to announce that this Ball will take place in the
Lower Saloon of the Royal Hotel, on MONDAY, the 18th July, 1842.
Programme. - Quadrilles of all the newest figures from the modern Operas, danced by Amateurs.
Characteristic Dances on the Stage by Monsieur Charriere and Pupils. -
Grand Galopade from Gustavus, with all the figures executed at the Royal Academy of Music at Paris. -
Spanish and Chinese Dances of the newest description,. -
English Country Dances, Waltzes, &c.
MONSIEUR GAUTROT, at the head of a numerous and effective Orchestra, will execute splendid Quadrilles, never before performed in public in Sydney.
The Subscribers will of course be at liberty to dance the old figures, should they prefer them to the new ones.
The Ladies and Gentlemen subscribing will be entitled to attend REHEARSALS at the Royal Hotel, every intervening WEDNESDAY, from eight until ten, to enable them to receive the advantage of Monsieur Charriere's instruction in the new figures.
Ticket for One Person - £ 0 16; Ditto for Gentleman and Lady - 1 10
Including Tea, Coffee, Supper, &c. The refreshments will be supplied by Mr. Sparke.
All subscriptions payable in advance to Mr. Sparke, Royal Hotel, and at Monsieur Charriere's Hunter-street, corner of Phillip-street.
Fancy Dresses can be obtained by reference to Monsieur Charriere. To commence at nine o'clock.

[Advertisement], The Sydney Herald (18 July 1842), 3 

DRESS BALL. MONSIEUR CHARRIERE has the honour to inform the public, that his Fancy Dress Ball, which was to have taken place on Monday, the 18th instant, is unavoidably postponed till the 25th instant.

"INSOLVENCY PROCEEDINGS . . . WEDNESDAY . . . In the insolvency of Luigi Dalle Case", The Sydney Morning Herald (18 August 1842), 2 

John Bushelle was called by Mr. DILLON, for the trustee, and deposed: - I know the insolvent . . . I know a person named John Charles; I paid a visit to Messrs. Charriere and Gautrot, and was consulted by them as to the propriety of their receiving a number of boxes from the insolvent, when I at once told them that they were rendering themselves liable to a severe punishment if they received them, and that they had better send them back at once; I told them so the day after the sequestration; a long time afterwards, I heard from the insolvent that one of the boxes which had been sent to Messrs. Charriere and Gautrot's had been sent back, after John Charles had taken out sufficient things to satisfy his claim against the insolvent . . . I know that the insolvent applied to Charriere to stale that he had given him (Charriere) a Turkey carpet six months before, for the tuition of the young ladies in dancing . . .
Joseph Charriere called, and examined by Mr. Dillon, through Mr. E. C. Greene, deposed: I know that Dalle Case sent some boxes to my house; I do not know when he sequestrated; I cannot say whether it was in April last. It was about three months ago when they were sent; I was out giving a lesson, and when I came home I found that some cases and trunks had been sent to the house occupied by me and Monsieur Gautrot; I afterwards went to Dalle Case, and told him I would not receive them; at that time I had not seen Mr. Bushelle; I never spoke to Bushelle about the boxes, but I think we have spoken on the subject; I believe there were three boxes and a bag; the boxes came to my house when I was living in Hunter street; it might have been two or three weeks before I left Hunter-street, but I am not sure. At the time of the fitting up of the Royal Hotel as a theatre, in company with Gautrot, we borrowed a Turkey carpet from the insolvent; this was at the first representation; the carpet is still at the Royal Hotel, and belongs to Dalle Case; I do not recollect that he instructed me to say that the carpet did not belong to him; he did not instruct me to say that he had given me the carpet for the instruction of the children. I do not recollect that he ever wanted me to make any representation as to who was the owner of the carpet. It does not belong to me nor did he ever give it to me. I told him about two months ago to take it away. He owed me some money, and I having none, he lent me a watch to keep until he paid me, this was given me before Madame Gautrot; this took place before he became insolvent. I have been thirteen months in the colony. I do not recollect whether he gave me the watch before or after the first performance at the Royal Hotel. It was a month before I left Pitt-street, and I left it three months ago . . .

ASSOCIATIONS: Emanuel Charles Greene (dancing master, interpreter)

"THE VICTORIA THEATRE", The Sydney Morning Herald (7 September 1842), 2 

On Monday evening, M. Charriere took his benefit at the theatre. The house was well filled. In the boxes were Sir Maurice O'Connell and family, the Colonial Secretary and Lady, the Colonial Treasurer, and a great number of other leading members of society. The performances appeared to give general satisfaction, although the dialogue in the first piece was almost inaudible from the uproar caused by the gods of the upper and lower regions, who unacquainted with French, wanted an English version of the performances, and became at length so uproarious, that the performances were stopped, until Mr. Simes had come forward and quieted them by an appeal, which, at the same time conveyed a very just reproof. The conduct of some parties in the pit was too disgraceful to pass unnoticed, as they appeared at all events to be of a class which should be somewhat acquainted with the decencies of life. They appeared to have taken their places in the pit for nothing else but a drinking bout; their noise was incessant, and at length they became so drunk and unmanageable, that those around them had to leave their places, and the proprietor of the theatre had to interfere. The next time they offend in such a manner, there should be no hesitation in sending them to St. James's watch-house. The exercises on the slack rope by Auguste gave great satisfaction, as did also Madame Veilburn's dancing, and M. Charriere's Punch on stilts. Indeed these portions of the performance appeared much better relished by the pit and gallery than the remainder. M. Charriere has reason to congratulate himself on the manner which the announcement that he was to take a benefit, has been met, as the house was one of the best filled of the season . . .

For the program, see [Advertisement], The Sydney Morning Herald (5 September 1842), 2 

[Advertisement], The Sydney Morning Herald (10 December 1842), 3 

MISS HINCKESMANN begs most respectfully to inform the inhabitants of Sydney and its vicinity, that her
DANCING ACADEMY will open on Tuesday next, at her residence, Castlereagh-street, under the superintendence of Monsieur Charriere, and will be continued every Tuesday and Friday, at seven o'clock, during the vacation.
For terms apply to Miss Hinckesmann, or to Mons. Charriere.
N.B. On Mondays and Thursdays, for Music and Singing, under the superintendence of Miss Hinckesmann and Madame Gautrot.

ASSOCIATIONS: Maria Hinckesman (musician)

[2 advertisements], The Sydney Morning Herald (5 January 1843), 3

with sincere thanks for past favours, begs leave to inform his patrons and the public generally, that he has this day retired from his profession in favour of Mr. John Clark, of King-street, Sydney, to whom, from experience, he can confidently and warmly recommend them.
J. CHARRIERE. December 31.

MR. JOHN CLARK in returning his sincere thanks to the parents and guardians of pupils and the public in general, for the liberal support with which he has been favoured for the last five years, begs leave respectfully to inform them that his classes will recommence on Friday next, the 6th instant and that he has made arrangements with Monsieur Charriere to attend professionally at the various establishments he had the honour of visiting, with whose acknowledged acquirements, and a continuance of strict attention on his own part, Mr. C. flatters himself he will be enabled to give such satisfaction as will ensure continuance of their support.
King-street, Sydney, Jan. 4.

ASSOCIATIONS: John Clark (dancing master)

"DEPARTURES", Australasian Chronicle (24 January 1843), 3

JANUARY 22 . . . For New Zealand, the brig City of Aberdeen, Captain Monro, with sundries. Passengers - M. and Madame Charriere, child, and servant . . .

The Charrieres are not however definitely recorded as having arrived in New Zealand; see "AUCKLAND", New Zealand Colonist and Port Nicholson Advertiser (28 February 1843), 2

CHATE, Alfred Henry (Alfred Henry CHATE; A. H. CHATE; Mr. CHATE)

Musician, double bass player, violinist, tailor

Born Brighton, Sussex, England, 1828; baptised St. Nicholas, Brighton, 31 December 1828; son of Henry CHATE (1802-1887) and Elizabeth (Eliza) TERRY (1801-1864) (m. February 1828)
Arrived Melbourne, VIC, ? by February 1852
Married Alarina PAUL (1830-1910), Sydney, NSW, 13 August 1855
Died Woolloomooloo, Sydney, NSW, 20 May 1876 (TROVE tagged by Australharmony) (shareable link to this entry)


Baptisms, parish of Brighton, Sussex, 1831; East Sussex Record Office, parish register transcriptions (PAYWALL)

31 December 1828 / Alfred Henry / son of Henry & Elizabeth / Chate / North Street / Tailor

England census, 6 June 1841, Brighthelmstone, Sussex; UK National Archives, HO107/1122/8/14/39/27 (PAYWALL)

Bedford Square Road / Henry Chate / 35 / Tailor // Eliza / 35 // Alfred / 12 // Fanny / 10 // Caroline / 9 / Jane / 4 // Mary / 14 [? niece]

England census, 30 March 1851, Brighthelmstone, Sussex; UK National Archives, HO107/1646/416/24 (PAYWALL)

21 Norfolk Road / Charlotte Cockerell / Head / Widow / 59 / House Agent
Stephen Cockerel / Son / Unm. / 24 / Ironmonger's assistant . . .
Alfred H. Chate / Visitor / Unm. / 22 / Journeyman Tailor / [born] Hove Brighton Sussex

Australia (by 1852);

? Names and descriptions of passengers, per Prince of Wales, from Melbourne, 11 February 1852, for Sydney; Public Record Office Victoria


. . . A Chale [sic] / 24 / English / Labourer / Sydney . . .

"SHIPPING INTELLIGENCE. ARRIVALS", Empire [Sydney, NSW] (21 February 1852), 2 

February 20. - Prince of Wales.-brig, 112 tons, Captain Gaunt, from Port Phillip, 17th instant. Passengers . . . A. Chale . . .

"EMIGRATION TO AUSTRALIA", Brighton Gazette [Sussex, England] (24 June 1852), 7 (PAYWALL)

The news from the "diggings" continues to be encouraging, and numbers are about to quit this town for the Australian colony. Some fifty or more purpose leaving Brighton this morning, to embark on board the "Statesman," which was towed down the Thames to Gravesend on Saturday afternoon, from which place she sailed on Tuesday afternoon for Portsmouth, and is intended to leave the latter place to-morrow. Among those who are either going or gone, are Mr. Mussell, North Street, and his son George; Mr. Wight, the landlord of the Regent Hotel; Mr. Thom (musician) and wife . . . Mr. Tucker, jun., musician . . . Mr. J. Bambridge, musician . . . Mr. Alfred Chate, tailor . . .

ASSOCIATIONS: Bream and Eliza Thom (musician and actor); Edward (John) Tucker (musician); Chate's name does not appear in the Statesman's passenger list on arrival 23 September 1852; see Public Record Office Victoria (DIGITIED)

Bream and Eliza Thom and several others arrived on the Delganey on 16 November 1852; see Public Record Office Victoria (DIGITISED)

"THE BRIGHTON EMIGRANTS TO AUSTRALIA", The Brighton gazette [England] (2 June 1853), 5 (PAYWALL)

In another part of the paper will found extracts from letter with which we have been favoured by the parents or friends of those who have emigrated to that land of promise, the gold fields of Australia. We say favoured, because many of those who receive letters from their relatives abroad do not wish to appear desirous of parading their names before the public. The publication of these letters, however, is actually a boon to the public, because they are characterised by a truthfulness unmistakeable, and must have weight with those who have thoughts of emigrating. Many who have received letters by the "Sarah Sands" are most averse to seeing them in print.

Our readers may gather from the letters which we publish to-day that the gold diggings continue to be perfect lottery, but that the odds are completely against the emigrants with few exceptions, such as carpenters, bricklayers, and persons employed in building. How many a clerk who left a comfortable home to seek his fortune in Australia, bitterly repents the hour when he made up his mind to leave his native land. But even now we believe that hale, hearty and sinuous persons are capable of realising a good living in Australia; it is the hardy sons of toil who are most likely to enrich themselves. All accounts agree in the fact that murder and rapine stalk that country unmolested; and a singular instance of bare-faced robbery and violence is given in the letter of Mr. Godden.

It is, perhaps, rather remarkable that not one of the Brighton party appears to have been successful at the diggings. Some have laboured hard, whilst others have scarcely put a spade into the ground, when they have either given up in despair or become disgusted with the scenes around them, and returned to Melbourne almost penniless. Mr. Hamblin, head cook at the Bedford Hotel, has received letter from his brother, who left good situation to go out to Tahiti; but having the gold fever must needs try his luck at the diggings. He failed, as many hundreds have done besides, and has written to say that he is now returning to Tahiti, where has a brother in business. Three companions who went out in the same ship with him had £35 each, when they landed in Australia; and they were soon reduced almost to beggary.

Mr. Thatcher's son has sent a letter to his parents, on the King's Road, giving a very discouraging account of the country, more especially of the state of society. This letter is fully corroborated in that respect by another received from the son of Mr. Evans, green grocer and fruiterer, Western Road. Among other letters received here, we learn that Mr. Tucker, son of Mr. Tucker, Western Road, and Mr. Alfred Chate, son of Mr. Chate, Bedford Place, are playing at promenade concerts, the former as leader, at £5 5s. a week, the latter, at £4 4s. We believe that Thatcher's son is also with them, deriving a similar emolument from music. Mr. Bryer, the dancing master, is in Melbourne, under the assumed name of Jones; and Mr. John Fleeson has taken the name of Fortune . . .

ASSOCIATIONS: Charles Thatcher (musician); Mr. Jones (dancing master)

[Advertisement], The Argus [Melbourne, VIC] (10 September 1853), 12 

ROWE'S CIRCUS. - Winterbottom's Benefit Saturday next, September 10th.
Jullien's Exhibition Quadrille. Jullien's Drum Polka! Laughing Jackass Galop!
Vocalists: Miss Lewis, who will sing Shells of the ocean.
Mr. John Gregg, the renowned basso, who will sing The Slave Sale.
Last time of the Singing Lesson.
Solo Instrumentalists: M. Tucker, M. Edwards, Radford, Louthusl, Webb, Burgess, Chate, Boullemer, Tranter,
S. Chapman, Wigney, Holt, Hore, Simpson, Wheeler, Oakey, Marks, Thatcher, &c.
Cornet-a-Pistons, M. Chapman.
Leader, M. Tucker.
Conductor, M. Winterbottom.
Mr. Hore and his sons will perform several of their grand operatic selections on the Saxe Horns.
Programme: Part I.
Overture - Fra Diavolo - Auber
Quadrille - Bloomer - Jullien
Song - The Slave Sale, Mr. Gregg - Russell
Valse - Prima Donna - K. Bulla - Cornett-a-piston Obligato - M. Chapman
Song - Ocean Shells, Miss Lewis - Cherry
Solo, Violin - Carnival de Venice, M. Tucker - Paganini
Great Exhibition Quadrille, founded on the all absorbing question of that day, the Exhibition of 1851 - Jullien
Part II.
Quadrille - Jetty Treffz, with solo for cornet and flute - Jullien
Duetto Buffo (last time) - The Singing Lesson, Miss Lewis and Mr. Gregg - Barnet
Valse - The Prize - Oakey
Song - Erin my country, Miss Lewis - Lee.
Polka - Drum - Jullien
Solo Bassoon, M. Winterbottom - Winterbottom
Song - As I View, Mr. Gregg - Bellini
Galop - Laughing Jackass - Farmer
Prices of admission: Dress Boxes, 5s.; Boxes, 2s. 6d. Promenade, One Shilling.
Doors open at Seven, to commence at Eight.

ASSOCIATIONS: John Winterbottom (conductor); Annie Lewis Salamon (vocalist); John Gregg (vocalist); Edward (John) Tucker (violin); Henry Edwards (violin); Mark Radford (violin); Joseph Bird Burgess (violin); Anthony Boullemier (musician); William Tranter (double bass); William Wigney (musician); Stephen Thomas Wheeler (musician); Alfred Oakey (conductor); Joseph Hore and sons (saxhorns); Joseph Andrew Rowe (proprietor); Rowe's American Circus (Melbourne venue)

"LETTER FROM A BRIGHTON EMIGRANT", Brighton Gazette (6 October 1853), 7 (PAYWALL)

I beg to forward, per Mr. Alfred Martin, few incidents respecting Brighton friends and the colony, according to promise made to several people at Brighton before leaving.
John Tucker has gone to Sydney, to play at the concerts.
Alfred Chate ditto ditto
Henry Edwards (King's Road) ditto
Stephen Cotterill ditto to assist ditto . . .
Many have done right in coming, myself among the number; others curse the day they left.
Remember - "Fools rush in Where angels fear to tread."
Your obedient servant, CHARLES R. THATCHER.

"THE DIGGINGS", Brighton Gazette (3 November 1853), 7 (PAYWALL)

A great number of letters from Brighton emigrants have lately been received here their friends . . . Mr. Henry Chate, tailor, has received a letter from his son. It appears that he has been with Winterbottom's musical corps in Sydney; and has done pretty well. They have latterly returned to Melbourne. Mr. Tucker, son of Mr. Tucker, Western Road, is the leader. He is called at Melbourne the English Paganini. Mr. Thom, who also went from Brighton, is engaged at the Theatre in Geelong. He leads the orchestra, and Mrs. Thom is engaged as an actress. Mrs. Thom took her benefit the Theatre, on July 16th, when nearly £100 was taken at the doors. Mr. Thom took his benefit the next night, and £107 was taken. The performances were Guy Mannering and a Concert. Many of our readers will doubtless remember Mr. Creed Royal, an excellent flute player. He is engaged in the same orchestra as Mr. Thom.

ASSOCIATIONS: Creed Royal (flute)

[Advertisement], The Argus [Melbourne, VIC] (12 November 1853), 8 

ROWE'S AMERICAN CIRCUS. Grand Promenade Concert. Saturday Evening, 12th November, 1853.
Under the direction of Mr. Alfred Oakey.
In announcing he the inhabitants of Melbourne the first of a Series of Saturday Evening Promenade Concerts, Mr. Rowe begs to state that he feels great confidence in submitting the Evening's Entertainments to his patrons . . .
The Monster Band
Will embrace all the available talent in Melbourne, assisted by several members of the band of the 99th regiment . . .
Grand Pianoforte - Mr. Alfred Oakey.
Violin Primo - M. Tucker and Mr. Peck.
Violin Secondo - Mr. Howson and Mr. Mathers.
Viola - Mr. Boullimeir.
Violoncello - Mr. J. Chapman [recte S. Chapman].
Contra Bass - Mr. Tranter and Mr. Chate.
Flute - Mr. Hill and Mr. Thatcher.
Cornet Primo and Saxe Clavicore - Mr. P. C. Burke.
Saxe Horn - Mr. Hore and Sons.
Clarionet Primo - Mr. R. Martin.
Clarionet Secondo - Mr. J. Bull.
Ophecleide - Mr. Wigney.
Trombone - Mr. Freeman.
Tambour and Triangle - Mr. Sharp.
Gran Cassa Cymbals - Mr. Shottan.
Leader, Mr. Edward Tucker.
Conductor - Mr. Alfred Oakey . . .

ASSOCIATIONS: George Peck (violin); Henry Howson (violin); William Mather (violin); Samuel Chapman (cello); Robert Martin (clarinet), master of the Band of the 99th Regiment (military); Arthur Silvester Hill (flute, 99th band)
Peter Constantine Burke (cornet player); Frederick Sharp (percussion)

[Advertisement], The Argus (17 December 1853), 5 

ROWE'S AMERICAN CIRCUS, Corner of Stephen and Lonsdale streets. The sixth of a Series of Grand PROMENADE CONCERTS . . . Saturday Evening, December 17th, 1853. Mr. Alfred Oakey's Monster Orchestra, aided by several members of the band of the 40th Regiment, including Mr. Hartigan, the celebrated performer on the Ophicleide . . .
Instrumentalists . . . Violino primo - Mr. Radford and Mr. Peck . . .
Contra Basso - Mr. West and Mr. Chate . . .

ASSOCIATIONS: Joseph Hartigan (ophicleide); Band of the 40th Regiment (military)

[Advertisement], The Argus (19 October 1854), 8 

TO-NIGHT! Melbourne Casino to-night! The great night of the season. For the Benefit of the Band. On this occasion the following eminent Artists, among many other professional friends, have kindly volunteered their services: - First violins - W. and S. Radford. Second violins - Chate, Edwards, and Griffiths Tenor - J. Baker. Double basses - W. Tranter and Herr Plock . . . Drums - Fred. Sharpe . . . Piano - R. Owen . . .
To conclude with a Fancy Dress Ball. Admission, 5s.

ASSOCIATIONS: William and Sidney Radford (violins); Adam Plock (double bass); Frederick Sharp (drums);
Richard Arthur Ryder Owen (piano)

"ARRIVALS", The Shipping Gazette and Sydney General Trade List (8 January 1855), 258 

January 6. - City of Sydney (s), 750 tons, Captain R. T. Moodie, from Melbourne the 3rd instant. Passengers - Mr. Winterbottom . . . Messrs. . . . Chat [sic], Rice, Sharp, and 85 in the steerage. A. S. N. C, agents.

ASSOCIATIONS: Walter John Rice (musician)

[Advertisement], Empire [Sydney, NSW] (4 July 1859), 6

GRAND MUSICAL PERFORMANCES Will be held to celebrate the opening of the HALL of the Sydney University in which the performances will take place . . .
CONDUCTOR - Mr. L. H. LAVENU . . . CONTRABASSI. Mr. Chapman, from Melbourne; Mr. J. Brown; Mr. A. H. Chate; And a gentleman amateur, member of the Philharmonic Society . . .

ASSOCIATIONS: Lewis Henry Lavenu (conductor); Samuel Chapman (double bass); Walter James Brown (double bass); Sydney Philharmonic Society (association); Sydney University Musical Festival (event)

"MR. LAVENU", The Sydney Morning Herald (5 August 1859), 5 

A MEETING of the friends of the late Mr. Lavenu took place at Clark's Assembly Rooms, Elizabeth-street, yesterday afternoon, at three o'clock. Between thirty and forty gentlemen were present. Mr. J. R. CLARKE was voted into the chair, and opened the proceedings by stating that a number of Mr. Lavenu's personal friends were desirous of organising two benefits - the proceeds of which were to be forwarded to his wife and children, at present in England . . . Mr. STEWART proposed "That a committee of professional gentlemen from both theatres be formed to make the necessary arrangements as to the performances, and when they are to take place." The following names were then carried . . . For the Victoria Theatre - Messrs. Black, Usher, Chate, R. Stewart, and E. Holloway . . .

ASSOCIATIONS: Jacob Richard Clarke (chair); Alfred Usher (musician); Richard Stewart (actor); Edmund Holloway (actor); Royal Victoria Theatre (Sydney venue)

[Advertisement], Empire (8 August 1859), 1 

Alfred Usher, Esq., leader of orchestra, Royal Victoria Theatre; A. Chate, Esq., orchestra, ditto . . .

[Advertisement], The Sydney Morning Herald (21 November 1859), 1 

AT A GENERAL MEETING of the THEATRICAL PROFESSION, held November 19th, it was resolved -
"That none of the following members of the profession shall receive any engagement from Mr. Charles Poole, or any deputed manager of his, until the present pecuniary claims of the whole professional body shall have been indemnified in full."
In guarantee whereof the following signatures were affixed:
. . . A. Usher . . . A. H. Chute [sic] . . . F. J. Sharp . . .
R. STEWART, Chairman. FRANK VARLEY, Secretary.

ASSOCIATIONS: Charles Poole (actor, theatre manager); Frank Varley (secretary); Australian Dramatic and Musical Association (association)

[Advertisement], Empire (23 November 1859), 1 

for the benefit of the Dramatic and Musical Artists, late of the Victoria and Prince of Wales Theatres, will take place
THIS EVENING, the 23rd instant, At the School of Arts, When the following combination of talent will appear: -
Pianist, Mr. C. Packer. Leaders, Messrs. Usher and Eigenschenck . . .
Tenori, Messrs. Rice and Davis . . . Violoncello, Mr. F. Howson, jun.
Contra Bassi, Messrs. Chate and Brown . . .
PART I. Overture, Guillaume Tell - (Rossini), - by double orchestra . . .
Quadrille, L'Indienne, with brilliant variations, and new effects, 1st time in Sydney . . .
Polka, with obligato movement, first time in Sydney - R. W. Kohler . . .
PART 2. Overture, La Bayadere, 1st time in Sydney (Auber) . . .
Finale - Galop, Champagne, with original effects, by R. W. Kohler . . .

ASSOCIATIONS: Charles Packer (pianist); Charles Eigenschenck (co-leader); Isaac Henry Davis (viola); Frank Alfred Howson (cello); Richard Wildblood Kohler (cornet); Mechanics' School of Arts (Sydney venue)

"COPY OF PROTEST", Empire (12 June 1860), 8

Prince of Wales Theatre, Sydney, Tuesday Morning, May 22nd, 1860.
WE, the undersigned, professors of music, vocal and instrumental, and also the chorus engaged in the forthcoming Opera season, deem it a bounden duty, taking into consideration an article appearing in this morning's Empire, to protest against the ability of Sig. CUTOLO, as a conductor of grand opera, at the same time believing him to be, without doubt, an excellent pianist; but from inexperience, unable to wield the baton as conductor.

ASSOCIATIONS: Cesare Cutolo (musician); Eugenio and Giovanna Bianchi (vocalists); Jacques Paltzer (replacement conductor); Henry Prince (musician); Edward Fahey (musician); Prince of Wales Theatre (Sydney venue)

"MR. WINTERBOTTOM", Empire (14 August 1861), 5 

A very gratifying testimonial was presented to Mr. Winterbottom, the eminent bassoonist and conductor, previous to his departure from Sydney, yesterday, for Melbourne, en route for England, by several of the artistes who have been members of the corps d'orchestre, under Mr. Winterbottom, since he arrived in these colonies. The testimonial consisted of a handsome frame, containing photographic portraits, very beautifully executed by Mr. Glaister, of Pitt-street, of Mr. Winterbottom himself (in the centre), surrounded by those of the following artistes: Mr. Eigenschenck (leader), Mr. J. Hall (second violin), Mr. Rice (viola), Mr. Vaughan (flute), Mr. Chate (basso), Mr. Prince (cornet), Mr. Seamore (trombone), and Mr. Sharp (drums); all of whom, we understand, have, with slight intermission, been connected with Mr. Winterbottom during the last nine years in his professional career in Australia. The manner in which they have thus testified their regard and sympathy for their late talented conductor, is at once appropriate and suggestive, and we doubt not, will be long cherished by the accomplished artiste to whom it has been offered, and whose departure from these colonies will create a vacuum in the musical world which it will be extremely difficult to supply.

ASSOCIATIONS: Thomas Glaister (photographer); John Thomson Hall (violin); Robert Vaughan (flute); Richard Seymour (trombone)

"THE OPERA", The Sydney Morning Herald (4 May 1865), 5 

Another crowded and fashionable audience yesterday evening, assembled at the Prince of Wales Theatre, anticipating that "Trovatore," (always popular), would be performed. Mr. Squires, however, who as was evident on the previous evening, suffered from an affection in the throat, was compelled to succumb to its virulence, and could not appear last night . . . "Sonnambula" was substituted . . . Herr Lundberg performed on the clarionet . . . We may again refer in terms of approbation to the orchestra and chorus, and to the excellent violin playing of M. Fleury, who as a leader is unquestionably of the first order. There are so many first-class instrumentalists - including Messrs. Rice, McCoy, Eigenschenck, Hodge, Chase [Chate], Creed Royal, and the performers on the French horn - that it would be strange indeed if the instrumentation were not superior to what has been heard here before . . . This evening, the "Bohemian Girl" will be performed . . .

ASSOCIATIONS: Henry Squires (vocalist); John William Lundborg (clarinet); Achille Fleury (leader, violin); Thomas McCoy (musician); Sebastian Hodge (musician); Creed Royal (flute); George Loder (conductor); Lyster Opera Company (troupe)

[Funeral notices], The Sydney Morning Herald (24 April 1867), 8 

FUNERAL. - The Friends of Mr. ALFRED HENRY CHATE are invited to attend the Funeral of his deceased Son ALFRED WILLIAM; to move from his parents' residence, Liverpool-street, near Crown-street, THIS (Wednesday) AFTERNOON, at 3 o'clock . . .

[Funeral notices], The Sydney Morning Herald (19 May 1869), 16 

FUNERAL. - The Friends of Mr. ALFRED H. CHATE are invited to attend the funeral of his late beloved Son, GEORGE WALLACE CHATE; to move from his residence, 295, Liverpool street, near Crown-street, THIS (Wednesday) AFTERNOON, at half-past 2 o'clock . . .

[Advertisement], The Sydney Morning Herald (9 March 1875), 8 

VICTORIA THEATRE . . . The Orchestra, under the direction of Mr. W. RICE, comprising the following artistes:
W. J. Rice, Leader. S. Hodge, clarionet. J. Miller, 2nd violin. J. Taylor, cornet.
J. Gibbs, viola. F. White, trombone. A. Chate, basso. A. Brodie, tympini. W. Martin, flute . . .

ASSOCIATIONS: John Gibbs (viola)

"DEATHS", The Sydney Morning Herald (24 May 1876), 1 

CHATE. - May 20, at his residence, 16, Bourke-street, Woolloomooloo, Alfred Henry Chate, aged 47, after a long and painful illness, a native of Brighton, England, leaving a wife and seven children to mourn their loss.

CHAUNCY, Philip (Philip Lamothe CHAUNCY; Philip CHAUNCY)

Reporter and transcriber of Indigenous music

Born Datchet, Buckinghamshire, England, 21 June 1816
Arrived Adelaide, SA, 11 October 1839 (per Dumfries, from London)
Married (1) Charlotte Humphries KEMMIS (1816-1847), Trinity Church, Adelaide, SA, 16 March 1841
Married (2) Susan Augusta MITCHELL (1828-1867), Swan, WA, 30 August 1848
Died Ballarat, VIC, 9 April 1880 (TROVE tagged by Australharmony) (NLA persistent identifier) (shareable link to this entry)


"PORT ADELAIDE SHIPPING. ARRIVALS", South Australian Register (19 October 1839), 3

Sunday, October 11 - The barque Dumfries, 468 tons, Richard Thompson, Commander, from London, with a cargo of British merchandise. Passengers - Mr. and Mrs. Kemmis and family, Miss Kemmis . . . Mr. Phillip Snell La Mothe Chauncy . . .

"Deaths", The Argus (10 April 1880), 1

CHAUNCY. - On the 9th inst., at Ballarat, Philip Lamothe Chauncy, late district surveyor, and afterwards bishop's registrar, Ballarat, after a long illness.

[News], Gippsland Times [VIC] (12 April 1880), 3

The Ballarat Courier mentions the decease of Mr. Philip Chauncy, at his residence on Friday morning after a long and painful illness. The deceased arrived in Western Australia about forty years ago, and was the author of a valuable work on the aborigines of Australia. He was afterwards for many years in the Victorian Survey department. Mr. Chauncy also took a hearty interest in the advancement of Church of England matters, having been registrar for the Bishop of Ballarat until failing health compelled his retirement from that position. He died beloved and respected by all who knew him.

"THE LATE MR. PHILIP CHAUNCY", The Church of England Messenger and Ecclesiastical Gazette for the Diocese of Melbourne and Ballarat (7 June 1880), 6 

In our last issue was recorded the, death, at Ballaarat, on Friday, 9th April, of Mr. Philip Chauncy, the late universally respected Registrar of this Diocese. On the 22nd November last Mr. Chauncy, in consequence of failing health, resigned that important office. On the same day he was attacked with very serious illness, and a few days later with congestion of the lungs. During December he rallied somewhat, but dropsy supervened. On Easter Sunday an alarming change took place. On the following Saturday, at his own earnest request, he, together with four of his children, received the Holy Communion; and on Friday, 9th April, only two or three hours later than Archdeacon Innes, "the best and kindest and dearest of fathers" (to use the words of one of his children) passed peacefully away to everlasting rest. It does not become us to intrude within the sacred precincts of domestic sorrow. Feeling, however, that Mr. Chauncy belonged to more than a domestic circle - that the Church had in him a special property - we venture to add a few, necessarily hasty, notes respecting him.
Philip Lamothe Snell Chauncy was born at Datchett, in Buckinghamshire, on 21st June, 1816. Considerations of health led to his being educated as a surveyor, instead of as an aurist, as first intended by his step-uncle, Sir John Curtis. In October, 1839, he arrived at Glenelg, S.A., and commenced the practice of his profession in Adelaide. In 1841 he was appointed Assistant-Surveyor in Western Australia in connection with the Imperial service. In that colony he gained important experience amongst the natives, in whom he took much interest, learning to speak several of their dialects. In 1847, when on leave of absence, he paid his first visit to Portland Bay, Melbourne, and Sydney. In 1853, resigning his appointment, he settled with his family in Melbourne . . .


Chant of the Aboriginals at Swan River ("a line of one of their chants"), in R. Brough Smythe, The Aborigines of Victoria (1878), vol. 2, 266 (DIGITISED)

. . . Monotonous and harsh as their chants are, the natives are by no means unsusceptible of the power of music. The young people readily learn to sing, and some of them to play on [Western] instruments. Often, when approaching a native encampment on one of those lovely mornings which, at Swan River, shed an indescribably balmy influence on all around, I have heard the plaintive morning song - the men as they sat sharpening their spears, the women as they lazily put together the smouldering embers, while the others slept around. The following is a line of one of their chants . . .

17 A line of one of their chants (Chauncy 1878, 266)

See also checklist entry:


"Notes and anecdotes of the Aborigines of Australia, by Philip Chauncy, J.P., District Surveyor at Ballarat", in R. Brough Smythe (ed.), The Aborigines of Victoria (1878), vol. 2, Appendix A, 221-84 (DIGITISED)

Papers, MS; State Library of Victoria 

Philip Chauncy diaries and survey books, 1840-1875; State Library of New South Wales

Philip Chauncy diary, business, domestic, travels; State Library of New South Wales

Profiles of Aborigines of King George's Sound taken by Philip Chauncy Esq'r in 1852; later copy of Chauncy's original head profiles, pen and brush; National Gallery of Australia (DIGITISED)

1. Cartool. 2. Nijan. 3. Nimmagul. 4. Wallong. 5. Webbinburt.
6. [unnamed]. 7. Kooron. 8. Wylie. 9. Gelgaran (Wylie's wife). 10. Dennin . . .
"The outline of all the heads is good excepting No. 6.
The figures and attitudes were added recently by the person (gentleman) who copied the original busts,

Bibliography and resources:

Mark Twain, Following the equator (Hartford: American Publishing Co., 1897), 216

. . . Mr. Philip Chauncy, an officer of the Victorian Government, contributed to its archives a report of his personal observations of the aboriginals which has in it some things which I wish to condense slightly and insert here . . .

"Philip Lamothe Snell Chauncy", Design & art Australia online (DAAO)

CHERRY, Martin Cronin (Martin CHERRY; Martin Cronin CHERRY)

Amateur musician, bandsman, bandmaster

Born Limerick, Ireland, 1826; baptised St. Munchin, Limerick, 10 November 1826; son of John CHERRY and Ann CRONIN
Arrived Sydney, NSW, 19 February 1848 (per Hyderabad from London, 27 October and Plymouth, 12 November 1847)
Married (1) Mary FLANNERY (d. 1879), St. Mary's cathedral, Sydney, NSW, 30 January 1850
Married (2) Clara EASTMURE (1837-1921), St. Augustine's church, Balmain, NSW, 14 February 1881
Died Balmain, NSW, 28 August 1898, aged "72" (TROVE tagged by Australharmony) (shareable link to this entry)


Baptisms, St. Munchin, Limerick, November 1826; National Library of Ireland (DIGITISED)

[1826 November] 10 / B[apt.] Martinum / Joannis Cherry & Annae Cronin . . .

Assisted immigrants per Hyderabad, arrived Sydney, NSW, 19 February 1848; State Records Authority of NSW (PAYWALL)

. . . Cherry Martin / 21 / Gardener / [born] Limerick Ireland / Roman Catholic / Reads and writes . . .

[Advertisement], Freeman's Journal (23 April 1853), 12 

LIST OF SUBSCRIPTIONS towards the Erection of a Church at Kiama . . . Mr. Martin Cherry - 1 0 0 . . .

[Advertisement], The Sydney Morning Herald (22 January 1874), 1

VOLUNTEER LAND ORDERS. LOST, on the 16th December last, supposed between corner of King and George streets and top of William street . . .
viz. No. 72-47, originally issued to Martin Cherry, private Brigade Band, and transferred to W. C. Bundock, Esq., 8th February, 1872.

ASSOCIATIONS: Sydney Volunteer Brigade Band (volunteer forces)

"BRIGADE PICNIC", Evening News (22 January 1875), 2

The complimentary picnic, tendered by the members of the Brigade Band to Mr. M. Cherry, their late bandmaster, came off yesterday, at Clifton Gardens, Chowder Bay. The Pyrmont Company's steamer Prince made two trips to the spot chosen for the day's recreation, conveying about 200 people, all eager to show their appreciation of Mr. Cherry's conduct while occupying the position above mentioned. The day was fine, and, if it had been ordered for the occasion, could not have been more suitable. The steamer made her first trip, starting from the Circular Quay, at 11 o'clock, and arrived at her destination a few minutes before 12, so that before she made her second trip, there was plenty of time for the visitors to amuse themselves with the various games, such as quoits, &c., while the ladies amused themselves on the light fantastic in the spacious pavilion, to the enlivening strains of the Brigade Band, which was under the conductorship of sergeant Thompson . . .

ASSOCIATIONS: William Alexander Thompson (band sergeant)

"DEATH OF MR. MARTIN CHERRY", Freeman's Journal (3 September 1898), 12

Mr. Martin Cronin Cherry, one of the best-known Irishmen in Sydney, a bright-witted genial soul, passed away at his late residence, "Monaleen," Clare-street, Balmain West, on the 28th inst. He had reached his 72nd year, but he preserved his wonderful gaiety of heart almost to the very last. For some four or five years Mr. Cherry suffered from rheumatism, but his chief concern in connection with this affliction was that it deprived him of the pleasure of dancing an Irish jig, an exercise which he maintained was essential to good health and true patriotism. It would be hard to name an Irish gathering held in Sydney for well-nigh half a century - sports, dancing, banquet, hurling, or picnic - from which he was absent. It might in truth be said of him, as it has been said of Shamus O'Brien, that he figured with equal grace at a christening, a wedding, or a funeral. Mr. Cherry enjoyed the personal friendship of Father Therry, Archdeacon McEncroe, the Very Rev. Dr. Forrest, the learned and witty Rector of St. John's College, and Father George Dillon. He was one of Archdeacon McEncroe's celebrated Temperance Brass Band, and was also a leading player in the first band formed in Balmain . . .

ASSOCIATIONS: John Joseph Therry (cleric); John McEncroe (cleric); St. Patrick's Band (Sydney)

CHERRY, Robert (Robert CHERRY)

Musician, band sergeant, bandmaster Band of the 14th Regiment

Arrived Melbourne, VIC, 6 November 1866 (per Monarch, from Auckland, NZ, 16 October)
Married Mary Ann CHANLEY, Trinity church, Adelaide, SA, 25 May 1869
Departed Melbourne, VIC, 19 March 1870 (per Walmer Castle, for England) (TROVE tagged by Australharmony) (shareable link to this entry)

ASSOCIATIONS: Band of the 14th Regiment (military)



"BAND OF THE 2-14TH REGIMENT", The Tasmanian Times [Hobart, TAS] (2 September 1868), 2 

We really must congratulate Bandmaster Cherry on the great and continued improvement in the band of the detachment of the 14th Regiment now stationed here. The selections played on the "march-out" on Monday (particularly one from the opera of Somnambula) were admirably performed - shewing an amount of proficiency to which, since the departure of the 12th band, we have been strangers. We understand that Bandmaster Cherry has had no very easy task to perform, as the men he has trained were not brought up as musicians, and the instruments at his disposal were simply "cast off" by the band of the regiment in Melbourne. We trust that some arrangements may be made for the band to perform in Franklin square and the Botanical Gardens during the coming summer.

ASSOCIATIONS: Band of the 12th Regiment (military)

"SUPREME COURT - CRIMINAL SITTINGS. WEDNESDAY, MAY 19", The South Australian Advertiser [Adelaide, SA] (20 May 1869), 3

. . . and the prisoner called Sergeant Cherry, of the 14th Regiment, who stated that on Monday, 10th May, the prisoner came into Sergeant Murray's quarters to dinner, about 10 minutes past 1 o'clock, and stayed till Sergeant Murray had dinner . . .

"MARRIAGES", The Mercury [Hobart, TAS] (3 August 1869), 1

CHERRY - CHANLEY. On the 25th May, at Trinity Church, Adelaide, by the Rev. Henry Howitt, Robert Cherry, Sergeant H.M. 14th Regiment, to Mary Ann Chanley, youngest daughter of the late Mrs. Hamer, Hobart Town, Tasmania.

"MUSICAL DAYS. HISTORY OF THE HOBART BANDS", The Mercury (30 August 1917), 2

. . . Most of the 12th Regiment left a few years after for New Zealand, and it was not until 1866 (after the New Zealand war) that another regiment, the 2nd Battalion of the 14th West Yorkshire (now Prince of Wales West Yorkshire) arrived, and a detachment band, formed in Adelaide, arrived in 1867 to join the regiment. Mr. Millist Vincent, of this city, was a member. Mr. Robert Cherry was the bandmaster. So ends the history of the imperial military bands in Tasmania . . .

ASSOCIATIONS: Millist Vincent (bandsman)

CHESTER, Marian Maria (Miss CRAWFORD; Mrs. CHESTER) see main entry Marian Maria CHESTER

Musician, soprano vocalist, actor

CHESTER, William (Mr. W. CHESTER) see main entry William CHESTER

Theatrical manager, theatre treasurer

CHESTER, Sidney Yates (Master Sidney CHESTER) see main entry Sidney Yates CHESTER

Juvenile vocalist, theatrical performer


Amateur musician, violinist, vocalist, choir singer, hay and corn merchant

Born Launceston, VDL (TAS), 19 June 1843; baptised St. John's, Launceston, 12 July 1843; son of William CHICK (1803-1875) and Elizabeth WATTS (d. 1882)
Married (1) Sarah ROUSE (d. 1879), St. John's, Launceston, TAS, 3 March 1870
Married (2) Ada Emily DAVIS (d. 1940), St. John's, Launceston, TAS, 29 March 1880
Died Launceston, TAS, 3 August 1925, aged "82" (TROVE tagged by Australharmony) (shareable link to this entry)

John Chick (1843-1925)

John Chick


A hay and corn merchant by trade, John Chick was active from an early age as a vocalist and violinist, a member of the choir of St. John's church, Launceston, and as an adult was a prominent musical amateur. He may have received his very earliest musical training from Francis Howson (who left Launceston in 1852), and later from William and Thomas Sharp.


Births in the district of Launceston, 1843; Tasmanian names index; NAME_INDEXES:1105502; RGD33/1/23/ no 1525$init=RGD33-1-23-P729 (DIGITISED)

No. 1325 / 19 June / [no name given] / Male / [son of] William Chick / Elizabeth Chick formerly Watts / Shoemaker / . . . Wellington Street . . .

ASSOCIATIONS: A Hoxton bootmaker and bridle cutter, William Chick (1803-1875) was convicted of breaking and entering and transported to Van Diemen's Land on the William Miles in 1828. His wife Elizabeth Watts (d. 1882) joined him the colony, and John was born to them in Launceston on 19 June 1843.

"OUR MONTHLY SUMMARY", Launceston Examiner (18 May 1867), 5 

The second of the series of Penny Readings was given in the Mechanics' Institute on Thursday night . . . The entertainment was opened by Mr. Hanchett giving a pretty and lively medley on the pianoforte . . . Mr. J. Chick sang "The moon behind the hill" in a very creditable manner, but he has a way, when singing the lighter notes, of shaping his mouth as if about to yawn . . . A vote of thanks . . . was passed to the readers and singers, especially to Mr. T. Sharp for, his valuable services . . .

ASSOCIATIONS: John Justinian Hanchette (musician); Thomas Sharp (musician)


. . . . In dissolving the Musical Union, the members had determined to present to Mr. Sharp a memento expressive of their appreciation of his services. They had decided upon presenting to him a time-piece, and an address . . . [signed]:
Thos. Brain, hon. sec.; Frederick Lakin, Frederick Richards, Thomas J. Doolan, John Frost, John Chick, A. M. Wadham, A. McArthur, Wm. Sharp, J. J. Hanchett, Anthony Hart, S. Smith, Caroline Richards, Agnes Doolan, Alban Roper, Miss Wadham, Esther Green, Geo. Orpwood . . .

ASSOCIATIONS: Thomas Brain (member); Thomas Joseph Doolan (member); William Sharp (member); Anthony Hart (member); Alban Roper (member); George Orpwood (member)

"PROMENADE CONCERT", The Cornwall Chronicle (13 October 1869), 2 

The promenade concert at the Mechanics' Institute was not so well attended yesterday evening as might have been expected, considering the ability of the musical amateurs under the conductorship of Mr. T. Sharp . . . The concert was opened with the overture to the opera "Bohemian Girl," and it was finely rendered by Mr. T. Sharp, Rev. W. A. Brooke, Messrs. W. Abbott, S. Joscelyne, A. Hart, C. Galvin, Roberts, Chick, and Harris . . . Song, "The Death of Nelson," Mr. J. Chick . . .

ASSOCIATIONS: Warren Auber Brooke (musician); W. Abbott (violin); Samuel Joscelyne (cello); Anthony Hart (cello); Charles Galvin (clarinet); Henry Roberts and/or son (violin)

"MECHANICS INSTITUTE", Launceston Examiner (21 October 1869), 2 

A popular entertainment by amateurs was given at the Mechanics' Institute on Tuesday evening, but was sparsely attended . . . We append the programme. - Guy Mannering, Messrs. Abbott, Roberts, Galvin, J. M. Davies, A. Hart, Joscelyne, Biggs, C. Kemp, and Chick . . . overture, - "Tancredi," Messrs. Abbott, Henry, Hart, Biggs, Davies, Galvin, Joscelyne, and Chick . . .

ASSOCIATIONS: Jesse Biggs (bassoon)

"THE CONCERT AT THE MECHANICS' INSTITUTE ON FRIDAY LAST", The Cornwall Chronicle (3 January 1872), 2 

In our notice of this concert in Monday's issue, the overture to each part of the concert is attributed to the string band of the Messrs. Roberts. Our reporter was not present when the first overture was performed, but we are informed on good authority it was a brilliant performance. It was the overture to "Guy Mannering" by Mr. McIver, leader (first violin), Mr. Chick (second violin), Mr. J. M. Davies (flute), Mr. Harris (cornet), Mr. A. Day (cornet), Mr. Charles Galvin (clarionet), and Mr. Hanchett (pianoforte) . . .

ASSOCIATIONS: Probably John McIver (violin, leader); John Morris Davies (flute); Andrew John Day (cornet)

"GRAND AMATEUR CONCERT", Launceston Examiner (25 July 1872), 2 

A grand amateur concert of vocal and instrumental music, in aid of the funds required for the improvement of the boat used in the Mission work in Bass's Straits, was given at the Mechanics' Institute on Tuesday evening . . . The concert was commenced about a quarter to eight, by an overture "Fra Diavolo" by a very full and efficient orchestra, consisting of the Rev. W. A. Brooke and Messrs. T. Sharp, Abbott, Chick, Day, Galvin, J. M. Davies, W. Sharp, Joscelyne, and Douglas Harris . . .

"GRAND CONCERT AT THE MECHANICS' INSTITUTE", The Cornwall Chronicle (4 September 1872), 2 

On Monday evening a grand vocal and instrumental concert was given in the hall of the Mechanics' Institute in aid of the widow of the late Mr. Jesse Biggs . . . The concert commenced with Auber's overture to "Masaniello," by ten performers - Mr. Thos. Sharp, Mr. Abbott, and Mr. Chick (violins), Mr. Wm. Sharp (double bass), Mr. Joscelyne and Mr. A. Hart (violoncellos), Mr. C. Galvin (clarionet), Mr. J. M. Davies (flute), Mr. A. Day and Mr. R. D. Harris (cornets), and Mrs. H. B. Nicholls presided at the pianoforte. The overture was excellently performed, in perfect time, and with fine effect. It gave entire satisfaction, and elicited universal applause . . .

"SACRED & SECULAR CONCERT", Weekly Examiner (5 July 1873), 14 

The members of St. John's Church Choir, assisted by a few friends, on Tuesday evening last gave a concert in the large hall of the Mechanics' Institute, in aid of a fund for providing an organ for St. John's Church Sunday School . . . rendered to a large audience in a manner that must have been as gratifying to the conductor, Mr. T. Sharp, as it was satisfactory to those present.
The first piece was a sacred overture "Samson," by the orchestra, composed as follows: - Messrs. W. Abbott (piano), Thomas Sharp, John Chick, Jas. Tevelein (violins), W. Sharp (bass viol), A. Hart (violincello), J. Galvin and T. J. Doolan (clarionets), A. Day and Douglas-Harris (cornopeans), J. M. Davies (flute). This is, perhaps, the best orchestra that can be formed in Launceston, and this grand overture was performed in fine style, as was also the sublime, soft, and silvery pastoral symphony subsequently . . .

ASSOCIATIONS: James Tevelein (violin); St. John's church (Launceston)

"CONCERT AT CARRICK (By our Special Reporter)", The Cornwall Chronicle (30 March 1874), 3 

On Friday last another of those pleasant little concerts for which Carrick is acquiring a reputation was given in the new school-room . . . and the arrangements were conducted by Mr. T. Sharp . . . the orchestra for the opening piece[,] Messrs. T. Sharp, W. Sharp, A. Hart, W. Abbott, Douglass Harris, Day, Chick, and Tevelein then stepped forward and delivered the favorite overture, "Il Tancredi," in a style that called forth great applause . . . After an interval of ten minutes the orchestra performed the overture "The Caliph of Bagdad," and gave the country residents another treat, as it is rarely such a band of performers can be found at a country entertainment . . .


This being the day fixed for the solemn opening of the new Roman Catholic Church at Westbury, by the Most Rev. Bishop Murphy, arrangements were made for giving eclat to the ceremonies, and special efforts were made to render the music as perfect and attractive as possible. The programme included the celebration of solemn High Mass Coram Pontifice, the choir, with full orchestral accompaniments, to perform Mozart's No. XII. Mass . . . The Orchestra comprised the following:
Violins - Messrs. T. Sharp, W. Abbott, J. Chick, J. Tevelein;
Violoncellos - Messrs. A. Hart, S. Joscelyn; Contrabasso - Mr. W. Sharp; Flute - Mr. J. M. Davies;
Cornopean - Messrs. R. D. Harris and A. Day; Organ - Miss Dowling . . .
The vocal department was under the direction of Mr. J. H. Melvyn; the instrumental arrangements were under the superintendance of Mr. T. Sharp . . .

ASSOCIATIONS: James Hadock Melvyn (choir leader)

"DEATHS", Daily Telegraph (4 August 1925), 1 

CHICK. - On the 3rd August, 1925, at his residence, 80 Balfour-street, Launceston, John, the dearly beloved husband of Ada Emily Chick, aged 82 years.

CHILD, Mrs. (Mrs. CHILD)


Active Sydney, NSW, December 1834 to March 1835 (TROVE tagged by Australharmony) (shareable link to this entry)

DISAMBIGUATION: A London concert singer Miss Child or Childe had, by mid-1832, married the bass singer Edward Seguin, and was appearing as Mrs. E. Seguin; but I have found no reference to any other public singer of that name active in homeland Britain immediately before of after 1834-35.


[Advertisement], The Sydney Herald [NSW] (11 December 1834), 3

TO-MORROW EVENING, 16th December, 1834, under the immediate Patronage of His Excellency the Governor.
To commence at eight o'clock precisely.
1. - Overture to Gustavus, full Orchestra - Auber.
2. - Glee three voices, "Merrily o'er the bounding sea" - Godbé.
3. - Song, "Slowly wears the day, love," Mrs. Child.
4. - Air, "Blue Bells of Scotland," with Variations, which Mr. Josephson has kindly consented to perform this evening, accompanied by his brother.
5. - Song, "Maid of Judah," Mrs. Taylor - Sloman.
6. - Quintette, two Violins, Flute, Tenor, & Violincello, Messrs. Sippe, Wilson, McChroan, Hay, and Lewis - Romberg.
7. - Song, "Fleur du Tage," with Guitar accompaniment, Mr. Bonner - Rousseau.
8. - Duet, "As it fell upon a day," Mrs. Taylor and Mr. Ellis - Bishop.
9. - Chorus, "Hail, smiling morn" - Bishop.
10. - Song, "Awake! awake! my own love," Mrs. Taylor - Di Pinna.
11. - Overture to Boyerdere [Bayadere] - Auber.
1. - Overture, Fra Diavolo - Auber.
2. - Glee, four voices, "Foresters sound the cheerful horn," - Bishop.
3. - Song, "O, give me but my Arab steed," Mrs. Taylor, - Hodgson.
4. - Concerto, Piano Forte, Mr. Josephson - Duvac.
5. - Song, "Bonny Breast Knots," by a Lady.
6. - Duet, "Sweet in the Woodlands," Mr. Bonner, and Mr. Ellis.
7. - Solo, Clarionet, Mr. Lewis, - Gambarro.
8. - Song, "We met," Mrs. Child - Burnett.
9. - Glee, three voices, "Mynheer Van Dunck" - Bishop.
10. - National Melody, "Erin go Bragh," Mrs. Taylor - Moore.
11. - Overture, "Guillaume Tell" - Rossini.
FINALE, "God save the King."
[manicule] Tickets, 7s. 6d. each, to be had at Mr. Ellard's Musical Saloon, Hunter-street; Mr. Evans's, Bridge-street; Mr. Moffitt's, Pitt-street; and at the Pulteney Hotel.

ASSOCIATIONS: Thomas Lewis (master 17th band); Joshua Frey Josephson and brother (flute, piano); George Sippe (musician); Mr. Wilson (musician); Maria Taylor (vocalist); Mr. Ellis (vocalist); Band of the 17th Regiment (military); Pulteney Hotel (Sydney venue)

MUSIC: Slowly wears the day, love (music by Nicholas Charles Bochsa, later in Australia); We met! ("melodies selected by Thomas Haynes Bayly", though attributed to "Burnett")

"THE CONCERT", The Sydney Gazette and New South Wales Advertiser (18 December 1834), 2

Mr. Lewis's concert at the Pulteney hotel on Tuesday evening was very fashionably and rather numerously, attended . . . Mrs. Child, who made her first public appearance at this concert, has a pretty voice, but it is not of much compass, and she is deficient in the art of managing it with effect . . . but all the performances would have gone off better had the orchestra been situated at the other end of the room, where there is no heavy gallery above to impede the expansion of the sound.

"Mr. Lewis's Concert", The Sydney Monitor (20 December 1834), 2

. . . Mr. Lewis promised to introduce at his Concert all the vocal talent of Sydney. Where were Mrs. Ellard, Mrs. Bird, Mrs. Jones, and Mrs. Boatwright? In lieu of these, Mrs. Child was for the first time introduced to a Sydney audience. This lady has a good voice. and her attempts at expression were good, and we think she will, with practice, become a popular singer. We say attempts at expression, because there was some deficiency or other which occasioned the pleasantry of some of the auditors, and which they expressed with a freedom inconsistent with decorum. Mrs. Child's manner would not, we think, have excited mirth on the stage, and we must say, we did not think it overdone. But a ludicrous idea was started by some young humourist present, and it spread like lightning amongst his companions and caused a titter during the song . . . We Met, by Mrs. Child, was very well sung . . .

ASSOCIATIONS: Joanna Ellard (vocalist); Isabella Tempest Bird (vocalist); Harriet Jones (vocalist); Sarah Boatright (vocalist)

[Advertisement], The Australian (20 March 1835), 3

MRS. TAYLOR RESPECTFULLY announces to her Friends and the Public generally, that her
CONCERT will take place at the Pulteney Hotel on TUESDAY next, the 24th instant,
assisted (with permission of Colonel Despard) by the band of the 17th Regiment.
1. Overture, Gustavus - Auber
2. Glee, three voices, Ye Shepherds, Mazzinghi
3. Song, Mrs. Child, Will thou say farewell - Stevenson
4. Duet, When a Little Farm we Keep, by Mrs. Taylor and Mr. Knowles - Mazzinghi
5. Song, Mrs. Taylor, Lulled by the Siren Voice - Smith.
6. Solo, Clarionet, Mr. Lewis - Gambarro
7. Song, Mr. Gordonovitch - Polish Air
8. Song, Mr. Simmons, Mountain Maid - Sinclair
9. Song, Mr. Bonnar, The Boatie Rows, accompanied on the Guitar by himself - Scotch
10. Song, Mrs. Boatright, The Rover's Bride - Lee
11. Song, Mrs. Taylor, Isle of Beauty, accompanied on the Metalaphone - Rawlinson
12. Overture, Zauberflote - Mozart
1 . Overture, the Battle of Waterloo
2. Glee, Three Voices
3. Song, Mrs. Boatright, Muffled Drum - Lee
4. Matrimonial Duett, Mr. Simmons and Mrs. Taylor - French Air
5. Song, Mrs. Child, Farewell to Love - Mrs. Child
6. Solo, Flute, Mr. Stubbs - Nicholson
7. Song, Mrs. Taylor, Young Coquette - Lee
8. Song, Mr. Gordonovitch, Maid of Judah - Sloman
9. Glee, The Sea Sprites - Godbe.
10. Song, Mr. Bonnar, The Guitar of Spain, accompanied on the Guitar by himself - M.S.
11. Song, Mr. Simmons, The Misletoe Bough -
12 Song, Mrs. Taylor, Minstrel Boy, with Band accompaniments - Stevenson
13. Sinfonia - Mozart.
Mr. Cavendish will preside at the Piano-forte.
[manicule] Tickets, 7s. 6d. each, to be had at Mr. Ellard's Hunter-street, and at the Pulteney Hotel.

MUSIC: Wilt thou say farewell, love (Moore and Stevenson); the second song, Farewell to love appears to be billed as her own composition; a song "Farewell to Love sung by Miss Childe" [sic] was among new publications from Bland and Waller in London in summer 1817; see "REVIEW OF NEW MUSICAL PUBLICATIONS", New Monthly Magazine (1 September 1817), 150-51 (DIGITISED)

. . . Farewell to Love sung by Miss Childe . . . Composed by John Parry. Bland and Weller . . .

ASSOCIATIONS: John Parry (composer, vocalist)

"CONCERT", The Sydney Herald (26 March 1835), 3 

Mrs. Taylor gave her Concert on Tuesday evening last, at the Saloon of the Pulteney Hotel, to rather a thin house, scarcely sufficient we should think to cover the expenses. The performers were Mesdames Taylor, Boatwright, and Child, and Messrs. Simmons, Ellis, Gordonovitch, and Bonner; Mr. Cavendish presiding alternately at the Seraphine and Pinoforte [sic] . . .

. . . Mrs. Child - attempted two songs, her style is very simple.

"CONCERT", The Sydney Monitor (28 March 1835), 3 

. . . Mrs. Child - attempted two songs, her style is very simple . . .

CHINNER, George Williams (George Williams CHINNER; G. W. CHINNER)

Amateur musician, musical composition judge (Gawler Prize), composer, lyricist, merchant, draper, newspaper proprietor

Born Middleton Cheney, Northamptonshire, England, 29 November 1824; son of John CHINNER (1800-1846) and Ann WILLIAMS (d. 1826)
Arrived Adelaide, SA, 24 November 1845 (per Templar, from London, 25 July)
Married (1) Caroline BOWEN (1831-1861), Adelaide, SA, 6 April 1849
Married (2) Mary EDWARDS (1845-1916), Pirie-street Chapel, Adelaide, SA, 8 September 1863
Died Brighton, SA, 27 May 1880 (TROVE tagged by Australharmony) (shareable link to this entry)

CHINNER, William Bowen (William Bowen CHINNER; W. B. CHINNER)

Musician, organist, pianist, teacher of music, composer

Born Adelaide, SA, 27 October 1850; son of George Williams CHINNER and Caroline BOWEN
Married (1) Emma COTTON (1852-1908), Pirie-street Wesleyan Church, Adelaide, SA, 23 June 1875
Married (2) Annie Elizabeth CLARIDGE (1879-1960), East Adelaide, SA, 21 April 1910
Died Adelaide, SA, 2 July 1915, aged "65" (TROVE tagged by Australharmony) (NLA persistent identifier) (shareable link to this entry)

CHINNER, George Frederick (George Frederick CHINNER; G. R. CHINNER)

Amateur musician, organist, choirmaster

Born Adelaide, SA, 1 August 1852; son of George Williams CHINNER and Caroline BOWEN
Died Parkside, SA, 18 July 1918 (TROVE tagged by Australharmony) (shareable link to this entry)

George Williams Chinner, 1845, SLSA

George Williams Chinner, self-portrait in watercolour, signed "GC 1845"; State Library of South Australia (DIGITISED)


Register of births, Great Chapel (Baptist), Middleton Cheney, Northamptonshire, 1785-1837, fol. 43v; UK National Archives, RG4/1274 (PAYWALL)

George Williams Chinner son of John Chinner and Ann his wife, of the Parish of Middleton Cheney in the County of Northampton, was born November 29, 1824 . . .

"ADELAIDE SHIPPING. ARRIVED", Adelaide Observer (29 November 1845), 4 

Monday, Nov. 24 . . . Same Day - The ship Templar, 565 tons, W. E. Brown, master, from London . . . Intermediate. - G., J., and Ann Chinner . . . Government emigrants . . . Chas., Wm., Mary, and J. Chinner . . . Eliza, Chas., Ruth, and Sarah Wilde . . .

ASSOCIATIONS: Charles Wylde (Chinner's cousin, amateur vocalist)

"MARRIED", South Australian Gazette and Mining Journal (12 April 1849), 3 

On Friday, April 6, 1849, by the Rev. T. Q. Stow, at the residence of the lady's father, Mr. G. W. Chinner, draper, Rundle-street, to Caroline, only daughter of Mr. R. G. Bowen, builder, Weymouth-street.

"LOCAL NEWS", South Australian [Adelaide, SA] (11 February 1851), 2 

A tea meeting was held yesterday evening at the Baptist Chapel, in Pulteney-street. The chair was afterwards taken by W. Peacock, Esq., and the company was addressed by the Rev. Daniel, minister of the chapel, the Rev. Mr. Haimes, Messrs. Bonwick, Wickes, Randall, Reynolds, and several other gentlemen. The evening was enlivened by the performance of sacred quartettes, &c. by Messrs. J. W. Daniel, Burford, Chinner, and Wylde. In the course of the evening a collection was made amounting to upwards of £30, for the cieling and plastering of the building.

ASSOCIATIONS: Josiah Wyke Daniel (vocalist, son of the Rev'd Joseph Daniel); William Henville Burford (vocalist); Music in Baptist churches (general)

"THE BAPTISTS IN SOUTH AUSTRALIA", South Australian Register (16 April 1851), 2 

The members and friends of the Baptist denomination in connexion with the chapel in Pulteney-street met on Monday evening last to celebrate the final completion of that edifice . . . Mr. Daniels, the minister to the congregation . . . proposed Mr. Slatter to occupy the chair . . . The Chairman, then introduced to the meeting Messrs. Daniels, Burford, Chinner, and Wylde, who had kindly volunteered, their services as vocalists . . . We cannot let this pass without complimenting the gentlemen vocalists, not only upon the good feeling displayed in volunteering for the occasion, but for the care and skill with which they went through the various pieces executed by them - nine in number, and selected from the best masters, including Mozart, Sarte, Spohr, Novello, Handel, and Kreutzer.

"BAPTIST CHAPEL, NORTH ADELAIDE", South Australian Register (16 May 1851), 2 

The first anniversary of the opening of the Baptist Chapel, on Lefevre-terrace, North Adelaide . . . was held on Sunday last . . . A public meeting, in connection with the same object, was held on Monday evening, William Peacock, Esq., in the chair. A comparatively small number of persons attended on this occasion, many others being prevented by the unfavourable state of the weather; and had it not been for the unity and good feeling which evidently pervaded the meeting, and were greatly heightened by the influence of sacred song, it must have been what it all day threatened to be, a very dull affair. It was, however, not so . . . and select pieces of sacred music were sung at intervals by Messrs. Daniel, Burford, Chinner, and Wylde, in very effective style and exquisite taste, to the marked gratification of all present. The subscriptions to the Chapel funds during the services amounted to upwards of £30.

"DINNER TO F. S. DUTTON, AND G. M. WATERHOUSE, ESQRS.", South Australian Register (11 July 1851), 2-3 

The Committee of F. S. Dutton, Esq., M.L.C., gave a dinner to the hon. gentleman on Wednesday evening, at the Hamburg Hotel, as a fitting finale to the long and arduous contest so successfully terminated by the triumph of the candidate whom they supported as the exponent of their political principles. G. M. Waterhouse, Esq., member for East Torrens, was also a guest, as well as a few other gentlemen, amongst whom we noticed Mr. Whittridge, of the Austral Examiner, some members of the Press, and Messrs. Daniels, Chinner, and Wylde, of the Choral Society. About 60 gentlemen sat down to a magnificent entertainment . . . When thanks was returned and the cloth removed . . .
Quartetto arranged expressly for the occasion by J. W. Daniels: -
"Fair is the statesman's honour'd crown,
And fair his laurell'd wreath;
The lustre of their bright renown :
Fades not, bedimm'd by death."
By Messrs. Daniel, Chinner, Burford, and Wylde . . .
Glee - "Hail smiling Morn" . . . Glee - "Forresters Sound the Cheerful Horn" . . .
[3] . . . Glee - "The Souls of the Brave" . . . Glee - "Awake, Eolian Lyre" . . .
Quartette - "Where is the German's Fatherland?" . . . Glee - "Sleep, Gentle Lady" . . .
the vocalists commenced the "National Anthem," upon which the company rose simultaneously and joined in the refrain. That terminated the proceedings, Messrs. Dutton and Waterhouse retiring amid loud cheers and followed by the company.

ASSOCIATIONS: Francis Stacker Dutton (politician, amateur musician); George Marsden Waterhouse (merchant, politician); Adelaide Choral Society (association)

"YATALA ELECTION DINNER", South Australian Register (19 August 1851), 3 

The friends of W. Giles, Esq., the successful candidate for Yatala, celebrated his return for that district by a sumptuous dinner yesterday evening, at the Norfolk Hotel, Rundle-street. The Chair was filled by F. S. Dutton, Esq. . . . During the evening the proceedings were greatly enlivened by the superior glee-singing of Messrs. Daniels, Wylde, Chinner, and Burford; and in addition to the comic song by Mr. Fisher, there was another written expressly for the occasion, and sung by Mr. Dicker, which elicited loud applause.

ASSOCIATIONS: William Giles (politician); Daniel Fisher (vocalist); Frederick Hamilton Dicker (vocalist)

"UNION CHAPEL, COROMANDEL VALLEY, UPPER STURT", Adelaide Observer (2 April 1853), 3 

A social meeting of a very animating description was held here in the afternoon and evening of Good Friday, to celebrate the opening of the Chapel on the same day in 1851. The neat Chapel, which would have proved too small to accommodate many visitors in addition to its ordinary congregation, had its accommodations enlarged by a tent erected at the vestry end . . . On re-assembling after tea, the company was agreeably entertained by a piece of sacred music, performed by a choir from Adelaide, consisting of Messrs. Chinner, Daniells, jun., Burford, and Wylde. This was continued at short intervals throughout the evening . . .

[Advertisement], Adelaide Times (29 July 1854), 3 

WITH a desire to aid in the successful accomplishment of the great object now before the public, the undersigned have taken steps to carry out a SACRED CONCERT; and with a view to its being efficiently and solemnly conducted, hereby invite the cooperation of all who are practised in concerted singing.
They have obtained the cheerful acquiescence of the office-bearers of Freeman-street Chapel, who have, without hesitation, granted its use for the purpose.
A Committee will be formed, and immediate notice given of the time and place for practice.

ASSOCIATIONS: George White (tailor, amateur vocalist)

[Advertisement], South Australian Register (5 September 1854), 1 

CONCERT OF SACRED MUSIC - Under the Patronage of His Excellency the Lieutenant Governor and Lady Young.
will be held in Freeman-street Chapel, on WEDNESDAY EVENING, the 6th September.
PROGRAMME. PART I. Overture, "Samson", - Handel; Chorus, "Sing unto God," - Handel;
Quartett, "Unto Thee, O Lord," and Chorus, "Thy Kingdom is an everlasting Kingdom," - G. W. Chinner . . .
Pianist - Mrs. Young and F. S. Dutton, Esq. M.L.C.
Conductor - Mr. J. W. Daniel . . .

ASSOCIATIONS: Rebecca Cash Young (pianist); Henry and Augusta Young (governor and wife)

See also printed program, State Library of Victoria: (DIGITISED)

QUARTETTE. - G. W. Chinner.
Unto thee, O Lord, do we give thanks, for that thy name is great thy wond'rous works declare.
DUETT. Thou hast a mighty arm, strong is thy hand, and high is thy right hand. Thou rulest the raging of the sea; thou stillest the waves thereof when thy arise.
QUARTETTE. Unto thee, O Lord, do we give thanks, &c. . . .
FULL CHORUS. Thy kingdom is an everlasting kingdom, and thy dominion endureth throughout all generations.

"SACRED CONCERT", Adelaide Times (7 September 1854), 3 

The Sacred Vocal Concert in aid of the War Relief Fund took place last evening in the Freeman-street Chapel, and was, as we predicted, decidedly the most brilliant and successful musical entertainment that has ever taken place in South Australia. The building was crowded, not less we should imagine, than 700 persons being present, amongst whom were Sir Henry and Lady Young, and most of the leading residents in Adelaide and the neighbourhood. Before noticing the performance in detail, we feel no hesitation in stating that in the management of the choruses, and the great science and judgment displayed in their execution, the performance of last evening - excepting, of course in point of numbers - would bear by no means a discreditable comparison with those we have been accustomed to hear in Exeter Hall. Mr. Daniels acted as Leader, in a manner which reflected great credit upon him. It, perhaps, was to be regretted that a fuller instrumental accompaniment was not available; although the two pianofortes, under the tasteful and brilliant management of Mrs. Young and Mr. Francis Dutton, were made the most of. We can only briefly refer to some of be more prominent features of this highly interesting entertainment, and amongst them we would mention as deserving of special praise the alto of Mr. Burford, which was eminently successful throughout. Miss Chalker sang with her accustomed good taste, and was, we thought, in remarkably fine voice. The old favourite "With verdure clad," and the duet from the "Creation," "Graceful Consort," sung by that young lady and Mr. Daniels, were warmly and deservedly encored. Mrs. Adamson delighted the audience by her beautiful rendering of Handel's "When warlike ensigns;" and Mr. Daniels gave "Arm, arm, ye brave" with very good taste, and was loudly encored. We will not conclude this necessarily hurried notice without recording our unqualified approval of the unaccompanied quartette of Franz Abt, "Morn awakes in silence," sung by Messrs. Burford, Chinner, Wilds, and Daniels, in very excellent style. The unsparing efforts of Messrs. White and Burford, to carry out the arrangements of the Concert with credit and eclat, have been completely successful, and we cordially compliment those gentlemen and all other parties concerned in the arrangements, upon the gratifying result of their exertions.

ASSOCIATIONS: Marie Chalker (vocalist); Emma La Vence Adamson (vocalist)

"ANNIVERSARY SERVICES", South Australian Register (6 December 1854), 3 

On Sunday last, the 3rd December, services in commemoration of the fourth anniversary were held in the Baptist Chapel, Lefevre terrace, North Adelaide . . . On Tuesday evening a tea meeting, held in the chapel, was well attended . . . During the evening some excellent pieces of sacred music were sung by Messrs. Burford, Chinner, Daniel, and Wylde . . .

[Advertisement], Adelaide Observer (1 October 1859), 8 

A PRIZE of TEN GUINEAS, for Original MUSIC to "The Song of Australia," will be offered by the Gawler Institute, immediately after the Judges shall have awarded the prize for the Words, when further particulars will be advertised.
JUDGES FOR THE MUSIC: G. W. Chinner, Esq.; A. Ewing, Esq, D.A.C.G.; F. S. Dutton, Esq., M.P.; W. Holden, Esq.
GEORGE ISAACS, Sec. Institute Committee.

ASSOCIATIONS: Alexander Ewing (judge); William Holden (judge); George Isaacs (secretary); Gawler Prize (event); Gawler Institute (association)

"GAWLER MUSIC PRIZE", South Australian Register (5 November 1859), 2

The Judges who had undertaken to decide upon the music set to the "Song of Australia" met yesterday, and, after due examination, agreed to the following report: -

"The Judges appointed to award the prize for the best musical composition set to the words of the prize song, entitled 'The Song of Australia,' met on Friday, the 4th November - present, Messrs. Dutton, Ewing, Chinner, and Holden.
Twenty-three compositions were examined, and the prize was unanimously awarded to the composition bearing the motto 'One of the Quantity.'
Those bearing the mottoes 'Long Live our Gracious Queen,' 'Garibaldi,' and 'Con Amore' so nearly equalled the prize composition in merit that the Judges had great difficulty in coming to a decision.
Immediately upon receiving this report we telegraphed to the Secretary of the Gawler Institute to ascertain the name of the successful competitor, and we find from his reply that the composer who has thus distinguished himself is Mr. Carl Linger.

ASSOCIATIONS: Carl Linger (composer); the winning entry was published as The song of Australia (1859)

"MARRIAGES", Adelaide Observer (12 September 1863), 5 

CHINNER - EDWARDS. - On the 8th September, at Pirie-street Chapel, Adelaide, by the Rev. John Watsford, George W. Chinner, to Mary, second daughter of Mr. William Edwards, both of Brighton.

"DEATHS", South Australian Register (28 May 1880), 4

CHINNER. - On the 27th May, at Brighton, G. W. Chinner, aged 55 years.

DEATH OF MR. G. W . CHINNER", Evening Journal (28 May 1880), 2 

We have to record the death of Mr. G. W. Chinner, which occurred at Brighton on May 27. Mr. Chinner was for many years in partnership with Mr. Parkin, in a drapery business in Rundle-street, but a number of years ago retired from business. The deceased, who was 55 yesrs of age leaves a numerous family, the eldest of whom is Mr. W . B. Chinner, the organist.

"News", The South Australian Advertiser (29 May 1880), 5

We regret to announce the death of Mr. G. W. Chinner, of Brighton, who was formerly a well-known draper in Rundle-street, where he carried on business in conjunction with Mr. William Parkin, J.P., in the premises now occupied by Mr. John W. Parkin. Mr. Chinner never took an active part in public affairs, but he was much respected by a wide circle of friends, and was latterly a prominent member of the Wesleyan Church. He was distinguished for his knowledge of the musical science, and was one of the judges who awarded the prize to Herr Carl Linger for the music of "The Song of Australia." Mr. Chinner's musical tastes and abilities are evidently inherited by his elder sons, Mr. W. B. Chinner, the able organist, and Mr. G. F. Chinner. From 1864 to 1871 the deceased gentleman was one of the proprietors of this paper and the other journals issued from this office, and be afterwards took a great interest in their advancement. For some time past Mr. Chinner had been in a delicate state of health; so that his death, although much regretted, cannot be said to have been altogether unexpected. He leaves a widow and a large family.

"MR. W. B. CHINNER", Critic (14 January 1899), 9 

Undoubtedly the most prolific musical composer in Adelaide is Mr. W. B. Chinner. One of a family wellknown in S.A. in the fields of literature, art, music, and athletics, W.B.C. is organist at the Pirie-street Church. He received his musical education in Adelaide and Melbourne. Has written some 50 or 60 works - songs, anthems, pianoforte and organ pieces. His most popular anthem is "Lord God of Heaven and Earth." Four cantatas - "The Magna Charta," "The Prodigal Son," "Solomon's Last Song," and "The Light of the World." The words in many of his songs and longer works have been supplied by his brother, G.F.C.

"DEATH OF MR. W. B. CHINNER", The Journal (Adelaide, SA : 1912 - 1923), 2 July 1915), 2 

The death occurred shortly before 11 o'clock this morning, of Mr. William Bowen Chinner, the well known organist, composer, and teacher of music. The deceased, a son of the late Mr. G. W. Chinner, was born at Brighton, and had been identified with the musical life of Adelaide for many years, although since his resignation of the post of organist at the Pirie Street Methodist Church he had lived at his residence in Hutt street, city, practically in retirement. Mr. Chinner, as a composer, enjoyed the distinction of being not only the most prolific, but also the most successful, of local writers. He came of a distinctly musical and artistic family. His father was an enthusiastic amateur musician, and in his day a recognised local authority upon matters musical. It is worthy of note that in this capacity he acted as one of the committee who awarded the prize to Professor Carl Linger for his "Song of Australia." The deceased received his education in English and the classics at St. Peter's College during the headmastership of Canon Farr, and his ability in scholastic subjects was abundantly manifested during his seven years' sojourn at that institution, where he finallv won a scholarship named after the late Bishop Short. Although working hard at his studies, he invariably found time to devote to his favourite recreation - music, in which he had received a thorough grounding at the hands of his father. After leaving school he decided to follow music as a profession. As there was at that time no Chair of Music at the University, and Adelaide presented but poor facilities for obtaining a sound musical education, Mr. Chinner relinquished the organship [sic] of Pirie Street Church, to which he had been appointed in 1869, and proceeded to Melbourne, where he took advantage of the best instruction procurable. On his return to South Australia in 1873 he was reappointed at Pirie Street Church, and immediately commenced to practise his profession as a teacher of music . . .

See also an extended version of the above, with list of compositions, in [News], The Register (3 July 1915), 8

"DEATH OF MR. W. B. CHINNER", The Express and Telegraph (2 July 1915), 4 

The death of Mr. W. B. Chinner, which occurred early this morning at his residence, Hutt-street, city, has removed one of Adelaide's leading musicians. Mr. Chinner was a native of Brighton. Mr. Chinner was for many years one of the best-known figures in Adelaide musical circles. An accomplished pianist and organist, he filled an important place as a leader of musical taste and culture. For 30 years he was organist and choir-master at the Pirie-street Methodist Church, and during that period the musical service was raised to a high degree of excellence, which won for it recognition through the whole of Australia, and even beyond these southern lands. But it was through his published compositions that his name became most widely known . . .

"DEATH OF MR. G. F. CHINNER", The Express and Telegraph (18 July 1918), 2 

The Methodist Church lost another staunch supporter in Mr. George Frederick Chinner, whose death occurred on Thursday at his residence, Parkside South. He was 66 years or age. A son of the late Mr. G. W. Chinner, of Brighton, he spent a great part of his earlier life in that suburb, where for many years he was organist of the Methodist Church. Later he removed to Parkside, where he was identified with the Methodist Church almost from its inception, and for a lengthy period was a trustee and choirmaster. He published two or three volumes of poems, and wrote a number of Sunday-school song services, which his brother, Mr. W. B. Chinner, set to music, and which became very popular in Methodist schools. Mr. Chinner was unmarried. ried. Six brothers survive - Messrs. J. H. Chinner, C. W. Chinner, A. R. Chinner, W. E. Chinner, H. G. W. Chinner; and A. S. Chinner.

See also "THE LATE MR. G. F. CHINNER", Australian Christian Commonwealth (23 August 1918), 6 

See also:

Elizabeth Silsbury, "Chinner, Norman (1909-1961)", Australian dictionary of biography 13 (1993) 

ASSOCIATIONS: Musician, grandson of George Williams CHINNER, and son of C. W. CHINNER


Musician, trombone player, (civilian) master of the Band of the 28th Regiment, professor of music, composer

Born Rome, Italy, c. 1786
Joined 28th Regiment (as civilian bandmaster), 1828
Married (1) Maria ? (c. 1804-1840), before 1836
Arrived Sydney, NSW, 20 January 1836 (with regiment, per John Barry)
Married (2) Ellen MacCABE (d. 1852), St. Patrick's, Parramatta, NSW, 20 May 1840
Resigned from 28th regiment (as civilian bandmaster), NSW, March 1842
Married (3) Anna WINTER, Parramatta, NSW, 23 January 1853
Naturalised Parramatta, NSW, 27 June 1853 (aged "65")
Died Parramatta, NSW, 5 December 1858, aged "71/72" (TROVE tagged by Australharmony) (shareable link to this entry)

ASSOCIATIONS: Band of the 28th Regiment (military band)


On being naturalised as a British subject in Sydney in June 1853, Vincenzo Chiodetti gave his age as 65 and his birthplace as Rome. Trained as a trombone player, he was admitted as a graduate of the Accademia di Santa Cecilia on 13 December 1824, and was later reported to have worked briefly in Constantinople and Corfu. In 1828, he was appointed civilian band master of the British 28th Regiment, then stationed in the Mediterranean, and later followed it to Ireland, England, and New South Wales. Not wishing to proceed with the regiment to India, he finally resigned in March 1842, and settled in the colony.

Chiodetti's first wife, Maria, died at Parramatta, and was buried on 8 April 1840, reportedly aged 36 (registered as "CHIODOTTI"). On 20 Mary 1840, at St. Patrick's church, Parramatta, Vincenzo Rafael Eustaicho [sic] Chiodetti married Ellen McCabe. Their daughter, Mary (married Charles Weedon, 1860; died 1932) was born at West Maitland on 22 June 1842, and baptised (RC) Maria Sancta Fortunata Chiodette [sic] on 3 July 1842.

On 16 March 1846, Ellen Chiodetti was granted title to a town allotment in Parramatta, bounded on the east by Marsden Street North. Ellen died in Parramatta in 1852, and the following year Vincenzo married Anna Winter. In June 1853, probably largely in order to be able to hold the title to his land, Chiodetti was naturalised. He died at Parramatta on 5 December 1858, aged 72, and was buried at St. Patrick's cemetery.


Catalogo dei maestri compositori dei professori di musica e socii di onore della congregazione ed accademia di Santa Cecilia di Roma (Roma: Perego-Salvioni, [1840/43]), 32 (DIGITISED)

DI TROMBONE . . . Chiodetti Vincenzo, Romano, 13. Decembre 1824, dimorante in Constantinopoli . . .

Catalogo dei maestri compositori, dei professori di musica e dei socii di onore della Congregazione ed accademia di Santa Cecilia di Roma (Roma: Perego-Salvioni, [1842/43]), 59 (DIGITISED)

. . . DI TROMBONE . . . Chiodetti Vincenzo, Romano, 13. Decembre 1824, dimorante in Corfu . . .

"DOMESTIC INTELLIGENCE", The Sydney Herald (21 January 1836), 2

The Head Quarters and Band of the 28th Regiment, came ashore yesterday, from the John Barry, and were escorted to the Barracks by the Band of the 17th Regiment. The Band of the 28th is said to be of a superior description.

ASSOCIATIONS: Band of the 17th Regiment (military)

"THE BAND OF THE 28TH", The Sydney Gazette (2 February 1836), 2

In my humble capacity, I hail with pleasure the arrival of any thing which can contribute to the advancement - or even the rational amusement of this colony, and so I do also the arrival of Mr. Cheadile, the first Italian band master this colony ever possessed. His band plays with more strength and pith than any other I have ever heard in this place, and this can be derived from that reason that the players have yet some British blood in their veins. They look all stout and well, and are therefore able to blow with pith into their instruments. It would be well to keep them continually within the walls of the barracks, or they will also get soon mere skeletons (in this loose town), and their walking in the evening become proverbial!

It is generally acknowledged that their airs are rich and powerful, and their bass full of resonance. However, in praising new things, one should not be forgetful of the merits of more ancient friends, and then I might acknowledge that Mr. Lewis took great pains to prepare a large stock of all new interesting and scientific music he could get hold of, and the choice of marches, overtures, and other tunes, reflects great credit on the 17th. It is, at any rate, very pleasant to any man, to hear again and again common-place tunes he heard thirty years ago. -

ASSOCIATIONS: Thomas Lewis (master of the 17th band)

"LAST FRIDAY'S EVENING'S CONCERT (From a Correspondent)", The Sydney Gazette and New South Wales Advertiser (1 March 1836)

It affords us great pleasure to state that the second Concert given by Mr. Wallace, on Friday evening last, was a triumphant one, both as to performance and attendance. The room was crowded to an excess. The Concert commenced, with Rossini's overture to the "Barber of Seville," which was played in fine style by the band of the 28th Regiment (who attended by the permission of their Col. whom the public, as well as Mr. W. must thank) . . .

ASSOCIATIONS: William Vincent Wallace (violinist, pianist)

"MUSIC", The Sydney Herald (22 February 1841), 2

We have the most unfeigned pleasure in announcing to our musical friends, that the celebrated composer, Nathan, has arrived by the York, from England, at Port Phillip, with his family, on his way to Sydney. The strength of our musical corps will thus receive a most important addition, and, with the aid of the band of the 28th, under the scientific superintendence of their able master, Cheodetti, and by the kind liberality of Colonel French, we may have the satisfaction of obtaining concerts of a superior description to any ever witnessed here. We greatly want public amusements, and we know of none more deserving of encouragement than music - national or foreign, or both, we care not, so that the pieces be well selected, and all the foreign pieces confined to the instrumental music; but in our present state of advancement, we strongly object to vocal pieces in foreign languages, known to very few of the auditors . . .

ASSOCIATIONS: Isaac Nathan (composer)

[Advertisement], The Sydney Herald (13 February 1839), 2

Band Master to Her Majesty's 28th Regiment,
Master of the first class of Music, knowing also Full Harmony,
Legate e Fugate,
having likewise a stamped Certificate to the above effect, which he can produce,
HEARING that a certain Music Master in Sydney took the liberty of ridiculing him in presence of one of his Scholars, proposes to enter into a discussion on Music with that Gentleman.
The Band Master of the 28th Regiment having seen the system adopted by the Gentleman alluded to, begs to point out the following errors to him:
5 5th octave consecutively is a classical error in composition, when 2 5th cannot be written one after another.
Mr. Chiodetti having likewise seen a small Cadame (bass) F G, the superior part being C and D, points this out for the Gentleman's information as a gross error, and tends to show be may have learned the interval of major and minor, but not how to take out diminutive and superfluous, consequently the Gentleman's musical education appears rather imperfect.
Mr. Chiodetti is very sorry any Gentleman professing the Science of Music should so far forget himself as to ridicule one with whom he is not acquainted, and consequently cannot be a judge of his abilities as a Master of Music; everyone must live by his profession, that has one to depend upon only for his support, and the observations made by the Gentleman alluded to were as unwarranted as unexpected.
Mr. C. is sorry he came in given Challenge on the subject of Music in the style Fugat, not having a competent judge of that style in the Colony, but he will accept of a subject on Melody from that Gentleman, and will give him one to be rendered into Harmony.
The discussion to take place in a room where there are neither Instruments or Books; afterwards both compositions to be played in public; the musical public, when they hear them, will be able, to judge as to the abilities of the parties.
If this Challenge is accepted, Mr. C will go to Sydney, or the Gentleman shall come to Parramatta, provided the expenses be paid by the parties defeated; under these circumstances, or by a private letter of excuse, the name of the party will be kept secret; otherwise, if no answer is received before a fortnight, Mr. C. will publish the name of the Gentleman and of his author.

[Advertisement], The Sydney Herald (21 April 1842), 5

having been Band Master of the 28th Regiment for the last fourteen years, and having left the service to avoid going to India, has resolved to settle in High-street, West Maitland, in which town, and throughout the vicinity, he will teach the Pianoforte, Guitar, Violin, and other instruments, and give complete instructions in Bass and Composition.
He will also tune pianofortes.
April 4.


A very flattering certificate of character, and musical proficiency, signed by Lieutenant Colonel French, Major Messiter, and Lieutenant Colonel Cotton, of the 28th Regiment, stamped with the regimental seal, and bearing date June 3, 1842, is now in possession of Signore Vicenzo Chiodetti, Professor, of Music, and late Bandmaster of the 28th Regiment.
It appears from this document, that "S. Chiodetti joined the regiment in 1828, and left it in March, 1842;" that "the regiment found him to be of good conduct, and of great capacity in his profession; that the cause of his leaving the regiment was the weak state of his health, being unable to encounter the climate of India".
Independent of great acquirements in the theory and practice of music, for which S. Chiodetti, while a student at Rome, gained several prizes, he has a knowledge of several languages, which, in conjunction with his other qualifications, must make him an acquisition to the Maitlanders, amongst whom, since leaving the Slashers, he has been residing.

[Advertisement], The Weekly Register (13 January 1844), 381

HAS heard with surprise, that Mrs. Brown, now Mrs. Hadsley, who has recently left Windsor, where she kept a school, said to her pupils before leaving that he, the said Professor is incompetent to teach the Pianoforte.
V. Chiodetti cannot conceive what reason this lady had for making such an assertion.
Having spent many years under masters of the first rank in the Colleges and Conservatories of Italy, from which he holds his Diplomas as a Professor of the Art.
Having studied harmony in all its varieties, from the simplest counterpoint to the sublimity of the fugato style, he flatters himself that he is qualified to give lessons on the Pianoforte.
To do this with effect, it is no doubt necessary to know all the intervals, major, minor, and diminished - the modulations from one key to another - the simple complicated and, interrupted cadences - the perfect and imperfect chords - also discords with the manner of resolving them.
But how little of all this does Mrs. Hadsley know, who can only pretend to teach her pupils to commit to memory a few airs which they perform mechanically without knowing why or wherefore?
And how few of the pupils of those "buy-a-broom professors" are ever competent to play a new piece at sight by themselves?
Yet it so happens that parents are often led by their ears to prefer those mechanist professors to persons who have made a regular course of study of the art, and disdain to degrade it by thus appeal ing to parental vanity, but, who devote their labours to convey a solid theoretical and practical course of instruction, which is calculated to be a future resource to the mind, as well as to confer an immediate gratification.
This is the object V. Chiodetti proposes to himself and his pupils.
Should Mrs. Hadsley, or her friends, feel offended at this necessary vindication, V. Chiodetti is prepared to discuss the subject in public academy, at Sydney, with any one they may appoint.
Windsor, January 19 [sic], 1844.

ASSOCIATIONS: Frances Brown Hadsley (music teacher)

[Advertisement], The Maitland Mercury and Hunter River General Advertiser [NSW] (20 December 1845), 3 

. . . ON SALE, at the Stores of the undersigned . . . Real Roman VIOLIN STRINGS from Signor Chiodetti. W. LIPSCOMB. West Maitland.

ASSOCIATIONS: William Lipscomb (musicseller)

[Advertisement], The Sydney Morning Herald (13 October 1849), 1

MR. C. has spent the most part of his youth in the study of the fundamental parts of Music,
from the commencement that nature gave to man to the highest study of the present age -
harmony, chromatics, cromatics, distance, interval, major, minor, diminuate, superfluous.
The study of music is divided in two parts, the simple and sublime.
Mr. C. can teach the above in the same manner as the Italian College.
Mr. C. teaches thorough baas with pianoforte, singing in French and Italian, with proper pronunciation.
Thorough bass is very necessary to become clever on the pianoforte.
Any family wishing to have instructions from Mr. C, his address is at
Mr. Hudson's, Music Seller, 377, Pitt-street, near the Union Bank, Sydney.

ASSOCIATIONS: George Hudson (music seller, musician)

Certificate to naturalize Vincenzo Chiodetti, 27 June 1853; State Records Authority of NSW (PAYWALL)

WEHERAS . . . Vincenzo Chiodetti, of Parramatta, Professor of Music . . . a native of Roma, sixty-five years of age . . . having arrived by the Ship "John Barry" in the year 1836,
he is now residing in the town of Parramatta and being possessed of Real Property within the said Colony and anxious to obtain legal title thereto . . .
GIVEN this [27 June 1853] . . .

Legislative Council, "NATURALIZED ALIENS (RETURN RELATIVE TO) . . 5 October, 1858" (Sydney: New South Wales Legislative Council, 1858), 4 (DIGITISED)

Chiodetti Vincenzo / [born] Rome / [Arrived in the colony] 1836 / [date on the certificate] 27 June [1853] . . .

"DEATHS", The Sydney Morning Herald (10 December 1858), 8

CHIODETTIE - December 5th, at his residence, Phillip-street, Parramatta, Vincent Chiodettie, 72 years of age.

[Advertisement], The Sydney Morning Herald (19 January 1859), 1

In the Will of VINCENZO CHIODETTI, late of Parramatta, gentleman, deceased . . .
NOTICE is hereby given, that after the expiration of fourteen days from the publication hereof,
ANNA CHIODETTI, widow of the abovenamed . . . and Executrix appointed in and by his will, intends to apply to this honorable Court, that Probate of her said late husband's will may be granted to her . . .

Bibliography and resources:

Reminiscences by J. B. M. (being a reprint from the Camden Times, 1883) (Camden: A. J. Doust, 1884), 40-41 (DIGITISED)

. . . The amusements of the Sydneyites were confined to small family parties; and a few fiddlers found steady employment by hiring out for the evening. Pianos were rarely heard, and Ellard's was the only music shop; but the daily playing of the military bands compensated for the deficiency. Ladies obtained their best music through the officers, and bandsmen earned a good deal by copying it. [41] Mr. Thomas Stubbs, the great auctioneer, Signor Chiodetti, and Mr. Stanley taught among the best families, and for the encouragement of pupils musical parties were held occasionally, at which the brothers Spyer, the merchants, Germans, who were charming amateur violinists, used to assist . . .

ASSOCIATIONS: John Benson Martin (memoirist); Francis Ellard (musicseller); Thomas Stubbs (musician); William Stanley (musician); Lawrence and Stephen Spyer (merchants, amateur musicians); see also "Reminiscences. THE CAMDEN DISTRICT. FIFTY YEARS AGO (By J. B. M.) (Concluded)", Australian Town and Country Journal (26 January 1895), 14 

CHISHOLM, Marquis (James Marquis CHISHOLM; Marquis CHISHOLM)

Musician, pianist, "harmoniumist", harmonium player, composer, improviser, pianoforte tuner and repairer, piano tuner

Born Neilston, Scotland, c. 1837
Arrived Melbourne, VIC, 14 August 1862 (per Great Britain, from Liverpool, 14 June)
Departed Sydney, NSW, 27 May 1863 (per Monita, for Shanghai)
Died Toronto, Canada, 29/30 November 1877, aged "42" [sic] (TROVE tagged by Australharmony) (shareable link to this entry)



[Advertisement], The Argus (12 June 1862), 8

WILL ARRIVE EARLY in AUGUST, per steamship Great Britain,
Accompanied by Mr. MARQUIS CHISHOLM, the eminent Pianist and Composer.
For particulars, see future announcements.

ASSOCIATIONS: Margaret Aitken (actor, elocutionist)

Names and descriptions of passengers per Great Britain, from Liverpool, 14 June 1862, for Melbourne; Public Record Office Victoria (DIGITISED)

. . . Marg't E. Aitken / 26 // Mary [Aitken] / 41 // Marcus [sic] Chisholm / 25 . . .

[Advertisement], The Argus (22 August 1862), 8

Miss AITKEN, The Great Scottish Tragedienne and Reader.
On which occasion she will give a Selection of her famous Readings from Shakspeare, Burns, Sir Walter Scott, Tennyson, Dobell, the Ettrick Shepherd, Landon, &c.,
Accompanied by Mr. MARQUIS CHISHOLM, The Eminent Pianist and Harmoniumist.
PROGRAMME. PART I. Harmonium, Overture (Rossini) - Mr. Marquis Chisholm . . .
Grand Fantasia, Don Pasquale (Engel) - Mr. Marquis Chisholm . . .
PART II. Solo, "Homage to Wallace" (Chisholm), as performed by the composer at the great Wallace Banquet, at Stirling, June 24. 1861 - Mr. Marquis Chisholm . . .
Harmonium, Imitation of the Highland bagpipes (Chisholm) - Mr. Marquis Chisholm . . .
Finale, "God Save the Queen," (National) - Mr. Marquis Chisholm . . .

ASSOCIATIONS: Exhibition Building (Melbourne venue)

[Advertisement], The Argus (26 August 1862), 8

. . . MISS AITKEN will give her inimitable READINGS of Tennyson's MAY QUEEN, with descriptive music, composed by Mr. Marquis Chisholm, at the Exhibition Building, on Tuesday evening.

[News], The Argus (27 August 1862), 5

A large audience gave Miss Aitken "a Highland welcome" last evening at the Exhibition Building . . . Between the various items of the programme Mr. Marquis Chisholm performed a selection of operatic and Scotch music on the harmonium, and received several encores. He appears to combine delicacy with decision of touch, and to evade, with considerable dexterity, the difficulties which this instrument offers to the executant upon it of lively music . . .

[Advertisement], The Star [Ballarat, VIC] (23 September 1862), 3 

MISS AITKEN BEGS to announce that she will give her
GREAT READINGS From famous, authors, in the above place, this evening,
Tuesday, 23rd September, assisted by MR. MARQUIS CHISHOLM, the Celebrated Harmoniumist . . .
PROGRAMME. PART FIRST. Overture - "William Tell," (Rossini) - Mr. Marquis Chisholm . . .
Grand Fantasia - "Don Pasquale," (Engel) - Mr. Marquis Chisholm . . .
PART SECOND. Popular Airs - Mr. Marquis Chisholm . . .
Imitation of the Highland Bagpipes - (Chisholm) Mr. Marquis Chisholm . . .
"God Save the Queen" - Mr. Marquis Chisholm . . .

[Advertisement], The South Australian Advertiser [Adelaide, SA] (8 October 1862), 1 

MISS AITKEN begs to announce that she will shortly give in Adelaide her GREAT READINGS from Shakspeare, Burns, Tennyson, Scott, Hood, and other eminent authors, assisted by Mr. MARQUIS CHISHOLM, the celebrated Harmoniumist.

"RECITATIVE AND MUSICAL ENTERTAINMENTS", The Mercury [Hobart, TAS] (15 October 1862), 5 

By the Tasmania on her next trip, three artistes are expected to arrive in Hobart Town, for the purpose of giving a series of entertainments, of whose talents the Melbourne papers speak in the most flattering terms. They are, Miss Aitken, who has been giving dramatic readings in the neighboring colony with great success; Miss Amelia Bailey, who took a distinguished part as a soprano singer in the Tri-Annual Festival of the Melbourne Philharmonic Society; and Mr. Marquis Chisholm. an accomplished instrumentalist. Mr. Smythe, the agent of this select company, has arrived in town to make the necessary arrangements for their first appearance on Monday evening next.

ASSOCIATIONS: Amelia Bailey (vocalist); Robert Sparrow Smythe (agent)

[Advertisement], The Mercury (3 November 1862), 1 

MONDAY, NOV. 3rd, AND FOUR FOLLOWING NIGHTS. Change of Programme Every Evening.
MISS AITKEN Begs to announce that she has taken the Theatre Royal for
The second part of the Entertainment will consist of
Descriptive of the celebrated Victorian Exploring Expedition, and the deaths of BURKE AND WILLS.
Preparations for the departure of the Expedition - Adieu! -
The Start - Evening in the Bush - Recollections of Home -
Morning - Songs of the Birds - The Route - The Work accomplished.
The Homeward Journey - Leaving Carpentaria -
The Storm - Sufferings of the Explorers - Hope -
Cooper's Creek - The deserted depot - Despair -
Approach of Death - The Heavenly Music - The Prayers - The closed eyes . . .

ASSOCIATIONS: Theatre Royal (Hobart venue); although Chisholm probably "composed" or improvised much of the music in this Hobart version of "The dead heroes", it was almost certainly instigated and partly created by Robert Sparrow Smythe (above), who was probably responsible for the original scenario and selection of "appropriate airs" as premiered in June 1862, in Adelaide, SA, by Horace Poussard and Rene Douay, for whom he was also acting as agent, and as described in the press; see "TOPICS OF THE DAY", The South Australian Advertiser (12 June 1862), 2 

"MISS AITKEN'S ENTERTAINMENTS", The Mercury (4 November 1862), 5 

The second part of the entertainment consisted of" The Dead Heroes," called in the bills a Musical "Drama," but it should have been more appropriately named a musical poem; as the former word was likely to mislead the mind from the fact of the whole being an endeavor by musical representation on the harmonium, to give a synopsis of the events connected with the great exploring expedition of Burke and Wills. In this song without words, our readers need not to be reminded of the difficulties existing in the way of musical representation, at all adequate to convey some of the following ideas: . . .[as in the synopsis above] . . .
Mere imitative instrumental music, whatever may be the discrimination, taste and ability on the part of the composer, and the power of perception of the different phases of melody by the audience, must fail in all but strongly marked effects of conveying a full idea of the meaning to be rendered. But in this case the difficulty has been to a great extent overcome by the judicious interweaving of various airs throughout the composition; such airs as live in the memory of all who know, or have ever felt, what music is. Thus the association of ideas connects the events in one harmonious whole. Of the performance, we can only say that the constant changes afforded full opportunity to Mr. Chisholm to exhibit his artistic skill and finish, both in the rapid and brilliant, and the sweet soft and slow.
Unquestionably the finest part of the composition is the closing scene: "The approach of death, the heavenly music, the prayer, and the closed eyes;" and its pathetic power must be heard to be appreciated; its gradual subsidence reminding us of the poet's words:
"So fades a summer cloud away,
So sinks the breeze when storms are o'er,
So gently shuts the eye of day,
So dies a wave along the shore."
Regarded as a mere effort of memory, for no score is used, the performance is a most extraordinary one, taking, as it does, some thirty five minutes in execution . . .

"SACRED CONCERT", The Mercury (6 December 1862), 4 

Last evening Miss Amelia Bailey and Mr. Marquis Chisholm gave a grand Concert of Sacred Music at the Hall of the Mechanics' Institute. The programme comprised selections of some of the choicest gems from the Works of Handel, Haydn, Mozart, and Rossini, and full justice was rendered to the fine compositions of those great masters of harmony. Miss Bailey is evidently at home in sacred music, and her rendering of that glorious air from the "Creation," On mighty Pens," was a fine piece of vocalization; she also sang "I know that my Redeemer liveth," from the "Messiah," with great effect. The performances of Mr. Chisholm on the harmonium were remarkable for brilliant execution combined with much delicate feeling; the "Cujus Animam," from Rossini's "Stabat Mater," was a beautiful piece of instrumentation. We cannot, however, help thinking that the accompaniment would have been much better on the harmonium than the pianoforte. The recitations by Miss Aitken agreeably diversified the entertainment; the pathos with which this lady read "Wee Davie," a touching tale of domestic joy and sorrow, elicited much applause.

[Advertisement], The Argus [Melbourne, VIC] (4 February 1863), 8 

PIANOFORTE TUNING. - M. STEWART (late McCulloch and Stewart, 10 Collins street east) is happy to announce that he has made arrangements with
Mr. MARQUIS CHISHOLM, the eminent pianist and harmoniumist (for six years principal tuner to the firm of De Monti and Co.,)
by whom in future all orders for tuning will be executed.
Terms - Town, 5s., within two miles, 7s 6d, within three miles.

ASSOCIATIONS: Matthew Stewart (musicseller, publisher)

[News], The Argus (4 March 1863), 5

The Histrionic Society, which has now earned its title of the leading amateur club, in Melbourne, played last evening at the Theatre Royal . . . As an interlude, Mr. Marquis Chisholm played a charming fantasia on the harmonium, which the audience strove to encore twice, so delighted were they . . .

[Advertisement], The Argus (19 March 1863), 8

PIANOFORTE TUNING . . . [as above 4 February] . . .
Starlight polka, by Marquis Chisholm. Just Published (with portrait of the composer). Price, 3s. Mr. Stewart, musicseller, 10 Collins-street east.

"THEATRICAL", Empire [Sydney, NSW] (28 May 1863), 5

The Monita left yesterday for Shanghai, having on board the clever wizard, Washington Simmons, his agent, R. S. Smythe, Miss Amelia Bailey, a soprano, and Marquis Chisholm, a pianist and harmonium player. This company, who intend to give a series of entertainments at Shanghai, Hongkong, Macao, &c., took with them a portable theatre, musical instruments, and the necessary equipments. We opine that Washington Simmons will astonish the Celestials.

ASSOCIATIONS: "Washington Simmons", alias of Hugh S. Lynn (magician); see also "MR. MARQUIS CHISHOLM AT JAPAN", The Cornwall Chronicle [Launceston, TAS] (31 December 1864), 2

And "A CHINESE GIANT", The Lancet [London, England] (9 September 1865), 303 (DIGITISED)

And "JAPANESE MUSIC", The London and China Telegraph (10 June 1867), 296 (DIGITISED)

"DEATH OF MR. MARQUIS CHISHOLM (From the Toronto Globe, Dec. 1)", Greenock Telegraph and Clyde Shipping Gazette [Scotland] (18 December 1877), 3 (PAYWALL)

“On Thursday night (Nov. 29) a man named Marquis Chisholm died at the General Hospital from general debility. Chisholm, who was a musician of some ability, used to travel in company with a peripatetic Chinese Giant. Latterly he resided in Seaforth, from which place he was brought to the Hospital here on the 29th of October for treatment. His constitution was too much broken down, however, to be built up again even in the Hospital, and he gradually sank and died. He left a wife and family in very poor circumstances. He stated before he died that he was a Freemason, and the Hospital authorities have applied to the Order here to see whether they will bury the remains."
[Most of our readers will have keen recollection of Mr. Chisholm, whose performances on the pianoforte and harmonium have afforded thousands in Greenock no little pleasant entertainment. He was rather of a roving disposition, and could ill bear the restraints that plodding men of business and even bright-minded professionals submit to, and this may have to a large extent helped to render his desultory efforts abortive. As a consequence, he was for the most part in difficulties, and are sorry to observe that his amiable widow and family are left distressfully circumstanced in a strange land. Perhaps some friendly help may reach them hence. Mr. Chisholm, it will be remembered, brought over from Shanghai the celebrated Chinese giant Chang, when he returning from a musical tour round the world.]


Mr. R. S. Smythe, "the much travelled," who has piloted more celebrities, through Australia than any other manager, has practically been at the business all his life.
". . . My next star was a very talented Scotchwoman, Margaret Aitken, daughter of an old Scotch comedian. She was a tall, fine woman, with a leonine voice. She first went on the stage, but a Presbyterian clergyman, noticing her great elocutionary talent, took her from the stage and induced her to take to the platform as an elocutionist. For two or three years she was a reigning favorite at the Glasgow Edinburgh and Saturday night popular Entertainments. Hearing that many thousands of Scotchmen had joined in the rush to the Victorian diggings, and that the streets of Melbourne were paved with gold, she decided to start for the Southern capital, bringing with her an accompanist and harmonium player, Mr. James Marquis Chisholm. On their arrival in Melbourne a cordial reception was given them by her countrymen at the old Exhibition Building, and front seats went off like wildfire when it was announced the committee of the Caledonian Society would appear on the platform in their kilts. Miss Aitken, how ever, was before her time. Her high-class entertainments, in which some of her recitations were given with piano accompaniment . . . were in advance of the times . . .

Other sources:

"THE ADVENTURES OF A TRAVELLING MUSICIAN IN AUSTRALIA, CHINA, AND JAPAN, BY MARQUIS CHISHOLM (From the Glasgow Weekly Herald) No. 1", Glasgow Herald (23 September 1865), 6 (PAYWALL)

The musical and histrionic talents of the dwellers in Hobart Town were so far from elevated that Miss Aitken and myself, strive as we might, failed to obtain a satisfactory appreciation of our performances, and at the end of a struggle kept up for six weeks we found our finances in anything but a flourishing condition. I was driven to my wits' end to get up some "fluke" to replenish our exchequer, and after thinking over a great many plans, I at length fell upon a scheme which proved for a time very successful, although its end was to me, its author, a very sad one. About the time of which I am writing considerable excitement prevailed in Australia regarding the fate of a party of explorers sent out by the Government, under the leadership of Burke and Wills. For a long time nothing was heard of them, and the public anxiety became so great that, a subscription was raised in Melbourne, and another band of men were sent out to search for the missing ones. This second party returned sometime afterwards with the bodies of Burke and Wills, and with the sad tidings that of the 32 men who set out only one was spared to tell the story of the trials and death of his companions. It occurred to my professional mind that I might improve the existing state of public feeling by composing a musical poem which should body forth, as far as possible, the progress and fate of the exploring party. I set to work, and soon composed a piece of this kind suitable for the harmonium, which I called "The Dead Heroes." The opening movement was intended to convey an idea of the preparations for the departure, and from this I proceeded to carry the explorers on their way, ending with - "the approach of death" - "the heavenly music" - "the prayer" - and finally "the closed eyes," endeavouring to give connection and beauty to these movements by the introduction of appropriate airs. I laboured specially in giving a fitting ending to the poem, studying to realise, in the gradual subsidence of the music, the poet's lines: -
"So fades a summer's cloud away,
So sinks the breeze when storms are o'er,
So gently shuts the eye of day,
So dies a wave along the shore."
Well, the poem without words gave a turn to our fortunes. The theatre was draped in black, and, on the second night, we were honoured with the presence of the Governor in the regal box . . .

Extracts, including the above, reprinted as "TASMANIA ONCE MORE. FROM A TRAVELLING MUSICIAN's POINT OF VIEW", Tasmanian Morning Herald [Hobart, TAS] (8 December 1865), 3 (DIGITISED)

"THE ADVENTURES OF A TRAVELLING MUSICIAN IN AUSTRALIA . . . No. 2", Glasgow Herald (27 September 1865), 3 (PAYWALL)

The adventures of a travelling musician in Australia, China & Japan by Marquis Chisholm (reprinted from the Glasgow Herald) ([?: ?], 1865)

See also "Town Talk and Table Chat", The Cornwall Chronicle (27 July 1867), 4

Mr. Marquis Chisholm, who it will be remembered accompanied Miss Aitkin to this colony some years back, and so shamefully libelled the people of Tasmania on his return to Scotland, has now settled in Greenock, and has opened a pianoforte and Harmonium warehouse in West Blackhall-street in that town.

Bibliography and resources:

David Baptie, Musical Scotland, past and present: being a dictionary of Scottish musicians, 29-30 (DIGITISED)

CHISHOLM, JAMES ("Marquis"), born Neilston, about 1837; died Toronto, December, 1877: Pianist and composer. Best known under the name of "Marquis" Chisholm. As accompanist and solo pianist he obtained considerable renown throughout the West of Scotland, and ultimately went abroad, visiting several parts of Australia, China, and Japan. He returned bringing with him the Chinese giant Chang (died November, 1893), a dwarf, and a pretty woman (supposed to be Chang's wife), and travelled about the country with them, acting as pianist and interpreter. In 1865 he published a little book at Glasgow, "Adventures of a Travelling Musician," which excited some interest, and composed the song, "The Battle [30] of Stirling," by which he is now best remembered. His youngest brother, DAVID BOWMAN CHISHOLM, born Neilston, 18th March, 1840, enjoys the deserved reputation of being one of the best piano-tuners in Scotland, an excellent mechanician and conscientious artist.

John R. Black, Young Japan: Yokohama and Yedo: a narrative of the settlement and the city from the signing of the treaties in 1858 . . . vol. 1 (New York: Baker, Pratt & Company; London: Trubner & Co.; Yokohama, Kelly & Co., 1883), 261 (DIGITISED)

[October 1863] The monotony of social life was broken about this time, by the arrival of some musical artists from Australia. They were Miss BAILEY, Mr. MARQUIS CHISHOLM, Mr. SIPP and Signor ROBBIO . . .

ASSOCIATIONS: John Reddie Black (author, amateur musician); Rudolf Sipp (musician); Agostino Robbio (musician)

James Marquis Chisholm, Find a grave 


Musician, violinist, viola (tenor) and violoncello player, vocalist, band leader, bellringer, carpenter, amateur cricketer

Born Staplehurst, Kent, England, 14 March 1811; baptised All Saints, Staplehurst, 14 April 1811; son of William CHITTENDEN and Mary PILBEAM
Married Sarah (Ellen) KINGSNORTH (1812-1896; Mrs. Isaac TOLHURST), Bethersden, Kent, England, 15 February 1834
Arrived Sydney, NSW, 27 June 1838 (assisted immigrant per Westminster, from London, 26 March, aged "27")
Departed Sydney, NSW, c. 1858 (for New Zealand)
Died Nelson, NZ, 20 May 1879, aged "74" (TROVE tagged by Australharmony) (shareable link to this entry)

CHITTENDEN, George (junior) (George CHITTENDEN; Mr. CHITTENDEN, junior; Mr. G. CHITTENDEN)

Musician, violinist, violoncello player, vocalist, quadrille band leader, dancer, minstrel, serenader, piano tuner, amateur cricketer

Born Bislington, Kent, England, 1834; baptised Bislington, 21 December 1834; son of George CHITTEDEN and Sarah KINGSNORTH
Arrived Sydney, NSW, 27 June 1838 (assisted immigrant per Westminster, from London, 26 March, aged "4")
Died Singleton, NSW, 2 October 1875, aged "40" (TROVE tagged by Australharmony) (shareable link to this entry)


Vocalist, actor

Born Kent, England, 1838; baptised Mersham, Kent, 11 March 1838; daughter of George CHITTEDEN and Sarah KINGSNORTH
Arrived Sydney, NSW, 27 June 1838 (assisted immigrant per Westminster, from London, 26 March, "infant")
Died Bathurst, NSW, 1857 (TROVE tagged by Australharmony) (shareable link to this entry)


Musician, violinist, vocalist, dancer, dancing master

Born Sydney, NSW, c. 1838; son of George CHITTEDEN and Sarah KINGSNORTH
Arrived Sydney, NSW, 27 June 1838 (assisted immigrant per Westminster, from London, 26 March, aged "27")
Departed Sydney, NSW, by early 1858 (for New Zealand)
Married Eliza LANEY, Nelson, NZ, 5 June 1862
Died Marlborough, NZ, 24 October 1921, aged "84" (TROVE tagged by Australharmony) (shareable link to this entry)


[Baptisms in the parish of All Saints, Staplehurst, Kent] The Year 1811; register page 77; Kent History & Library Centre (PAYWALL)

Chittenden George [son] of William & Mary was born March 4th and Christened April 14th . . .

[Baptisms in the parish of Bethersden, Kent, in 1834] (PAYWALL)

15 February 1824 / George Chittenden and Sarah Tolhurst

[Baptisms in the parish of Bislington, Kent, in 1834] (PAYWALL)

21 December 1834 / George / son of George & Sarah Chittenden

Assisted immigrants arrived per Westminster, June 1838; State Records Authority of NSW

Chittenden family, arrived NSW, 1838

91. Chittenden, Geo., 27, Carpenter & joiner // 92. Chittenden, Sarah, 25 // 93. Chittenden, Geo., 4 // 94. Chittenden, Eliza, inf.

A return of the disposal of the immigrants by the ship Westminster from London, which arrived at Sydney, 27 June 1838; State Records Authority of NSW (DIGITISED)

Chittenden George / County Kent / Carpenter & Joiner / 27 / [wife] 26 / [boys] 1 / [girls] 1 / Protestant / Read and write / [engaged by] R. Jones / Sydney

"CRICKET", The Sydney Morning Herald [NSW} (22 May 1845), 2 

The match between the Australian and Maitland Clubs was commenced on Monday . . . The fielding of the Maitland Club was very steady and much admired. The bowling was very good . . . The Maitland players being considered excellent batsmen, were expected to make a great score, they commenced the innings with Martyr and Holdstock at the bat, and Martyr was caught out in striking at a full pitch from R. Still; in the early part of the innings, Taylor and Chittenden succeeded in making some fine hits to the leg, and made a good score; but were not sufficiently supported by the others to make the score heavy, the whole eleven scoring 44 runs, leaving a majority in favour of the Australians of 63 runs . . .

"ODD FELLOWS' DINNER", The Maitland Mercury and Hunter River General Advertiser [NSW] (21 October 1848), 2 

On Thursday evening the anniversary of Good Design Lodge of Odd Fellows, M. U., was celebrated by a dinner at host Reeves's, Fitzroy Hotel, West Maitland . . . About fifty brethren and visitors were present, many being prevented from attending by the bad weather, which had prevailed for some days . . . A band of music was present, conducted by Brother Chittenden, and added much to the enjoyment of the party . . .

[Advertisement], The Sydney Morning Herald (14 April 1851), 1 

The celebrated Pantomimic from the Royal Amphitheatre, London,
Leader of the Orchestra, Mr. Chittenden; Riding Master, Mr. Raymond . . .

ASSOCIATIONS: Charles Axtelle (clown, manager); John Malcom (proprietor); Edward Raymond (equestrian); Malcom's Amphitheatre (Sydney venue)

[Advertisement], The Sydney Morning Herald (17 May 1851), 1 

MALCOM'S ROYAL AUSTRALIAN CIRCUS, York-street, under the entire management of Mr. Charles Axtelle . . .
Leader of the orchestra, Mr. Chittenden . . .

[Advertisement], The Sydney Morning Herald (22 August 1851), 3 

Leader of the Orchestra, Mr. Chittenden, Jun. . . .

"POLICE OFFICE. THURSDAY . . . SUMMONS FOR WAGES. Chittenden v. Malcom", Empire (4 October 1851), 3

Mr. John Malcom, proprietor of the Circus, and Adelphi Hotel, York-street, appeared to answer the complaint preferred against him by George Chittenden, of Crown-street, carpenter, for refusing to pay the sum of £4 5s.. due to him, for work performed. Mr. Cory appeared for the defendant. According to the evidence of the complainant, it appeared that he had been engaged on the 25th of last July by the defendant, as a carpenter, at the rate of five shillings per diem. He had to fit up seats, and perform other carpenter's work in the Circus. He had completed the work, but had been unsuccessful in his applications for payment. The complainant alleged that the sum of £4. 5s. was due to him, and he had not received any portion of the money. Another contract was between the parties, the defendant having engaged the services of complainant and his two sons to perform in the orchestra during the performances at nights. Complainant had received some money for the musical services of himself and sons, but not the amount due; but his claim on that score was not brought before the notice of the Bench on this occasion. Mr. Cory examined the complainant, with a view to prove that some money, which he acknowledged having received, was paid for carpenter's work, but the learned gentleman was unsuccessful. Charles Axtelle was called to give evidence for the complainant, and deposed as follows: -
"I am an equestrian pantomimic, and artificial fool. I know the complainant and defendant. I know that the complainant and his sons were engaged as musicians, at the rate of £2 5s. per week. I also know that the complainant was engaged as a carpenter and have seen him at work during a fortnight, but I left the employment myself, because I could not get paid. I do not know the terms of agreement between the parties with regard to the carpenter's work, as I was not a witness when that agreement was entered into. I had the paying of persons in Mr. Malcom's employ, during his absence in the country, and know that during his absence the repairs were carried on by the complainant."
Mr. Cory submitted to the bench that the complainant was engaged as a musician, and that if he remained up performing until midnight, he could not be able to work as a carpenter during the day. He then called William Knight, who remembered on a Saturday night, about eight or nine weeks ago Mr. Malcom was in the country, and Mrs. Malcom was unwell; on that occasion he went to pay the men, and paid £2 into the complainant's hand; but in answer to the inquiries of the Bench and of the complainant, he said that after he had paid the workmen he had no money to pay the complainant, who thereupon requested him to send into Mrs. Malcom for two pounds for him, which was accordingly done, and the money was sent by Mrs. M. and delivered to the complainant. The witness did not, upon delivering the £2, state that it was on account of the carpenter's work performed; witness only knew complainant as a carpenter, and knew nothing of his other engagements.
The Bench decided that the complainant had fully established his claim, and ordered the defendant to pay the amount claimed, namely, £4 5s. 6d., together with £s. 4d. costs, in default a levy to be made on defendant's goods and chattels, and in the event of their proving insufficient, defendant to be imprisoned seven days.

[Advertisement], The Sydney Morning Herald (5 October 1852), 1 

At the request of several of the most respectable and influential families of the neighbourhood, these much-admired entertainments will be repeated on the following evenings:
This Evening (Tuesday), To-morrow (Wednesday), 6th, Thursday, 7th, Friday, 8th, Saturday, 9th.
A variety of novelties will be produced on each evening.
N. B. - Thursday, October 7th, is fixed for the benefit of Miss Eliza Chittenden.
Door open at Half-past Seven; commence at Eight. Reserved seats, 2s., pit, 1s.
Carriages in attendance at half-past 10 o'clock.
Tickets to be obtained of Mr. Love, at the Hotel.

"THE OLYMPIC CIRCUS", The People's Advocate and New South Wales Vindicator [Sydney, NSW] (29 May 1852), 3 

The performances at this place of amusement during the week have been of of a first-rate description. On Wednesday evening the performance was for the benefit of Mrs. Cardoza, on which occasion the whole strength of the company was put forth . . . Last evening the performances were for the benefit of Mr. and Master Chittenden. There was a very good house, and the performances went off with great eclat. We were particularly pleased with Master Chittenden's hornpipe dance, which was encored. Messrs. Ashton and Cardoza have completed their engagement in Sydney, and are about to make a tour shortly with their talented company into the interior.

ASSOCIATIONS: Olympic Circus (Sydney venue); Maria and Joachim Cardoza (equestrians)

Names and descriptions of passengers per Eagle, from Melbourne, 24 May 1853, for Sydney; Public Record Office Victoria (DIGITISED)

. . . Geo'ge Chittenden / 19 / Musician / Irish [sic] . . .

[Advertisement], Bathurst Free Press and Mining Journal [NSW] (8 October 1853), 3 

Royal Victoria Theatre, BATHURST . . .
MONDAY EVENING, OCT. 10TH 1853, Will be presented the grand Romantic Drama entitled the
In the course of the Drama a Grand Incantation and invisible chorus . . .
To be followed by the Cuckoo Solo. - Violin - Mr. G. Chittenden, Jun. . . .

ASSOCIATIONS: Royal Victoria Theatre (Bathurst venue)

MUSIC: The cuckoo solo (violin)

"ROYAL VICTORIA THEATRE", Bathurst Free Press and Mining Journal (22 October 1853), 2 

Crowded audiences have thronged to witness the amusements of this little temple of Thespis during the past week, and we can justly record a marked improvement in the style of the performances. Of the lessee Mr. Douglas it is unnecessary we should say much, as he is evidently "an old stager" and well up to his business . . . In the female department of the corps Miss Millan takes the lead, and is decidedly a clever girl . . . Miss Chittenden's juvenile accents are also considerably too soft for ordinary ears. In fact except Miss Millan who appears to be not half so sparing of her breadth, the female performers seem to harbour the delusion that they are joint tenants of a whispering gallery. Mr. Chittenden Jun, plays the violin with good taste. In short the whole affair is much superior to anything we anticipated and betrays a disposition on the part of the lessee to spare neither pains nor expense in his management.

ASSOCIATIONS: William Henry Douglas (actor, manager); Rose Millan (actor)

[Advertisement], Bathurst Free Press and Mining Journal (19 November 1853), 3 

Royal Victoria Theatre, BATHURST.
Monday, 21st Nov., 1853. Second appearance of MR. FANING, who has kindly offered his services on this occasion.
The evening's entertainments will commence with a new domestic and Nautical Drama of thrilling interest entitled
PHILIP (the Lost Son) - MR. FANING
Jenny - Miss Chittenden.
The whole to conclude with THE IRISH TUTOR . . .
In the course of the piece a grand Country Dance.
Tickets to be obtained of Mr. Chittenden, at his residence, Lower Kelso, and at the Theatre.

ASSOCIATIONS: Edward Faning (musician, actor); Henry T. Clarke (vocalist)

MUSIC: By the sad sea waves (Benedict)

[Advertisement], Bathurst Free Press (1 April 1854), 3

Royal Victoria Theatre.
GLEE - "GODDESS DIANA" - by Messrs. G. Chittenden Sen., G. Chitlenden Jun., D. Chittenden, and Miss Chittenden . . .
F. BELFIELD, Manager.

ASSOCIATIONS: Francis Belfield (actor, manager)

MUSIC: Hark, the goddess Diana (Spofforth)

[Advertisement], Bathurst Free Press and Mining Journal (15 April 1854), 3 

MESSRS. RICHARDSON & COX respectfully inform the public of Bathurst and its vicinity, that they will give the first of their projected series of Entertainments
THIS EVENING, April 15th, at the Assembly Room, Mrs. Whitton's, Commercial Hotel, upon which occasion the following choice Programme will be presented.
Overture - Band.
Favorite Ballad - Miss Millan.
Solo, Concertina - "Casta Diva," from the Opera of Norma - Mr. Richardson.
Glee - The Spider and the Fly - Messrs. & Miss Chittenden.
Song - Mr. Cox.
Valse - "The Faust," instrumental - Messrs. Richardson, Ryall and Chittenden . . .
Glee - To all you ladies now on land - Messrs. and Miss Chittenden . . .
Overture - Company.
Ole Aunt Sally - Mr. Richardson.
Life by the Galley Fire - Mr. Cox.
Sukey Dear - Mr. G. Chittenden . . .
Going Ober de Mountain - Mr. Chittenden . . .

ASSOCIATIONS: Henry Richardson (concertina); Richard Henry Cox (vocalist); John James Ryall (musician)

"THEATRICAL", Bathurst Free Press (17 June 1854), 2

In consequence of the inclemency of the season the theatre has been but indifferently attended of late, and the absence of music by reason of the sickness of the Chittenden family has operated as an additional drawback . . . Macbeth is in course of preparation for Mr. Cox's benefit, on which occasion new scenery will be presented. We trust that the efforts of the Manager to cater for public amusement will not be unappreciated, as from the convalescence of the Chittendens, and for other reasons which it is now unnecessary to detail, we understand that our Thespian temple will regain something more than it has lost.

[Advertisement], Bathurst Free Press (16 September 1854), 3

MR. PAXTON will give another Grand Entertainment on the SONGS OF SCOTLAND.
First Violin - Mr. G. Chittenden.
Second Violin - Master Chittenden.
Violoncello - Mr. Chittenden . . .

ASSOCIATIONS: Joseph Paxton (vocalist, actor)

[Advertisement], Bathurst Free Press and Mining Journal (23 December 1854), 3 

the above Theatre will open on Tuesday Evening, December 26, 1854, with a new and efficient Company from Sydney, embracing all the favorites of the Bathurst Company, consisting of the following ladies and gentlemen: - . . .
Miss Millan, the pathetic actress from the Theatre Royal, Marylebone, London.
Miss Chittenden, the juvenile actress of undoubted promise.
Mr. Edward Raymond, from the Dublin and Sydney Theatre.
Mr. Cull, of the provincial and Sydney Theatres. Mr. Wilson, of the Sydney Theatres . . .
Signor Bachrach, from the Hamburgh Concerts.
Assisted by a numerous train of auxiliaries.
Leader of the Orchestra: Mr. E. G. CHITTENDEN, JUN. [sic]

ASSOCIATIONS: Prince of Wales Theatre (Bathurst venue)

"HORSE STEALING", Bathurst Free Press (21 April 1855), 2

Michael Macnamara was indicted for stealing a horse belonging to Mr. G. Chittenden, musician, Bathurst . . . The prisoner was found guilty, and sentenced to 7 years upon the roads.

[Advertisement], Bathurst Free Press and Mining Journal (25 August 1855), 3 

Royal Prince of Wales Theatre, BATHURST.
First appearance of MRS. W. EVADNE EVANS, The Celebrated Tragic Actress, from the London and American Theatres.
MR. WILLIAM EVANS, the Lessee . . . This evening, THURSDAY, AUGUST 30th . . .
Acting Manager, Mr. W. EVANS; Stage Manager, MR. T. HALL; Leader of the Orchestra, MR. G. CHITTENDEN, Jun. . . .

ASSOCIATIONS: Mr. and Mrs. William Evans (actors, managers)

[Advertisement], Bathurst Free Press and Mining Journal (20 October 1855), 3 

G. Chittenden Jun. PROFESSOR OF MUSIC,
BEGS to acquaint the public of Bathurst and surrounding district that at the request of several gentlemen
he has been induced to open an Academy for the purpose of teaching the VIOLIN & FLUTE.
G. C. being a thorough Master of Music trusts by strict attention to the pupils who may entrust themselves to his tuition that he may receive such support as will induce him to carry out the wishes of his friends.
Pianos tuned at any place within thirty miles of Bathurst, and if not approved of, no charge will be made.
Public Balls or private Parties attended with a full band at five minutes notice.
For further particulars enquire at Mr. Chittenden's residence, Piper-street,
or at Mr. W. L. Pyke's Emporium of Fashion, Howick-street, Bathurst.

"THE BATHURST BELLS", Bathurst Free Press and Mining Journal (8 December 1855), 2 

Owing to the indefatigable exertions of Messrs. Mockett, Arthur, and Chittenden, 5 out of the 6 bells are already hung, and the 6th will be hung to-day. The next step will be to organize a corps of ringers, and if this can be effected in the course of this week, the townspeople will be treated to a peal next Saturday evening.

ASSOCIATIONS: Thomas Mockett (bell ringer)

[Advertisement], Bathurst Free Press and Mining Journal (30 April 1856), 1 

On which occasion Mrs. Frank Andrews will preside at the Piano Forte . . .
Thursday evening, May 1st . . . An enlarged and efficient Orchestra has been provided for the occasion.
Leader of the Orchestra - Mr. G. Chittenden.
PROGRAMME. PART FIRST. Overture - Orchestra . . .
Charming May - (Ballad) - Miss Chittenden . . .
New Year's Eve - (Ballad) - Miss Chittenden . . .
Overture - Orchestra.
One Careless Word - (Ballad) - Miss Chittenden . . .
Overture - Orchestra.
Mary, Queen of my Soul - (Ballad) - Miss Chittenden . . .
Grand Finale Chorus - Red, White, and Blue - Miss Fanny Young and Company . . .

ASSOCIATIONS: Mrs. Frank Andrews (vocalist, pianist); Fanny Young (actor, vocalist)

MUSIC: O charming May (Rodwell); Mary, queen of my soul (music by Miss Wollaston)

[Advertisement], Bathurst Free Press (28 June 1856), 1

MR. & MRS. WHEELER, BEG to announce that their Second Grand Concert in Bathurst will be given in the above Theatre, on
MONDAY, JUNE 30TH 1856, When they will be assisted by MISS STEWART AND MR. GEORGE CHITTENDEN . . .

ASSOCIATIONS: Stephen and Mary Wheeler (cornet player and vocalist, pianist); Eliza Stewart (Ellis) (vocalist)

[Advertisement], Bathurst Free Press (31 January 1857), 3

Grand Gala Night on the occasion of the Complimentary Benefit, tendered to W. L. PYKE,
ON which occasion the following Galaxy of talent have kindly volunteered to assist . . .
MRS. W. EVADNE EVANS, MR. JAMES ASHTON, and his talented troupe.
Mr. G. R. Morton, Mr. W. Evans,
Mr. G. Chittenden, Sen.
Mr. G. Chittenden, Jun.
Mr. D. Chittenden, Mr. Brown, And for this night only,
The evening's performances will commence with the popular Musical Vaudeville,
THE LOAN OF A LOVER . . . During the piece Miss Chittenden will sing -
"I don't think I'm ugly," "I've no money," and "To-morrow will be market day" . . .
After which MISS CHITTENDEN has kindly consented to sing (by desire) for this night only,
her favorite ballad, "Charming May" . . .
The Orchestra under the able direction of Mr. Chittenden . . .

ASSOCIATIONS: Thomas Palmer Brower (serenader); Dorrel Fair Boley (serenader); William Alonzo Porter (serenader); Dave Carson (serenader); James Ashton (circus performer); G. R. Morton (serenader, manager); James Brown (violinist)

"CRICKETING", Bathurst Free Press and Mining Journal (7 February 1857), 2 

A single-wicket match came off on Monday afternoon last at the cricket-ground, Durham-street between Mr. E. White and Mr. W. Boyles, the latter gentleman betting £10 to £7 against his opponent. Mr. Chittenden, Jun. having been appointed umpire for Mr. White and Mr. Chittenden, Sen. for Mr. Boyles . . .

"THE PRINCE OF WALES THEATRE", Bathurst Free Press and Mining Journal (7 February 1857), 2 

If the estimation in which Mr. Pyke is held, were to be measured by the patronage showered upon him on Monday evening last, he may certainly takes credit to himself for being one of the most popular men in the district. The house, figuratively, was crowded to the ceiling - boxes, pit, and gallery - all crammed. The Serenaders put forth their best powers, Miss Chittenden sang like a nightingale, and Mrs. Evadne Evans outdid herself in the representative art . . .

ASSOCIATIONS: Wolf Lewis Pyke (proprietor)

"WESTERN DISTRICT (From the Bathurst Free Press of Saturday) . . . ANNIVERSARY OF ST. PATRICK", Empire [Sydney, NSW] (26 March 1857), 2 

The Anniversary of Ireland's Patron Saint was celebrated by the sons and descendants of the Green Isle of Erin, residing in Bathurst, by a ball and supper, the preparation for which were on the most sumptuous and costly scale . . . The musical department was intrusted to the Chittenden family who were aided by Messrs. Boley and Porter, the former on the piano, and the latter on the cornopean, the whole making an excellent quadrille band . . .

"BELL RINGING", Bathurst Free Press (30 May 1857), 2

We omitted to mention amongst the various demonstrations of loyalty on Monday night last, the conspicuous part played by the bell-ringers of All Saints' Church. The merry peal of five Sent forth its notes in very joyousness, and we were glad to mark the decided progress made by the young men who have betaken themselves to the ropes. Out of the chaos of sounds which at first grated the ear we have now something like order, regularity and harmony, and the change is creditable to the leading ringer, Mr. Chittenden. The sixth bell only is wanting to give us an increased and pleasant variety of changes, and we learn with pleasure that it is now on its way to England to be recast.

"THE THEATRE", Bathurst Free Press and Mining Journal (25 July 1857), 2 

Owing to the rains of Thursday night the attendance at the Prince of Wales was not large, but the performance proceeded as usual. There is one feature in the present company to which we have neglected to allude. The music, under the leadership of Mr. Davis, and comprising Chittenden's Quadrille Band is of a very superior character, and by no means the least important part of the performance. The lovers of melody will do well to avail themselves of an opportunity of indulging their tastes.

[Advertisement], Bathurst Free Press and Mining Journal (14 October 1857), 4 

Five-roomed Cottage in Stewart-street, known as Chittenden's Cottage
MESSRS. R. & W. OAKES HAVE been, instructed by the Proprietor,
Mr. George Chittenden, sen., to sell by public auction . . .
The Proprietor having made arrangements to leave the district, is the only reason the property is in the market . . .

[Advertisement], Wellington Independent [NZ] (14 July 1858), 2 

Mr. D. Chittenden begs to inform his Friends, Parents, Guardians and the Public generally
that he will open his dancing Classes at his new Rooms in Mulgrave Street, Thorndon Flat, near the Hospital on
Friday, next the 16th July, 1858, and trusts by strict attention to his duties and the selectness of his Pupils to meet a share of the Public patronage.
FASHIONABLE DANCING. And Calesthenic Exercise.
D. C. begs also to state that he will give private lessons to Ladies and Gentleman of any age in all the newest Dances of the day: viz -
La Gurlitza Polka, Mazurka, La Varsoviana Redowa Waltz, Valse a deux temps,
La Hongroise, Cellarius, Polka, Schottische, &c., &c., &c.,
and which can be obtained at all hours of the day by those wishing privacy and expedition.
Juvenile class every Monday and Friday from 3 to 5. Adults, 7.
Private lessons as per arrangements. Private Families and Schools punctually attended to with Music included.
TERMS KNOWN ON APPLICATION. Fees paid in advance. 13th July, 1858.

[Advertisement], Bendigo Advertiser [VIC] (22 April 1859), 1 


ASSOCIATIONS: William Heffernan and John Crowley (proprietors); Johnny Burgess (dancer); Otto N. Burbank (dancer, minstrel); Mons. and Therese Schmidt (dancers); Worrell sisters (dancers); Edward Salamon (pianist); San Francisco Minstrels (troupe); Shamrock Theatre (Bendigo venue)

[Advertisement], Mount Alexander Mail [Castlemaine, VIC] (13 January 1860), 5 

Comprising Messrs. D. F Boley, Dave Carson, O. N. Burbank, G. Chittenden, and P. Brower . . .

ASSOCIATIONS: Charles Thatcher (vocalist); Frederick Leeman (vocalist); Annie Vitelli (vocalist); Theatre Royal (Castlemaine venue)

[Advertisement], Otago Witness [NZ] (26 October 1861), 4 

MR. GEORGE CHITTENDEN, Violinist and Alto;
MR. WALTER HOWSON, Banjoist and Barytone; Mr. O. P. RITCHIE, Tenor;
MR. J. J. BURGESS, The Champion Clog Boot and Pump dance and Inimitable Delineator of Ethiopian Character;
MR. J. TAYLOR, The celebrated Delineator of Dibdin's Sea Songs . . .

ASSOCIATIONS: Walter Howson (minstrel); John Taylor (vocalist)

[Advertisement], The Sydney Morning Herald (2 March 1863), 1 

LYCEUM THEATRE - Glorious Success of the COURT MINSTRELS . . .
New Songs and Ballads, New Dances, Burlesques, &c.,
THIS (Monday) EVENING, March 2nd. PROGRAMME . . . G. Chittenden . . .

ASSOCIATIONS: Lyceum Theatre (Sydney venue)

George Chittenden, junior, Adelaide, SA, December 1863 or January 1864; B. Goode, photographer

George Chittenden, junior, Adelaide, SA, December 1863 or January 1864; B. Goode, 155, Rundle Street, near the York Hotel, [Adelaide]; State Library of New South Wales 

[On reverse] Poor George Chittington [sic] violinist 1862

ASSOCIATIONS: Bernard Goode (photographer)

"TOPICS OF THE DAY. The Campbell Minstrels", The South Australian Advertiser (19 December 1863), 2

The Campbell Minstrels performed before a good audience on Friday evening . . . The "Irishman's Shanty," by Paul Maxey; "Be Kind to thy Father," by A. Pierce, and "Remember me kindly at Home," by Edward Harvey, were greeted with expressions of satisfaction on the part of the audience. "Way down in Cairo," by Billy Bent, drew forth a similar compliment. The first part of the performance concluded with "The Sleeping Chorus," introducing 13 popular airs. Then followed a humorous and clever piece, entitled "The Young Scamp" - a farce which exhibited the comicality of Messrs. Maxey and Bent, and the musical capabilities of Mr. Geo. Chittenden on the violin . . . . Mr. George Chittenden followed with a hornpipe, performing the difficult task of accompanying himself on the violin . . .

ASSOCIATIONS: Campbell Minstrels (troupe); Paul Maxey (minstrel)

[Advertisement], The Sydney Morning Herald (25 July 1864), 1

First Appearance On MONDAY EVENING, July 25, Of the INIMITABLE BARLOW . . .
In conjunction with his celebrated Troupe, the
Solo, English concertina - V. Templeton
Song and dance (comic) - Billy Bent
Ballad (new) - L. Braham.
MINSTRELS OF THE MOON. Bah-Loh How-Sung [sic, Walter Howson] and George Chittenden.
Silver Belt Jig - Dick Sanford . . .

ASSOCIATIONS: Robert Barlow (vocalist); Royal Victoria Theatre (Sydney venue)

"DISTRICT NEWS [FROM OUR VARIOUS CORRESPONDENTS) SINGLETON. SINGLETON AMATEUR MINSTRELS", The Maitland Mercury and Hunter River General Advertiser (28 November 1864), 3 

For some time past a number of young gentlemen in this town have formed themselves into a company, under this designation, for the praiseworthy object of giving entertainments in aid of different public institutions. Under the able tuition of Mr. Chittenden (late of the Campbell Minstrels) the Singleton Amateur Minstrels made such rapid progress that they were in a position to give their first entertainment on Thursday evening, the 23rd instant, in aid of the building fund of the Singleton Mechanics' Institute. Notwithstanding the threatening aspect of the weather the large pavilion was well filled, and nearly £30 must have been realised by the performance. The entertainment opened with an overture, followed by opening chorus by the whole company. The favorite song, "Let Me Kiss Him for his Mother," was then well rendered by Ephraim, followed by a comical song named "Johnny's gone on a fine Loo Loo" by Toney (the best singer in the company); the song of "Annie Lisle" followed by "Grand Father's Farm-yard," by Bones, which created loud laughter, and was encored; the song "Massa's in the cold Ground" was then very nicely rendered by Julius, and the first part of the entertainment was concluded by a medley chorus very effectively rendered by the whole company. After a short interval, the second part of the entertainment commenced wiith the well-known comic song, "Rhinoceros," given by Ephraim and Bones in a very effective manner, and which was encored. The gem of the evening then followed, being a violin solo ("Molly Asthore," with variations), by Mr. Chittenden. This solo was very nicely rendered, and Mr. Chittenden was deservedly applauded. Upon being encored, he gave that well known German melody, "Freut euch des Lebens," with variations, very effectively. The laughable farce of "Stage Struck" was then given by Julius, in character, and excited the risible faculties of the audience to such an extent that he was loudly encored. The second part of the entertainment terminated with the laughable burlesque of the "Music Lesson," by Chittenden, Toney, and Bones. In the third part the Minstrels had divested themselves of their sable appearance, to order to perform the well-known extravaganza, entitled "The Virginian Mummy; or, one thousand years dead" . . .

"SINGLETON (From the Singleton Times of yesterday) . . . SIR WALTER SCOTT'S CENTENARY", The Maitland Mercury (17 August 1871), 1

. . . To the memory of the latter a tribute was paid here last night, and it was a honour to Singleton to see such an assemblage. There could not have been less than 280 ladies and fully sixty gentlemen, showing truly that the delineator of the Lady of the Lake and Marmion still has his words upon the heart of the fair sex. The performance began with a well executed overture to Guy Mannering, under the able leadership of Mr. George Chittenden . . . Readings of two gentleman amateurs, and the vocal performances of three ladies, but, above all, when a blind young man sang the "Bonnie Hills of Scotland," feelingly expressed the so well known words . . . The entertainment concluded with Auld Lang Syne, and was one of the most successful entertainments we have had here . . .

"SINGLETON . . . CONCERT IN AID OF SINGLETON HOSPITAL", The Maitland Mercury and Hunter River General Advertiser (2 December 1871), 4 

The concert in aid of the funds of this excellent local charity took place on Wednesday evening, in the large hall of the Mechanics' Institute, and was in every respect eminently successful . . . the Singleton string band opened the second part with the Singleton Volunteer Galop, composed by Mr. Chittenden . . .

"DISTRICT NEWS [FROM OUR VARIOUS CORRESPONDENTS] SINGLETON. SINGLETON VOLUNTEER RIFLES", The Maitland Mercury and Hunter River General Advertiser (28 February 1874), 6 

. . . After parade on Saturday last the annual meeting of the company took place . . . The Secretary (Ensign Gould) then read the report of the committee for the past twelve months . . . as follows: . . .
Band. - Your committee extremely regret that they, like their predecessors for the year 1872, are compelled to report unfavourably on the position of this branch of the company. It will be remembered that when they took office, many members of the band had left the district, and for divers reasons the band was then well nigh defunct. An effort was however made by your committee to revive this body, but although they got several members together rented a practice room, and secured the services of band-master Meulman for a fortnightly instruction, yet for many reasons the attempt did not succeed satisfactorily, and the committee were obliged to dispense with the services of Mr. Meulman. Your committee, feeling convinced of the importance of a good brass band, both for the interests of the company, as indeed for that of the town determining to make another effort to re-establish the same on a better footing than ever, have had a series of rules prepared for the management of the band, and have been negotiating for the services of an efficient instructor (Mr. Chittenden), who will be prepared to give lessons and practices bi-weekly, but your present committee will have to leave the final arrangement of this matter to their successors in office; (although they have made a temporary arrangement with Mr. Chittenden) who will, however, find the way paved for them to make this re-establishment satisfactorily and on a good and fixed basis. As this engagement will entail on the Company heavy weekly payments, members will have to bear in mind the absolute necessity of paying their subscriptions punctually in order to have a band that will be a credit to the company and town . . .

ASSOCIATIONS: Henry Meulman (musician)

"UNITED ST ANDREW'S LODGE. To the Editor of ", The Singleton Argus and Upper Hunter General Advocate (2 October 1875), 3

SIR . . . I allude to the case of Mr. George Chittenden, who for some time past has been suffering from a serious illness, and who, I fear, ere this reaches the homes of many of your readers, will have gone to "ehere the wicked cease from troubling, and the weary are a at rest." It has been asked, "How is it that the Freemasons do not render their stricken brother any assistance in his present state?" . . . I wish to state that a subscription has been commenced on behalf of our suffering brother, which, when completed, will, no doubt, amount to something that will meet the requirements of so pitiable a case . . .
Yours respectfully, CHARLES BIRD, W. S. W., Singleton.

"Died", The Singleton Argus and Upper Hunter General Advocate (6 October 1875), 2

ON Saturday, 2nd October, at his residence, Campbell-street, Singleton, GEORGE CHITTENDEN, aged 40 years.

"DEATH OF AN OLD RESIDENT", The Singleton Argus and Upper Hunter General Advocate (6 October 1875), 2 

Mr. Geo. Chittenden., teacher of music, died on Saturday morning, after a residence of some ten years in Singleton. He had been ailing, as our. readers are aware, for some months before his death, and for about six weeks was entirely confined to bed. We all have our faults, and Mr. Chittenden was not free from his; but he had many good qualities which endeared him to a large circle of friends. De mortuis nil nisi bonum.

"DEATHS", Nelson Evening Mail [NZ] (17 May 1879), 2 

CHITTENDEN. - May 17th, at the residence of his Son, Parera street, Toi-Toi Valley, Mr. George Chittenden, aged 74 years.

[News], Colonist [NZ] (20 May 1879), 3 

By the death of Mr. George Chittenden, Nelson loses another of her old and respected settlers. In years past deceased was noted for his prowess in the cricket field, and he was always an ardent admirer of that fine old English game.

"UP AND DOWNS OF LIFE (By J. STANLEY)", National Advocate (14 June 1913), 7 

Sydney entrepreneurs and others give Bathurst a bad name for not appreciating their scraggy Squalini's and raspy-voiced worn-out tenors when they visit us on a professional tour. No wonder we want something better. We breed tenors and sopranos, and also successful performers on variety and dramatic lines. I have a list of forty-three local people, who are or were connected with the show business . . . The three Chittendens, father and two sons, played in the "Court Minstrels." They lived in Koppel-street and hung the first peal of bells in All Saints . . .

ASSOCIATIONS: John George Stanley (musicseller, musical instrument maker and seller)

"DEATH", New Zealand Times [wellington, NZ] (2 November 1921), 1 

CHITTENDEN. - On October 24th, 1921, at the residence of his son-in-law, Mr. L. Gibson, Blenheim, Daniel Chittenden; aged 84 years. R.I.P.

"PERSONALIA", New Zealand Times (2 November 1921), 3 

There passed away on October 24th, at the residence of his son-in-law Mr. Len. Gibson, Blenheim, one of Marlborough's oldest and most respected residents, in the person of Mr. Daniel Chittenden, at the advanced age of 84 years. The late Mr. Chittenden came to New Zealand 60 years ago, and was well-known in musical circles, being a violinist of great ability, and was ever ready to assist a worthy cause. His wife predeceased him some four years ago. Requiem Mass was held in St. Mary's Roman Catholic Church, the Rev. Father Heffernan conducting the service and the Rev. Father O'Reilley conducted the service at the graveside. A long cortege followed the remains to their last resting place. Much sympathy was felt for those left behind to mourn their sad loss. There are nine children, forty-seven grandchildren, and sixteen great-grandchildren.


Musician, professor of sacred music, conductor, vocal instructor, late pupil of John Hullah, psalmody instructor, carpenter

Born Bowerchalke, Wiltshire, England, 1817; baptised Bowerchalke, 9 November 1817; son of William CHIZLETT (1773-1849) and Mary BOND (c. 1775-1845)
Married (1) Sarah MORRIS (d. c. 1851), by c. 1848
Married (2) Louisa Adelaide PHILLIPS (1823-1886), Westminster, London, England, April 1854
Arrived Sydney, NSW, 7 September 1854 (assisted immigrant per Tantivy, from Southampton, 3 June)
Died Ashfield, Sydney, NSW, 29 August 1884, aged "67" (TROVE tagged by Australharmony) (shareable link to this entry)

CHIZLETT, Louisa Adelaide (Louisa Adelaide PHILLIPS; Mrs. Charles CHIZLETT)

Soprano vocalist

Born London, England, 1824; baptised London, 29 April 1824; daughter of Philip PHILLIPS and Louisa ?
Married Charles CHIZLETT, Westminster, London, England, 1854 (2nd quarter)
Arrived Sydney, NSW, 7 September 1854 (assisted immigrant per Tantivy, from Southampton, 3 June)
Died Sydney, NSW, 8 March 1886, aged "63/64" (TROVE tagged by Australharmony) (shareable link to this entry)


Baptisms solemnized in the parish of Bower Chalk in the county of Wilts in the year 1817; register 1813-70, page 6; Wiltshire and Swindon History Centre, 1280/3 (PAYWALL)

No. 47 / Nov'r 9th / Charles Son of / William & Mary / Chizlett / this parish / Carpenter . . .

Baptisms, St. Sepulchre, London, 1824; England, select births and christenings (PAYWALL)

29 April 1824 / Louisa Adelaide / daughter of Philip and Louisa / Phillips

England census, 30 March 1851, St. John's, Westminster; UK National Archives, HO107/1479/982/63 (PAYWALL)

138 Lillington St. / Charles Chizlett / Head / Mar. / 33 / Carpenter &c. (Journeyman) / [born] Wilts Bower Chalk
Sarah [Chizlett] / Wife / mar / 32 / - / [born] Wilts Salisbury
Mary A. / Daur / 3 / - / [born] Midd'x Chelsea
Adelaide / Daur / 1 / [born] [Midd'x] West[minster]

New South Wales, Australia, Assisted immigrant passenger lists; per Tantivy, September 1854; State Archives NSW 

Chizlett Charles / 36 / Joiner / [born] Bower Chalk Wiltshire / [son of] Wm. and Mary both dead / Baptist / [Read and write] Both / [Relations in the Colony] None
Louisa A [Chizlett] / 31 / - / Marylebone / . . . / [Baptist] / . . .
Mary Ann / 6 / Chelsea, Middlesex / . . . / [Baptist] / . . .
Adelaide / 4 / Westminster, London / . . . / [Baptist] / . . .

[Advertisement], Empire [Sydney, NSW] (24 November 1855), 1

VOCAL MUSIC. - C. CHIZLETT, late pupil of Mr. Hullah, St. Martin's Hall, London,
begs to announce that he is about to commence a course of fifty elementary lessons from Hullah's Manual, commencing on
FRIDAY EVENING, November 30, in the School-room adjoining Dr. Ross's Chapel, Pitt-street.
Ladies and Gentlemen desirous of acquiring a sound knowledge of vocal music will find this a rare opportunity.
Terms, including books containing all the figures and exercises, 10s. per quarter, or 15s. the whole course.
Tickets and books may be obtained of Mr. Soole, George-street, four doors north of King-street; Mr. Elworthy, opposite the Royal Hotel; Mr. Eldridge, dyer, York-street; Mr. Dixson, Waverley House, Brickfield-hill; or, of the Conductor, 142, Liverpool-street East; or, at the above room, until Tuesday, December 4th.
Two lessons will be given each week, commencing at 8 o'clock p.m., Tuesday and Friday evenings.
Mr. Chizlett will deliver an introductory address on Tuesday Evening, November 27th.

ASSOCIATIONS: John Hullah (English music educator)

[Advertisement], Empire (24 December 1855), 6 

THE PEOPLE'S SINGING SCHOOL. - Notice, next TUESDAY being Christmas day, the next lesson will be given on FRIDAY evening next, December 28th. C. CHIZLETT.

[Advertisement], Empire (4 March 1856), 1 

PART SINGING. - THIS EVENING, Tuesday; Admission free!!! -
The first class of the People's Singing School will sing the songs contained in the first part of Hullah's Manual, commencing at half-past 7 o'clock.
All persons interested in part singing are respectfully invited to attend. C. CHIZLETT, Conductor.

[Advertisement], Empire (21 March 1856), 1 

SYDNEY MECHANICS' SCHOOL OF ARTS. CLASSES. - The Quarter will commence on MONDAY, March 31 . . .
The Violin - Mons. Paling / Two [lessons per week] / Gratuitous . . .
Vocal Music, Hullah's system / Mr. Charles Chizlett / Two [lessons per week] / 12s. 6d. the course of 50 lessons
The Pianoforte, with use of instrument / Mons. Paling / Two [lessons per week] / Three Guineas . . .

ASSOCIATIONS: William Henry Paling (musician); Mechanics' School of Arts (Sydney)

[Advertisement], The Sydney Morning Herald (8 April 1856), 1

SYDNEY MECHANICS' SCHOOL OF ARTS: - A Lecture will be delivered on
TUESDAY EVENING next, the 8th instant, in the new Hall of the Institution,
on Part Singing, according to Hullah's system, by Mr. CHARLES CHIZLETT, the newly-appointed teacher at the above Institution.
The lecture will be illustrated specimens of the progress already made by a class under Mr. Chizlett's instruction.
At the close of the lecture the names of those desirous of learning will be taken down, and the proposed classes will be organized at once.
The lecture will commence at half-past 7 precisely. F. DYER [sic], secretary.

ASSOCIATIONS: Joseph Dyer (secretary)

[2 advertisements], The Sydney Morning Herald (9 June 1856), 1

SCHOOL OF ARTS' VOCAL MUSIC CLASS. - The Pupils of this Class are respectfully informed that M. CHIZLETT will not be able to give his usual lesson THIS (Monday) EVENING.

PSALMODY. - C. CHIZLETT most respectfully invites amateur Vocalists to join a Class for the practice of pure psalmody and other sacred music, to meet every TUESDAY EVENING, at half-past seven o'clock, in the Tabernacle opposite the Legislative Chambers, Macquarie-street.
To commence on Tuesday evening, June 10th. Terms, 5s. per quarter.

See also, for a satirical commentary on "pure psalmody", "HOLT IN LUCK'S WAY", Bell's Life in Sydney (14 June 1856), 2

"MISCELLANEOUS", The Sydney Morning Herald (10 October 1856), 3 

Not the least interesting event in connection with the School of Arts is the recent opening of a vocal music class by Mr. Chizlett, in which gratuitous instruction is given to members of the institution and their friends. The object is chiefly to show the progress that may be made in a short time under the admirable system of Hullah. Already, we understand, such a degree of proficiency has been attained as to realise a pleasing and harmonious result, and to inspire with confidence those who may wish to acquire this attractive accomplishment.

"THE EIGHT HOUR MOVEMENT", Empire (21 October 1856), 5 

A general meeting of operative Carpenters and Joiners was held yesterday evening, in the old Assembly Rooms, King-street, for the purpose of forwarding the Short Time Movement. The opponents of that system were also invited to attend. There were over 300 persons present . . . Mr. CHARLES CHIZLETT felt great pleasure in moving the next resolution, which was as follows: -
That this meeting congratulates the committee on the steady and solid progress of the Short-time Movement since the commencement of the agitation, and pledges itself to support them in their efforts, until the Eight-hour Movement be universally adopted. (Cheers.) . . .

"PITT-STREET BAND OF HOPE", The People's Advocate and New South Wales Vindicator (29 November 1856), 3 

The first anniversary of the Pitt-street Band of Hope was celebrated by a public tea-meeting on Wednesday evening in the Hall of the School of Arts . . . In the course of the evening many pieces of music were well sung by an extensive choir, under the conductorship of Mr. Chizlett. In fact, the meeting throughout was most harmonious.

"SCHOOL OF ARTS. - CHORAL MUSIC", Empire (25 February 1857), 4 

A vocal entertainment was given by Mr. C. Chizlett's upper classes, at the School of Arts last evening, before an audience numbering from three to four hundred persons. The programme was of a varied nature, comprising selections of secular and sacred music, from Handel, Mendelssohn, and others, the object of the entertainment having been, as Mr. Chizlett observed, to show that, although classes might be trained to sing sacred music it did not follow that they would be unable to execute secular pieces. The choir consisted of from thirty to forty performers, including a fair proportion of soprano voices. The harmony was almost as complete as could be desired; in fact, the whole of the music was very creditably rendered, and the singers, with their worthy conductor, deserved the applause which was warmly bestowed upon efforts.

"CONCERT OF SACRED MUSIC", The Sydney Morning Herald (25 June 1857), 5 

The favourable reception of Mr. Massey's selections from some of the most celebrated oratorios, on Monday evening, induced him to repeat them last night at the School of Arts, when the body of the hall was moderately filled. The programme comprised some of the finest airs, choruses, and duets from the oratorios of "Judas," "The Creation," and "The Messiah," for the performance of which Miss Flora Harris, with several gentlemen amateurs, and a numerous choir, were engaged. Mr. Massey conducted, and Mr. Packer executed the organ accompaniments . . . Mrs. Chislett [sic] gave the recitative "There were shepherds" with pleasing firmness and finish . . .

ASSOCIATIONS: Joseph Massey (conductor); Flora Harris (vocalist); Charles Sandys Packer (organist)

"MR. CHIZLETT'S CONCERT", The Sydney Morning Herald (21 July 1857), 5 

A Sacred Music Concert was held, last evening, in the School of Arts, in connection with this gentleman's Vocal Musical Classes, connected with the institution. The Rev. Samuel Humphrey (on behalf of the class, which numbers forty), after a preliminary address, presented to Mr. Charles Chizlett, Professor of Sacred Music, a purse, containing 21 guineas, as a token of the esteem in which he was held by his pupils. Mr. Chizlett having acknowledged the testimonial, the performance went on. Several of the pieces were encored, and all were applauded by a thronged and delighted audience. The performance of the class, considering the short time it has existed, is equally creditable to the capacity of the pupils, and the system of their teaching.

But see also "TO THE EDITOR . . .", Empire (23 July 1857), 2 

[2 advertisements], The Sydney Morning Herald (8 August 1857), 1 

The Committee of the above have great pleasure in informing the members and the public generally that, on MONDAY EVENING, August 10th, the classes under the direction of Mr. Chizlett will give a CONCERT of Glees and Madrigals, with organ accompaniment, at the Hall of the School of Arts . . .
Organist. Mr. C. PACKER. Conductor. Mr. C. CHIZLETT . . .

VOCAL MUSIC. - C. CHIZLETT, Teacher of Vocal Music in the National Schools of Sydney, the Mechanics' School of Arts, &c.,
begs to inform the inhabitants of Redfern, Chippendale, and its vicinity, that he has engaged the Schoolroom at the back of the Congregational Chapel, Cleveland-street, and will give the first of a course of Fifty Lessons from Hullah's Manual, on
TUESDAY EVENING, August 11th, to commence at half-past 7 o'clock.
The first lesson, with introductory remarks, will be given free!!!
All parties Interested in the diffusion of sound musical knowledge are respectfully invited to attend.
N.B.-It is also Intended to form an advanced class for the practice of psalmody, anthems, and other Church music.
For terms, &c., apply as above on TUESDAY EVENING next.

[Advertisement], Empire (14 November 1857), 1 

the Members of Chizlett's Upper Singing School will give a repetition of the following selection of Sacred Music, with Organ Accompaniment :
Hundredth Psalm - "With One Consent let all the Earth"
Motet - "O be Joyful" - Palestrina
Anthem - "Lord for Thy tender Mercies Sake" - Farrant
Choral - "Since on the Cross" - Martin Luther
Hymn - "Forth from the Dark" - Rousseau
Motet - "I will give Thanks" - Palestrina
Hymn - "O God of Truth" - B. Rogers
Eighth Psalm - "O King Eternal and Divine" - Dr. Croft
Hymn - "Thou that from Thy Throne" - Haydn
Hymn - "Give us Peace" - Russian Melody
Motet - "Go not far from me" - Zingarelli.
Recitative and Air - "Eve's Lamentation" - King
Anthem - "The Lord Descended from Above" - Dr. Hayes
Quartette - "Cast thy Burden upon the Lord" - Mendelssohn
Anthem - "Praise the Lord, O Jerusalem" - Scott
Anthem - "I know that the Lord is Great" - Sir F. A. G. Ouseley
Terzetto - "Lift thine Eyes" - (from the Elijah) - Mendelssohn
Choral - "To God on High" - (from the St. Paul)
Anthem - "Cry Aloud and Shout" - Dr. Croft
Chorus - "Envy, Eldest Born of Hell" (from Handel's Saul).
Chorus - "Fixed in his Everlasting Seat - (from Handel's Samson)
To conclude with Handel's Grand Hallelujah Chorus.
Tickets - for Reserved Seats, 2s.; Gallery and Promenade, 1s. each . . .

"THE NATIONAL SCHOOLS", The Sydney Morning Herald (24 December 1857), 4

A large number of visitors (about 230) assembled at Fort-street on Wednesday [23 December 1857]. The Governor General and Lady Denison were kind enough to distribute prizes . . . the pupil teachers and assistant teachers sang a selection of pieces (chiefly from Hullah's part music) in evidence of their proficiency. Unfortunately two of the young teachers were absent on account of illness, and their places were supplied by the Inspector and Mr. Chizlett, their instructor in music.
Most of the pieces were well sung. The following was the programme:
- Sacred - 1. Choral - "Since on the Cross," Luther;
2. Motet - "O be joyful," Palestrina; 3. Hymn - "Give to us Peace," Russian Melody;
4. Motet - "I will give thanks," Palestrina; 5. Hymn - "Ave Sanctissima," Webbe;
6. Motet - "Go not far," Zingarelli.
Secular. - 1. Glee - "Awake Eolian Lyre," Danby; 2. Part song - "O never fear," German;
3. Part song - "Mayday," Meithart; 4. Part song - "Harvest," German;
5. Glee - "Ye spotted snakes," Steevens; 6. Glee - "Come let us a-maying go," Alterbury;
7. National Song - "Rule Britannia," Arne.
Although the singers were rather nervous at first, as might be expected, we are inclined to the opinions that the part songs, "Mayday," and "Harvest," were the best executed; next the Glee, "Ye spotted snakes." This performance gave pleasure apparently to all the visitors. The Governor-General and Lady Denison thanked the singers for the entertainment which, they said, gave them much gratification. The children were then assembled in front of the lawn and sang "God save the Queen" . . .

ASSOCIATION: William and Caroline Denison (governor and wife)

"CONCERT", The Sydney Morning Herald (26 February 1858), 5 

Mr. Chizlett's concert of sacred music, which was held last evening in St. James' School-room, was more than usually successful, both as regards the attendance, which was large and respectable, and the performance, which afforded general satisfaction. Mr. Chizlett conducted the vocal music, and Mr. Cordwen [sic] presided at the organ. The first part of the programme comprised several excellent anthems and choruses, culled from Haydn, Hullah, Croft, &c., as well as a hymn and chorale composed by Prince Albert. The second part was entirely devoted to selections from "The Messiah." Mr. Chizlett gave the recitative, "Comfort ye my people," with much clearness, and in well-expressed tones; and the audience, by prolonged applause, induced him to give a repetition. The choir was numerous, and with the assistance of Mrs. Chizlett, gave good effect to the varied harmony of Handel's great work. The concert terminated with the well rendered and always impressive "Hallelujah chorus."

ASSOCIATION: William John Cordner (organist)

[Advertisement], Empire (15 April 1858), 1 

BALMAIN SINGING CLASS. - C. CHIZLETT will give the first of a course of Fifty Elementary Lessons, in the Parochial School-room, Adolphus-street, to commence at half-past 7.
Ladies and Gentlemen desirous of joining the above are respectfully invited to attend. For tickets and further particulars, apply to Mrs. RAMSAY, opposite St. Mary's Church.

"ADVANTAGES OF MUSIC", The Sydney Morning Herald (11 October 1858), 5 

The following are the preliminary observations made by J. H. Plunkett, Esq., M.P., on Tuesday evening last, in his lecture delivered at the Lyceum Theatre: -
. . . I will take the opportunity of making a few preliminary observations on the advantages to be derived from the general cultivation and encouragement of music among us . . . The system alluded to, and known as Hullah's system of singing, has been generally adopted (as we perceive) in England, and also, I find, in Scotland . . . Mr. Chizlett, Mr. Colley, and others teach the same system here, and it would be very desirable to see it practised more generally at our public and private schools . . .

ASSOCIATIONS: John Hubert Plunkett (musical amateur)

"THe SYDNEY VOCAL HARMONIC SOCIETY", The Sydney Morning Herald (20 November 1858), 6 

A numerously attended and spirited meeting was held in the Castlereagh-street Schoolroom, on Thursday evening, the 18th instant, to establish a society under the above designation. The chair was taken by Mr. Charles Nathan, F.R.C.S., at a few minutes past eight o'clock. There were present in the room a large number of gentlemen who have taken part in the transactions of musical societies in Sydney, and considerable satisfaction was expressed at the prospect which the meeting afforded that Sydney was at last shaking off the apathy that has been so long evinced in musical matters here. The musical profession was also represented by several of its leading members. At the request of the chairman, Mr. Dyer read the advertisement convening the meeting, and also the prospectus explanatory of the objects of the society. This prospectus has appeared in our advertising columns. The Rev. H. J. Hose, Warden of St. Paul's College, moved the first resolution, which was "That a society be now formed, to be called the Sydney Vocal Harmonic Society" . . . The resolution was seconded by Mr. Dyer, who took occasion to point out that there was at the present time more hope of success for such a society than at any previous time, in consequence of the large number of singing classes that were in operation in various parts of the city. Mr. Dyer also alluded to the efforts of Mr. Charles Chizlett as having given a great impulse to the cultivation of music here, and trusted that the vocal class which it was intended to form in connection with the society would still further extend the pleasing accomplishment of part singing. The motion, having been put from the chair, was carried unanimously. Mr. W. Wilkins, inspector and superintendent of the National schools moved the second resolution, which was: "That the object of the society be the cultivation and practice of vocal music by uniting in one choral body the large number of singers more or less trained, now to be found in this city, and the establishing of a school for instruction in part singing" . . .

ASSOCIATION: Charles Nathan (chair); Henry Judge Hose (member); William Wilkins (member); Sydney Vocal Harmonic Society (association)

[Advertisement], The Sydney Morning Herald (9 April 1859), 12

CHIZLETT'S VOCAL MUSIC SCHOOL. - Ladies and Gentlemen who can rend music at sight are respectfully invited to join the upper school, which will henceforth MEET in the Hall of the School of Arts on every WEDNESDAY EVENING, at half-past 7.
During the next quarter the Practice will be principally the Choruses of the Messiah and Haydn's Creation, with a view to their performance at the University Festival, in June next.
C. CHIZLETT, Conductor.

ASSOCIATION: Sydney University Musical Festival (event)

"THE CREATION", The Sydney Morning Herald (18 May 1859), 10 

It will he seen from an advertisement in another column that the whole of this oratorio is to be performed at the School of Arts this evening, by Mr. Chizlett's Upper School, assisted by Madame Flora Harris, and other artistes. The pupils of Mr. Chizlett - many of whom have been under the training of this gentleman for upwards of three years - have been practising this oratorio for a considerable time with a view to assisting at the approaching University Musical Festival; and in order to afford the numerous patrons of Mr. Chizlett's Upper School a musical treat at a price within their reach, he has consented to give the concert this evening. We understand that the organ in the hall of the School of Arts is about to be removed; consequently, such an opportunity is not likely to occur again.

"MUSIC AND THE DRAMA", Empire (26 May 1859), 8 

. . . The Vocal Harmonic Society, though but a short time in existence, is already doing wonders towards the attainment of the desired end. The Society is established for the purpose of bringing before the public the master-productions of the Titans of the Kingdom of Music - the Oratorios of the great composers. One gentle hint - do your work slowly - do it well: time will give a greater triumph than all the short-lived ephemeral fame to be acquired by present applause. Too much praise cannot be awarded to Mr. Chizlett, for the vocal classes that are gradually acquiring perfection under his able guidance; let him not spare himself - let him extend his benefits to those who would gladly partake of them if their ability were but equal to the desire . . .

"TO THE EDITOR", Empire (31 May 1859), 5

SIR - In an article on Music and the Drama which appealed in your journal on Thursday last, I observed you noticed in a very laudatory manner my efforts to teach the people Vocal Music, but as I scarcely understand your remark when you say (in reference to myself) let him not spare himself - let him extend his benefits to those who would gladly partake of them if their ability were but equal to the desire.
I beg to offer the following remarks for your consideration, that you and the renders of the Empire may judge whether I am sparing myself, and as to whether I can do more in the way that you suggest, than I am now doing.
In the first place, I may inform you that I give fourteen lessons each week in the National Schools of Sydney, and two at Mr. Coveny's School; and my evenings are engaged in the following manner - on Monday I conduct a practice at the School of Arts, to which all singers are invited on Tuesday evenings.
I give a lesson at Paddington, Wednesday. I meet my upper school at the School of Arts, Thursday; an elementary lesson in the same place - and I have just entered into an engagement with the Redfern Mutual Improvement Association to a course of lessons on Friday evenings there, and after my meetings in town I have always to walk to Upper Paddington after half-past nine o'clock.
On Saturday evening I give a private lesson at Paddington. I may further add that the Committee of the School of Arts has thrown open the classes there to all who may wish to join them, irrespective of their being members of the Institution, and presents two handsome prizes to each class, in the year, to boot; and that inasmuch as the terms for the course of lessons amounts to something less [than] three pence each lesson, I do not see how we can extend these benefits to any who cannot partake of them on the above very moderate terms. We have just formed a new elementary class, which numbers about forty members, and, having all the materials for teaching as many as the place will hold, we should have been glad to accommodate three times the number of the above class, and if any desire to learn, who really are too poor to pay the above named price, let them come and we will teach them for nothing.
Thanking you for your kind notice, and wishing you success in your present undertaking.
I remain, yours, &c.
Paddington, May 30th, 1859.

"SCHOOL OF ARTS", Empire (12 July 1859), 5 

Mr. Chizlett's vocal concert given last night at this institution in aid of its building fund, deserved to have been better patronised. The degree of excellence attained by Mr. Chizlett's classes in part singing is so superior, that we can only regret that we have not oftener an opportunity of hearing their performances. In concerted music there is a degree of perfection with regard to harmony and correct time, that is worthy of imitation by the more powerful choirs of the city. As examples may be mentioned, the quartette and chorus, "Blessed are They," from Spohr's "Last Judgment;" Mozart's chorus, "To Rome's Immortal Leader;" and Mr. C. S. Packer's hunting chorus "The Stars still Shine." Mr. Waller, whose excellent powers as a solo singer (bass) tell with particular effect, was enthusiastically encored in Balfe's song, "I'd be a Soldier still," to which with the scena by Paisiello, "Destruction of Jerusalem," he did ample justice. Several compositions of Mr. C. S. Packer were executed to the satisfaction of the audience. The thanks of the public are due to Mr. Chizlett for his efforts in the cause of vocal music.

ASSOCIATIONS: James Waller (vocalist)

"SYDNEY UNIVERSITY FESTIVAL", The Australian Home Companion and Band of Hope Journal (30 July 1859), 318 

THE greatest musical treat ever afforded the inhabitants of this colony has just concluded, in celebration of the opening of the Sydney University [Great Hall, 19-23 July]. To judge by the large attendance on each of the days, the immense efforts made to present a real musical treat, have been fully appreciated. The glorious compositions of the Creation and the Messiah, were rendered in a manner highly creditable to the amateur and professional musicians. The exertions of Mr. Lavenu, the conductor, have been continuous throughout the long period of preparation for these concerts, and certainly the result has proved a triumph. The chorus numbered 250 voices, pupils of Messrs. Cordner and Chizlett. The Orchestra was very numerous and efficient, playing with great precision and brilliancy. Handel's Messiah was twice performed, on Tuesday and on Friday; Haydn's Creation on Wednesday. A full and attentive audience greeted these marvellous compositions on each occasion. A miscellaneous concert took place on Wednesday, Thursday, and Saturday, each well attended.

ASSOCIATIONS: Lewis Henry Lavenu (conductor)

"SYDNEY VOCAL MUSIC ASSOCIATION", The Australian Home Companion (5 November 1859), 23

THIS society, formed out of the upper classes under Mr. Chizett's instruction, held its opening soiree at the School of Arts, on the 19th ultimo; inaugural addresses were given by Dr. Woolley, and others. A miscellaneous selection of pieces were rendered with excellent taste and skill during the evening, by the members of the society. A second concert was given on Wednesday evening last, November 2nd. On each occasion Mr. Packer presided at the organ, and Mr. Chizlett conducted.

ASSOCIATIONS: John Woolley (member)

[News], Empire (8 May 1860), 4 

The second concert for the season of the People's Vocal Association, given at the Temperance Hall, last evening, was of so superior a character, and so admirably carried out, that we only regret not having sufficient room to notice each piece of the varied programme, and would - as in the case of the last concert - earnestly recommend a repetition of the same entertainment. The programme included selections from the part songs of Danby, Neithardt (of the Berlin Cathedral), Stevens, Farmer, Horsley, Webbe, Lord Mornington, Mendelssohn, and others. Mr. Chizlett, the talented conductor, has, in some points, brought the members of his chorus almost to perfection; the exquisite light and shade interspersed in the singing of some of the glees, and the marked precision of the time, rendered the execution of them equal to anything we remember to have heard for sometime, and caused regret at not having a more frequent opportunity of hearing music so delightful. The pieces most admired and enthusiastically encored, were - "The Brook," by Farmer (words by Tennyson), "Here in Cool Grot," "From Oberon," by Stevens, the latter being most exquisitely vocalised. There were many other gems. Mr. Chizlett certainly deserves great praise for the proficiency displayed by his classes, and we sincerely hope that the concerts will be strongly supported. The concert was, on the present occasion, well attended.

ASSOCIATIONS: Temperance Hall (Sydney venue)

[Advertisement], The Sydney Morning Herald (15 July 1861), 1

at the Masonic Hall, on WEDNESDAY EVENING, July 17th;
the programme to consist of HAYDN'S ORATORIO, "THE CREATION,"
The principal soprano and tenor solos are assigned to Madame Flora Harris, and Mr. John Howson.
Tickets - One shilling; reserved seats, Two shillings; may be had of the music sellers.

ASSOCIATIONS: John Howson (vocalist); Freemasons Hall (Sydney venue)

"PADDINGTON PUBLIC SCHOOL", The Sydney Morning Herald (26 December 1870), 2 

The new school house at Paddington, erected by the Council of Education, has just been completed, and was formally opened on Friday last, when the school broke up for the Christmas holidays . . . The children then sang "Christmas Day," "My Native Land," "Minnie Darling," "The Fisherman, "Ring the bell, Watchman," "Convent Bells," and some other charming compositions in very effective manner, under the leadership of Mr. Charles Chizlett . . .

"MUSICAL SOCIETIES. TO THE EDITOR OF . . .", The Sydney Morning Herald (1 August 1876), 7 

SIR, - Having read, with great interest, the discussion in your journal on the abovenamed subject, I desire, with your kind permission, to offer a few remarks on what appears to me to be one of the chief causes of the failure of former choral societies in this city; and having been engaged for above twenty years in teaching the elementary principles of the art of singing, with a view to preparing pupils to take part in the great choral works of Handel, Haydn, and others, many of which works I studied for some years with great delight, under Sir Michael Costa, I hope it is not unbecoming in me to presume to offer an opinion on such matters.
Most of the evils have been noticed by your other correspondents; but one of the chief evils has been, in my opinion, too lightly dwelt upon namely, the admission to chorus of persons who are unable to sing the simplest music at sight without the aid of an instrument. This I conceive to be the most serious evil of all.
If my long experience has taught me anything, it is this, that this practice operates in several ways injuriously. In the first place, it tends to make young pupils indifferent about the elementary instruction they need; secondly, persons who have tolerably good voices and can read a little imagine that choruses can be sung by persons far beneath them in musical attainments; and again, it keeps good readers away from the choral practices.
I was, some years ago, present at a rehearsal in St. James' school, when the conductor was nearly three-quarters of an hour drilling the tenors in their part, of the simple old madrigal, "Now is the month of Maying." Will good readers attend, night after night, to be called upon by the conductor, to stand and sing, or bawl their part into the ears of persons who really have no right to be there.
With regard to the Tonic Sol-fa method, I concur in the opinions of Mr. Younger, and also of Mr. Horn, both of whom may have confounded the system, or movable "Do," with the notation; but it is obvious, that it is the notation which both these gentleman object to.
I think it well to mention what Mr. Curwen says in the second chapter of the "Standard Course," it is, that our duty is to lead our pupils by the most direct road to the mastery of the established notation, with its staff of five lines. Yet, they go on year after year, providing their pupils with some of the best music in the lettered notation, thus practically teaching them to ignore the old.
It is well known to most of the musical people that I commenced to teach on what is called in England Hullah's method, both at the School of Arts and in the principal Public schools, and I was so far successful that my adult classes were soon able to sing the choruses of the Creation, which they learned by sol-fa-ing them without the aid of an instrument till about three (at the most) meetings before we gave a performance of that work at the Masonic Hall.
In my first classes I endeavoured to imitate Hullah's school, confining my upper school to those who could read at sight; but this was soon broken in upon by the formation of a society, who threw open the doors of their chorus to all who were willing to join.
This same evil I have had to complain of down to the present time. About seven years ago the Council of Education, having directed me to teach the children in the several schools (to which I had hitherto given lessons in Hullah's method), in the Tonic Sol-fa method, I commenced need teaching my adult classes on the new methods in the School of Arts and other places. I succeeded in teaching pupils plain psalmody, &c., but when we attempted much beyond that it was a failure.
That has been my experience in teaching the old notation by the Tonic Sol-fa method; whereas, when I used to teach the old notation in the Public Schools, there were but few children with good voices who were not prepared to join choirs, &c., when they left school.
I should now like to give your readers Mr. Hullah's opinion of the movable "Do" method. [He says nothing about the lettered notation. It seems as if he thought it beneath his notice.] Of the old method, he says: "For a quarter of a century the third edition has maintained a circulation both large and steady. Large as it has always been, however, and larger as it has recently become, its magnitude is but a very inadequate measure of the extent to which it has been employed, for the publication of the exercises on large sheets his rendered it available in places innumerable."
I have made this quotation to show that the great advance in choral music in England is not wholly the result of the Tonic Sol-fa method, as some would endeavour to make us believe. Many years ago the issue of the exercise-books was at the rate of a thousand per day, and now it appears it is greater than that.
In the preface to his new method (which I am now using in my adult classes) he says, -
"As Inspector of Music in the Training Colleges I have had unusual, indeed unequalled, opportunity, of testing results of the well-known methods of using the Sol-fa syllables. The use of the movable 'Do,' as it has come under my notice, does involve both difficulty and inconsistency."
In 1874 he gives several extracts from his yearly report of inspection, and among others the following -
"Of the bodies of second year students taught on the movable 'Do' principle who sol-faed a piece I put before them in the course of my examination, not one noticed or acknowledged the most striking feature of it - that the key had changed, and, therefore, the 'Do' should have been chanced. With charmingly unconscious violation of the principles so painfully instilled into them they went on sol-faing as if the key had not changed. As for individuals I found few of those who could sol-fa at all in more than two keys besides that of C."
I find in my journal memoranda made at the moment like the following:
"Utter confusion about 'movable Do,' disposition on the part of students to shirk sol-faing altogether;" "notes called by any name, but the right, &c.."
Such is a few of the statement, of this most gifted and experienced inspector, from whose new work I should like to quote more at length, but fear to trespass further on your valuable space.
The Editor of the Musical Times (Mr. Novello) says - "Considering that Mr. Hullah adapted Whilhem's method [sic. Wilhem's method] for English use in 1840, and that since that time he has been incessantly engaged in class teaching, it may fairly be said that he has well earned his right to a patient hearing on the subject."
In conclusion, I quite agree with Mr. Fisher in his remarks about the Saturday evening concerts, and concerning the ambition of amateurs I am of opinion too, that the music presented to the public by coloured performers is by no means calculated to improve the taste of our young people, and I fear that kind of music is finding too much favour in many of our churches, for even there I often hear tunes that always remind me of black faces and castanets.
Music-master to Council of Education, &c.

ASSOCIATIONS: Michael Costa (English conductor); Montague Younger (musician); Charles Horn (musician); James Churchill Fisher (musician); Black-face music and performers (general)

[Advertisement], The Sydney Morning Herald (6 September 1880), 1

Mr. CHARLES CHIZLETT, for many years teacher of Singing under the late National Board and late Council of Education, has for a long time been unable to follow his profession, in consequence of severe physical suffering.
It is universally admitted that Mr. Chizlett, during a period of more than 20 years, has done much to foster a taste for vocal music in the community, and especially among the young.
Under the circumstances some friends have thought it desirable that his past labours should receive some recognition, and, having formed themselves into a Committee, they are endeavouring to raise funds for that purpose.
They now appeal to a grateful and sympathetic public to assist them, by liberal contributions, to carry out the worthy object they have in view.
Subscriptions will be thankfully received and acknowledged by the hon. treasurer, A. ADAMS, Training School, Fort-street, or by any member of the Committee.
Signed on behalf of the Committee,
W. WILKINS, Chairman.

ASSOCIATIONS: William Wilkins (chair)

[Advertisement], The Sydney Morning Herald (20 November 1880), 2 

GRAND CONCERT, in aid of the Chizlett Testimonial Fund, MONDAY, 6th December.
Large chorus of PUBLIC SCHOOL PUPILS and SOLO SINGERS . . . P. D. McCORMICK, Hon. Sec.

ASSOCIATIONS: Peter Dodds McCormick (secretary)

[News], The Sydney Daily Telegraph (4 February 1881), 2 

The presentation of the Chizlett Testimonial fund took place at the Temperance Hall last night . . . The fund, which amounted to £132 3s 6d, was handed to him by the chairman, Mr. Wilkins, Under-Secretary for the Department of Public Instruction, who made some appropriate remarks, and Mr. Chizlett suitably replied . . .

[Advertisement], Evening News (8 April 1882), 6 

SINGING CLASS. - A new Elementary Class, conducted by Mr. C. CHIZLETT, will be formed on Wednesday Evening next, in St. James's schoolroom; entrance in Elizabeth-st. 8 o'clock.

[Advertisement], The Sydney Morning Herald (26 March 1884), 2

EVENING CLASSES . . . DEPARTMENT OF MUSIC. Instructor - Mr. Percy Fitz-Stubbs.
Music - Mr. Percy Fitz-Stubbs, Tuesday and Friday.
Class Singing - Mr. Charles Chizlett, Monday and Friday.

ASSOCIATIONS: Percy Fitz-Stubbs (music instructor)

"NEWS OF THE DAY", The Sydney Morning Herald (30 August 1884), 13

Those intimate with the musical world will sincerely regret to hear of the death of Mr. Chizlett, who for many years had held a prominent position as a teacher of vocal music to Sydney. Many of the most successful vocalists of the past, as well as many promising ones of the future, owe their primary musical education to Mr. Chizlett, who through his life stuck tenaciously to the system adopted by the late Mr. John Hullah, whose pupil he was. Failing health for some years rendered Mr. Chizlett incapable of taking that prominent part at public concerts which was his wont in days past, but his advice and assistance were at all times cheerfully tendered to young musical societies, in the prosperity of which he took so lively an interest. His death at the last was very sudden, as he succumbed in a few hours to a stroke of paralysis.

"Deaths", The Sydney Morning Herald (30 August 1884), 1

CHIZLETT. - At his residence, Cromwell Cottage, Milton-street, Croydon, suddenly, Charles Chizlett, aged 67.
CHIZLETT. - August 29, at his residence, Cromwell Cottage, Milton-street, Ashfield, Charles Chizlett, in the 67th year of his age.

"Chizlett Memorial", Evening News (27 February 1885), 6 

A final meeting of the committer and subscribers in connection with the Chizlett Memorial fund was held in the Protestant Hall on Wednesday night. The balance-sheet showed that £50 had been expended in the purchase of a marble monument selected from the yard of Mr. McNab, of Rookwood. The monument is erected on a massive stone base and is well designed and sculptured. The inscription is surmounted by a harpsichord [sic, harp] in marble, and above this is a fluted column, bearing the following words -
"In memory of Charles Chizlett, public teacher of singing, who died August, 29, 1884, ages 67 years. Erected as a mark of esteem by this pupils and friends."


Bellringer, bell ringer, change ringer, bell captain

Birth London, 12 November 1837; baptised St. Saviour, Southwark, 3 December 1837; son of Robert CHRISFIELD and Sarah HEXTALL
Arrived Melbourne, VIC, by 1863, ? or earlier
Married Alice PEARCE (1843-1914), Melbourne, VIC, 1864
Died Melbourne, VIC, 16 September 1883, aged "46" (TROVE tagged by Australharmony) (shareable link to this entry)

ASSOCIATIONS: Bells and bellringers (generic)


Baptisms in the parish of Saint Saviour, Southwark, in the county of Surrey, in the year 1837; register 1837-52, page 16; London Metropolitan Archives (PAYWALL)

No. 123 / [December] 3 / Born 12 Nov'r 1837 / William Son of / Robert & Sarah / Chrisfield / Bank Side / Cooper . . .

England census, 30 March 1851, St. Saviour, Southwark, Surrey; UK National Archives, HO107/1558 (PAYWALL)

87 Bakside / Rob't Chrisfield / Head / Mar. / 50 / Warehouseman & Colour Works / [born] Kent Deptford
Sarah [Chrisfield] / Wife / Mar. / 47 / - / Leicestershire
Robert / 19 / Barge Builder - Apprentice // Sarah / 15 // John / 11 // [all born] Surrey Rotherhithe
Wm. [Chrisfield] / [Son] / 13 / Scholar / [born] [Surrey] St. Saviour // Ann / 9

[News], The Argus (22 January 1863), 5 

Yesterday the ringers of St. James's rang on the bells of the church a muffled peal, as a tribute of respect to the memory of Burke and Wills. The ringers engaged were - Wm. Chrisfield, treble; Richard Maddocks, second; Edmund Norman, third; Benjamin Greening, fourth; Isaac Davis, fifth; James Cook, tenor. The peal was conducted by Wm. Chrisfield.

ASSOCIATIONS: St. James's church (Melbourne)

"TOWN TALK", The Herald (7 March 1863), 5 

On Tuesday last, the 5th instant, three of the Ringers of this city, assisted by three of the Lancashire Hand Bell Ringers, rang on the bells of St. James's Cathedral, the full extent of changes in the Grandsire method, being the first scientific ringing ever rung in any of the Australian colonies. Great credit is due to the Lancashire Hand Bell Ringers for assisting them, and also to the Ringers of this city in accomplishing the same. The names of the performers were - George Harrison, treble; William Chrisfield, 2nd; John Whittaker, 3rd; Peter Wills, 4th; John Rose, 5th; James Cook, tenor. The peal was called, and conducted by William Chrisfield.

ASSOCIATIONS: Lancashire Bellringers (troupe)

[News], The Herald (11 September 1863), 2 

Yesterday, the Lancashire Hand-bell Ringers assisted by the ringers of St. James's rang on the bells of that church several peals in the Grandsire method in the art of change ringing, being the greatest achievement ever accomplished in any of the Australian colonies. The ringers were - Edmund Norman, treble; William Chrisfield, 2nd; John Whittaker, 3rd; Peter Mills, 4th; William Shenton, 5th; Isaac Davis, tenor; conducted by Wm. Chrisfield.

"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 Amner (bell ringer, Sydney)

[News], The Age (11 January 1865), 4

The proceedings of the Board for the Distribution of Premiums for New Industries have been the subject of much comment . . . Some of the claims were altogether preposterous. For instance, a Mr. Cameron wanted a reward for having in his possession some half-bred Angora goats . . . and a Mr. Chrisfield for "change ringing" . . .

"DEATHS", The Age (17 September 1883), 1 

CHRISFIELD. - On the 16th September, at his late residence, 63 Errol-street, Hotham, after a long and painful illness, the beloved husband of Alice Chrisfield, aged 46 years.

"MUMMER MEMOIRS . . . SOME OLD TIME BELL-RINGERS - BILL CHRISFIELD. No. 187. By 'Hayseed'", Sydney Sportsman [NSW] (8 November 1911), 3 

"Old Chimes" (Hawthorn, Melbourne) writes: -
'In Mummers' Memoirs,' you mention St. James's Cathedral Bellringers and their assistance to Mr. Barry Sullivan when he staged 'Faust.' It may interest the readers of this very entertaining series of old-time doings to know that the William Chrisfield referred to was a member of the London College of Bellringers, and on Christmas Day, 1865, called and conducted at St. James's Cathedral the first ten complete peals in the grandsire method (each, peal consisting of 120 changes) in the Australasian colonies. The ringers were Wm. Chrisfield (conductor), B. Gunning, E. Norman, W. Shenton, J. Davis, G. Sydenham. The widow of Mr. Chrisfield is still living, and one of his sons and one grandson are in the Commonwealth Public Service."

ASSOCIATIONS: Joseph Michael Forde ("Hayseed"); Barry Sullivan (actor, manager)


Musician, bass vocalist, chemist and druggist, restaurant keeper

Born c. 1840; son of Heinrich Gottlieb CHRISTEN
Arrived Adelaide, SA, by September 1858
Married Auguste Caroline Philippine HABICH (1851-1919), Adelaide, SA, 4 August 1872
Died North Sydney, NSW, 17 March 1898, aged "57/58" (TROVE tagged by Australharmony) (shareable link to this entry)


[Advertisement], South Australian Register [Adelaide, SA] (24 September 1858), 1 

Under the Patronage of His Excellency the Governor and Lady MacDonnell.
The following persons will appear :-
MISS ROWE, Mons. Laglaise's Pupil; her first appearance in Singing; MRS. WALLACE.
HERR H. CHRISTEN, Basso Profundo, lately arrived from Germany.
MONS. LAGLAISE. HERR KUNZE will Preside at the Pianoforte.
PROGRAMME. PART FIRST . . . "Die- Augen ein Meer" (German Melody) Herr H. Christen - J. Witt . . . [sic, L. F. Witt]
PART SECOND . . . Recitative and Air from "The Bohemian Girl" - Herr H. Christen - Balfe . . .

ASSOCIATIONS: Jean-Baptiste Laglaise (vocalist); Richard and Blanche Macdonnell (governor and wife); Louisa Jane Rowe (pianist, vocalist); Maria Wallace (vocalist); Carl Julius Kunze (pianist, accompanist); White's Rooms (Adelaide venue)

"MONDAY EVENING'S CONCERT", South Australian Register (28 September 1858), 2 

The concert of vocal and instrumental music, given on Monday evening to Mons. Laglaise, under the patronage of His Excellency and Lady MacDonnell, was attended by a large and very fashionable audience. The accomplished vocalist, for whose benefit the entertainment was given, was assisted by Miss Rowe, Mrs. Wallace, Herr H. Christen, and Herr Kunze; and the pieces selected for performance included a choice variety of operatic, ballad, and other music by some of the most celebrated composers . . . Herr Christen, who was announced in the programme as a "Basso Profundo, lately arrived from Germany" rather surprised the audience by the peculiarity of his style, particularly in the operatic piece he had selected. We prefer, however, waiting to hear him again before expressing any decided opinion respecting his capabilities . . .

"FAREWELL CONCERT OF MONS. LAGLAISE", The South Australian Advertiser (28 September 1858), 2 

. . . Herr Christen in "Die Augen ein Meer," developed some splendid bass notes, although the general character of his singing was too inanimate . . . Herr Christen gave a recitative and air from the "Bohemian Girl," with great precision and magnificent tone of voice, but with the same want of animation which characterised his first song . . .

"SIGNOR CUTOLO'S CONCERT", South Australian Register (16 June 1859), 3 

On Wednesday evening last Signor Cutolo gave a grand concert at White's Rooms . . . we must not forget Miss Rowe . . . Her voice was also very clearly and sweetly heard in the trio with Mr. Daniel and Miss Bryan, as well as in Mendelssohn's quartette, "First Spring Day," which was sung without musical accompaniment of any sort, and was warmly encored. Mr. Christen well sustained his part in the quartette and trio, of which he sang the bass, controlling well a voice of great volume and extensive compass. Mozart's "Arie ex Zauberfloete" was admirably sung by him, and, being warmly encored, led to the repetition of the latter verse of it . . .

ASSOCIATIONS: Cesare Cutolo (pianist); Jane Elizabeth Bryan (vocalist); Josiah Wyke Daniel (vocalist)

"SIGNOR CUTOLO'S CONCERT", The South Australian Advertiser (16 June 1859), 2

. . . A duet by Messrs. Daniel and Christen followed, with a pianoforte accompaniment by Miss Rowe. The singing of this piece was artistic and tasteful . . . Mr. Christen next sung a solo from Zauberflote. Some of the deep bass notes of Mr. Christen's voice called down rounds of applause, and he was immediately encored in the piece. A trio, partly instrumental and partly vocal, came after, in which Miss Rowe acquitted herself with her accustomed skill and power. The harp accompaniment was executed by Miss Horn, and that on the piano by Signor Cutolo. The piece was very well received. A quartette followed by Misses Rowe and Bryan, and Messrs. Daniel and Christen. The harmony was very well preserved, and the beautiful cadence at the close excellently rendered. The audience impatiently demanded an encore, and the piece was repeated. The only fault which it seemed to possess was, that it was much too short . . .

ASSOCIATIONS: Annette Elise Horn (harp); for the programme see, [Advertisement], The South Australian Advertiser (11 June 1859), 1 

[Advertisement], South Australian Register (14 July 1859), 1 

WHITE'S ASSEMBLY ROOMS. MISS TOZER has the honour to announce that she will give a
Grand CONCERT of VOCAL and INSTRUMENTAL MUSIC on Thursday evening, the 14th July, under the immediate patronage of His Excellency the Governor-in-Chief.
Principal Performers - Miss Tozer, Miss C. A. Tozer, Miss Polhill, Master Watson, Mr. R. B. White, Herr Ignaz Roitzsch (Pupil of the Leipzig Conservatorium),
Mr. H. Christen. Conductor - Mr. J. W. Daniel . . .
PROGRAMME . . . PART II . . . 8. Song, "Home" - Mr. H. Christen - Reissiger . . .

ASSOCIATIONS: Caroline and Elizabeth Tozer (vocalists); Victoria Polhill (vocalist); Joseph James Watson (vocalist); Richard Baxter White (violinist, pianist); Ignaz Roitzsch (pianist)

[Advertisement], South Australian Register (15 July 1859), 1 

in WHITE'S ASSEMBLY ROOM, THIS EVENING (Friday), July 15, 1859.
His EXCELLENCY the GOVERNOR-IN-CHIEF will PRESIDE . . . The Deutsche Liedertafel (under the conductorship of Herr Linger) have kindly given their assistance; the other portion of the Musical Entertainment will be conducted by Mr. J. W. Daniel.
PROGRAMME. Chorus - "Mueller's Wanderlied (the Miller's Wander Song), the Deutsche Liedertafel . . .
Song - "As I View these Scenes so Charming" (La Sonnambula), Mr. H. Christen - Bellini . . .
Chorus - "Coeur Koenig" (the King of Hearts), the Deutsche Liedertafel . . .
Chorus - "Lob des Kriegerstandes" (Praise of a Soldier's Life), the Deutsche Liedertafel . . .

ASSOCIATIONS: Carl Linger (conductor); Adelaide Liedertafel (association); South Australian Institute (association)

"MISS TOZER'S CONCERT", Adelaide Observer (16 July 1859), 5 

On Thursday last, Miss Tozer gave a grand concert at White's Rooms, under the immediate patronage of His Excellency the Governor-in-Chief. Coming on the evening between the Tradesmen's Ball and the Quarterly Soiree of the South Australian Institute, it might have been safely predicted that the attendance would not be large, and when the evening turned out to be showery a thin audience became a positive certainty. The room was not more than a third full - a circumstance calculated to throw a damp upon both singers and audience. We must, however, do the former the justice to say that they exerted themselves to the utmost to please, and rendered the several pieces with great spirit and effect . . . Miss Tozer sang "There be none of beauty's daughters" with great sweetness and expression, and was warmly encored. The song told all the more coming immediately as it did after the fine manly tones of Mr. H. Christen in "Home, dear home." Indeed it was the song of the evening . . .

Adelaide Observer (16 July 1859), 1 supplement 

The quarterly soiree of the above Institute was held at White's Room, on Friday, the 15th inst. . . . The room was filled as usual to the doors, and the entertainment, both as to lecture and music, was a decided success . . . The music of the evening was of a very excellent order, and was led of by the Deutsche Liedertafel, under the conduct of Herr Linger in admirable style. The chorus performed was "Mueller's Wanderlied," which was given in the precision as to time for which Germans are so noted, and with a great amount of spirit and accuracy in other points of view. Indeed, when speaking of this body of gentlemen, who ministered gratuitously on the occasion, we may say that their performance gave considerable eclat to the conversazzione, and their absence on future occasions will cause considerable disappointment. It may be fairly presumed that many of the German portion of the inhabitants of Adelaide and its vicinity avail themselves of the benefits of the Institute; and it is only reasonable to expect that they should contribute in some degree to the success of its conversaziones. The encores which the band received may be a proof beyond anything which a critic might say of the sincere appreciation by the audience of their services. Mr. Christen, also a German, sang a song from "La Sonnambula;" but it was evident he was suffering from some affection of the throat, which prevented him winning upon the audience as he generally does. There was a dragging in the pianoforte accompaniment to the song which some what improved the matter for the worse . . .

"SOUTH AUSTRALIAN INSTITUTE", The South Australian Advertiser (18 July 1859), 5 

. . . "As I view those scenes so charming" followed, and was given as a solo by Mr. Christen with considerable power . . .

[Advertisement], South Australian Register (26 July 1859), 1 

Mr. H. CHRISTEN will have the honour to give a CONCERT on Thursday, the 23th July,
when he will be assisted by Misses Tozer, Mr. J. W. Daniel, Mr. Ignaz Roitzsch, Messrs. Schrader and Heidecker.
Concert to commence at 7 o'clock. Double Tickets, 4s. Single, 2s. 6d. Programmes at the door.

ASSOCIATIONS: Heinrich Schrader (musician); Theodor Heydecke (musician)

"PORT ADELAIDE INSTITUTE", South Australian Register (12 October 1859), 3 

The first soiree in connection with the Port Adelaide Institute was held, as announced, on Monday evening, in the large room at the White Horse Cellar . . . The entertainment was commenced with a glee, "Through lanes with hedgerows," which was executed in a most pleasing manner by Mrs. Perryman, Mrs. Daniel, Miss Bowman, and Messrs. Daniel, Christen, and Lake . . . Two more glees and a song by Mr. Christen followed . . .

ASSOCIATIONS: Mrs. Peryman = Caroline Tozer (as above); Miss Bowman (vocalist); Mr. Lake (vocalist)

"SALISBURY LITERARY SOCIETY", South Australian Register (29 October 1859), 2 

We have been favoured with the following from a correspondent: - "The annual meeting of this Institute was held in the Assembly Room on the evening of Wednesday, the 26th inst. . . . The business having been concluded by the election of a Committee for the ensuing year, a concert was given by Mr. Daniel, assisted by three ladies and Mr. Christen, whose fine deep bass voice told with excellent effect in the concerted pieces. Mrs. Perryman's merits as a vocalist are too well known to require any comment, but Miss Bowman's singing ought not to be passed over without some notice . . . her part in the quintette "Beautiful Star" was universally applauded . . Altogether, the musical arrangements were such as reflect great credit on Mr. Daniel and gave general satisfaction to a numerous audience . . .

"SIGNOR CUTOLO'S FAREWELL CONCERT", South Australian Register (9 December 1859), 3

The concert given by Signor Cutolo on Thursday evening was extremely well attended . . . Mr. Christen made his first appearance during the evening in the second part, when he essayed a solo named in the programme "Fatherland for me," by Gumbert. A dirge in Adagio with muffled drums as an accompaniment, could not have gone off heavier. Mr. Christen has a splendid bass voice, but either he had made an injudicious selection or his interpretation of the composer's ideas was defective. In the concerted pieces his fine voice told with much greater effect . . .

[Advertisement], South Australian Register (Adelaide, SA : 1839 - 1900), 27 February 1860), 1 

Assisted by Miss Tozer, Miss Polhill, Mr. Christen, and Mr. Schrader.
PROGRAMME. PART I . . . 4. Standard-Bearer - Mr. Christen - Lindpainter . . .
PART II . . . 4. When other Lips - Mr. Christen - Balfe . . .

MUSIC: The standard bearer [Die Fahnenwacht] (Lindpainter); When other lips (Balfe, from The Bohemian girl)

"MR. WHITE'S CONCERT", The South Australian Advertiser (1 March 1860), 3 

A grand concert of instrumental and vocal music was held in White's large room, on Wednesday evening, which was tolerably well attended . . . There, however, could not have been fewer than 300 ladies and gentlemen present. The programme was a very attractive one, and consisted of selections from popular composers executed by the very best local artistes procurable. Mr. White was the chief attraction . . . Miss Bryan and Miss Tozer sung pome very beautiful solos and duets in an admirable manner, and Mr. Christen, in the songs allotted to him, exhibited some of the very best notes of his very fine bass voice . . .

"MR. R. B. WHITE'S CONCERT", Adelaide Observer (3 March 1860), 2 supplement 

. . . Mr, Christen sang with his usual accuracy, but required a little more animation in order to enable the audience folly to appreciate his fine vocal powers . . .

"WOODSIDE [From our own Correspondent] . . . July 22", Adelaide Observer (26 July 1862), 2 supplement 

. . . The friends and supporters of mechanics' institutions and circulating libraries will be gratified to learn that the Woodside Institute has again started into life under most favourable auspices. A soiree and lecture were given in the Court-House on the evening of the 7th instant . . . During the evening Mrs. Smith and Dr. Esau (also an accomplished pianist) played several selections from "Zampa" and other operas, interspersed with an occasional lively country tune, that sent a kind of tremor through the feet of all the young people present . . . Herr Christen, of Nairne, next made his debut, and sang "The Standard hearer," "The Song of Australia," &c.; his deep bass voice sounded to perfection in the large room, and he was warmly applauded . . .

"NAIRNE [From our own Correspondent] . . . October 13", South Australian Register (16 October 1862), 2 

The anniversary of the establishment of the Nairne Institute took place on Monday, the 6th instant, and was very numerously attended. tended. From sixty to seventy persons sat down to tea . . . Between the parts of the lecture Messrs. H. J. Christen and W. O. Ashton sung some pleasing songs . . .

"WEEK'S INSOLVENCIES", Adelaide Observer (10 January 1863), 5 

Hugo Johannes Christen, of Nairne, chemist and druggist.

[Advertisement], Adelaide Observer (31 January 1863), 8 

WE hereby give NOTICE that we will NOT be RESPONSIBLE for any DEBTS contracted since the 6th day of January, 1863, by H. J. CHRISTEN, late of Nairne, Chemist and Druggist . . .
A. F. CHRISTEN & CO. Adelaide, January 29, 1863.

ASSOCIATIONS: August Franz Christen (elder brother or cousin, married, SA, 27 January 1857; d. SA, 1870)

"THE NEWS OF THE DAY", The Age [Melbourne, VIC] (21 January 1865), 5 

The Polytechnic Hall will be re-opened on Monday evening with the first of a series of vocal and instrumental concerts, proposed to be given by a party of musicians representing a large share of the musical talent of Melbourne. The instrumentalists engaged are Messrs. King, E. King, Thomas, Montague, Arndorff, Schott, and C. E. Horsley; the vocalists being Miss Liddle, Miss Fanny Reeves, Herr Christen, and Signor Castelli. A fresh programme of performances will be presented three times in the week.

ASSOCIATIONS: Edward King (violin); Ernest King (violin); Herbert Thomas (viola); Alfred Montague (cello); James Arthur Schott (oboe); Charles Edward Horsley (piano); Maggie Liddle (vocalist); Fanny Reeves (vocalist); Charles Castelli (vocalist)

"THE NEWS OF THE DAY", The Age (24 January 1865), 4 

The first of a series of concerts of vocal and instrumental music, in which most of the professional musicians of note in Melbourne are engaged, was given last night, in the Polytechnic Hall. There was a good number of people present, but the attendance was not so large as the merit of the performances deserved. The selections were rendered, for the most part, unexceptionably . . . The vocal portion of the entertainment was dependent upon Miss Liddle, Signor Castelli, and Herr Christen; but, on Thursday evening, Miss Fanny Reeves, the young lady who made so successful and appearance recently at the Philharmonic Society's concert will be added to the list . . . Herr Christen, who has a good bass voice, sang an air from "The Magic Flute" very effectively, and received his share of the applause. The same programme will be repeated this evening, and the selections will be changed on Wednesday.

[News], The Argus (13 July 1865), 5 

The monthly reunion of the "Melbourner Deutscher Turnverein," on Monday evening, was of more than usual interest. True to their object of lending a helping hand to the higher arts, while promoting social intercourse, the society gave a most successful dramatic entertainment. The opening piece was a smart little bustling comedy, in one act, entitled "Der Diener Zweier Herren" (The Servant of Two Masters), by W. Friedrich, which was preformed with an ability far above the common style of amateurs. Herr Troedel played with much vivacity and humour the part of Lorens, the man, and Brummer, a gentleman at ease, was well sustained by Herr Christen. This was followed by a lively farce, "Ein Wandernder Schauspieldirector" (a wandering theatre manager), the work, we believe, of Herr Lefranc . . . The piece was otherwise chiefly made up of a selection of songs by various German poets and composers, which afforded a pleasing proof of the musical talents of the company, who were aided by a good orchestra . . .

ASSOCIATIONS: Charles Troedel (member)

"NEW INSOLVENTS", The Argus (5 June 1869), 5 

Hugo J. Christen, Melbourne, clerk. Causes of insolvency - Having been induced to endorse bills of exchange by false representations.
Liabilities, £182 14s. 6d.; assets, £5; deficiency, £177 14s, 6d. Mr. Jacomb, official assignee.

"TOPICS OF THE DAY", The South Australian Advertiser [Adelaide, SA] (6 August 1869), 2

On Friday, July 30, a grand amateur concert was given in Preston's Assembly Rooms, Angaston . . . the overture in part 1 being played by Mr. Plumpstead in his usual effective manner. The quartette, a hunting chorus, by Messrs. Fischer, Wiener, Sobels, and Haraler deservedly elicited great applause . . . A bass solo, "Fiauto Magico," was then given by Mr. Christen, of Melbourne, in which he brought out the full power of his magnificent voice . . .

ASSOCIATIONS: Henry Plumstead (pianist); George Fischer (vocalist); Robert Wiener (vocalist)

"ANGASTON, JULY 5", The South Australian Advertiser (8 July 1872), 3

The Draeger family, assisted by Herr Christen (basso profundo), performed at the Institute. The room was tolerably well filled. Mr. Christen has a splendid bass voice, and his songs were a great treat.

ASSOCIATIONS: Draeger family (musician)

"MISCELLANEOUS", Northern Argus [Clare, SA] (30 August 1872), 3 

At the Wallaroo Local Court, on the 20th inst., Herr Christen sued Herr Draeger for £39 13s 4d, for money advanced and services rendered. Judgment was given for the plaintiff for £27 9s 4d.

ASSOCIATIONS: Ferdinand Draeger (musician)

Marriages, Adelaide, SA, 1872; Australia, marriage index (PAYWALL)

4 August 1872 / Residence of William Thomas, Adelaide / Hugo Johannes Christen / son of Heinrich Gottlieb Christen /
Caroline August Habich [sic] / daughter of Johann Friedrich Habich

"MARRIAGES", South Australian Register (19 March 1873), 4 

CHRISTEN - HAEBICH. - On the 4th August, 1872 [sic], by the Rev. T. Jasper Smyth, M. A., of St. John's, Halifax-street east, Hugo Johannes Christen, fourth son of the late H. G. Christen, of Hamburg, to Philippine Auguste Haebich, second daughter of Wm. C. Haebich, of Hahndorf.

"THE CONCERT AT WHITE'S ROOMS", The Express and Telegraph (19 March 1874), 3 

. . . Herr Christen has a magnificent bass voice, the lower notes especially being effective. He wants more soul thrown into his songs to do himself full justice . . . The last piece on the programme was Balfe's well-known bass song, "Though fortune darkly o'er me frowns," sung by Herr Christen. In this song the Herr warmed up, and did something approaching justice to his magnificent voice. We have never heard him to greater advantage . . .

Register of insolvencies, 1878; State Records of South Australia, GRG66/1 (PAYWALL)

3321 / Christen Hugo Johannes / Adelaide / Restaurant Keeper / Oct. 16 / . . .

"THE SYDNEY LIEDERTAFEL", Goulburn Evening Post [NSW] (13 November 1894), 4

ON Saturday evening the Sydney Liedertafel gave a smoke concert in the Academy of Music . . . Mr. Hugo Christen has an extraordinarily powerful bass, and reached unfathomable depths in "Drinking," which by special request he substituted for "Out on the Deep," using the German words. In reply to an enthusiastic encore and a large bouquet Mr. Christen repeated a verse . . .

"Deaths", The Sydney Morning Herald [NSW] (18 March 1898), 1

CHRISTEN. - March 17, suddenly, at his residence, Aldgate, Blue's Point, North Sydney, Hugo John Christen, beloved husband of Agusta Christen, aged 58 years. Inserted by his loving wife and children.

Burials, St. Thomas, North Sydney, 1898; Sydney Anglican Diocesan Archives (PAYWALL)

44 / Hugo John Christer / Blues Pt. / [died] Mar. 17 / March 19 / St. Thomas' / 57 / Chemist . . .

"BREVITIES", Evening News [Sydney, NSW] (21 March 1898), 4

The funeral of the late Mr. Hugo John Christen, of East Crescent-street, Blue's Point, took place on Saturday, the remains being interred in St. Thomas's Cemetery, North Sydney. In addition to the relatives of the deceased there were also present several members of the Sydney Liedertafel, of which the deceased was one of the oldest members.

"THE ADELAIDE LIEDERTAFEL", The Register [Adelaide, SA] (17 September 1908), 7 

. . . The Adelaide Liedertafel . . . was constituted in the year 1858 . . . It has had the support of talented and prominent men. Among them were such as Messrs. Armbruster, Schierenbeck, Mumme, Oehlmann, Christen . . .

ASSOCIATIONS: Frederick Armbruster (member); Johann Wilhelm Schierenbeck (member); Charles Edmund Mumme (member); Hermann Oelmann (member)


Musician, contralto vocalist, teacher of singing, pupil of Manuel Garcia

Born Garrison, Quebec city, Canada, 6 March 1848; baptised Garrison church (Anglican), 26 March 1848; daughter of John CHRISTIAN (1817-1892) and Ellen McLEOD (1826-1870)
Arrived (1) Melbourne, VIC, 31 July 1871 (per J. M. Joshua, from London)
Departed Melbourne, VIC, 5 March 1879 (per Victorian, for Adelaide, then per Rodney, for the Cape of Good Hope)
Arrived (2) Melbourne, VIC, 12 May 1880 (per Victoria, from London)
Died Potts Point, NSW, 31 May 1941, aged "93" (TROVE tagged by Australharmony) (shareable link to this entry)



Garrison baptism records, 1848; Institut Généalogique Drouin, Montreal, Quebec, Canada (PAYWALL)

Christian Baptized / Mary Ellen daughter of John Christian Gunner and [?] Royal Artillery of of Ellen his wife was Born on the sixth and was baptized on the [26 March 1848] . . .

Passenger list, arrived at Melbourne, VIC, 31 July 1871, from London, per J. M. Joshua; Public Record Office Victoria (DIGITISED)

. . . Miss Christian / 23 / British . . .

"A NEW CONTRALTO", The Herald [Melbourne, VIC] (4 August 1871), 2 

We have to chronicle the arrival of a most accomplished contralto in Melbourne. The name of the lady is Miss Christian, and we are told that she will prove a most welcome addition to our musical circles. Mr. Lyster heard her in London, and has a very favorable opinion of her voice.

ASSOCIATIONS: William Saurin Lyster (manager)

"THE NEWS OF THE DAY", The Age (15 August 1871), 3 

A grand concert, as a complimentary benefit, is to be given to Mr. Wm. Saurin Lyster at the Town Hall on Saturday week; and from the undoubted popularity of that gentleman as an operatic manager of ten years' experience in Victoria, he ought to have a compliment paid to him that he will remember. All the Italian artists and the English Opera Company will take part in it, as well as the majority of the music professionals of this city, including Messrs. Horsley, Schott, Siede, and Lee. Miss Chambers will also sing; and Miss Christian, a pupil of the Academy of Music, will make her first appearance before a Melbourne public . . .

ASSOCIATIONS: Charles Edward Horsley (musician); James Arthur Schott (musicians); Julius Siede (musician); David Lee (musician); Lucy Chambers (vocalist); Lyster Opera Company (troupe); Royal Academy of Music (London institution)

[News], The Argus (24 August 1871), 4 

The programme for the great testimonial concert to be given to Mr. Lyster on Saturday night next at the Town-hall, has been published . . . Furthermore, a lady vocalist - Miss Christian - who comes to this country with weighty credentials from such an authority as Sir. W. Sterndale Bennett, makes her first appearance before an audience, whose approval it will be something to gain . . .

ASSOCIATIONS: William Sterndale Bennett (English musician and composer)

"THE LYSTER TESTIMONIAL CONCERT", The Argus (28 August 1871), 5 

. . . Miss Christian made an agreeable impression upon her first appearance. She has a good style about her, and a sweet mezzo-soprano voice, which will yet be heard to more advantage when not so much affected by the nervousness incidental to a first appearance in a strange place. The beautiful romance from "Faust," "When all was young!" which is so seldom heard here, would have been all the better if it had been taken in quicker time . . .

"THE NEWS OF THE DAY", The Age (28 August 1871), 2 

Tho Town Hall was completely filled last Saturday evening, on the occasion of Mr. Lyster's benefit . . . Miss Christian, from London, made her debut, and had a good accolade of course. The piece she chose was Die Staven Wufke, that is if the bills have got it correctly. It is a song of The Forsaken type, addressed only to the deep cognoscenti, and of which the general public cannot make head or tail. Miss Christian was very nervous, but made a favorable impression. Her voice sounded rather small at first, but swelled out considerably as she advanced. It is of good tone, and on future occasions Miss Christian will no doubt be able to make much better use of it . . .

"TOPICS OF THE DAY", The Herald (28 August 1871), 2 

The new Town Hall presented a very brilliant appearance on Saturday evening . . . There could not have been less than 4000 persons present, who were most enthusiastic in their applause and demands for encores . . . Miss Christian made a successful debut, and there is no doubt that she is a great acquisition here. Her voice, a pure "mezzo-soprano," is liquid, round, and capable of more than she gave on Saturday . . .

[News], Leader (17 May 1873), 18 

The Exhibition Concert Company, consisting of Mrs. Smythe, Miss Christian, and Messrs. Lamble, DuBoulay, and Huenerbein, arrived at Ballarat from Hamilton on Sunday night, after a tour in the western district and the South Australian border towns. The company, which was under the direction of Mr. R. S. Smythe, appears to have been highly successful, and the artistes must have worked hard. During the month the company appeared in thirteen towns, and with one exception, when the mail coach was late, a concert was given every evening.

ASSOCIATIONS: Amelia Bailey Smythe (vocalist); Samuel Lamble (vocalist); August Christian Huenerbein (musician); Robert Sparrow Smythe (agent, manager)

"MADAME ARABELLA GODDARD'S CONCERT", The Sydney Morning Herald (20 June 1873), 4

The lady who has come amongst us, and who has already received a welcome such as is seldom accorded to artistes who have visited Sydney, gave her second concert in this city last evening at the Masonic Hall. She was again honoured with the highest patronage, and the concert itself was a grand success . . . Mrs. Smyth and Miss Christian, two vocalists of great ability and excellent voices (from Melbourne) were very warmly complimented by expressions of approval . . . Glover's duet, "See the land appears in sight," sung by Miss Christian and Mr. Fairfax, was rendered in a manner that deserves to be spoken of in the highest terms. The trio which concluded the entertainment, "The winds whistle cold," sung by Mrs. Smythe, Miss Christian, and Mr. Fairfax, was not less successful than the duet. Besides taking part in the concerted pieces, both Mrs. Smythe and Miss Christian rendered several songs during the evening with exquisite skill and spirited effect, and were enthusiastically applauded . . .

ASSOCIATIONS: Arabella Goddard (pianist); Andrew Fairfax (vocalist)

"MADAME A. GODDARD'S CONCERT", The Sydney Morning Herald (25 June 1873), 4

Yesterday evening, at the Masonic Hall, York-street, Madame Arabella Goddard gave her fourth grand concert in Australia, being her last concert in Sydney. The hall was densely crowded in every part by members of the leading families in Sydney ana its immediate neighbourhood . . . Madame Goddard was assisted by Mrs. Smythe (soprano); Miss Christian, of the Royal Academy of music (contralto), Mr. Andrew Fairfax, and Mr. Paling (a gentleman amateur) who acquitted himself admirably in two solos on the violin. The accompanist was Mr. Montague Younger. The concert began with Mendelssohn's beautiful duet, "I would that my love," in which the voices of Mrs. Smythe and Miss Christian harmonized very sweetly, and prepared the minds of the audience for the further treat that followed. Miss Christian then sang with much precision and good effect Mercadante's aria "Ah s'estinto" . . . Macfarren's favourite ballad, "The beating of my own heart," was so exquisitely sung by Miss Christian that she was recalled to the stage, when she gave with great vocal power and deep feeling, "Heaven spare my child," from "William Tell. In this also Miss Christian won universal applause . . .

Births, St, Leonards, NSW, registered 1875 (birth November 1874) (PAYWALL)

Robert Christian Smythe / son of Robert Sparrow and Mary Ellen / Symthe

"SHIPPING INTELLIGENCE CLEARED OUT", The Argus [Melbourne, VIC] (6 March 1879), 4 

MARCH 6 . . . Victorian, s.s., 656 tons, Wm. McLean, for Adelaide. Passengers - saloon . . . Miss Christian . . .

"OUR LETTER HOME", The Australasian [Melbourne, VIC] (15 March 1879), 1 supplement 

. . . The principal musical event of the month has been the farewell benefit of Miss Christian, at the Town-hall, on the 1st of March. Miss Christian is now on her way to England, via the Cape . . .

"Shipping News . . . CLEARED OUT", Evening Journal [Adelaide, SA] (12 March 1879), 2 

TUESDAY, MARCH 11 . . . RODNEY, ship, 1,447 tons, A. Louttit, master, for London, via Cape of Good Hope. Passengers . . . For Cape Town: Miss Christian . . .

"A LETTER PROM THE CAPE OF GOOD HOPE . . . CAPE TOWN, FRIDAY, APRIL 10", The Australasian (21 June 1879), 19 

. . . The Rev. Charles Clark and his indefatigable' agent, Mr. Robert Sparrow Smythe, have been here, and have done remarkably well at first - in fact, coined money, one may say. Then Miss Christian came along from Adelaide in the ship Rodney en route to London. She got off ship and played here three nights in conjunction with the gifted lecturer. Strange to say, their combined efforts were not in any way a success. The trio (Clark, Smythe, and Christian) then made a sudden and very hurried departure, not completely fulfilling their engagements. They were advertised and billed to play, as it were, tonight, but a steamer leaving for London in the afternoon of advertised day of performance they quietly packed up and cleared . . .

"ODDS & ENDS FROM THE OLD COUNTRY (FROM OUR OWN CORRESPONDENT) LONDON, JAN. 12", The Sydney Morning Herald (10 March 1880), 7 

Apropos of musical doings, the colonies are to be congratulated on the approaching return of Miss Christian, certainly one of the finest contraltos at present in London. She cannot be persuaded to risk her fine organ any longer in this perilous climate. She prefers the sunny skies of her adopted country, and considering what the spring, autumn, and winter, nay even the summer of 1879 have been, we cannot wonder at her choice, however much we may regret it.

"Half-Hours with the Stars,", Melbourne Punch (29 April 1880), 8 

Another star whose return to her proper sphere, or at any rate hemisphere, may be daily looked for, is Miss Christian. It is said that the sweet singer will be accompanied by her sister, another vocalist; but then it is also said, "two stars shine not in a single sphere."

ASSOCIATIONS: Emily Catherine Christian (1859-1946; married William Tiley, VIC, 6 January 1892)

"NEWS OF THE DAY", The Age [Melbourne, VIC] (12 May 1880), 3 

Miss Christian, the favorite vocalist, and who is professor of singing at the Presbyterian Ladies' College, is a passenger by the s. s. Orient, expected in Hobson's Bay this evening.

[News], The Argus (14 May 1880), 5 

. . . The passenger list of the Orient just arrived, included the name of Miss Christian, who has returned after a 14 months visit to the old country. She will shortly renew her acquaintance with the musical public of this city . . .

"MADAME CHRISTIAN'S FAREWELL CONCERT", The Argus (3 October 1894), 6

Madame Christian's popularity was evidenced by the number of leading musicians who rallied to her assistance at the farewell concert in the Town Hall yesterday evening, and also by the large audience that assembled. The favourite cantatrice, who for twenty years or more has worthily occupied a foremost position amongst Australian vocalists, was received with a hearty round of applause as she came on to the platform . . .

See also "At 90, Melba's Teacher Still Works On . . .", The Australian Women's Weekly (16 July 1938), 2

. . . "I was born in Canada," she explained, "but at two years of age my family took me to England, where later I began training for an operatic career." Madame Christian then became a Westmoreland Scholar and Potter Exhibitioner at the Royal Academy of Music. Later she studied in many parts of Europe and embarked on what promised to be a very successful career. She suffered severe congestion of the lungs and was advised to go to Australia to recuperate. She landed at Melbourne in 1871. After touring for three years with Sir Charles Santley, one of the greatest baritones, Madame Arabella Goddard, the English pianist, and Jenny Claus, the French violinist, she decided to settle down to imparting the knowledge of Manuel Garcia to young Australian singers. She was not thirty when she began to teach Nellie Mitchell, later to become the immortal Melba, who at that time was 16 years of age. "Although Nellie Mitchell was somewhat of a madcap at the time," she laughed, "I could sit for hours and listen to her wonderful voice, and I knew at once she was going to be a great singer. I gave her the first three years of her singing tuition, then she went to study under Madame Marchesi in Paris, and in six months was singing grand opera in Brussels. After this I lost touch with her . . ." . . .

ASSOCIATIONS: Manuel Garcia (vocalist, teacher); Jenny Claus (violinist); Nellie Melba (vocalist)

"OBITUARY. MADAME CHRISTIAN", The Sydney Morning Herald (2 June 1941), 4

Madame Christian, one of the world's greatest singing teachers, whose pupils included Melba and many now-iamous Australian artists, died at Potts Point on Saturday, at the age of 93. Known for the past 47 years as Sister Mary Paul of the Cross, she carried on her teaching work until last year at St. Vincent's Convent, Potts Point. Some time after reaching Australia in 1869 [sic, 1871] by the sailing ship J. M. Joshua she became the teacher of the then 15-year old Melba. Other pupils who have achieved fame Include Molly de Gunst, Gertrude Concannon, Ella Caspers, Kate Rooney, and Clarrie Lanceley. The celebrated Manuel Garcia, who lived until he was 101, was Madame Christian's only teacher. In his memory she named the Garcia School of Music controlled by the Sisters of Charity, to whose order she belonged. Madame Christian was born in Quebec, Canada, of English parents, in 1848. All her musical study, under Garcia, was done at the Royal Academy of Music, London. During her time at the Academy, in the 60's, there were only 48 pupils. At the conclusion of her studies Madame Christian's voice became affected by the London fogs, and on medical advice she came to Australia. Later she toured the country with Mr. (later Sir) Charles Santley, the famous English baritone. They were the two principal artists at the opening of the Sydney Town Hall. In 1877 [sic, 1879] Madame Christian returned to London. Soon afterwards she was engaged by Ricordi for the first performance of Verdi's "Requiem" and for "Mors et "Vita," but the London fog again won, and she was obliged to return to Australia, where she took up teaching and concert singing. In 1894 she became a nun, joining the Order of the Sisters of Charity in Sydney, after having taught singing in Melbourne. Recovering from a serious illness at the age of 91, she resumed teaching, until in October last year her final illness began. A Requiem Mass will be held at 8.30 a.m. to-day at St. Vincent's Convent. (Portrait on Page 12.)

See also "Madame Christian Dead at 93. Sister of Charity World-Famous Singing Teacher", The Catholic Press (5 June 1941), 7

Bibliography and resources:

Samantha Frappell, "Christian, Mary Ellen", Dictionary of Sydney (2011)


Musician, teacher of music, violinist, phonographer, boot and shoemaker, alderman

Born Newburgh, Fifeshire, Scotland, 1836; baptised Newburgh, 5 June 1836; son of William CHRISTIE (1810-1860) and Marion (Maria) HEDGER (1809-1892)
Arrived Sydney, NSW, 23 September 1849 (per Kate, from London and the Downs, 14 June)
Married Elizabeth PAYNTER (d. 1900), Waratah church, NSW, 2 April 1859
Died Sydney, NSW, 15 June 1916 (TROVE tagged by Australharmony) (shareable link to this entry)

Colin Christie and family, C. 1876

Colin Christie, with his children, from left, Colin (1864-1950), James (1862-1945), and Margaret (1861-1941); Newcastle, NSW, c. early 1870s (DIGITISED)

See also: (DIGITISED)


Baptisms, Newburgh Associate Congregation, Fife, 1836; Scotland, select births and baptisms (PAYWALL)

5 June 1836 / Colin / son of William Christie and Marion Hedger

List of immigrants per Ship Kate, arrived Sydney, NSW, 23 September 1849; State Records Authority of NSW (PAYWALL)

Christie William / 38 / Shoemaker / Carnbee Fifeshire // Maria / 40 / London //
Colin / 13 / Newburgh Fifeshire // Maria / 11 / Newburgh Fifeshire // William / 3 / Newburgh Fifeshire

"MARRIAGE", The Maitland Mercury and Hunter River General Advertiser [NSW] (5 April 1859), 3

On the 2nd instant, at Waratah Church, by the Rev. W. Chaucer, Presbyterian Clergyman, Mr. Colin Christie, to Miss Elizabeth Paynter, both of Newcastle.

"BIRTH", The Newcastle Chronicle and Hunter River District News [NSW] (30 March 1861), 2 

At her residence, Hunter-street, Newcastle, on the 27th instant, Mrs. Colin Christie, of a daughter.

"THE CHRISTIE FAMILY", The Maitland Mercury and Hunter River General Advertiser (3 December 1874), 3

Mr. Colin Christie, of Newcastle, and his talented family, gave a vocal and instrumental concert in the School of Arts, West Maitland, last evening, and it must have been matter for regret to those who desire to see merit acknowledged that there was not a larger attendance. The entertainment is one well deserving of patronage. Mr. Christie's family - all young children - are undoubtedly clever, and he has reason to be proud of them, the more so as they received their tuition entirely from himself. Their entertainment consisted of songs, concerted vocal pieces, instrumental solos, and music from the full band of juvenile performers, and the audience, though not large, were highly pleased. Mr. Christie may therefore reasonably hope, as the merits of his entertainment become better known, to receive more general patronage. The performance of Master James Christie on the violin, "Blue Bells of Scotland," with variations, would have done credit to a much older player. The lad gives promise of becoming a first-class soloist.

"CITY HALL", Newcastle Morning Herald (10 November 1877), 5

. . . the Christie family displayed their versa[ti]lity in some charming glees, comic renderings, and pieces of concerted music . . .

See also "To the Editor", Newcastle Morning Herald (23 July 1877), 3

"St. Patrick's Day Excursion", Newcastle Morning Herald (19 March 1878), 2

. . . A very successful quadrille party was held in the City Hall in the evening, when dancing was kept up till a late hour to the music of Mr. Christie and family's excellent string band.

"DEATH OF MR. COLIN CHRISTIE", Newcastle Morning Herald (17 June 1916), 5

Mr. Colin Christie, one of the oldest residents of Newcastle, died in a Sydney hospital on Thursday night, after an operation for an internal trouble. The deceased, who was in his 80th year, arrived in Newcastle with his parents when thirteen years old. His mother established the first school in Newcastle. He was one of the first aldermen, being elected to the council shortly after the incorporation of the municipality. At one period he filled the office of Mayor, and always manifested a keen interest in public affairs. He was a gifted musician, in addition to his many other qualifications, and for some years he held a Government appointment as shorthand instructor of the Sydney suburban schools. The funeral is to take place in Netecastlo this afternoon.

"THE LATE MR. COLIN CHRISTIE. A VIRILE PERSONALITY", Newcastle Morning Herald (19 June 1916), 4

. . . The chief mourners were Messrs. Alexander, Richard, Edwin, and Charles Christie, sons, Mrs. G. W. Mulvey and Miss Christina Christie, daughters . . . The late Mr. Christie was a self-made man of the vigorous, unbending, pushful type, who met obstacles only to overcome them . . . The deceased gentleman was also an accomplished musician, and it is probable that he was more widely-known through music than in any of his other manifold and always capable parts. He was a good musician and sound in technique, as one would imagine. It was, however, as a teacher that he was at his best. He could play practically any instrument, though the violin was the most treasured. He loved to hear a violin well played. He made his pupils play well, and his own sons and daughters, by inherited love of music and by hard practice, were all capable musicians, with probably one exception, the exception in this case that proved the rule. He made his pupils practice long and continuously. It is said that he was a hard taskmaster in the imparting of his knowledge, but he only had in mind the benefit of the student. "I won't have a pupil unless he or she is willing to learn. I won't have them wasting my time and their own," he would say, and so they practised and studied or else out they went. In orchestration the late Mr. Christie was widely known, both to the musical fraternity and to the lay members of the community who listened at concerts or engaged in dancing as a pastime. In Newcastle no name is more honourably or pleasurably associated with music than that of "Christie," firstly in the man who has just passed away, and in his children . . .


Amateur musician, violinist, miller

Born Scotland, 1832; son of James CHRISTIE (d. 1866) and Elizabeth ?
Married Elizabeth FROOMES, Christ church, Castlemaine, VIC, 2 April 1858
Died Mosman, NSW, 30 March 1916, aged "83" (TROVE tagged by Australharmony) (shareable link to this entry)


"MARRIAGE", Mount Alexander Mail (5 April 1858), 3 

By special license, on the 2nd inst, at Christ Church, Castlemaine, by the Rev. John Barlow, Elizabeth, third daughter of William Froomes, Esq., sen., late of Hounslow, England, to John Christie, late of Oldcroft, Stirlingshire, Scotland.

[Advertisement], The Kyneton Observer [VIC] (7 September 1858), 4 

THE Members of the above Club beg to inform the ladies, gentry, and public in general of Kyneton and district, that their
SECOND PERFORMANCE will take place at the JUNCTION HOTEL, On the evening of THURSDAY, SEPTEMBER 9TH, 1858, For the Benefit of the Kyneton Hospital . . .
Song, in character, "The Canteener" - Mrs. BOURNE.
Song, comic, Mr. WOODIN (Who has kindly given his services for this night) . . .
Stage Manager - Mr. E. Watmore.
Prompter - Mr. B. Coleman.
Musical Director - Mr. Woodin.
Leader of the Band - Mr. Christie.

ASSOCIATIONS: Georgina Bourn (actor, vocalist); Frederick Woodin (musician); Barned Jullien Coleman (actor, manager)

"PHILHARMONIC SOCIETY", Mount Alexander Mail [Castlemaine, VIC] (23 March 1860), 5 

The second annual meeting of the Philharmonic Society, was held last night at the Church of England School Room, Mr. Jung in the chair. Mr. Hodson, the secretary, having read the report, the meeting proceeded to elect the officers for the ensuing year, and the following gentlemen were chosen: - Captain Bull, President; Dr. Preshaw, Vice-President; Mr. John Christie, Treasurer; Mr. Hodgson, Secretary; Mr. Hasler, Librarian, and Messrs. Brown, Heley, Banister, Perkins, and Young; Mr. Moss, Conductor, and Mr. Howson, Leader. The Chairman having presented two very handsome books to Mr. Moss as a slight acknowledgment of his gratuitous and valuable services as conductor of the Society for the last two years, Mr. Moss returned thanks and the meeting separated.

ASSOCIATIONS: Frederick Moss (conductor); Henry Howson (leader, violin); Castlemaine Philharmonic Society (association)

"DEATH", Mount Alexander Mail (13 September 1866), 2 

CHRISTIE - At Oldcroft, Stirlingshire, Scotland, on the 24th July, James Christie, father of John Christie, Miller, Castlemaine. Aged 73 years.

"DEATHS", The Sydney Morning Herald (31 March 1916), 6 

CHRISTIE. - March 30, at his residence, Cremona, Orlando-avenue, Mosman, John Christie, aged 83 years.


Convict, "tunes pianofortes"

Arrived Sydney, NSW, 1822


Musician, violinist

Active Campbell Town, VDL (TAS), 1841 (shareable link to this entry)


"Concert at the Assembly Rooms, Campbelton", Launceston Advertiser [VDL (TAS)] (6 May 1841), 3 

On Wednesday week last these rooms were filled with company to enjoy a Morning Concert, of which the following is a programme: -
Overture to Zampa - Herold
Flute Solo, with Piano Forte - Sola
Grand Concerto (Violin by Mr. Howarzik [sic]) - Kreutzer
Horn Concerto - Pacini
Overture to the Caliph of Bagdad - Boiledieu
Overture to Massaniello - Auber
Solo, Violin, with Piano Forte accompaniment - De Beriot
Overture to Tancredi - Rossini
Horn Concerto (repeated by desire) - Pacini.
Flute Solo, with orchestra accompaniment - Otto
Grand Symphony - Kutchera . . .
There was a good deal of amateur musical talent in the room, and it was admitted by all, that the different overtures and accompaniments to the concertos were, without exception, admirably performed. Such was the universal satisfaction with which both Ball and Concert came off, that the lists for the two coming meetings for October and March were numerously signed, so that these elegant periodical amusements may now he fairly considered and established.
The Quadrille Band (at the Ball) gave entire satisfaction; their most attractive performance was some entirely new sets of quadrilles, from the latest French operas, arranged by Musard for the pianoforte, &c. These were gone through with the greatest precision and spirit, as under:-
First Violin - Mr. Howarzik
Second ditto - Mr. Clair
Tenor - John McLeod, Esq.
Double Bass - Mr. Russel
Piano Forte - Dr. Hanchette
Clarionette - Mr. Rabelin
Cornupia [Cornopean] - McDonald.

ASSOCIATIONS: Francis Frederick Kowarzik (violin); John McLeod (viola); William Wilkins Russell (double bass); John Justinian Hanchette (piano); John Rablin (clarinet); Alexander McDonald (cornopean)

CLANCY, Elizabeth (Elizabeth FIELD; Mrs. Thomas CLANCY; Mrs. CLANCY)

Musician, vocalist, pianist, teacher of pianoforte and singing

Born Bath, Somerset, England, c. 1807; daughter of James FIELD (1775-1822) and Elizabeth SAUNDERS (1786-1816) (m. Bath St. Michael, 9 August 1803)
Arrived Hobart Town, VDL (TAS), ? by late 1835
Married Thomas CLANCY (d. 1867), Trinity Church, Hobart Town, VDL (TAS), 16 February 1836
Arrived Sydney, NSW, 23 December 1837 (per Susan, from Hobart Town, 14 December)
Died Sydney, NSW, 28 May 1860, aged "53" (TROVE tagged by Australharmony) (shareable link to this entry)

And see also: (TROVE tagged by Australharmony)

Argyle chapel (Independent), Bath, c. 1821, where Elizabeth's father, James Field, was organist

Argyle chapel (Independent), Bath, c. 1841, where Elizabeth's father, James Field, was organist until his death in 1822


The Field family of Bath

Elizabeth Field (Mrs. Thomas Clancy) was a daughter of James Field (1775-1822), a musician, and Elizabeth Saunders, who married at Bath St. Michael on 9 August 1803. Elizabeth died on 12 April 1816, and in 1820 James married Julia Constance Burke.

At the time of his own death on 9 October 1822, James was 43 years old, resident in Hanover Street, and organist of the Argyle Chapel (Independent), Bath, under its already long-serving minister, William Jay. Elizabeth's elder brother James (1804-1839) and a younger brother George Saunders Field (b. 1809, a musician) were both baptised at the Argyle Chapel, but no record of Elizabeth's baptism has been found.

James's younger brother, Thomas Field (c. 1776-1831), was organist of Bath Abbey from 1795 to his death, and was in turn father of the pianist Henry Ibbot Field (1797-1848). Thomas's daughter Mary (1804-1855), meanwhile, became a concert and stage singer. As Miss Field she made her debut in Bath in 1823, and appeared in London at the major theatres from 1831. From 1834 she appeared under her married name as Mrs. Belville Penley, and in the 1851 census was back in Bath, listed as a "Professor of Singing" at Walcot, while her husband was a "Superintendant of Baths".

The pianist-composer John Field (1782-1837), who also lived in Bath briefly in 1793, was not related.

After James's death, his widow Julia Field (d. 1857, aged 67), Elizabeth's step-mother, opened a girls school at Kingsmead Terrace, Bath, before working in other schools at Frome Selwood, Somerset, and later in London, where from 1840 she ran Whitelands College, Chelsea, with the help of her own daughter Ellen Julia (1821-1895, Mrs. Charles Alexander Johns), until the latter's marriage in 1843.

Nothing is known of Elizabeth's early years, apart from what little can be construed from her family circumstances, in particular, her father's early death when she was aged about 15. The single exception is her first and only public appearance in England, aged about 25, as Miss E. Field, at her cousin Henry Field's Bath concert in April 1832.

Australia (from c. 1835):

In Hobart on 16 February 1836, Elizabeth married Thomas Clancy, a widower, who, as "T. Clancy, late of Jermyn-street, St. James . . . Tailor and Habit Maker", had first advertised in Hobart in October 1832.

They arrived in Sydney on 23 December 1837, and in January 1838, Elizabeth advertised her intention to open a day school for young ladies offering instruction in music. At the end of the same month she made her public debut singing in William Vincent Wallace's second and final oratorio in St. Mary's cathedral.

She appeared regularly in Sydney concerts with the Bushelles, Deanes, and Gautrots

For periods in the late 1830s and early 1840s she also sang in choir of St. Mary's cathedral.

Her last documented concert appearances were for the Deanes in January 1844, however she continued to advertise as a teacher of pianoforte and singing into 1850.

In 1843, her husband Thomas was appointed trustee in the insolvency of the musician George William Worgan.

Thomas was himself declared insolvent in April 1847, but he was granted his certificate of discharge relatively quickly, in July that same year.

Elizabeth died in 1860, aged 53. At the time of his death in 1867, Thomas had reportedly been living with his son-in-law, a Mr. Underwood, in Newtown, although there is no record of a Clancy-Underwood marriage in the Australian indexes, nor any other record yet identified of their daughter or other surviving children.


[News], Bath Chronicle and Weekly Gazette [Somerset, England] (18 April 1816), 3 (PAYWALL)

Friday died, after a short illness, Mrs. Field, wife of Mr. Field, watchmaker, Trim-street; the careful and affectionate mother of numerous family.

"DIED", Bath chronicle and weekly gazette [Somerset, England] (17 October 1822), 3 (PAYWALL)

Wednesday [9th] died, Mr. Jas. Field, the much-respected organist of Argyle-Chapel, and son