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A biographical register of Australian colonial musical personnel–C (Cop-Crz)

Dr GRAEME SKINNER (University of Sydney)


To cite this:

Graeme Skinner (University of Sydney), "A biographical register of Australian colonial musical personnel–C (Cop-Crz)", Australharmony (an online resource toward the early history of music in colonial Australia):; accessed 7 December 2023

- C - ( Cop - Crz ) -

Introductory note:

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

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

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

COPE, David (David COPE; Mr. D. COPE; alias Agar ZARIEL)

Musician, violinist, viola player, orchestral leader, composer, astrologer

Born Birmingham, England, 1848; son of David COPE (1812-1866) and Rosa Priscilla SMITH
Arrived Melbourne, VIC, May 1879 (from Sydney, having arrived there from New Zealand)
Died Geelong, VIC, 14 July 1934, aged "86" (TROVE tagged by Australharmony) (shareable link to this entry)



[Shipping news], Daily Southern Cross [Auckland, NZ] (2 September 1874), 2 

The barque Stanley Castle, 414 tons, and the ship Zealandia, both sailed from Gravesend for Auckland on the 10th July. Passengers per latter vessel - Saloon . . . Mr. D. Cope and family . . .

[Advertisement], Auckland Star (6 January 1875), 1 

MR. D. COPE, Professor and Teacher of the VIOLIN, VIOLA, and ENGLISH CONCERTINA.
Balls and Private Parties attended. KARANGAHPE ROAD, NEWTON.

"Local and General", Bay of Plenty Times [NZ] (12 September 1878), 3 

We have received a copy of a new ballad, entitled "Long it is love since we parted," words by J. Hemus, music by David Cope. The air is both pleasing and melodious, and the verses are neat and appropriate. The printing and general get-up reflects great credit on the workmen at the Auckland Star office, where it was published and may be obtained.

[News], Auckland Star (13 March 1879), 2 

It is with regret that we notice the departure of Professor D. Cope, by the mail steamer. This talented musician has been in our midst upwards of four years, and during that period has done much to inculcate a taste for high class music, by his careful and successful teaching, and his skilful and artistic playing on the violin. His name will be long remembered and respected in Auckland.

"SHIPPING INTELLIGENCE . . . ARRIVED. MAY 19", The Argus [Melbourne, VIC] (20 May 1879), 4 

Wotonga, s.s., 450 tons, James Banks, from Sydney 17th inst. Passengers - saloon: Mr. and Mrs. Baker . . . T. G. Farron . . . D. Cope, J. Hemus . . .

[Advertisement], Geelong Advertiser [VIC] (21 May 1879), 3 

MECHANICS' INSTITUTE. Lessee and Manager - Mr. John E. Fulton.
Stage Manager - Mr. J. P. West. Leader of Orchestra - Professor D. Cope . . .
Those Versatile Artists . . . P. F. BAKER . . . T. G. FARRON . . .

[Advertisement], The Age [Melbourne, VIC] (6 September 1879), 8 

Assisted by Messrs. P. Curtis, Ed. King, D. Cope, A. Montague, and Mr. Julius Herz (conductor).
First time in Melbourne, Grand Sextuor by Fesca, and 2nd Concerto by C. St. Saens (fast movement),
As played by Mdlle. CHARBONNET at the Concours du Conservatoire, 25th October, 1876.
Third rendering of St. Saens' DANSE MACABRE . . .

ASSOCIATIONS: Alice Charbonnet (pianist); Henry Curtis (violin); Edward King (violin); Alfred Montague (cello); Julius Herz (conductor)

"Mr. David Cope", Table Talk [Melbourne, VIC] (7 December 1888), 16 

MR. David Cope was born in Birmingham in 1848, and as a boy studied music under a teacher named Synyer, but at the age of fourteen, his parents, being possessed of ample means, resolved to take the lad to Germany, where he spent three years in the Frederickstadt Institute Garnier, of Hamburg, receiving most of his tuition from a professor named Hanser, and becoming a clever instrumentalist on both violin and piano. On leaving the Institute, David Cope's father and mother both made up their minds to give their son every opportunity for observing the musical art as practised in the great German centres, and accordingly spent some years travelling about among the large cities, spending some considerable time in Cologne and other Rhenish towns. Returning to England, Mr. Cope played at several of the Choral Society's Musical Festivals, but did not keep up his studies to any great extent. In 1874 he sailed for New Zealand, and on arriving there accepted the leadership of the Auckland Theatre, receiving pupils also. The first dramatic company with whom he travelled was the Baker and Farron troupe. In 1879 Mr. Cope arrived in Melbourne, playing occasionally in the orchestra of the last Exhibition of 1880, and at the same time holding the position of leader at the Theatre Royal after the death of Mr. Fred Coppin. Since then Mr. Cope has been connected with the various orchestras of Melbourne as leader, and is now at the Bijou, where his orchestra is remarkable for the artistic manner in which the selections are played. Mr. Cope has made a reputation as a composer, and it is not generally known that the pretty little song in the opening of the second act is his composition, and also "Harvest Home" in the last act . . .
The talent of the father is inherited by his son, David William Cope, in a remarkable manner, who was born in May, 1870, and who, at the age of fifteen, published some compositions of great merit. David Cope, junior, commenced his study of music when only six years old, under his mother's tuition, and after one year the child played a piano solo in public. At nine, he could play advanced music, and then took up the violin and the study of composition, which, after a few months, resulted in his composing a set of waltzes, dedicating them to the late Lady Normanby, who showed great interest in the boy's talent. When Mr. Geo. Coppin gave a farewell benefit at the Royal on 22nd October, 1882, this young Australian genius, just then twelve years old, played Mendelssohn's Capriccio with such wonderful skill that he set all the old and experienced musicians speculating as to his future career . . .

"OBITUARY", The Argus [Melbourne, VIC] (16 July 1934), 8 

The death occurred on Saturday at Garden street, Geelong, of Mr. David Cope, musical conductor, aged 86 years. Mr. Cope was engaged with many Australian theatrical producers as musical director. He composed a number of works and contributed to several Journals under the pen name of Agar Zariel. Born in Birmingham, England, Mr. Cope came to Australia in 1880 [sic, 1879]. He is survived by a sister and brother, both of whom live in Geelong.

Musical works:

Long it is love since we parted (1st edition, NZ, 1878; 2nd edition, Melbourne, VIC)

Long it is love since we parted, a new and pretty ballad, written by J. Hemus, composed by David Cope (Melbourne: Published by the composer; Nicholson & Co., [1889]); "Troedel & Co., Litho." (DIGITISED)

COPE, Frederick Charles (Frederick Charles COPE; Fr. C. COPE; F. C. COPE)

Amateur musician, bass vocalist, pianist, architect, surveyor, clerk, public servant

Born London, England, 1819; baptised St. Pancras, 21 August 1819; son of Thomas COPE (c. 1787-1867) and Julia PARKYN (1788-1863)
Married (1) Eliza Jane SLARK (d. VIC, 1870), St. Pancras, London, England, 31 January 1843
Arrived Melbourne, VIC, by 1860
Departed Melbourne, VIC, 5 November 1871 (per Alnwick Castle, for London)
Married (2) Eliza Grace WHITMORE, S.S. Peter and Paul, Milton by Gravesend, Kent, England, 31 January 1874
Died Croydon, Surrey, England, 1885 (first quarter) (TROVE tagged by Australharmony) (shareable link to this entry)

COPE, Thomas Spencer (Thomas SPENCER COPE; Mr. Justice COPE; Judge COPE)

Amateur musician, conductor, band leader and instructor, lawyer, judge

Born London, England, 19 April 1821; baptised St. Pancras, 24 August 1831; son of Thomas COPE (c. 1787-1867) and Julia PARKYN (1788-1863)
Married Maria Grace TUCKER (1830-1898), London, England, 1849 (4th quarter)
Arrived Melbourne, VIC, by April 1853
Died Brunswick, VIC, 11 November 1891 (TROVE tagged by Australharmony) (NLA persistent identifier) (shareable link to this entry)

Documentation (Frederick Charles Cope):

Baptisms solemnized in the parish of St. Pancras, in the county of Middlesex, in the year [1819]; register 1813-20, page 378; London Metropolitan Archives, P90/PAN1/012 (PAYWALL)

No. [-] / 1819 August 21st / Frederick Charles Son of / Thomas & Julia / Cope / John Street / Gent. . . .

Baptisms solemnized in the parish of St. Pancras, in the county of Middlesex, in the year [1821]; register 1820-23, page 123; London Metropolitan Archives, P90/PAN1/013 (PAYWALL)

No. [?] / [1821 August] 24th / Thomas Spencer Son of / Thomas & Julia / Cope / John Street / Clerk / . . . [Born] Ap'l 19th 1821

1843, marriage solemnized at St. Pancras Church in the parish of St. Pancras in the county of Midd'x; register 1842-43, page 224; London Metropolitan Archives, P90/PAN1/081 (PAYWALL)

No. 448 / [1843] Jan. 31 / Frederick Charles Cope / full Age / Bachelor / Architect / St. Pancras / [son of] Thomas Cope / [Her] Majesty's Customs
Eliza Jane Slark / full age / Spinster / - / St. Pancras / [daughter of] Will'm Slark / Ironmonger . . .

"THE PHILHARMONIC SOCIETY'S CONCERT", The Age [Melbourne, VIC] (2 May 1860), 5 

"St. Paul," the work by which Mendelssohn first distinguished himself as an oratorio writer, was yesterday evening produced for the second time by the Philharmonic Society. The Exhibition Building was filled by a large and fashionable assemblage, including His Excellency the Governor and Major General Pratt . . . Whilst acknowledging the excellence which characterised the renderings which Messrs. Farquharson and Ewart, Misses Hamilton and Bailey, and Mrs. Batten gave of their respective tasks, we must enter a mild protest against the attempts of Messrs. Donaldson and Cope to take a prominent part in the society's proceedings. The former has a voice hopelessly unsuitable to any but choral effect, for which it is especially well adapted; the latter, though possessing a good voice, fails to enunciate the subject od his song, and consequently can never interest his audience . . .

ASSOCIATIONS: Henry Barkly (governor); Thomas Pratt (patron); Robert Farquharson (vocalist); Thomas Ewart (vocalist); Octavia Hamilton (vocalist); Amelia Bailey (vocalist); Mrs. Batten (vocalist); Charles Alexander Donaldson (vocalist); Melbourne Philharmonic Society (association); Exhibition Building (Melbourne venue)

[News], The Argus [Melbourne, VIC] (2 May 1860), 5 

. . . Mr. Cope, who undertook a portion of the bass music, did not excite so much interest as might have been expected, considering that he possesses what would by many be thought a fine voice. Mrs. Batten, a lady whose appearance had the advantage of comparative novelty, made a very favourable impression in the recitative and air "And he journeyed" and "But the Lord is merciful." Her voice is a pure contralto of good quality, and her style not devoid of merit, though without display. A Miss Bailey, a young lady with a fresh and powerful soprano voice, was successful in some recitatives . . .

"NEW INSOLVENTS", The Argus (30 July 1861), 5 

Frederick Charles Cope of St. Kilda, surveyor. Cause of insolvency - Want of employment.
Assets, £10; liabilities, £164 17s. 2d.; deficiency, £154 17s. 2d. Mr. Goodman, official assignee.

"LECTURE ON MOORE, THE IRISH POET', Bendigo Advertiser [VIC] (12 April 1867), 2 

A night with the poets, and especially a night with such a poet as Moore, is a treat so seldom to be met with in these matter of fact times that it was not to be wondered at that the Catholic Young Men's Hall, in McCrae-street, was well attended last night to hear a musically-illustrated lecture on the works of the Irish bard . . . Mr. Dease prefaced his lecture by begging the indulgence of his audience . . . After an unanimous vote of thanks had been accorded to Mrs. Ellis, Miss Regan, Mr. Cope, and Mr. Towle, for the very able manner in which they had assisted the lecturer by singing the selections he made during his lecture, a vote of cordial thanks was accorded to the chairman . . .

ASSOCIATIONS: Eliza Ellis (vocalist); Henry Francis Towle (vocalist)

Admissions, 24 April 1867, The Corinthian Lodge, no. 1072, Sandhurst, Victoria; Library and Museum of Freemasonry, London, Register of Country and Foreign Lodges, 1052-1139 (PAYWALL)

1867 April 24 / Cope / Frederick Charles / 48 / Clerk of Petty Sessions . . .

"COMPLIMENTARY CONCERT", Bendigo Advertiser (11 June 1867), 2 

The complimentary concert to Herr Gollmick by the principal amateurs and professionals of Sandhurst, last night, in the Lyceum Theatre, proved a very enjoyable affair, and much above the average of such entertainments. The theatre was tolerably well filled . . . Mr. Cope, who has really a fine baritone voice, was unanimously encored in a German song - "Die Fahnenwacht" ("The Standard Bearer") . . .

ASSOCIATIONS: William Gollmick (musician, beneficiare); Lyceum Theatre (Bendigo venue)

MUSIC: The standard bearer (Lindpainter)

"THE POPULAR READINGS AT THE MECHANICS' INSTITUTE", Bendigo Advertiser (10 July 1867), 2 

. . . On last night . . . The chairman judiciously refrained from speech-making . . . he at once requested attention to the first item on the programme, which was the old standard glee of "The Red Cross Knight," by Mrs. Ellis, Mr. Cope and Mr. Towle; Mrs. Ellis accompanying on the piano. The glee was executed with that musical skill and ability which the three musicians - now recognised as among the chief support of these entertainments - possess in so eminent a degree . . . The first portion of the . programme concluded with the "Witches Glee," from Macbeth, by Mrs. Ellis, Mr. Cope, and Mr. Towle. The first-named gentleman commenced the second part with Russell's "Tubal Cain," the music of which is admirably suited to his splendid bass voice. At the risk of being accused of invidiousness, we must acknowledge that Mr. Cope's singing was the chief feature of the musical portion of the evening's entertainment, and so it appeared the audience also thought, as they enthusiastically demanded an encore, which the singer complied with by giving a humorous song, "Mr. Lobsky," and accompanying himself on the piano . . . After the "Laughing Chorus" had been given by Mrs. Ellis, Mr. Towle, and Mr. Cope, Mr. Hughes moved that a vote of thanks be recorded to the ladies and gentlemen who had so ably contributed to the entertainment of the evening . . . The "National Anthem" as usual closed the performances.

MUSIC: Tubal Cain (Henry Russell)

"THE NEWS OF THE DAY", The Age [Melbourne, VIC] (29 July 1867), 5 

Frederick Charles Cope, clerk of petty sessions at Sandhurst, who was recently suspended, owing to some errors in his accounts, was arrested in Melbourne, on Saturday, by detective Mainwaring, on a charge of embezzling Government funds. He will be brought up at the City Police Court this morning.

"PAROCHIAL CHOIRS MUSICAL UNION", The Argus [Melbourne, VIC] (16 May 1867), 6 

A meeting was held on Thursday night at the Mechanics' Institute, to endeavour to inaugurate the above society. Mr. F. C. Cope was voted to the chair . . .

ASSOCIATIONS: Music in Anglican churches (general); Mechanics' Institution (Melbourne venue)

[News], The Argus (15 June 1868), 5 

A meeting of the Provisional Committee of the Parochial Choirs Musical Union (now Church Choirs Association), was held on Friday afternoon, at the Mechanics' Institute - Mr. F. C. Cope in the chair . . . The Society was intended to promote the practice of choral music by the church choirs in and around Melbourne, without any limitation save that of membership of the Church of England. Mr. Arthur Snowdon read an outline of draft rules which he had prepared at the request of the secretary . . . A sub committee was appointed, consisting of Messrs. Cope, A. Snowden, Moule, Firebrace, and Sandford, to compare the draft rules with the objects set forth in the prospectus . . .

[Advertisement], The Argus (8 July 1869), 8 

In aid of the Band Fund of the Corps, Will be held at the
TOWN-HALL, PRAHRAN, THIS EVENING . . . Madame Pett (pianist)
PROGRAMME. PART I . . . Song, "The Standard Bearer," Mr. Cope
PART II . . . Song, Mr. Cope . . . Song, Mr. Cope . . .

ASSOCIATIONS: Victorine Pett (pianist)

[Advertisement], The Argus (24 July 1869), 8 

ACADEMY OF MUSIC (Late Princess's Theatre).
MADAME FANNY SIMONSEN And MARTIN SIMONSEN Beg to announce that they intend giving a limited number of
VOCAL and INSTRUMENTAL CONCERTS At the above place, commencing on
THURSDAY EVENING NEXT, JULY 29, And following evenings, Assisted by . . .
Mr. FR. C. COPE, Basso Profundo . . .
The programmes will include the gems of Italian, French, and English operas,
and the choicest selections of English, French, and German Ballads, Songs, and Duets,
great many of which have never been performed in the colonies . . .

ASSOCIATIONS: Fanny and Martin Simonsen (vocalist and violinist); Henry Keiley (vocalist); Princess's Theatre (Melbourne venue)

[News], The Argus (30 July 1869), 4 

M. and Mdme. Simonson reappeared last night at the Princess' Theatre, before an enthusiastic but unfortunately not very numerous audience . . . The less said about Messrs. Keiley and Cope's duet from "I Puritani," perhaps, the better. Mr. Keiley has a good voice, sadly deficient, however, in cultivation. He suffers, too, from the customary fault of amateurs disinclination to open his mouth . . . We may pass over Mr. Cope's comic song, which was "a very tragic piece of work" . . .

[Advertisement], The Argus (2 August 1869), 8 

Mr. FR. C. COPE, Basso Profundo . . .
4. Serio comic Bong, "Simon the Cellarer," Hatton - Mr. Fr. Cope . . .
6. Trio, from "Lucrezia Borgia," Donizetti - Madame Fanny Simonsen and Messrs. Keiley and Fr. Cope . . .
PART SECOND . . . 6. Duet, "The Moon has Raised her Lamp on High," Benedict - Messrs. Keiley and Cope . . .
PART THIRD . . . 2. Duet, "Of Fairy Wand," from Maritana, Wallace - Madame Fanny Simonsen and Mr. Fr. Cope . . .

"LOCAL AND GENERAL NEWS", Kyneton Guardian and Woodend and Malmsbury Chronicle (3 August 1870), 2 

A WEEK or two ago we commented upon the conduct of the Law Department in not only allowing Mr. Wood, lately Clerk of the Courts at Heathcote, to escape scot free, after repeated acts of embezzlement; but actually making good the amount of the defalcations. We now learn that Mr. Wood's successor, Mr. F. C. Cope, is also a defaulter, but in his case the law officers do not intend to shield the offender. The Daily Telegraph says: - "Frederick C. Cope, an elderly man, most respectably connected, and with a grown up family, was arrested on Monday, on warrant by Detective Hartney, on a charge of embezzling a sum of L54, of the money of Her Majesty's Government. The prisoner was in the Government service as clerk of petty sessions at Heathcote, and has only lately been relieved on account of discrepancies and irregularities discovered in his accounts. Since then a cursory audit has been made, and a deficiency of L54 has been discovered, but there are reasons for believing that the gross deficiency will amount to considerably more." - It would be interesting to know why such a marked difference has been made in treating two exactly similar cases.

Names and descriptions of passengers per Alnwick Castle, from Melbourne, 4 November 1870, for London; Public Record Office Victoria (DIGITISED)

Cope Mr. / 25 / Farmer [sic] // Cope Mrs. / 25 //
[Cope] F. C. / 50 / Farmer [sic] // Carl / 16 // Ida / 21 // Constance / 17 // Mabel / 11 // Cecil / 9

Documentation (Thomas Spencer Cope):

"FIFE AND DRUM", Ovens and Murray Advertiser [Beechworth, VIC] (24 September 1864), 2 

His Honor Judge Cope is engaged in making a very interesting experiment in Beechworth. He has enrolled, already, about thirty boys in a fife and drum band; and has at his own cost, supplied them with a sufficient number of fifes for practice. Mr. Gillan undertakes to instruct the youngsters; and Judge Cope gives them until Christmas to practice, when about twenty of the most proficient will be picked out and formed into a permanent band. There is no measure to the good effects to be produced by such movements as this, and we hope to see the example followed in other towns in the district, both for their own sakes, and in order to establish at least an healthy rivalry between them. We trust the public will not let the whole cost fall upon his Honor, as drums are very expensive affairs, and the community at large will decidedly profit by the new "Institution."

ASSOCIATIONS: John Gillan (musician, instructor)

[News], Ovens and Murray Advertiser (22 December 1864), 2 

Our local Tonic Sol Fa Association has made such progress as to warrant them to announce a concert to be given by the members on the 27th December, for the benefit of the Ovens Benevolent Asylum. His Honor Judge Cope will preside on the occasion. The juvenile fife and drum band have also made astonishing progress, considering the short tine the lads have practised, and ere long they bid fair to make their debut in public.

"THE FIFE AND DRUM BAND", Ovens and Murray Advertiser (2 February 1865), 2 

Plutarch relates that once upon a time a married philosopher - we forget his august name, and hope there is not a contradiction in terms - was discovered by a philosopher, who was not married, riding on a stick, about a room, and driven by his children after the manner of a horse on such occasions. Addressing his visitor, who seemed dumbfounded at the exhibition, he said - "Friend, do not tell anyone what you have seen till you have children of your own." So His Honor Judge Cope might have addressed the few very wise persons who smiled at his attempt to organise a fife and drum band among the boys of Beechworth. Judge Cope may have been thought to be riding a hobby, but, having witnessed the examination of his class, we must say it is turning out a very good horse. On Tuesday night the fife and drum band came together, in order that prizes should be distributed to the most proficient of the pupils, and we are bound to admit that we, being present, on the occasion, were perfectly astonished at the whole performance. Thinking that the class had not yet got beyond their do re mi, judge our surprise to hear them play very respectably "God Save the Queen," "The British Grenadiers," "The girl I left behind me," and other simple pieces, in concert and in parts. Their progress has, in fact, been so great that a fife and drum band, to be soon perfectly capable of playing on public occasions, has - "without any noise" we were going to say, but that wouldn't be quite true - sprung up amongst us. One of the most noticeable facts in connection with the affair is, that His Honor himself, in instructing others, has himself become quite an expert drummer, a result by no means easy of attainment to any one beyond his teens. The following prizes were awarded: First prize, a very handsome little flute, to Wm. Watts; second ditto, to John Thompson; third, a fife, to Thomas Morris. For this last prize Thomas Morris, James McCluckey, and David Masterton drew lots, they being considered equally good. For proficiency on the drum, the only prize of £1 was awarded to Wm. McCluckey, E. Bateman, being declared nearly as good. We think this band really deserves some substantial encouragement from the town. The good it is capable of effecting is very great.

"THE FIFE AND DRUM BAND", Ovens and Murray Advertiser (4 February 1865), 3 

We omitted to state in our notice of the Beechworth fife and drum band that the second prize was the gift of Mr. J. D. Fisher. Judge Cope, who we believe gave all the other prizes, has since supplemented them by a handsome piccolo, awarded to David Masterton for his general good conduct. There is some intention of having the first public appearance of the band at the Agricultural Show, Beechworth, but as it is intended that they should appear in full "tog," and as their uniforms will scarcely be ready by that time, it is feared their debut must be postponed. The band ought really to have some public recognition and help.

[Advertisement], Ovens and Murray Advertiser [Beechworth, VIC] (15 June 1867), 3 

first CONCERT, In the TOWN HALL, BEECHWORTH, (By permission of the Worshipful the Mayor),
On the evening of FRIDAY, JUNE 21ST, 1867, Assisted by the
President: T. S Cope, Esq.
Conductor: Mr. Jas. Cunningham.
Organist: Herr Schluter.
Overture - Band
Chorus - "And the Glory of the Lord" - Messiah - Handel.
Solo - "In Native Worth" - Creation - Hayden.
Chorus - "Lift up Your Heads" - Messiah - Handel.
Quartette - "Sontagslied," - C. Kreutzer.
Solo and Chorus - "The Marvellous Work" - Creation - Hayden.
Solo - "Now Heaven in Fullest Glory Shone" - Creation - Hayden.
Chorus - "Worthy is the Lamb" - Messiah - Handel.
Chorus - "Halleluiah" - (by desire).
Overture - Band.
Glee - "Winds Gently Whisper" - Whittaker.
Duet - "The Roving Minstrels"
Solo and Chorus - "Come if You Dare" - Purcell.
Quartette - "Staendchen und Festgesang" - G. Salieri.
Solo - Violin - Herr. Schmidt.
Glee - "When Winds Breathe Soft" - Webbe.
Duet - "The Butterfly"
Glee - From Oberon in Fairy Land - Stevens.
Finale - Verse and Chorus - "God Save the Queen."
Doors open at half-past 7. Commence at 8 precisely.
Tickets, 2s 6d each; can be had from. Members of the Society.

ASSOCIATIONS: James Cunningham (conductor); Adolph Schluter (organist); Herr Schmidt (violin); Beechworth Harmonic Society (association)

"THE LATE JUDGE COPE", The Argus (12 November 1891), 7 

The very wide circle of friends of Mr. Thomas Spencer Cope, who was for over 30 years judge of county courts, courts of mines, and chairman of general sessions in this colony, will regret to hear that he expired at his residence, Park-street west, Brunswick, yesterday afternoon . . . Judge Cope was the son of Mr. Thomas Cope, of West End, Hampstead, London and was born on the 19th April, 1821. After being at a private school he continued his education with his uncle the Rev. Richard Cope, LL.D., and it was finished at University College, London, where he took the degree of LL.B. He then became a student of the Middle Temple and a pupil of Mr. Thomas Chitty, the eminent pleader. He was called to the bar on the 22nd November, 1845, and practised at Westminster, and was for some time reporter for the Law Times in the Court of Exchequer, and at Nisi Prius for The Times and Daily News. In 1851 he emigrated to Port Natal in South Africa, and he was attracted from there to Victoria by the gold discoveries. He arrived here in April, 1853, and entered on the practice of his profession . . . In private life Judge Cope was an ardent admirer of all kinds of athletic sports and was especially fond of yachting and boat racing. He was a most excellent musician, and could play well on almost any musical instrument. He took a very active part in promoting or supporting societies intended for social amusement, and when he was at the Ovens he taught a large number of lads, the sons of local residents, the fife and drum. At the Ovens and Murray Exhibition he had a band of them, consisting of 30 performers, and he marshalled them in procession to the exhibition and led them in the music they played there . . .

Bibliography and resources:

G. M. R. Rathbone, "Cope, Thomas Spencer (1821-1891)", Australian dictionary of biography 3 (1969) 

. . . He was a penal reformer, an advanced Liberal who in politics supported state ownership of land, and a member of the Church of England. Cope was a leading member of the Yorick Club with a reputation for lively anecdotes, was a good musician, and had an active interest in racing, yachting and boating . . .

COPPIN, Frederick James (Frederic James COPPIN; Frederick COPPIN; Fred. COPPIN; Mr. F. COPPIN)

Musician, violinist, cornopean player, theatre orchestra leader, teacher of the violin, cornopean, and pianoforte, piano tuner, publican, storekeeper

Born Market Deeping, England, 15 October 1824; baptised Market Deeping, 6 November 1824; son of George Selth COPPIN senior (1797-1854) and Elizabeth Jane JACKSON (1779-1873)
Married (1) Louisa Augusta LAMB (1829-1861), St. Mary Tower, Ipswich, Suffolk, England, March 1849
Arrived Adelaide, SA, 17 September 1849 (per William Wilson, from London, 19 May)
Married (2) Elizabeth BRAY, VIC, 1863
Died Emerald Hill, VIC, 27 April 1881, aged "56" (TROVE tagged by Australharmony) (shareable link to this entry)

ASSOCIATIONS: George Coppin (elder brother)


Baptisms solemnized in the Parish of Mar't Deeping in the County of Lincoln in the Year [1824]; register page 56; Lincolnshire Archives (PAYWALL)

No. 445 / Frederic James Son of / George Selth & Elizabeth Jane / Coppin / Market Deeping / Comedian . . .

ASSOCIATIONS: His elder sister Emma Jane (born 11 January 1817) baptised at the same time

England census, 7 June 1841, Preston, Lancashire; UK National Archives, HO107/498/11/15/37/27 (PAYWALL)

Syke Street / George Coppin / 42 / Comedian / [not born in county]
Jane / 50 // Frederick / 17 // Musician // Alfred / 9 // [all not born in county]

"MARRIED", Ipswich Journal [Suffolk, England] (31 March 1849), 2 (PAYWALL)

A few days since, at St. Mary Tower church, Ipswich, by the Rev. W. N. St. Leger, Mr. Frederick James Coppin, professor of music, to Miss Louisa Augusta Lamb.

Adelaide, SA (1849-53):

"SHIPPING. ARRIVED", South Australian Gazette and Mining Journal [Adelaide, SA] (20 September 1849), 2 

Sept 17. - The barque William Wilson, 407 tons, J. Gibbs, master, from London. Passengers . . . Mr. and Mrs. Coppin . . . intermediate . . .

[Advertisement], Adelaide Times (24 September 1849), 1 

THE Passengers of the William Wilson from London, take this opportunity of acknowledging the skill and seamanship of Mr. Rose, first mate, as displayed in the conduct of the ship during their late voyage,
and also, cordially to acknowledge the professional services of Mr. L. Scammell, Surgeon, passenger, rendered to themselves and the crew of the William Wilson during her passage from London:-
Charles Draper, James Anderson, William O'Hara, Frederick Coppin, W. O'Hara, Junr.,
James Thos. Storr, Joseph Drake, John Little, W. Francis Dunn, Richard Graves, Conrad Graves.
Adelaide, Sept. 20th, 1849.

[Advertisement], South Australian Register (28 November 1849), 2

New Queen's Theatre . . .MR. MORTON KING and MR. COPPIN for this night only . . . ON Thursday evening November 29 . . .
The Band upon this occasion will be under the direction of Messrs. Lee and F. Coppin . . .
To conclude with the musical entertainment of LOVE LAUGHS AT LOCKSMITHS, with all the original music.
Characters by Messrs. Coppin, Lazar, and Miss Lazar.

ASSOCIATIONS: Morton King (actor); George Coppin (actor, manager, elder brother); Philip Lee (musician); John and Rachel Lazar (actors, vocalists, father and daughter); New Queen's Theatre (Adelaide venue)

"BENCH OF MAGISTRATES. Monday, December 10 . . . TRANFERS OF GENERAL LICENSES", South Australian (11 December 1849), 1 supplement 

. . . Sir Robert Peel, Currie-street and Light-square, from George Telford to Frederick James Coppin . . . Granted . . .

"BENCH OF MAGISTRATES. Tuesday, 12th March . . . TOWN LICENSES", South Australian Register (13 March 1850), 3 

. . . Frederick Coppin, for The Billy Barlow.
A person named Nathaniel Denmead complained that soldiers and prostitutes from that house were in the habit of using the rear of his premises for the most obscene purposes, and because he complained of the practices he was subjected to many annoyances . . .

"BENCH OF MAGISTRATES . . . Tuesday, March 12th . . . PUBLICAN'S LICENSES", South Australian (15 March 1850), 4 

Frederick James Coppin, Billy Barlow, Currie street and Light Square (late the Sir Robert Peel.) A person named Nathaniel Denmead a copper smith and tinman, appeared to oppose the licence. He brought with him his two children, a girl and a boy of about seven and eight years old, and stated that he had resided next door to the house till he was absolutely driven from it by the disgraceful scenes his children were constantly witnessing and the repeated annoyances to which his wife and him self were subjected . . .

"BENCH OF MAGISTRATES . . . ", South Australian Register (16 March 1850), 3

Mr. Hanson read a memorial from Mr. F. Coppin declaring he neither knew of or countenanced the misconduct of his barman, and would certainly discharge him and take the house under his immediate control. A number of residents testified to the orderly conduct of the house . . . Inspector Litchfield said there was no police complaint against the house, and he firmly believed the complaining party made a greatly exaggerated statement . . .

[Advertisement], Adelaide Times (18 May 1850), 4 

GRAND CONCERT. Under the Patronage of Sir Henry and Lady Young, who have signified their intention of being present.
MR. S. W. WALLACE has the honour to inform the residents of Adelaide and its vicinity that he intends giving a Grand Concert, on the evening of Wednesday, the 22nd inst., for which many novelties are in preparation.
He will be assisted by Mrs. Murray, Messrs. Ellard, Gale, Tilly, Fischer, Mater, Hunerbein, Chapman, Keidel, Osborne, Lee, Frederick Coppin, &c., &c. . . .

ASSOCIATIONS: Spencer Wellington Wallace (musician); Henry and Augusta Young (governor and wife); Georgiana Murray (vocalist, pianist); Frederick Ellard (vocalist, pianist); Thomas Theodore Gale (vocalist); George Tilly (musician); George Fischer (vocalist); Charles Albert Frederic Mater (musician); August Christian Huenerbein (musician); William Chapman (musician); Keidel (musician); Ferdinand Osborne (musician)


. . . The Billy Barlow, Currie-street, from Frederick Jas. Coppin to Edward Hales Taylor. Granted . . .

[Advertisement], South Australian (3 July 1850), 1

UPON which occasion the following ladies and gentlemen have kindly offered their gratuitous services. 85 PERFORMERS!!! . . .
INSTRUMENTAL. Conductor - Mr. Wallace.
Principal 1st Violins. - Messrs. Wallace, Osborn, Lee, and F. Coppin . . .
On Friday Evening, July 19th, 1850 . . .

ASSOCIATIONS: Exchange Rooms (Adelaide venue)

[Advertisement], South Australian (19 August 1850), 3

THE second of the series will take place at the Exchange Room, King William-street, On Tuesday, the 27th August, for which occasion an arrangement has been entered into with
MR. MOORE, THE CELEBRATED SOLO VIOLINIST, to conduct, a la Jullien, the following pieces of Music:
South Australian Polka, composed and arranged by Mr. Moore, for that occasion; dedicated to Osmond Gilles, Esq.
The Bushmans Cosey [sic, Cooey], Schottish, also composed and arranged by Mr. Moore for this occasion.
Jullien's celebrated Military Call Waltz.
The Ethiopian Quadrilles, accompanied by Julius Caesar Squash, Esq., upon the bones and tambourine; his first appearance in this Colony.
The Auction Mart Tavern Quadrilles, arranged for the occasion by Mr. F. Coppin, introducing the following celebrated airs:
Free-and-Easy, Rogue's March, All round my Hat, Oh 'tis Love,
The Young May Moon, Dere's some one in de House, Miss Dinah,
Sich a Gittin up Stairs, Billy Barlow, and We won't go Home till Morning.

TICKETS TO BE HAD OF MR. GEO. COPPIN. Dancing to commence at half-past nine o'clock precisely. Adelaide, August 16, 1850.

ASSOCIATIONS: Andrew Moore (violinist, composer); his brother George Coppin was licensee of the Auction Mart Tavern

"BENCH OF MAGISTRATES. QUARTEBLY LICENSING MEETING. Monday, June 9", Adelaide Times (10 June 1851), 3 

. . . F. Coppin to J. F. Schmidt, Coppin's Hotel, Hindley-street. Granted . . .

[Advertisement], Adelaide Observer (13 September 1851), 4 

ON WEDNESDAY, the 17th of September . . . at the EXCHANGE, King William-street . . .
PROGRAMME. PART I. 1. Overture, "La Gazza Ladra," Rossini, arranged by Herr Huenerbein - Grand Orchestra . . .
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.
PART II. 1. Overture, "The Caliph, of Bagdad," Boildieu - Grand Orchestra . . .
4. Solo, Cornopean, from "La Boindine" [sic, ? La blondine] - Mr. F. Coppin . . .
8. Symphony, from Beethoven - Grand Orchestra . . .

ASSOCIATIONS: Charles Ziegler (musician); Deutsche Liedertafel (Adelaide association)

MUSIC: ? La blondine (Wollenhaupt)

"SHIPPING INTELLIGENCE . . . CLEARED OUT", Adelaide Observer (27 December 1851), 4 

Friday, December 26 - The brig Anna Dixon, 188 tons, Kirby, master for Melbourne. Passengers . . . F. Coppin . . .

"POLICE COURT, ADELAIDE. Thursday, 26th February", South Australian Register (27 February 1852), 3 

Margaret Chapman, wife of John Chapman, was charged with feloniously stealing four towels, one silk handkerchief, one scarf, a petticoat, and a collar, from the dwelling-house of Mr. Frederic Coppin . . . Louisa Augusta Coppin stated that her husband, Frederic Coppin, was at Mount Alexander [Victorian goldfields]. The two towels produced were her property . . .

"SHIPPING INTELLIGENCE. ARRIVED", South Australian Register (26 March 1852), 2 

Passengers per Margaret Brock (arrival reported on Tuesday) . . . F. Coppin . . .

[Advertisement], South Australian Register (27 March 1852), 2 

The Friends of Mr. COPPIN, desirous of hearing BILLY BARLOW'S ACCOUNT of the DIGGINGS,
and at the same time to render some substantial assistance, have solicited and received from E. Solomon, Esq., the gratuitous use of the Theatre for ONE NIGHT, upon which occasion the receipts will be handed over to a Committee of Gentlemen for the purpose of presenting to Mr. Coppin when relieved from his present difficulties.
THE ORCHESTRAL ARRANGEMENTS Will be under the direction of Mr. LEE, who has kindly given his services, and Mr. F. COPPIN . . .
ON MONDAY EVENING, March 29th . . . Several New POLKAS, WALTZES, &c, BY THE BAND.

[Advertisement], South Australian Register (21 April 1852), 2

[A CARD.] F. J. COPPIN, TEACHER OF THE VIOLIN, CORNOPEAN AND TUNIST, Rundle-street, opposite Union-street.

The above advertisement was run until September, [Advertisement], Adelaide Observer (25 September 1852), 1 

Geelong, VIC (by April 1853):

[Advertisement], Geelong Advertiser and Intelligencer (30 April 1853), 2 

THE growing importance of Music as a feature in the intellectual cultivation of all classes, both at Home and in the Colonies, has led to the establishment of the above Institution, by which it is hoped to rear a
LOCAL ACADEMY OF MUSIC, in which the productions of the great masters, both
SACRED AND DRAMATIC, may be so rendered, as to kindle a rooted love of the science, and induce habits of study, combined with mastery of execution, calculated, at no remote period, to give birth to -
NATIVE AUSTRALIAN COMPOSERS, worthy of comparison with those of Europe.
To do this, funds are indispensably necessary for the purchase of the materiel, and Mr. Coppin having liberally offered the proceeds of the evening, the projectors have therefore determined to thus appeal to the public for its support, in aid of the formation of
LEADER OF THE ORCHESTRA - Mr. THOM, assisted by one Member of the Geelong Harmonic Society.
Second Violins - Mr. SAYERS, with two Members of the G. H. S.
VIOLONCELLOS - Two Members of the G.H.S.
TENORS - Mr. F. COPPIN, with one Member of the G.H.S.
FLUTES - Mr. ROYAL, with two Members of the G.H.S.
PROGRAMME: PART I. Overture, "Caliph of Bagdad" - The Band . . .
Waltz, "Geelong," (composed, arranged, and dedicated, to the G.H.S., by Mr. Witty) - The Band . . .
PART II. Overture, "Guy Mannering" - The Band . . .
Quadrille, "Ireland," - The Band.
"God Save the Queen."
Tickets to be had of Mr. Coppin, or the Members of the Geelong Harmonic Society.

ASSOCIATIONS: Bream Thom (leader, violin); William Francis Sayer (violin); William Harward (cornet); August Christian Huenerbein (tuba); Creed Royal (flute, piano); Joseph Witty (composer); Geelong Harmonic Society (association); Theatre Royal (Geelong venue)

[Advertisement], Geelong Advertiser and Intelligencer (25 June 1853), 3 supplement 

VOCAL. Miss Smith, one of the Shipwrecked Sufferers . . . Leader and Conductor, Mr. Thom.
The Band will be augmented by several Gentlemen Amateurs, who have kindly given their services for this occasion.
PART I. OVERTURE. - Figaro - The Band . . .
TRIO. - Two Cornets and Tuba Basso (first time) - Mr. F. Coppin, Mr. Harward, and Herr Hunaebine . . .
. . . Tickets to he had of G. COPPIN.

ASSOCIATIONS: Meabella Smith (vocalist)

[Advertisement], Geelong Advertiser and Intelligencer (24 October 1853), 4 

MESSRS. HERRING AND OTTO beg leave to announce to their Friends, and the Public, that they intend giving a
GRAND PROMENADE CONCERT, in the above-mentioned Garden, on MONDAY, October 12th, for which occasion they have engaged the first musical talent in the colony.
The String Band, under the direction of Mr. B. Thom. The Brass Band, under the direction of Herr. Hunerbein.
The Orchestra will consist of the following Artists:
1st Violin - Mr. B. Thom. 2nd Violin and Trombone - Mr. Gabb.
Tenor and Cornopean - Mr. F. Coppin. Bass and Clarionette - Mr. Hunerbein.
Flute - Mr. Stoneham. Cornopean - Mr. Harward.
Ophicliede - Mr. Tanner. Drum - Mr. Stanley.
The Concert to commence at 3 o'clock, p.m. Admission -2s. 6d.

ASSOCIATIONS: John Gough Gabb (musician); William Stoneham (musician); William Tanner (musician)

[Advertisement], Geelong Advertiser and Intelligencer (10 February 1854), 4 

GRAND CONCERT. MR. AND MRS. MOORE Have returned. (Old Favorites and Great Novelty)
MR. F. COPPIN'S CELEBRATED BAND Will, during the evening, perform some admired Overtures, Waltzes, &c.
By desire, Mr. A. MOORE will perform his unrivalled Solo on the Violin, entitled the CARNIVAL OF VENICE.
To commence at 8 o'clock. Admission, Boxes, 4s; Pit, 2s.

ASSOCIATIONS: Andrew and Rachel Moore (violin and vocalist); Albert George Barsham (vocalist)

[Advertisement], Geelong Advertiser and Intelligencer (11 March 1854), 6 

PROGRAMME. - PART I. Grand Overture, by the full band: joint leaders, Messrs. Coppin and Moore . . .
Waltz, Strauss's band . . . Galop, band.
PART II. New overture (composed by Mr. Coppin), Band . . . Popular Quadrilles, Band . . . Polka "Polish" Band . . .
Medley of Airs, Band . . . Finale, "God save the Queen," Band.
Sole Lessee and Manager, Mr. Deering.

ASSOCIATIONS: Henry Shinton Deering (actor, manager)

"POLICE COURT. Friday, the 27th October . . . FELONY", Geelong Advertiser and Intelligencer (28 October 1854), 5 

A young woman of the name of Mary Johnson Was placed in the dock, charged by her master, Mr. Coppin, with robbing the till of his shop of various sums of money. Frederick Coppin, shopkeeper, residing at Chilwell, deposed . . .

[Advertisement], Geelong Advertiser and Intelligencer (12 February 1855), 2 

THEATRE ROYAL. Sole Lessee, Mr. H. Deering . . . On Monday Evening, February 13 . . . Leader of the Band, Mr. Frederick Coppin.

[Advertisement], Geelong Advertiser and Intelligencer (30 March 1855), 3 

Positively the last Night but Four of the Great Tragedian, Mr. G. V. BROOKE,
Who is nightly received with enthusiastic applause from crowded audiences, being supported by MR. COPPIN . . .
THIS EVENING, FRIDAY, March 30th, 1855 . . .
Leader of the Orchestra - Mr. F. Coppin.

ASSOCIATIONS: John Proctor Hydes (actor, manager); Gustavus Vaughan Brooke (actor)

"DIED", Geelong Advertiser and Intelligencer (18 May 1855), 3 

On the 16th instant, at Chilwell, Alice Maria, daughter of Louisa Augusta and Frederick James Coppin, aged three years.

Melbourne, VIC (by July 1855):

[Advertisement], The Argus (28 July 1855), 8

COPPIN'S OLYMPIC. G. COPPIN, in announcing the commencement of his Dramatic Season . . .
Leader of the Orchestra - Mr. F. Coppin . . .
The first grand production of the season will be . . . VENDETTA; or, the CORSICAN BROTHERS,
Monday Evening, July 30th, 1855 . . .

[Advertisement], The Argus (26 December 1855), 8 

COPPIN'S OLYMPIC. First Night of the Grand Christmas Pantomime . . .
Wednesday Evening, December 20th, and every evening during the week . . .
the New Original Local Christmas Pantomime, of
HARLEQUIN £ s. d., Or, The Fairy Queen of Diamonds, and the Lords of the Mineral Kingdom.
The Opening and Story of the Pantomime, written and invented expressly for this Theatre by W. M. Akhurst, Esq. . . .
The Medley Overture and Music of the Pantomime selected and arranged by Mr. Frederick Coppin . . .
The New Medley Overture will introduce "The Misletoe Bough" (with the usual time honored accompaniments),
"The Chimes" (a seasonable sound), "The Roast Beef of Old England" (which all acknowledge seasonable),
"The Roger de Coverley" (who has not danced it?),
"Yankee Doodle," "The Marseillaise," and "Rule Britannia" (a formidable trio of Nationalities),
winding up with the Hurry Scurry, always indicative of a Pantomime . . .
The whole produced under the direction of Mr. Richard Younge . . .

ASSOCIATIONS: William Mower Akhurst (writer); Richard Younge (actor, director)

[Advertisement], The Argus (22 March 1856), 10 

COPPIN'S OLYMPIC. Easter Monday, will be produced with great splendor the Grand Romantic Spectacle of
AZAEL, The Prodigal Son, In which Mr. G. V. BROOKE will appear for the first time upon any stage . . .
The music selected and arranged by M. Lavenu and Mr. F. Coppin.
The dances and ballet arranged and directed by Madame Strebinger.
The whole produced under the direction of Mr. R. Younge.

ASSOCIATIONS: Lewis Henry Lavenu (musician); Therese Ferdinand Strebinger (dancer)

[Advertisement], The Argus (12 May 1856), 8 

COPPIN'S OLYMPIC. G. Coppin respectfully informs his friends and the public that
The First Grand Night of the Celebrated Cantatrice, MADAME ANNA BISHOP, Will take place On Tuesday Evening . . .
Operatic Manager, Mr. F. Howson. Musical Director, M. Strebinger.
Leader of the Orchestra, Mr. F. Coppin.

ASSOCIATIONS: Anna Bishop (vocalist); Frank Howson (vocalist, manager); Frederick Strebinger (violinist, musical director)

"THE OLYMPIC THEATRE", The Argus (16 August 1856), 5

The band of this theatre assembled yesterday, for the purpose of presenting their leader, Mr. Frederick Coppin, with a splendid diamond ring as a mark of their respect, and an acknowledgment of his quiet and gentlemanly conduct as the head of the orchestra. Madame Anna Bishop also paid this gentleman a very handsome compliment for his attention and zeal during her visit at the Olympic. The proprietor, Mr. George Coppin, was present, and in appropriate terms acknowledged the efficiency of the orchestra, and the very satisfactory manner in which its members had attended to the business of the theatre during the last twelve months.

NOTE: The occasion was Coppin's leaving the Olympic to take over as leader at the Theatre Royal

[Advertisement], The Argus (25 August 1856), 8 

THEATRE ROYAL. The Public is respectfully informed that the
DRAMATIC SEASON Will commence For Two Months Only on MONDAY EVENING, 26th AUGUST, 1856 . . .
Leader of the Orchestra - Mr. F. Coppin . . . G. COPPIN.

"THEATRE ROYAL", The Argus (29 December 1856), 5

An excellent house assembled on Saturday evening to witness the second performance of the Pantomime, which was played with increased smoothness and with undiminished success . . . The Overture and incidental music of the Pantomime have been very well arranged by Mr. F. Coppin, and includes reminiscences of "Martha, "Masaniello," "Der Freischutz," [Bochsa's] "Je suis une Bayadere," the "Spider Dance," and various popular airs; while the obligato passages assigned to the clarionet, ophecleide, and cornet-a-piston respectively, nightly receive a special recognition of applause . . . . . . there is every prospect of Mr. Akhurst's pantomime enjoying a lengthened run.

ASSOCIATIONS: Theatre Royal (Melbourne venue); see also, "MUSIC AND THE DRAMA", The Age (29 December 1856), 5 

On the evening of Boxing Day the Theatre Royal was the scene of the production of Mr. W. M. Akhurst's new Christmas Pantomime, entitled "Multiplication is Vexation, Division is as bad; or, Harlequin Rale of Three, and the Genius of the Crystal Lake of Learning" . . . The dancing was particularly good, and the music generally selected from the operas of Martha and Der Freischutz, and exceedingly well played. The overture opened with passages from the writing of Bishop and other writers, and included a solo on the ophicleide - subject, the "Rat Catcher's Daughter," which was exceedingly well played, and brought down thunders of applause from the gallery . . .

[Advertisement], The Argus (6 July 1857), 8 

THEATRE ROYAL, Production of THE TEMPEST . . . For the First Time in this Colony.
Prospero, MR. G. V. BROOKE. MONDAY, JULY 6th . . . Music arrangod by Mr. F. COPPIN.

[Advertisement], The Argus (20 July 1857), 8

The management . . . has, at an immense expense, engaged
MR. G. LEWIS, His highly-talented Equestrian Company, And MAGNIFICENT STUD OF HORSES . . .
The talented Dramatic Company contributing to form a splendid ensemble
MONDAY, 20th JULY, And Every Evening during the Week, will be produced
the Romantic Equestrian Spectacular Drama, founded on Lord Byron's Poem of
With New Scenery, Properties, Dresses, Music, Dances, Gorgeous Processions, Tournaments, Combats, and Pictorial Groupings . . . MUSIC - By Mr. F. Coppin . . . The whole produced under the direction of MR. R. YOUNGE.

ASSOCIATIONS: George Lewis (equestrian performer)

[Advertisement], The Age (25 December 1857), 1 

THEATRE ROYAL. First Night of a New Local Christmas PANTOMIME! . . .
entitled HARLEQUIN WHITTINGTON AND HIS CAT Written by Mr. W. M. Akhurst . . .
The Overture, Incidental, and Appropriate Music, composed and arranged by Mr. F. Coppin . . .
The Incidental Ballet and Dances arranged by Mr. H. Leopold . . .
The whole produced under the direction of Mr. R. Younge . . .

ASSOCIATIONS: Henry Leopold (dancer)

[Advertisement], Bell's Life in Victoria and Sporting Chronicle (7 August 1858), 4 

Tho Orchestra under the direction of Mr. F. Coppin. Stage Manager - Mr. Richard Younge.

[Advertisement], The Argus (22 September 1858), 8

THEATRE ROYAL. First Night of Planche's Celebrated Burlesque, entitled
The characteristic incidental music composed, selected, and arranged by L. Lavenu, Esq.
The overture, Mr. F. Coppin.
The dances, Mons. Schmidt and the Leopold Brothers.
The whole produced under the direction of Mr. Richard Younge.
Books of the Songs and other pieces of Music incidental to the burlesque can be obtained at the door of the theatre, price 6d . . .

ASSOCIATIONS: Mons. Schmidt (dancer)

[Advertisement], The Argus (27 December 1858), 8 

THEATRE ROYAL. First Night of the New, Romantic, Legendary, and Local
CHRISTMAS PANTOMIME, Invented and written by Mr. W. M. Akhurst . . .
The music composed, arranged, and selected By Mr. F Coppin . . .
The Toxopholite Ballet Arranged by Mons. Schmidt . . .
The whole produced under the direction of MR. R. YOUNGE.
Monday Evening, December 27 . . . entitled

"THE NEWS OF THE DAY", The Age (30 December 1858), 5 

The grand pantomime at the Theatre Royal, after three presentations, goes with all desirable smoothness, and by judicious management, is brought to a conclusion before midnight, - a matter of no small importance when the comfort of large numbers of little folks is concerned. The overture and incidental music, by Mr. F. Coppin, reflects high credit on him for the clever manner in which he has welded strains from "Il Trovatore," and other popular operas, with the commonplace airs and phrases of which such compositions are ordinarily made up. We must pay a special compliment to Miss Morgan for her singing throughout the opening portion of the pantomime, and to the author for his ingenuity in burlesqueing the Miserere scene in "Il Trovatore." The concluding scene now works beautifully, and its splendors never fail to elicit the most enthusiastic approbation.

ASSOCIATIONS: Fanny Morgan (vocalist, actor)

"BIRTHS", The Argus (8 February 1859), 4 

On the 6th inst., at Cardigan-street, Mrs. Frederick Coppin, of a son.

ASSOCIATIONS: Frederick George Coppin (d. 1860)

"THE NEWS OF THE DAY", The Age (29 April 1859), 4 

Last evening, Planche's extravaganza "The Yellow Dwarf," was produced for the fourth time at the Theatre Royal, with an amount of success very far surpassing that which attended its first presentation . . . The scenery is of unusual excellence . . . The terminal scene may truly be designated gorgeous. Mr. F. Coppin's overture is open to considerable improvement. He will forgive us if we state that a more spiritless composition never occupied the attention of a competent orchestra . . .

[News], The Argus (25 May 1859), 4-5 

The Theatre Royal was crowded last night on the occasion of Mr. F. Younge's benefit. The performances commenced with a miscellaneous concert, which, though sufficiently meritorious as to general execution, was not distinguished by any approach to novelty beyond that of "The Nepaulese Indian Quadrilles," and the "Mont Blanc Polka," both which pieces were very spiritedly rendered by the band under the superintendence of Messrs. Kohler and Siede, who sustained the several obligato passages with the completeness which always characterises their solos . . . Previous to the concert commencing, Mr. Younge announced that the band attached to the theatre had refused to co-operate with that organised for the evening, a piece of information which produced some demonstrations of disapprobation on the part of the audience, who, however, were not (as they should have been) further informed [5] that the Theatre Royal band had refused co-operation from the first, and that the announcement that their forces would join those of Mr. Kohler was made in defiance of their determination; so that it was manifestly unfair to visit upon them the censure attaching to a breach of contract. As Mr. F. Coppin had no opportunity of making an explanation, it is only fair to state thus much, that he and his colleagues may be exonerated from the blame somewhat disingenuously thrown upon them . . .

[Advertisement], The Age (1 June 1859), 1 

THEATRE ROYAL, Sole Proprietor, Mr. G. V. Brooke . . .
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; 1st Violin - Mr. F. Coppin; 2nd Violin - Mr. Levy . . .
Conductor - MR. JOHN WINTERBOTTOM (His first appearance these four years) . . .

ASSOCIATIONS: Barnett Levy (violin); John Winterbottom (conductor)

"DEATHS", The Argus (6 March 1860), 4 

On the 4th inst., at Cardigan-street, Frederick George, the only son of Frederick James Coppin, aged 13 months.

"DEATHS", The Argus (17 December 1861), 4 

COPPIN. - On the 15th inst., at Emerald Hill, after a short illness of two hours, Louisa Augusta, the beloved wife of Mr. Frederick James Coppin, deeply regretted by a large circle of friends.

"THEATRE ROYAL", The Mercury [Hobart, TAS] (27 February 1862), 2 

The three performances given in the Theatre Royal, by Sir William and Lady Don, and the powerful company they have brought with them, have already won for them a Tasmanian reputation equal to that which they have achieved in the other colonies . . . We must not omit to award a due meed of praise to the orchestra, led by Mr. Frederick Coppin, and strengthened by the invaluable services of Mr. Salaman at the piano-forte. Sufficiently powerful for a house of the dimensions of our pretty theatre, they have been so long accustomed to play together and to accompany Lady Don in her vocal performances, that they furnish a contingent to the completeness of the entertainment which no improvised orchestra, however powerful, could render . . .

ASSOCIATIONS: William and Emily Don (actors, vocalist); Edward Salamon (pianist); Theatre Royal (Hobart venue)

"TOWN TALK", The Herald (7 July 1862), 5 

If the crowd which assembled to witness the opening of Coppin's Apollo Music Hall on Saturday evening be a circumstance by which to judge of the future popularity of the new place of amusement, its prosperity may be considered as assured. Every available corner in the room was occupied, and although the workmen engaged in arranging the decorations had scarcely retired when the doors were thrown open to the public, everything appeared complete, the three large crystal chandaliers especially having a very fine effect upon the scene. It would appear to us, however, that acoustic principles have been somewhat disregarded in the construction of the hall, the stage, which is situated at the intersection of the two rectangles forming the hall, having the disadvantage of a sharp corner opposite, which actually necessitates the performers to sing to two distinct audiences. The National Anthem having been given by the entire company, the entertainments commenced with a selection from the ever popular "Il Trovatore," in which the old Melbourne favourite, Madame Carandini, rendered "Tacea la notte" in splendid style. The chorus of Monks and the well known Anvil chorus were also well executed and warmly applauded . . . The instrumental portion of the entertainment was creditably sustained by Mr. G. Loder, Mr. F. Coppin, and others, and the lavish applause bestowed upon everything that was provided amply showed that the public are willing to support Mr. Coppin in his endeavour to place a really first-class and elegant concert hall at their disposal.

ASSOCIATIONS: Maria Carandini (vocalist); George Loder (conductor); Apollo Music Hall (Melbourne venue); Frederick was billed as leader of the orchestra

"POLICE. CITY COURT. Monday, AUG. 25 . . . FELONY", The Argus (26 August 1862), 6 

Alfred Clarke was proceeded against under a charge of this nature, for having taken away from the wharf a panorama of the Burke and Wills Exploring Expedition, belonging to a Mr. William Henry Curtis, and which had just been landed from the Geelong steamer. Mr. Dawson appeared for the prosecution, and Mr. Aspinall for the defence. The facts were these: - Mr. F. Coppin; Mr. Wm. Pitt, Garrick's Head Hotel; Mr. T. Clarke, drawing-master; and Mr. Thomas Chuck, upholsterer, were the joint owners of this panorama, which they were exhibiting, and the latter was also the managing man. The speculation was not a success and, as appeared from the minute-book produced, it had been agreed at a meeting of the proprietors that the property should be sold for £200 . . .

ASSOCIATIONS: William Pitt (artist, theatrical decorator)

"ROYAL HAYMARKET THEATRE", The Age (5 August 1864), 5 

Since the close of the late opera season, this theatre has been given up to the hands of the decorator. The many alterations and improvements which have been carried out in the building from time to time, since its first erection, will, judging from the progress already made, be quite eclipsed, in point of ornament and utility, by the transformation which is being effected under the new lesseeship of Mr. Hoskins . . . The orchestra, which will be under the direction of Mr. F. Howson, jun., includes Mr. Creed Royal, Mr. Coppin, Mr. J. Howson, jun., Mr. R. M. [sic] Zeplin, and several musicians of known talent. Light comedy, vaudeville and musical drama are the character of performances which will be prominent under Mr. Hoskins's lesseeship . . .

ASSOCIATIONS: William Hoskins (actor, manager); Frank Alfred Howson (musician, conductor); Creed Royal (musician); John Howson junior (musician); one of the Zeplin family (musician); Haymarket Theatre (Melbourne venue); Frederick was leader; for a complete orchestra list see, "THE NEW HAYMARKET THEATRE", The Argus (5 August 1864), 7 

[News], The Argus (7 November 1865), 5 

Messrs. Templeton and Snowball presided at the Prahran Police Court yesterday . . . Frederick Coppin was charged with keeping an unregistered dancing-room in Chapel-street. The charge was not pressed . . .

ASSOCIATIONS: Probably not our musician, but Frederick Coppin, a young butcher, active in Prahran

[Advertisement], The Argus (5 February 1866), 8 

ROYAL HAYMARKET THEATRE. Sole Lessee, Mr. Hoskins.
Mr. COPPIN. Production of a novel dramatic sketch, with new scenery, &c.,
COPPIN IN CALIFORNIA, Arranged expressly for this theatre.
In the course of the piece Mr. Coppin will sing the comic song, CON-STAN-TI-NO-PLE,
And introduce, for the first time In Melbourne, his celebrated GIRAFFE DANCE . . .
NEW MEDLEY OVERTURE To Coppin in California, Arranged by Mr. Fred. Coppin . . .

"THEATRICALS. Prince of Wales Theatre", Bell's Life in Sydney and Sporting Chronicle [Sydney, NSW] (18 May 1867), 3 

Miss Julia Matthews has been drawing houses during the past week at the above establishment . . . There is one feature in connection with Miss Mathews' engagement which is deserving of special notice, and that is, the efficient orchestra, under the leadership of Mr. F. Coppin, and the conductorship of Herr Schmitt (during this engagement) . . . With a good conductor, able leader, and a well organised and skilful band, the intervals between the acts, and between the pieces, are most pleasantly occupied in listening to the "concord of sweet sounds."

ASSOCIATIONS: Julia Mathews (actor, dancer, vocalist); Carl Schmitt (conductor); Prince of Wales Theatre (Sydney venue)

"THE THEATRE ROYAL ORCHESTRA. TO THE EDITOR OF . . .", The Argus (23 September 1868), 7 

Sir, - May I be allowed, through the medium of your columns, to ask the leader of the Theatre Royal orchestra, why he always persists in giving the frequenters of that otherwise very well managed establishment such arrant trash in the shape of "music"? It seems to me a flagrant waste of talent to employ such first-rate artists as Messrs. Siede, Lundberg, Chapman, &c., in nothing but trumpery dance music, except, of course, during some of the burlesques, when some good music is interspersed. Why does he not give us some good operatic selections, such as we used to have under the management of Messrs. Winterbottom, Hughes, &c. . . . I hope the new management of the Duke of Edinburgh Theatre will pay particular attention to the musical part of the business, so that I, and others of similar tastes, may be able to attend theatrical entertainments without having our ears annoyed with compositions suitable only for dancing saloons.
I remain, Sir, yours respectfully,

ASSOCIATIONS: Julius Siede (musician); John William Lundborg (musician); Samuel Chapman (musician); John Winterbottom (conductor); Patrick Henry Hughes (conductor)

"THE THEATRE ROYAL ORCHESTRA. TO THE EDITOR OF . . .", The Argus (25 September 1868), 5 

Sir, - Will you please to insert my answer to the letter that appeared in your paper of last Wednesday? I am a lover of the compositions of the best masters, as well as musicians; but I consider it my duty to play the class of music the management wishes me, who have ascertained from long experience that the supporters of the theatre prefer to hear the popular music of the day to the dull stuff, I am sorry to say, they call first-class music. So you see it is impossible for a leader to please every one -
Yours obediently.

"THE THEATRE ROYAL ORCHESTRA. TO THE EDITOR OF . . .", The Argus (26 September 1868), 6 

Sir, - I have been a pretty constant playgoer in Melbourne for the last fourteen years, and I must do Mr. F. Coppin the justice to say that in every orchestra of which he has been the conductor he has consistently refrained from executing the compositions - I beg his pardon, the "dull stuff" of Meyerbeer, Rossini, Donizetti, Auber, Halery [Halevy], and others and has always evinced a preference for the frivolous or the lugubrious and the somniferous, in his selection of musical intermezzi. But I always supposed this was done in the interest of the neighbouring bar keepers, and for the better ventilation of the theatre, by emptying it in the intervals between the acts.
Yours obediently,

Sir, - Will you allow me to reply briefly to Mr. F. Coppin's letter in this day's Argus, referring to a former communication of mine which you were kind enough to insert. Mr. Coppin apparently misunderstands the purport of my letter. I never for a moment imagined it advisable, or even possible, to play compositions of the "best masters:" Beethoven's or Mozart's symphonies, and classical music generally, would of course be quite out of place. I particularly mentioned "operatic selections;" and, I think, such pieces as, say, the overtures to Semiramide," "Fra Diavolo," &c.; or selections from "L'Africaine," "Les Huguenots" or even "Il Trovatore" or "Martha," would not be considered "dull stuff," but be quite as acceptable, even to the general audience, as the monotonous dance music I complained of.
Apologising for again trespassing on your valuable space,
I remain, Sir, yours obediently.
MUSICUS. Sept. 22.

"THE THEATRE ROYAL ORCHESTRA. TO THE EDITOR OF. . . ", The Argus (28 September 1868), 6 

Sir, - From the tenor of the letters you have received a person would think I made it a rule never to play an overture or selection, but I must inform you that for the last fourteen years I have been in Melbourne, with the exception of a few nights when the band numbered less than a septett, there was never a night passed without an overture being played at every theatrical performance I have been connected with, many of them by the composers that have been mentioned, but if persons come to the theatre late for the overture, they cannot tell what has been played. At the Haymarket, when the orchestra did not number less than eight, I made it a rule to play an operatic selection every night, when the time between the acts would permit. The reason I have not done so lately I already mentioned; and if you notice, during a burlesque, music such as a "Pal-o'-mine" or "Number One" will receive much more applause than the operatic introductions, which I think is a sufficient proof of what class of music gives the greatest satisfaction - not that I do not think a selection makes a very nice change in the evening's programme.
Yours, &c.,

[News], The Argus (2 October 1868), 5 

The Victorian Musical Association of Professional Musicians met, as appointed, at the Adam and Eve Hotel yesterday, and as they did not complete the business for which a special general meeting was called, adjourned until Thursday next, at half-post three p.m., at the rooms of Herr Siede, the president. Mr. Fred. Coppin, of the Theatre Royal, was elected a member of the association.

"NEW MUSIC", The Herald (4 August 1873), 3 

Those patrons of the Theatre Royal who listen to the orchestral music between the acts will be familiar with Spring, Gentle Spring, from Babil and Bijou. Perhaps, indeed, Mr. Fred. Coppin kept it on his playing list a little too long . . . Ladies who are musical but not theatre or opera goers, are sometimes at a loss in selecting new music. They will find Kuhe's arrangement of Spring, Gentle Spring, very pretty, and not difficult . . .

[News], The Argus (19 March 1874), 7 

A correspondent signing himself "Suburbs" complained in our issue of Saturday of the late hours and the long waits between the pieces and the acts at the Theatre Royal. Now, we have pointed out until we are weary of pointing out, that if they would but consider their relations with the public merely from a self-interest point of view, the management would contrive so that all the time the audience have to spend in the theatre should be spent pleasantly. And to do this it is not alone necessary that the plays produced should be well acted and well put upon the stage, but that all the time when the curtain is down there should be no risk of weariness to anybody. The truth is, that many persons dread going to the theatre for the simple reason that they are tired beyond endurance during the intervals of the performance. What appears to be expected of the men is that they should go out to drink, and it seems pretty clear that the periods between the acts and the pieces are for this reason extended in the interests of the proprietor of the bars - those indispensables of Australian theatres. But it happens that everybody does not care to make himself ill by "liquoring up," and it is quite clear that ladies cannot repair to a stuffy cafe and indulge in the "refreshments provided." For these, then, there is nothing else than to keep their seats and listen to the music of Mr. FREDERICK COPPIN'S band. Now, for a jig, a hornpipe, or a not altogether fresh quadrille, Mr. FREDERICK COPPIN is the right man in the right place. But beyond this range, he does not often soar. If we are not in error, he once loftily expressed himself to the effect that he did not care for operatic "stuff," and that if the audience did not like jigs, they had better learn to like them. It may be that he is right, but as up to this point the average taste rather inclines to operatic "stuff," it would be well if he could be brought to see the necessity of relinquishing his private tastes in favour of the common opinion. It is not indeed likely that well chosen inter-act music would mitigate all the irksomeness of long waiting, but it would help a little to mitigate it . . .

"MR. FREDERICK COPPIN IN REPLY. TO THE EDITOR OF . . .", The Argus (24 March 1874), 5

Sir, - My attention has been directed to an article that appeared in your paper of Thursday, March 14 [19th] in which I am reported to have once loftily expressed myself that I did not care for operatic stuff. I trust you will kindly permit me to say that your correspondent has been misinformed. I never made use of such an expression in fact, it is well known in the musical profession that I am partial to operatic selections, and that I arrange them to display the solo talent at my disposal. The leader of an orchestra must endeavour to please all tastes, and an experience of 33 years in my present position has satisfied me, and the managers by whom I have been engaged, that lively music is the most acceptable to a mixed audience. As a rule, I play an overture, valse, operatic selection, quadrille and galop during the evening, and as most of the music is received direct from England by the management of the theatre, I think that the complaint of "Suburbs" is unjust and, so far as I am I concerned, most decidedly untrue.
Yours, &c.,

"ROYAL THEATRICAL MUSIC", Melbourne Punch (26 October 1876), 4 

WANTED a half a ton of Ancient Quadrilles to exchange for a stool, a violin, ten acres o£ Sorrento frontages, and a recipe for nervousness. Apply, Lessees, Theatre Royal.
WE remember some twenty odd years ago calling in at the Theatre Royal and falling asleep between the acts. Well, probably, it might not be twenty years ago; anyhow it happened at a time when the bloom rested upon our countenance, and when the Honorable George Coppin would not feel afraid to tackle a juvenile part. We slept, and woke suddenly with a blast from the orchestra around our tympanums. Fred Coppin sat higher than his orchestra, and he led the band as first violin. He played tunes in those days to which persons at country galas danced in rude villages, and his band let out hurricanes of music never heard in other musical circles. The bloom at present is a stranger to our features, the grey hairs luxuriate where in those days the oiled dark curls rested, the old theatre fell a prey to flames, the majority of the particular company which fretted its hour upon the stage sleeps in sundry churchyards (save one member to memory beloved, G. V. Brooke) - all is changed except Fred Coppin, and he still fiddles a foot higher in the orchestra, and he leads to the same old tune - a tune fraught with discord and misery, and he won't die, and he won't move on! When William Saurin Lyster opened the Opera House, the Melbourne world thanked W. S. L. for the happy changes, when the curtain fell, in the shape of intelligent music, and W. S. L. owes more of his popularity to the careful consideration of his patrons, between the acts, than most of other things he is aware of. Now at the Royal most ordinary matters are similar to the Opera House doings, such as taking money at the doors, and giving people play-bills at the same time; Lyster cannot run as lively a flea, nor boast of such loveable partners! But life is but a fleeting show after all, and if Lyster can breed prize bulls between his acts, and likewise rear valuable yearlings, he cannot give us Fred Coppin's musical interludes! . . .

[Advertisement], The Lorgnette (26 April 1881), 1 

Theatre Royal. LESSEES - Messrs. COPPIN, HENNINGS and GREVILLE . . .
Shakespeare's Tragedy, in five acts, THE WINTER'S TALE . . .
The Orchestra, under the direction of Mr. FRED COPPIN, will perform the following Choice Selections during the evening: -
Overture - "Zampa"; Valse - "Jungherren Tanze"; Selection - "Knights of the Round Table"; Quadrille - "Royal Danish"; Galop - "May Flower" . . .

"Deaths", The Argus (28 April 1881), 1

COPPIN. - On the 27th Inst, at his residence, Norwich house, Nelson road, Emerald hill, Frederick James Coppin, aged 56.

"NEWS OF THE DAY", The Age (28 April 1881), 2 

Mr. F. Coppin, who for many years has been leader of the orchestra at the Theatre Royal, died yesterday evening. Mr. Coppin, who was a brother of the lessee of the theatre, had been confined to his room for several days past, and his decease had been anticipated by his medical attendant

"LOUNGER", The Herald (29 April 1881), 3 

Another old identity hath gone the way of all flesh. Mr. F. Coppin died on Wednesday, and with him go many and old association connected with former days. Bless me! To think that the old familiar fiddle will be no longer heard, and that the hand which wielded the bow so deftly lies now nerveless and powerless! So wags the world . . . Farewell Mr. Coppin - the old music still lingers in mine ears, and I could not banish it even if I would.

"ENTERTAINMENTS", The Australasian (30 April 1881), 19 

Two deaths have occurred in the theatrical world during the week. On Tuesday Mrs. Hall, wife of Mr. J. L. Hall, died at Adelaide, and on Wednesday Mr. Frederick Coppin, brother of Mr. George Coppin, died. Mrs. Hall was known some years ago as Emily Wiseman . . . Mr. Frederick Coppin had been the conductor of the orchestra of the Theatre Royal for many years, and although his face was seldom seen, his figure, as he sat just below the footlights, was one of the institutions of Melbourne. He was a thoroughly sound and honest musician, and he did his work with a conscientiousness which earned general respect.

ASSOCIATIONS: Emily Wiseman Hall (actor)

"OUR MELBOURNE LETTER", The Sydney Morning Herald (7 May 1881), 7 

. . . And on the subject of death the week's record includes the names of Isaac Whitehead and Fred. Coppin. Whitehead painted pictures of Victorian scenery with more characteristic force, if not with more finish, than any Victorian painter that I know . . . Fred. Coppin was a useful musician, who looked upon his art as a good honest business, and had no aspirations beyond the desire to fulfil what his brother expected of him as leader of the orchestra of the Theatre Royal . . .

ASSOCIATIONS: Isaac Whitehead (painter)

"The late Mr. Frederick Coppin", The Lorgnette (11 May 1881), 2 

"Another link - one of the very last -
That binds the present generation with the past,"
Has been broken by the sad death of Mr. Frederick James Coppin, who died after a painful illness, at his residence, Norwich House, Nelson Road, Emerald Hill, Melbourne, on the 27th of April, 1881, at the age of 56, and on the 29th of the same month he was buried in the Melbourne General Cemetry [sic]. The deceased gentleman was at all times of a singularly unobtrusive disposition, mild and gentle in his manner, and from his willingness to impart information to juniors in the musical and dramatic profession, made himself endeared and beloved by all who had the pleasure of his acquaintance. His connection with the Melbourne Stage began - unless my memory plays me false - at the Olympic Theatre - the "Iron Pot," as it was afterwards irreverently termed, then owned by his brother, Mr. George Coppin. When the latter migrated to the Theatre Royal, Mr. Fred went with him as conductor and leader of the band - a position which he held to the time of his death - over a quarter of a century. His patience and industry at rehearsals of burlesques or any work requiring the immediate aid of the orchestra was well-known, and the new life he has infused into young beginners by kind gentle words and advice, will be remembered by many who now hold a leading position on our stage. The writer of this well remembers the glowing terms in which the late Mr. Akhurst spoke of Mr. F. Coppin's patience and industry in the getting up of the best burlesque ever presented on the Melbourne stage viz., "The Siege of Troy." In fine through all his life, the late Mr. Fred Coppin by his urbane, gentlemanly, and quiet demeanor gained the respect and affection of hosts of residents in this city, and in the other colonies his comparatively early death is greatly lamented.
- W. H. W.

ASSOCIATIONS: William Henry Williams (obituarist)

"AMUSEMENTS", Leader (14 May 1881), 18 

The members of the Theatre Royal company are organising a grand entertainment to be given for the benefit of the family of the late Mr. Fred. Coppin, who for over a quarter of a century acted as leader of the orchestra. He was seldom absent from his post during that long period, and his venerable cranium was as familiar to his young friends and admirers in the gallery as anything in connection with their daily experience. No one could better render solemn and appropriate music when theatrical occasion served. His tuneful instrument discoursed eloquently at all times, and was heard at its best when, Zephyr-like, its music stole upon the senses preparatory to some grand coup or dramatic climax which drew the house down. The leading violin was distinguishable in harmonious cheeriness amidst the thunders of the gods, or played with gracefulness and abandon when the more discriminating accorded genuine, though less obstreperous, applause. It was, however, in the intervals, when the curtain was down and the worthy veteran musician became master of the situation that he was heard to the greatest advantage. Then his music was sad or soothing, wild or crashing, rising like the sigh of the evening breeze passing over a bank of violets until it bursts like Boreas in a grand overwhelming crescendo. It served at times to hide the shallow meagreness of some perriwig-pated fellows who would persist in murdering Shakspeare, and when the field was cleared for the orchestra then the son of Orpheus squared himself to his work, and with selections, the choicest from the noblest compositions or the sweetest of melodies, he charmed the tedium and ennui incidental to waiting for the curtain to rise on the next act. We trust that the benefit will be a substantial one, for never was one more thoroughly deserved.

"MRS. FRED. COPPIN'S BENEFIT", The Argus (16 May 1881), 6

The performances given at the Theatre Royal on Saturday afternoon for the benefit of the widow and family of the late Fred. Coppin, for many years leader of the orchestra at this place of amusement, were highly successful in every respect, and it is gratifying to know that they will result in placing a substantial sum at the disposal of the beneficiaire. The programme was a very long one, but it was also attractive, and a crowded house sat it out to the end . . .

"Victorian Intelligence", Evening News (21 May 1881), 4 

The late Fred. Coppin had in his possession an opera written by Offenbach, and never acted. Offenbach made efforts to purchase it, without success. It is called "La Reine Lucette," and the plot turns on adventures of a young girl on an enchanted island. Efforts are now being made to buy it for London presentation.

On this see also, "PARIS ET DÉPARTEMENTS", Le ménestrel: journal de musique (14 August 1884), 295 (DIGITISED)


Mr. Alfred Montague continues is recollections of musical Melbourne in the fifties [sic] as follows . . .
"Much is remembered of Mr. George Coppin, but very little of his brother, Mr. Fred Coppin, who was one of the earliest of our orchestral leaders, and would no doubt now be called a conductor, though we did not at that time so classify them. A conductor did not play himself. He directed others who did. Fred Coppin had a system which he carried out to perfection. Some actors arrived with music already written for them. For others music had to be found to suit each piece. For this contingency Coppin had many books, known in the orchestra as cues, carefully selected and numbered under such titles as "plaintive," "lively," "martial," "dances," and "hurry." This was generally sufficient until we came to comic parts, which always had to be specially arranged for. The comic actor is the monarch of the stage, and the horror of the orchestra. He cannot sing without an instrument to help him. If he sings a comic song the lower notes of the bassoon must sound. If he goes on tiptoe the strings play pizzicato. If he sits down suddenly he wants a chord and a bang of the drum. If he knocks any one down, which he is always able to do, however big they may be, a crash of the cymbals accentuates the blow. Being dissatisfied with the class of music played between the acts Coppin resolved to try something new. To our astonishment we found copies of Haydn's symphonies on our stands, the audiences were also astonished. On the first night they endured it with patience. On the second night there were murmurs, and on the third hisses, so we returned to our waltzes, galops, and selections.

ASSOCIATIONS: Alfred Montague (musician, memoirist)

COPPIN, George (George Selth COPPIN; George COPPIN; Mr. G. COPPIN; Mr. COPPIN)

Musician, vocalist, violinist, cellist, songwriter, comedian, actor, entrepreneur, composer, arranger, publican

Born Steyning, Sussex, England, 8 April 1819; baptised Steyning, 25 April 1819; son of George Selth COPPIN senior (1797-1854) and Elizabeth Jane JACKSON (1779-1873)
Married [1] (common law) Maria Augusta ? (BURROUGHS), Dublin, Ireland, by 1842
Arrived [1] Sydney, NSW, 9 March 1843 (per Templar, from Liverpool, 2 November 1842, and Cape of Good Hope, 17 January)
Departed [1] Melbourne, VIC, 23 January 1854 (per Statesman, for London)
Arrived [2] Melbourne, VIC, 7 December 1854 (per Argo, from England, 5 October)
Married [2] (? common law) Harriet BRAY (widow HILLSDEN) (1821-1859), Melbourne, VIC, ? August 1855
Married [3] Lucy HILLSDEN (1841-1920), Registry office, Melbourne, VIC, 4 June 1861
Died Richmond, VIC, 14 March 1906 (TROVE tagged) (TROVE tagged) (NLA persistent identifier) (Wikipedia) (shareable link to this entry)

ASSOCIATIONS: Frederick Coppin (younger brother)

COPPIN, Maria (Maria Augusta ? ; [1 ? common law] Mrs. Watkins BURROUGHS; [2 common law] Mrs. George COPPIN)


Born ? USA, c. 1810/11
Married (? common law) Watkins BURROUGHS (c. 1795-1869), by 1833
Married (common law) George COPPIN, Dublin, Ireland, by c. 1842
Arrived Sydney, NSW, 9 March 1843 (per Templar, from Liverpool, 2 November 1842, and Cape of Good Hope, 17 January)
Died Adelaide, SA, 10 August 1848, aged "37/38" (TROVE tagged by Australharmony) (shareable link to this entry)


George as actor, theatrical manager and publican to c. 1860

Sydney, NSW (9 March 1843 to 8 January 1845):

The Coppins made their colonial debut at the Royal Victoria Theatre, Sydney, on 18 March 1843. Engaged first for a "short season" by the proprietor, Joseph Wyatt, they continued to perform with the Victoria company for periods through the year until late October. Their early stated intention had been to travel on from Sydney to visit Calcutta in India, to which end George, in May 1843, proposed to build a zoological garden (with wild animals to be sourced from India) and "concert room" at the south end of the Domain. This project quickly came to nothing; however, in August he purchased from William Dind the licence of the Clown Hotel, opposite the Theatre, in Pitt-street, and undertook "considerable alterations and improvements", including a large saloon, which was used for nightly concerts of through most of the following year, as well as forming and hosting what became the Sydney Catch Club. Evidently due to poor trading, Coppin first attempted to sell the business in April 1844, though did not find a buyer until October, when George Skinner finally took over as licensee. In the meantime, the nightly concerts in the saloon continued, including professional performances of songs, glees, and even, on a few occasions, dance music and overtures from a full band (probably largely made up of the theatre musicians). Despite rumours that the Coppins would return to the theatre in the winter of 1844, they were re-engaged only for the Christmas season, pending their departure for Hobart in January.

Hobart and Launceston, VDL (TAS) (13 January to 5 June 1845):

Having arrived in Van Diemen's Land separately, the Coppins appeared only relatively briefly at the Royal Victoria Theatre, Hobart, in January and February 1845, under the management of Anne Remens Clarke. In March, bringing with them the best of the Hobart company, the Coppins took over the lease of the Olympic Theatre, Launceston, where they performed through April and May.

Melbourne, NSW (VIC) (14 June 1845 to 20 August 1846):

They then took a core group of actors and musicians from the Launceston company across Bass Strait to Melbourne, where in June they were engaged for the Queen's Theatre, under the management of John Thomas Smith. Coppin then took over full management of the theatre. In the first half of 1846, Coppin canvassed several other career options outside of the theatre, but, having finally announced their retirement from the Melbourne stage in June, in August the Coppin's sailed for Adelaide.

Adelaide, SA (from 10 September 1846 to mid 1852):

On arriving in Adelaide, in September 1846, Coppin took over the billiard room of the Temple Tavern, in Gilles Arcade, and remodelled it as the New Queen's Theatre, opening on 2 November. In 1848 he transferred the theatre lease to John Lazar, and continued in his new business of licensee of the Auction Mart Tavern.

Geelong and Melbourne, VIC (mid 1852 to 23 January 1854):

Having previously visited the Victorian goldfields, Coppin finally left Adelaide in mid 1852 for Geelong, VIC, where he took over the management of the Theatre Royal.

England and Ireland (June to 5 October 1854):

Melbourne, VIC (from 7 December 1854):

While in England in 1854, Coppin engaged Gustavus Vaughan Brooke to come out to Melbourne under his management. He also purchased and shipped the prefabricated iron theatre that he erected in Melbourne and opened in mid 1855 as Coppin's Olympic.

On arriving back in Melbourne, Coppin opened at the Queen's Theatre in December 1854, and prepared for Brooke's arrival in February 1855. After John Melton Black was declared insolvent, in mid 1856 Coppin also took over the Theatre Royal, Melbourne, and later that year purchased Cremorne Gardens.

George as vocalist, violinist, and composer

Coppin's name is attached as singer, lyricist, and or "arranger" to several printed musical editions, including the two extant - Billy Barlow and Villikins and his Dinah - and, perhaps most interesting, one lost work composed in 1854, "The Argo medley polka", "descriptive of the Argo leaving England and arriving in Victoria, announcing the fall of Sebastopol"; "arranged by Mr. Coppin on board on her passage out to the colonies".

George Coppin, 1825; State Library of Victoria

George Selth Coppin Aged 6 years 8th of April 1825 taken when playing the overture of Lodoiska (DIGITISED)

George Coppin, c.  1840

George Coppin, c. 1840, playing a violoncello (DIGITISED)


Ireland (to 1842):

[Advertisement], Belfast News-Letter [Ireland] (19 November 1833), 2 (PAYWALL)

THEATRE, BELFAST . . . On This Evening, TUESDAY, Nov. 19. . . .

[Advertisement], Vindicator [Belfast, Ireland] (26 September 1840), 3 (PAYWALL)

Tickets to be had of Mr. G. S. Coppin, 35, Little May-street.

[Advertisement], Freeman's Journal [Dublin, Ireland] (2 October 1841), 1 (PAYWALL)

THEATRE ROYAL, ABBEY STREET . . . THIS EVENING (Saturday), October 2d . . .
Mr. Coppin will sing an entire new original Song, entitled Billy Barlow in Dublin . . .

ASSOCIATIONS: Billy Barlow (character and song)

"THEATRE ROYAL", Southern Reporter and Cork Commercial Courier [Ireland] (29 March 1842), 3 (PAYWALL)

A house filled with a respectable audience last evening attested the increasing popularity of this Theatre among all classes of Citizens . . . That most humorous of the new school of Comic actors, Mr. Coppin, better known as "Billy Barlow," a sort of Irish Jim Crow, made his appearance last night, was "called out" three times in his celebrated song amidst the noisy acclamations of the audience who seemed quite taken with the novelty.

"POLICE INTELLIGENCE . . . HENRY STREET", Athlone Sentinel [Ireland] (15 July 1842), 2 (PAYWALL)

A printer, whose name did not transpire, applied to Dr. Kelly for advice under the following circumstances: From his statement it appeared that a Mr. Coppin employed him to print theatrical bills for some sort of performance to be enacted at the Adelphi Theatre, Great Brunswick street. Coppin gave him some wood blocks, with cuts on them, to copy which was done; but when the applicant went for payment his employer was non est, and he was then called on by two persons, named Lee and Felix Carlo, alias Pai Lawrence to give up the wood cuts, alleging they were their property, but applicant refused comply with this request unless this bill was paid. Messrs. Lawrence and Lee complained of the hardship of having their property detained, because Coppin did not choose to pay his debts. The articles cost them 9l. The applicant said his bill was 7l; he understood his employer had plenty of money. Dr. Kelly advised the parties to settle the matter amicably, if they could; if not to wait for few days, as in that time perhaps Coppin could be had, he being a public character. The printer left the office with view of settling the matter as advised.

"THEATRE ROYAL", Cork Examiner [Cork, Ireland] (23 September 1842), 3 (PAYWALL)

. . . Our old friend COPPIN, the inimitable "Billy Barlow," also appeared. The "vis comica," even of the muscles of his face, is a little treasure, every limb is comic and does its part, and voice seems scarcely necessary to the developement of fun, which runs through his whole acting . . .

Sydney, NSW (9 March 1843 to 8 January 1845):

"SHIPPING INTELLIGENCE. ARRIVALS", The Sydney Morning Herald [NSW] (10 March 1843), 2 

From Liverpool, same day [yesterday], via the Cape of Good Hope, having left the former the 2nd November, the latter the 17th January, the ship Templar, 565 tons, Captain Brown, with a general cargo.
Passengers - Most Rev. Dr. Polding, Rev. Dr. Gregory . . . Intermediate - . . . Mr. and Miss Coppin [sic] . . .

ASSOCIATIONS: John Bede Polding (cleric); Henry Gregory (cleric); on the voyage, Alec Bagot (1965, 55) quotes from Coppin's papers:

. . . the time passed very agreeably with some concerts. A ball and a few hops encouraged both fore and aft with my accommodating fiddle.

THEATRICALS", The Australian [Sydney, NSW] (15 March 1843), 2 

. . . By the TEMPLAR we have an addition to our Thespian forces, by the arrival of Mr. and Mrs. Coppin, from Liverpool. The fame of these aspirants has certainly not yet reached us in 'lands Australian,' and we would advise all stars of the northern hemisphere to bring with them some credentials as to their degree when they venture into the cycle of the southern. However, we shall not pronounce on the merits of the new arrivals before we have an opportunity of tasting a 'spice of their quality,' and whilst we must regret that they have brought no bills for our acceptance, we are not indisposed to give them letters of credit. By the DORSET Mr. and Miss Lazar have returned to their starry orbit, and the Victoria will soon re-assert its supremacy in matters theatrical. It is understood that Mr. Lazar will resume the reins of management for the forthcoming season . . .

ASSOCIATIONS: John and Rachel Lazar (actors, manager; father and daughter); Royal Victoria Theatre (Sydney venue)

[Advertisement], The Sydney Morning Herald (17 March 1843), 2 

ROYAL VICTORIA THEATRE. First appearance of Mr. and Mrs. COPPIN,
from the Theatres Royal Edinburgh and Dublin, who are engaged for a limited number of nights only!
Saturday, March 18, 1843, will be performed, THE STRANGER. Mrs. Haller, Mrs. Coppin.
A variety of entertainments. To conclude with the Farce called THE LOAN OF A LOVER;
Gertrude, Mrs. Coppin; Peter Spryke, Mr. Coppin.

ASSOCIATIONS: Joseph Wyatt (proprietor)

"THEATRICALS", The Australian (17 March 1843), 2 

The race of Torning and Co. is nearly run. The legitimate drama is once again to assert its claims at the Victoria, and the troop of itinerant drolls who have initiated us to repletion with the fair anthology of this English highways, from "Happy Land" to "Sich a gettin up stairs," are now preparing for "Sich a gettin down agin." We have hitherto forborne severe comment on Mr. Wyatt's importation, regarding it as a managerial error, the effect of bad judgment; and feeling satisfied that as soon as possible he would remedy the evil. This, we are happy to say, he promises to do forthwith, and the announcement for tomorrow evening of The Stranger, in which Mrs. Coppin will make her curtsey to a Sydney audience in the arduous part of Mrs. Haller; and also of The Loan of a Lover, in which Mr. Coppin will personate Peter Spyke, is a favorable earnest of the long desired reform in the affairs of the Victoria. With reference to Mr. and Mrs. Coppin, we have much pleasure in saying that since writing our notice of their arrival, which appeared in Wednesday's AUSTRALIAN, we have seen several English and Irish papers of recent date, in which their efforts are reviewed in the most flattering terms. The CORK SOUTHERN REPORTER designates Mr. Coppin "the most humorous of the new school of actors," and adverts in extravagant terms to his manner of singing "Billy Barlow," a song which, we learn from THE TUAM HERALD, was sung by him 250 times in Dublin with extraordinary success. Mrs. Coppin is described as a pleasing and fascinating actress, and if even a tithe of those praises be true, we can most cordially consign Messrs. Torning, Deering, and Co., to the company of the learned pig, white Indian, Scotch giant, Welsh dwarf, young Gingell, Mr. Samivell, the equestrian, and other professional perambulators, who, we doubt not, are pining for their far-away friends.

ASSOCIATIONS: Andrew Torning (actor, manager); Joseph Wyatt (proprietor); Henry Deering (actor)

[Advertisement], The Sydney Morning Herald (25 March 1843), 2 

ROYAL VICTORIA THEATRE . . . In consequence of the continued success of
Mr. and Mrs. COPPIN, and the applause nightly bestowed on their performances,
arrangements have been made for their appearance in a succession of popular pieces of which due notice will be given.
SATURDAY EVENING, MARCH 25TH, WILL be performed, the popular Drama called the SOMNAMBULIST . . .
Chambers To be followed, for the first time in this Colony, a farce written expressly for Mrs. Coppin, entitled the FOUR SISTERS . . .
To conclude with the laughable entertainment called the WANDERING MINSTREL's VISIT TO SYDNEY;
Jem Bags (the Wandering Minstrel, with a Song), Mr. Coppin.

[Advertisement], The Sydney Morning Herald (29 March 1843), 2 

ROYAL VICTORIA THEATRE . . . Thursday, March 30, 1843 . . .
To conclude with the farce called THE KING'S GARDENER; or, NIPPED IN THE BUD.
Galocharde (with Song), Mr. Coppin; Madame Galocharde, Mrs. Coppin.

MUSIC: The horticultural wife (song in The king's gardener)

"VICTORIA THEATRE", The Sydney Morning Herald (30 March 1843), 2 

On Tuesday evening, Mr. and Mrs. Coppin appeared for the fourth time before a Sydney audience, and there was an excellent house to greet them . . . The laugh of the evening, however, was Mr. Coppin as Jim Bags, in the "Wandering Minstrel's Visit to Sydney." Mr. Coppin kept the house in a roar of laughter from beginning to end of the piece, and exhibited talents of most varied descriptions . . .

ASSOCIATIONS: While in Sydney, Coppin founded the masonic Wandering Minstrel Lodge; see "THE MANCHESTER UNITY I.O.O.F.", The Age [Melbourne, VIC] (9 March 1887), 6 

. . . Mr. Coppin, in returning thanks, said that he little thought on joining the order at the little town of Bedale, in Yorkshire, forty-six years ago, it would ever be his lot to respond, not only as an oddfellow, but also as a member of Parliament for the representatives of the people of a great colony in the antipodes. He was probably the most "made" member of the body in the room, having, owing to his early peregrinations, left the community from time to time, and re-joined at Sydney (where he founded the Wandering Minstrel lodge), South Australia and finally in Victoria . . .

"ROYAL VICTORIA THEATRE", The Australian (7 April 1843), 2 

The season is fast drawing to a close, and the performances of Mr. and Mrs. Coppin are sufficiently attractive to secure tolerably crowded houses on those evenings not devoted to benefits . . . Mr. Coppin has been performing in a mutilated version of Mr. A'Becket's farce of The Wandering Minstrel, in which he represents Jem Bags, an itinerant fiddler. As a graphic picture of very low life his performance may claim applause, but a less palpable delineation of the vulgar attributes of the character would have been more acceptable. He has since enacted Benjamin Bowbell, in The Illustrious Stranger . . .

PIECE: The wandering minstrel (farce by Henry Mayhew); there is no song for Jem Bags in the original script, though Coppin is several times reported introducing one during the 1840s; note that the song Villikins and his Dinah, as later sung by Coppin, was added to later published versions of the farce following its first introduction by Frederick Robson in London in 1853

[Advertisement], The Sydney Morning Herald (12 April 1843), 3 

ROYAL VICTORIA THEATRE. FOR THE BENEFIT OF MR. AND MRS. COPPIN, And their last appearance but two in this colony.
On Thursday Evening, April 13 . . . Mr. Coppin will then appear as that eccentric, peculiar, and local cosmopolitan, BILLY BARLOW . . .

[Advertisement], The Sydney Morning Herald (24 April 1843), 2 

On MONDAY EVENING, APRIL 24 . . . MR. COPPIN Will sing an entire new version of BILLY BARLOW . . .

ASSOCIATIONS: William Knight (acting proprietor)

"City Council. MONDAY, MAY 29 . . . ZOOLOGICAL GARDENS", Australasian Chronicle (30 May 1843), 2 

. . . a petition from Mr. G. S. Coppin, praying for the grant of a lease of about two or three acres of land in the Government Domain, between the two southern gates, for the purpose of constructing a zoological garden, which, besides comprising an extensive exhibition of wild animals, should contain an extensive concert saloon, and be supplied with other kinds of amusement for the entertainment of the citizens . . .

NOTE: In another report, the concert room was referred to as a "Musical Theatre"; see also "CITY COUNCIL", The Australian (31 May 1843), 2 

. . . He proposed that the entrance should be opposite to the Catholic chapel, that a pavilion or concert room 80 feet in length should be erected on the ground, and he estimated the whole expense including the purchase and transport of wild animals from Calcutta and the Capo of Good Hope at £1500 . . .

"PUBLICANS' LICENSES", The Sydney Morning Herald (18 August 1843), 3 

. . . The following transfers also took place - Dind, of the Clown. Pitt street, to Coppin . . .

ASSOCIATIONS: William Dind (former proprietor)

[Advertisement], The Sydney Morning Herald (26 August 1843), 3 

MR. G. COPPIN, of the Victoria Theatre, begs leave to apprise the gentlemen of Sydney, and the public in general, that he has commenced business as a Licensed Victualler, in those spacious and commodious premises, with considerable alterations and improvements, known as the sign of the CLOWN, opposite the Theatre, Pitt-street, lately occupied by Mr. W. Dind . . .

[Advertisement], The Australian (7 October 1843), 2 

ROYAL VICTORIA THEATRE. Last Night but Nine of Mr. and Mrs. Coppin's present engagement.
THIS EVENING, Saturday, October 7, 1843 . . . To conclude with the laughable Farce of THE WANDERING MINSTREL'S VISIT TO SYDNEY.
MR. J. LAZAR, Manager.

"THEATRICALS", The Australian (24 October 1843), 2 

Mr. Coppin takes his farewell benefit on Thursday evening, on which occasion he personates our old esteemed friend Sam Weller, in the Strand version of Dickens' Pickwickeans. He also sings the Maitland version of Billy Barlow - which, by the way, is a fair sample of the quizzing propensities of our friends of the Hunter. Madame Vestris' famous little drawing-room vaudeville of the Dumb Belle, and a variety of other entertainments, are included in the programme.

[Advertisement], The Australian (4 November 1843), 1 

MR. AND MRS. COPPIN, (late of the Victoria Theatre,) take the present opportunity of returning their sincere thanks to the public for the liberal patronage they received upon the occasion of their benefits . . . Mr. C. begs leave to draw the attention of the gentlemen settlers and inhabitants of Sydney, to the arrangements of his Hotel, opposite the Theatre. THE LARGE SALOON (40 feet long,) is now ready for public or private Dinner Parties, Balls, Clubs, Societies, or Public Meetings. THE BILLIARD ROOM is fitted up in a a superior manner . . . THE COMMERCIAL ROOM, BAR, PARLOUR, and private sitting rooms, are all that comfort can desire . . .
N.B. - A Catch Club will be established, and held every Tuesday evening.

[Advertisement], The Australian (30 January 1844), 2 

CLOWN HOTEL, PITT-STREET. MR. COPPIN'S LARGE SALOON is open every Monday, Thursday, and Saturday Evenings.
Conductor - MR. S. PHILLIPS. Pianist - MR. PHILLIMORE.
Singing to commence at 8 o'clock and conclude at 11 . . .

ASSOCIATIONS: S. Phillips (vocalist); Henry William Fillmore (pianist)

"MRS. COPPIN", The Australian (4 March 1844), 3 

It is with unfeigned regret we have learnt the dangerous illness of this accomplished and admirable actress. Although but a short time resident in Sydney, Mrs. Coppin has gained the esteem and good-will of a large circle of friends, on whom the news of her alarming state will inflict much pain.

[Advertisement], The Sydney Morning Herald (23 March 1844), 1 

GEORGE COPPIN most respectfully informs Publicans and others, that having made arrangements to embrace the theatrical profession again, he has determined to sell his interest, lease, and property, in the above excellent and lucrative business, to a tenant, subject to the approval of the landlord.

NOTE: Coppin did not finally dispose of the business until October 1844, as see below

[Advertisement], The Australian (20 April 1844), 2 

IN THE INSOLVENT ESTATE OF RICHD. LAMB. By order of the Trustees . . .
MR. EDWARD SALAMON will sell by auction, at his Rooms, George-street, THIS DAY, at ELEVEN O'CLOCK . . .
One Oil Painting . . . In Zebra-wood [frame] - Portrait of Mr. Coppin, as Billy Barlow . . .

ASSOCIATIONS: Richard Lamb (1803-1875; jeweller, son-in-law of Isabella Tempest Bird)

[Advertisement], The Sydney Morning Herald (22 April 1844), 1 

THE members of the Sydney CATCH CLUB are most respectfully requested to attend the Club-room on Wednesday evening, the 24th instant, at half-past eight o'clock, to make arrangements for the ensuing winter season; upon which occasion Messrs. Falcheon, Fillmore, Coppin, and Jones, will contribute to the evening's amusement.
The large Saloon is open (admission free) every Monday, Thursday, and Saturday evening.

ASSOCIATIONS: Arthur Falchon (vocalist, comedian); Sydney Catch Club (association)

[Advertisement], The Sydney Morning Herald (20 September 1844), 3 

ADMISSION FREE. FOR TWO NIGHTS ONLY. THIS present FRIDAY EVENING, to commence at seven o'clock,
The two NEW ZEALAND CHIEFS TAIEPA AND PANTUTU, Of the NYAMATU TRIBE, having obtained the permission of their father,
CHIEF WAREYIOURU, To visit Sydney, under the care of Captain Thompson, of the ship Urgent,
have honoured Mr. Coppin's house with their presence, and kindly consented to appear in public upon the above occasions, and introduce their WAR DANCE AND SONG.
Parties desirous of witnessing this peculiar novelty during the day, can do so by making application to Mr. Coppin.

[Advertisement], The Sydney Morning Herald (25 September 1844), 1 

MR. COPPIN having made arrangements to embrace the theatrical profession and visit the sister colonies, has determined to sell his interest, fixtures, furniture, billiard table, and lease of the premises, by private contract, to the highest bidder . . . and if possession is taken immediately the whole will be disposed of at less than one-half its original cost twelve months ago.

ASSOCIATIONS: George Skinner (eventual purchaser)

[Advertisement], The Sydney Morning Herald (7 October 1844), 1 

LAST NIGHT ONLY, previous to Mr. Coppin's departure to Hobart Town.
The MERRIE PEAL OF BELLS will chime forth their melodies.
A QUADRILLE BAND will attend.
NEW COMIC SONG (introducing a variety of local subjects), entitled, We're all puffing and scheming in this town.
WARNING VOICE, from the oldest hand upon the Hunter River.
Mr. O'BRAIDY, the Irish vocalist, Mr. CALDWELL, the Scotch vocalist,
JIM BROWN, ROMBOSOMBO, Mr. FILLMORE, and FOUR GENTLEMEN AMATEURS of celebrity, will introduce the following selection of
ENGLISH. Brave old oak - The Pilot - My old house at home - The Fairy Boy -
Little pigs - Song of Songs, introducing the titles of 100 songs - Calais Packet -
The Country Fair - Scene from a Private Madhouse - Richard and Betty at Hickleton Fair.
GLEES: Aldiberontiphoscophornio - Dame Durden - Bold Robin Hood.
IRISH. The Angel's whisper - Norah the pride of Kildare - The Ladies' Darling -
Paddy O'Raffity - The Stage struck Hero - Irish Schoolmaster - and Paddy's Wedding.
SCOTCH. Bonnie Prince Charlie - Laird o' Cockpen - Lass o' Gowrie -
Bonnie Breast-knots - Auld Robin Gray -
THERE IS AN ISLE, accompanied by the Bells - John Anderson my Jo - Bonnie Elleslie.
AMERICAN. Tarnation strange, or more Jonathans - Jim Crow - Jim Brown -
Miss Lucy Long - [REDACTED] Statues, from the antique - Clar de Kitchen - Lubly Rosa.
[manicule] The Saloon will open upon this occasion at seven o'clock.
The Phantasmagoria will be exhibited precisely at half-past seven, and the remainder of the entertainments will follow in rapid succession.

ASSOCIATIONS: George King alias Jim Brown (vocalist, comedian)

[Advertisement], The Sydney Morning Herald (19 October 1844), 3 

Overture - "Fra Diavolo," the Band.
Shakspeare's Seven Ages, illustrating - the Infant, the Schoolboy, the Lover, the Soldier, the Justice, the Slippered Pantaloon, and Second Childhood.
Song - "Maid of Judah," Sloman.
Duett - Violin and Violoncello, by two professional gentlemen.
American Song - "Lucy Long.
Glee - "Dame Durden."
Song - "Country Fair."
Ballad - "Alice Gray."
Waltzes - Strauss' - the Band.
Overture - "Fidelio," Beethoven.
Scotch Ballad - "Bonny Breast-Knot."
Recitation - "Richard and Betty at Hickleton Fair."
Additional weight to the Heavy Toe and Heel Grape-Vine-Twist.
Solo - Violoncello, Rhodes.
Imitations of the following celebrated London Actors:- Edmund Keane, Keely, O. Smith, Buckstone, Mathews, Yates, and J. Reeve.
Song - "The Bloom is on the Rye."
American Budget, with a variety of songs, duetts, glees, and recitations;
to conclude with the Royal Irish Quadrille, by the Band.
To commence at half-past seven.
NOTICE. Tradesmen are requested to send in their accounts for immediate payment;
and GENTLEMEN will greatly oblige George Coppin by calling to have their names erased from the slate,
as this will be the last day they will have an opportunity of doing so.

"THEATRICALS", The Australian (21 November 1844), 3 

Since our last notice of the performances at the Victoria, Mr. and Mrs. Coppin have been engaged. On their reappearance on Monday evening, the Theatre was graced with a very full and fashionable audience, who received them in the most flattering manner . . . Mr. Coppin's Billy Barlow, met as usual a double encore. The evening's entertainments concluded with the musical Farce of the Turnpike Gate, which went off with eclat . . .

MUSIC: The turnpike gate (music by Mazzinghi and Reeve; Coppin as Crack the Cobbler, as originally sung by Joseph Shepherd Munden)

"THEATRICALS", The Australian (28 November 1844), 3 

. . . on Monday we had Shiel's exquisitely written tragedy of Evadne . . . Of course, Mrs. Coppin was the heroine, and, some little drawbacks, beyond her control, excepted, the part was efficiently sustained . . . Then followed the nightly infliction of Billy Barlow! against which, on the part of the respectable portion of the audience, we earnestly protest. It is an intolerable nuisance, suited only to please a few, among whom it is an established form to call for this abomination in triplicate! It damages the interests of the Theatre, and is allowable only at intervals, few and far between . . . We also had, on Tuesday, the pretty little Ballet Opera of the "Waterman," in which Mrs. Bushelle with her songs, and Mr. Coppin with his drollery, dismissed the audience in good spirits, and well satisfied with the entertainments of the evening . . .

ASSOCIATIONS: Eliza Wallace Bushelle (vocalist)

MUSIC: The waterman (Dibdin)

[Advertisement], The Australian (21 December 1844), 2 

MR. COPPIN'S BENEFIT, And positively the Last Night of his Engagement . . .
First time in this Colony of the popular Play, entitled SWEETHEARTS AND WIVES . . .
ON MONDAY EVENING, December 23 . . .
SWEETHEARTS AND WIVES . . . Billy Lackaday with the original song. - Mr. Coppin . . .
Billy Barlow's Farewell for ever and a day, introducing some new local verses by Mr. Coppin . . .

MUSIC: Billy Lack-a-day's lament (music by Isaac Nathan, in Sweethearts and wives)

Hobart and Launceston, VDL (TAS) (13 January to 5 June 1845):

"LOCAL . . . THE JAMES WATT", The Courier [Hobart, VDL (TAS)] (14 January 1845), 3 

This fine steamer, now a regular and punctual trader between Hobart Town and Sydney, arrived in our harbour about four o'clock yesterday afternoon. She left Sydney on Wednesday the 8th, at seven in the evening, and on her passage down touched at Wollongong, Kiama, and Boyd's Town. Among the passengers by the James Watt are Mr. Stephen, a son of Judge Stephen; Mr. Reeves, and Mr. Coppin; the latter gentleman a comedian of some note from the boards of the Victoria Theatre.

"NEW ACTOR - MR. COPPIN", Colonial Times (18 January 1845), 3 

The lessee of our Theatre, with her accustomed desire to furnish novelty and amusement for the public, has engaged Mr. Coppin, of the Victoria Theatre, Sydney, for a few nights, to perform some of his favourite characters. From the Sydney papers and from other sources, we learn that Mr. Coppin is a very excellent comedian, and that his song of "Billy Barlow" made as great a hit in the metropolis of the great colony as did Mr. Rice's "Jim Crow" in London some time since. As these are times when a laugh is desirable at almost any rate, we anticipate much merriment from Mr. Coppin's performances, especially as we hear his low comedy is first rate. We shall therefore do ourselves the pleasure of seeing Mr. Coppin, when if what we hear is true, which we do not in the least doubt, he shall be welcome to our humble but sincere modicum of praise.

ASSOCIATIONS: Anne Remens Clarke (actor, vocalist, manager); Thomas D. Rice (American comedian); Royal Victoria Theatre (Hobart venue)

"VICTORIA THEATRE. - MR. COPPIN'S APPEARANCE", Colonial Times (21 January 1845), 3 

The Victoria, last night, was animated, bustling, and gay: the audience was numerous, genteel, and pleased: - need we say, after this, that Mr. Coppin made a "hit?" Unquestionably, Mr. Coppin is the best low comedian that we have seen on the boards of the Victoria, and we are puzzled to find a comparison for him with our old London favourites, although, we think, he mostly resembles Oxberry. But this is speaking of times long since gone by, and we must come to the existing present. In the first piece, "The Spitalfields' Weaver," Mr. Coppin was somewhat nervous - a feeling much to be commended; but in the second, "State Secrets," encouraged, probably, by his enthusiastic reception, he poured out his talent in unrestrained profusion, and excited the continual applause of the pleased audience: but the grand hit of the evening was "Billy Barlow," which created, literally, roar of laughter; it was encored three times, and Mr. Coppin, very judiciously, varied the words in each repetition, promising, in his last verse, some local allusions to-morrow evening. And we would much advise some pleasant satire in this wa; and no doubt, Mr. Coppin's observation has furnished him with a few hints for this purpose. His Jem Baggs, in the "Wandering Minstrel's Visit to Hobart Town," was a rich piece of farcical acting, - his grotesque fiddling capital. Mr. Coppin's engagement is for two nights more, and if those who love a laugh do not embrace the opportunity of enjoying one, while they may so easily do so, why let the fault be their own. We hear that Mr. Coppin's Sir Peter Teazle is an excellent performance: may we hope to see it? . . .

ASSOCIATIONS: William Henry Oxberry (English comedian)

"Shipping Intelligence", The Tasmanian and Austral-Asiatic Review [Hobart Town, VDL (TAS)] (30 January 1845), 3 

January 24. - Arrived the brig Louisa, Tucker, master, from Sydney 16th inst., with a general cargo. Passengers . . . Mrs. Coppin . . .

[Advertisement], Colonial Times (11 February 1845), 1 

Will positively make their Last Appearance, in consequence of their departure to Launceston the following morning,
to make arrangements for the ensuing Season, Mr. Coppin having become Lessee of that Theatre . . . On THURSDAY EVENING, February 13th . . .

ASSOCIATIONS: Olympic Theatre (Launceston venue)

"PROFESSIONAL THEATRICALS", Launceston Advertiser (14 February 1845), 3 

We understand that Mr. and Mrs. Copping from the Sydney theatre will open the Olympic for a season on the first night of the races, with a well-selected company. Mrs. Thomson, from the Sydney theatre, and her two daughters, Mr. and Mrs. Coppin, and the principal members of Mrs. Clark's company, who have been engaged by Mr. Copping, will make their appearance. The Hobart Town people appear, according to the Colonial Times, to be not well pleased at the idea of losing their best theatrical talent. Mrs. Clark, of the Victoria, we perceive is advertising for another company.

ASSOCIATIONS: Martha Thomson and daughters Jane and Eliza (actors, dancers)

"THE OLYMPIC THEATRE", Launceston Advertiser [VDL (TAS)] (14 March 1845), 3 

This place of amusement continues to be well attended, and to be most respectably managed by Mr. Coppin. Almost unknown as this gentleman is in Launceston, the respectability of the attendance, and the applause with which the performances have been nightly received, must be highly flattering to him and the company generally, and may be received as the best proof of the public appreciation of their exertions. The scenery with but few exceptions is new painted, by Mr. Opie, (really a creditable artist); and the excepted portions have been re-touched by the same pencil. Mr. Coppin has spared no expense in catering for the public; and there appears a probability of the public, in this instance, rendering justice to the exertions of the manager. - Communicated.

ASSOCIATIONS: Edward Andrew Opie (artist, scene painter)

[Advertisement], The Cornwall Chronicle [Launceston, TAS] (5 April 1845), 3 

The whole to conclude with the laughable Farce of ILLUSTRIOUS STRANGER . . .
Benjamin Bowbell - Mr. COPPIN . . . Song, "I veeps for the Hour," Mr. Coppin . . .
Leader of the Orchestra - Mr. Megson . . .

ASSOCIATIONS: Joseph Megson (violin, leader)

MUSIC: Oh! I weep for the hour (music by Isaac Nathan, in The illustrious stranger)

"THEATRE", The Cornwall Chronicle (31 May 1845), 2 

The Launceston Theatre closes on Monday evening next, after a short, but we believe, a successful season. The manager, Mr. Coppin, by his exertions and talent, has raised the theatre very considerably in the estimation of the public. Mr. Coppin, together with the present company, proceed to Melbourne on Tuesday by the Swan . . .

"COLONIAL ART", The Cornwall Chronicle (14 June 1845), 2 

There is a very beautiful full length picture or Mr. Coppin, in the character of Billy Barlow, executed by Mr. Opie for Mr. Cain to be seen at the stationary whare-house of Mr. Tegg, in Brisbane-street. The likeness is excellent and the whole is finished in first rate style. We have seen several of Mr. Opie's works, but we augur that this last, as it becomes known to the public, will go far not only to stamp as an artist, but to afford him, on his return from Port Phillip, substantial proof that the public appreciate and will reward his ability.

ASSOCIATIONS: Samuel Augustus Tegg (bookseller)

"SHIP NEWS", The Cornwall Chronicle [Launceston, VDL (TAS)] (7 June 1845), 2 

Passengers per Swan for Melbourne . . . Mr. and Mrs. Coppin, and the following members of the Launceston corps dramatique - Mr. and Mrs. Rogers, Mrs. Thomson, Misses J. and E. Thomson, Mr. Young. Mr. and Mrs. Opie, Mr. Megson, Mr. and Mrs. Watson, Mr. and Mrs. Hambleton, Mr. Howson, Mr. Henry Howson, Mr. Wilks, Mr. and Mrs. Douglas, Mr. Ray . . .

ASSOCIATIONS: George and Emma Rogers (actors); Martha Thomson and daughters (actors); Charles Young (actor); Joseph Megson (musician); John Hambleton and wife (actors); Henry Howson and brothers William and Alfred (musicians); John Wilks (actor); James and Ellen Douglass (actors); Benjamin Rae (actor);
see also "THE LAUNCESTON COMPANY", The Herald [Melbourne, VIC] (16 April 1883), 2 

. . . Copy of agreement.
Theatre, Launceston, V.D.L, March [sic, May] 30th, 1845.
We, the undersigned, hereby agree to proceed to Melbourne per ship 'Swan' under the management of Mr. Coppin, to perform at the theatre for a season, and to return to Launceston if required and bind ourselves under a penalty of L25 to be paid to the said George Coppin, that we will not perform at the theatre or any other place of amusement, unless it is under the management of Mr. Coppin, by his free will and consent,-
(Signed) M. H. [sic, G. H.] Rogers and wife, Charles Young and wife, Mrs. Thompson,
J. E. Megson,* E. A. Opie, J. Hambleton and wife, F. B. Watson,
William Howson,* Alfred Howson,* John Wilks, Ben Rae,
Witness: William Ball, Capt. of 'Swan' . . .

Melbourne, NSW (VIC) (14 June 1845 to 20 August 1846):

"SHIPPING INTELLIGENCE. ARRIVED", Port Phillip Gazette [Melbourne, NSW (VIC)] (18 June 1845), 2 

June 14 - Swan, brig, 149 tons, Bell, Master, from Launceston, 7th instant. Passengers . . . Mr. and Mrs. Coppin, Mr. and Mrs. Young, Mr. and Mrs. Rogers, Mr. and Mr. Hambleton, Mr. and Mrs. Douglas . . . Messrs. . . . Megson, Howson, Henry Howson, Wilks, Ray . . .

"THE STAGE", The Melbourne Courier [NSW (VIC)] (16 June 1845), 2 

The Swan has brought over the complete corps dramatique of the Olympic Theatre, Launceston, headed by Mr. and Mrs. Coppin, formerly of the Victoria Theatre, Sydney. The old theatre, it is reported, is to be furbished up for the reception of Mr. Coppin's company.

ASSOCIATIONS: Pavilion Theatre (Melbourne venue)

"THE THEATRE", Port Phillip Patriot and Melbourne Advertiser (17 June 1845), 3 

Last night the entertainments at the Theatre were under the patronage of his Worship the Mayor, and passed off successfully. The house was well attended, and the audience gave gratifying tokens of approbation . . . Mr. Lee's Billy Barlow took well, and we can assure him that Mr. Coppin does not intend to interfere with his popularity in that performance. We are rejoiced to hear that Mr. and Mrs. Coppin have made an arrangement for performing at the Melbourne Theatre for a month; and we have no doubt the enterprising proprietor will find it his interest either to re-engage performers of such acknowledged and varied talent, or perhaps lease the Theatre to them for some time at least. The Coppins are to appear on Saturday next in some of their favourite characters, when we promise the public a genuine treat.

ASSOCIATIONS: John Herman Selwyn Lee (comedian); John Thomas Smith (proprietor); Queen's Theatre (Melbourne venue)

"THEATRE", Port Phillip Gazette (19 July 1845), 2 

The benefit season has commenced at the Queen's Theatre . . . after which the Theatre will close for the season - and that the Theatre will re-open under the management of Mr. Coppin, who has selected the best actors from the old Company.

"QUEEN'S THEATRE", Port Phillip Patriot and Melbourne Advertiser (22 September 1845), 2 

On Thursday evening through the generous liberality of Mr. Coppin, the performances at the Queen's Theatre were in aid of the shipwrecked sufferers of the Cataraqui . . . and with such a noble end in view, the inhabitants of Melbourne stretched forth a willing and ready hand in aid of the sacred cause of charity. Long before the rising of the curtain, the house was filled in every part . . . Coppin, as young Billy Barlow, made some happy hits upon the cause of the performance that evening - gave Johnny Heki a poke in the ribs - and glanced obliquely at the Insolvent Court. Hambleton was melancholy amusing as The Unfortunate Man . . .

"THINGS THEATRICAL", The Melbourne Courier (4 February 1846), 2 

Arrangements we believe have been entered into for the Melbourne corps dramatique transferring their services to Geelong during the forthcoming Races; Mr. and Mrs. Coppin it is said purpose trying their, fortune at Hong Kong after the close of the present season.

"DOMESTIC INTELLIGENCE", Port Phillip Gazette and Settler's Journal (14 February 1846), 3 

It was reported, yesterday, that Mr. Coppin had purchased the schooner "Apollo," and that he will shortly start on a theatrical trip with his company for Adelaide, Hong Kong, and elsewhere.

"THE THEATRE", Port Phillip Gazette and Settler's Journal (1 April 1846), 2 

To-morrow evening closes the season at the Queen's Theatre, and also Mr. Coppin's career, for the present in Melbourne. In taking leave of Mr. Coppin, which we do with regret, we cannot help observing that the public have not appreciated his merits as they deserved to be; and we wish him success in his next undertaking . . . When the new season commences we cannot say, but as Mr. and Mrs. Coppin, Mr. and Mrs. Rogers, Mr. Megson and others, leave this province in a few days, we suspect there will be some difficulty in obtaining an efficient company out of those who remain . . .

"NEVER AT A LOSS", Port Phillip Gazette and Settler's Journal (8 April 1846), 2 

On the last night but one of the theatrical season, at the Queen's Theatre, it was announced in the usually attractive style of stage manager's announcements, that Mr. Lee would sing a new version of "Billy Barlow," the mere mention of which was sufficient for a "draw," and hundreds flocked to the theatre at half-price, to listen to the "dulcet notes" from Billy's throat. But alas! like true love, the course of theatrical management never did run smooth, and on this occasion it might be truly said Mr. Coppin was the "Manager in distress," for not a musician was in attendance, and the redoubtable Billy was about to give his "version" sans accompaniment, when the manager, after cudgeling his brains for several moments what he should do in this emergency, remembered that he could play on the violin, and with the quickness of thought jumped into the orchestra and struck up "The lilt so gaily oh!" assisting Mr. Lee with might and main, and being the original "Billy," he occasionally gave the mysterious oh! oh! oh! to remind his rival he was there, to the great delight of the audience who applauded in a whirlwind of ecstacy.

[Melbourne news], South Australian Register [Adelaide, SA] (9 May 1846), 3 

Mr. Coppin will close the present theatrical season immediately after the races, intending to proceed to South Australia, and thence to Calcutta, with such portion of his present limited company as choose to accompany him. With this object in view, he has purchased a very fine little schooner, named the Apollo, in which they will visit these places, thus considerably decreasing the expenses attending the removal of his company. It is to be regretted that Mr. Coppin has not been better supported by the Melbourne public; but it's just the way of the world - his real talent as an actor will only be fully appreciated after he shall have left our shores. There is no man at present in the Australian colonies who will be able to supply his place. - P. P. Herald.
(The Apollo sailed from Portland for Melbourne on the 14th April, so that the theatrical corps may soon be expected. - Eds. S.A.R.

"THE ROYAL EXCHANGE", The Port Phillip Patriot and Morning Advertiser (20 May 1846), 2 

Mr. Coppin has made an offer to the present tenant of the "Royal Exchange," for the purchase of his business, &c. It is not to be called (should Mr. C. become its future incumbent) the "Billy Barlow."

"THINGS THEATRICAL", Port Phillip Gazette and Settler's Journal (13 June 1846), 2 

We understand that Mr. Smith will proceed in the Thistle to Sydney, for the purpose of engaging a good company, and that during his absence Mr. Coppin will act as manager, without performing . . . We would advise parties wishing to see the Coppins, to do so immediately, as they are only to appear two nights more, when they positively retire from public life.

"NEW THEATRE", The Melbourne Argus (7 July 1846), 2 

It is the intention of Mr. Coppin to erect a Theatre upon that piece of ground in the rear of Elizabeth street, which is now occupied by Mr. Armistead, the builder. Mr. Coppin's vow not to appear on any stage in the world after the night on which he delivered his farewell address, in the character of "Billy Barlow," will not be broken by his treading the boards of the new house, as those stages only that were in existence at the time it was made were meant by Mr. Coppin, who has now discovered that the trade of a brewer would not be so profitable in Melbourne as the profession of an actor. - Communicated.

"COPPIN'S LAST", Port Phillip Gazette and Settler's Journal (12 August 1846), 3 

Mr. Coppin has at last, after circulating various rumours of his intention to become a Brewer, a Publican, and the Proprietor of a New Theatre, made up his mind to proceed either by the Teezer or Raven to Adelaide. Bets to a large amount have been offered that he wont go. There is, however, no takers.

Adelaide, SA (from 10 September 1846 to mid 1852):

"Shipping Intelligence. ARRIVED", South Australian [Adelaide, SA] (11 September 1846), 2 

Sept. 10 - The schooner Teazer, 58 tons, Ball, from Melbourne 20th August, and Portland 4th September. Passengers - Mr. and Mrs. Coppin . . . and seven in the steerage.

"LOCAL INTELLIGENCE", South Australian Register (16 September 1846), 4 

Want of space in our last publication prevented us from notifying further than in the list of passengers per Teazer, the arrival of Mr. and Mrs. Coppin from Melbourne. Mr. Coppin, although a stranger to Adelaide, is by [no] means a stranger to the bulk of our community, having for a period of some years during a theatrical career in Melbourne, Sydney, and the other colonies, established for himself the esteem of a very large and respectable acquaintance. We are happy to add that Mr. Coppin has entered into arrangements with Mr. Solomon to convert the large billiard room of the "Temple Inn," Gilles Arcade, and to which he purposes making very considerable additions, into a theatre, being confident that every means will be adopted to render the same select in drama and audience.

ASSOCIATIONS: Emanuel Solomon (proprietor); New Queen's Theatre (Adelaide venue)

"BENCH OF MAGISTRATES. Monday, 12th June, 1847 . . . TRANFER OF LICENSES", South Australian Register (16 June 1847), 1 

George Coppin applied for the transfer of the licence held by Samuel Payne for the "Auction Mart Tavern," Hindley-street. Granted . . .

"SOUTH AUSTRALIA", Port Phillip Gazette and Settler's Journal [Melbourne, NSW (VIC)] (2 October 1847), 2 

. . . The summer season at the New Queen's Theatre (Coppin's) was about to commence vigorously. During the vacation Mr. Opie has decorated it in the Parisian style, with great taste. Coppin says he is determined to have all the available talent in the colonics at any price; and first among his recruits is Mr. Nesbitt, who will shortly visit Melbourne. Coppin is 'coming out,' in his drink as well as drama, and is enlarging his already extensive hotel.

ASSOCIATIONS: Francis Nesbitt (actor)

"DIED", South Australian Gazette and Mining Journal (19 August 1848), 3 

On the 10th instant, Marie Augusta, wife of Mr. George Coppin, in the 38th year of her age.

"ASSEMBLY BALL", Adelaide Times (31 August 1850), 5 

The third of Mr. Coppin's Assembly Balls took place Tuesday evening in the Exchange. The room was crowded, and the principal attraction consisted in several pieces of music being produced under the direction of Mr. Moore. The first piece was the South Australian Polka, dedicated to O. Gilles, Esq. We cannot say more in its praise than it is worthy of that gentleman's musical taste. The [REDACTED] Quadrilles, introducing Mr. Squash, elicited an encore (rather unusual at a ball). The Bushman's Scotish [schottische] and the Auction Mart Tavern Quadrilles were loudly applauded. We must congratulate Mr. Coppin for securing the services of Mr. Moore, whose musical talent established the evening's amusement, not only to those devoted to Terpsichore, but to those who have Julian [Jullien] fresh in their memory. The next Ball will be under the patronage of the Masons.

ASSOCIATIONS: Andrew Moore (musician)

"DECLARATIONS OF INSOLVENCY", Adelaide Observer (28 February 1852), 2 

George Coppin, of Port Adelaide, in the Province of South Australia, comedian.

[Advertisement], South Australian Register (8 May 1852), 2 

who have signified their intention of visiting the Theatre upon this particular occasion, being the
I cannot allow this, which will be my last opportunity to pass without acknowledging the many favours received at the hands of the South Australian Public. A residence of six years has not only attached me to the Colony, but to many true and sincere friends, whose assistance in the hour of need, and gratuitous offers for the future, have materially increased the reluctance and pain I feel in saying Farewell.
Trusting Dame Fortune may place it in my power to make my absence of temporary duration, and that I shall continue to deserve and enjoy the good opinion of my friends and the public generally, with sincere wishes for the prosperity of the Colony and its Inhabitants,
I am, Liberal Public, your obliged and grateful Servant,
THE ORCHESTRAL ARRANGEMENTS Will be considerably augmented by the assistance of Mr. LEE, and others, who have kindly offered their gratuitous services for this occasion.
ON THURSDAY NEXT, MAY 13th, the Entertainments will commence with the Burletta of a
LESSON FOR LADIES; Or, a Wife's first Lecture.
MRS. BARLOW'S LAMENT, (Accompanied by her family of Little Barlow's), on account of herself and Three Hundred other GRASS WIDOWS!! whose Lords and Masters have left them for the Diggings.
After which - BILLY BARLOW'S FAREWELL To South Australia; a New Version of the Gold Fields, the Diggers, Diggins, Priggins, and the Escort! . . .

Geelong and Melbourne, VIC (mid 1852 to 23 January 1854):

"GLORIOUS NEWS", Geelong Advertiser and Intelligencer [VIC] (11 June 1852), 2 

Mr. Coppin, the future lessee of our elegant little theatre (which he opens on Monday evening next), has been performing in Melbourne, two evening during the present week, on which occasion the house was crowded to suffocation. On Wednesday, he appeared as Billy Barlow; and as in that character he is famed for the "earliest intelligence," it is with unfeigned pleasure that we quote, for the information of our readers, the following stanzas, selected from a copy with which we have been favored:

"When the Governor found me in Melbourne, 'tis clear
He expected a rap on the knuckles through fear;
So determined a sop of 'Ten Thousand" to throw
To the Council, to sweeten Young Billy Barlow.
Oh ! Ohl! &c.,
'Twas a nice little nugget, says Billy Barlow.

"To give this to Melbourne, I told him warn't wrong,
But as I was a-going to reside at Geelong,
Why, what's sauce for the goose suits the gander, you know,
''You are right, they shall have it for your sake, Barlow.'
Oh! Oh! &c.,
I'll take it down with me, says Billy Barlow" . . .

. . . The fact of Mr. Coppin's being the first to announce so important an event to this community is a most auspicious omen for the opening of his management, and will tend to identify him still more with our local interests.

ASSOCIATIONS: Charles La Trobe (governor); Theatre Royal (Geelong venue)

[Advertisement], The Argus [Melbourne, VIC] (20 January 1854), 8 

QUEEN'S THEATRE. Farewell Benefit of Mr. Coppin, and most positively his Last Night in the Colonies.
Taking leave's an old game I must freely admit,
But in this present circumstance the cap it don't fit,
For to-morrow I off in the Statesman shall go
'Tis the last night on shore for poor Billy Barlow.
This Evening, Friday, January 20th . . .
Mr. Coppin as Mrs. Barlow with family,
Mr. Coppin as Billy Barlow.
Farewell Version, with local hits . . .

"QUEENS THEATRE", The Argus (23 January 1854), 5 

Mr. Coppin took his farewell benefit on Friday evening. It was a bumper, the house being densely crowded in every part . . . Mr. Coppin's farewell version of Billy Barlow was received with deafening applause; the Governor's Ball was not forgotten, or the snobbish swells as "Billy" described them, who had forgotten to pay for the same, and he characterised the whole proceedings as a very "Black" affair. The diggers' interest was also made the subject of Billy's song, who lamented they were unrepresented in Council, although the lordly squatters would find that gold was a cut above mutton. Hercules, King of Clubs, finished the evening's entertainments, Mr. Coppin representing the Grecian statues.

ASSOCIATIONS: John Melton Black (one of the organisers of the ball)

"SHIPPING INTELLIGENCE . . . CLEARED OUT", The Argus (25 January 1854), 4 

23. - Statesman, ship, 875 tons, J. B. Godfrey, for London. Passengers - cabin: Messrs. Coppin . . .

England and Ireland (June to 5 October 1854):

"THE HAYMARKET", Sun [London, England] (28 June 1854), 5 (PAYWALL)

A performance was given here on Monday night, under the patronage of Australian colonists, the proceeds to be applied towards the support of the wives and families of soldiers and sailors engaged in the war. The entertainments commenced with Mr. Planche's drama, The Knights of the Round Table, which was played for the 32d time. The chief feature of the evening, however, was the debut of Mr. Coppin, "the Australasian comedian," who gave his gratuitous services on this occasion. This gentleman, who enjoys considerable reputation in the Australian colonies, appeared in the two-act drama (from the French), The Young King, in which he played the part of M. Patzi, the Maire - also as Crack in the farce of The Turnpike Gate. In both these impersonations Mr. Coppin proved himself an accomplished actor. His performance of the silly, pompous Maire, with his eternal platitudes and empty, fussy self-importance, had all the refinement and polish of genteel comedy; while in the farce his style possessed a breadth of genial, unctuous humour that reminded one strongly of the late John Reeve. Mr. Coppin is evidently an experienced artiste, and his performance fully deserved the warm applause with which it was received.

"DIED", Geelong Advertiser and Intelligencer [VIC] (17 July 1854), 5 

On the 3rd May, at his residence, Heigham, County of Norfolk, England, George Selth Coppin, Esq., father of Mr. George Coppin, late manager of the Theatres Royal Adelaide and Geelong.

Melbourne, VIC (from 7 December 1854):

"MR. COPPIN", Geelong Advertiser and Intelligencer (7 December 1854), 5 

This gentleman has returned in the Argo, and we can answer that Geelong, if such be his destination, will give him a hearty welcome. The following is from the Era, London Journal, of Sept. 20: -
Mr. Coppin, the Australasian Manager and Comedian. - This gentleman takes his departure in the Argo, from Southampton, on the 4th October. Since his very successful debut at the Haymarket Theatre, on the 27th of June, he has been performing at the Theatres Royal, Manchester, Birmingham, and in Dublin, to delighted audiences, and, we regret to learn, that the immediate cause of his leaving England is, the closed doors of the London theatres against him as an actor, having offered his gratuitous services to two or three of his brother managers without an opportunity being offered him of appearing in a round of characters. If we may judge from the universal opinion of the press, a want of talent cannot be the cause, and we should imagine that the support of his Australasian admirers will be no inconsiderable item in the receipts of the treasury. Mr. Coppin has engaged Mr. G. V. Brooke for 200 nights, for which he is to pay £10,000, in addition to his travelling expenses. Miss Cathcart and Mr. Hein [Heir] for juveniles, and a gentleman to play heavy business, will accompany them. To back up this engagement, he is taking out an iron theatre. contracted by Messrs. E. and T. Bellhouse, of Manchester, the builders, of an iron custom house, for Payta, Peru (the model of which has been exhibiting for some time), and Prince Albert's theatre and ball-room at Balmoral Castle. It will hold £300, is 88 feet long, 40 feet wide, and 30 feet high. The walls will be of cast-iron uprights (Bellhouse's patent) and galvanised corrugated iron sheets, No. 18 gauge. The roof will consist of strong iron principals with the same description of sheets. An ornamental front will be attached for box office, lobbies, &c. The cut-glass chandeliers are being manufactured at Birmingham, by the Messrs. Oslers, manufacturers of the monster glass fountain, the centre attraction of the Crystal Palace, and a pair of splendid candelebras for Ibrahim Pasha. The scenery is by Mr. O'Connor, of the Theatre Royal, Haymarket. The decorations and properties for the productions of the Shakesperian pieces is by Mr. Harvey, of Sadler's Wells, and the extensive and magnificent wardrobe been furnished by Messrs. Nathan, masquerade warehouse, Tichbourne-street. The cost of the complete affair will be between £4,000 and £5,000, and we sincerely wish the bold and enterprising speculation all the success it deserves.

ASSOCIATIONS: Gustavus Vaughan Brooke (Irish actor); Coppin's Olympic (when erected, prefabricated iron theatre, Melbourne venue)

[Advertisement], The Argus (18 December 1854), 8

GO to the Queen's Theatre this Evening, and give our old colonist, Mr. Coppin, a hearty welcome back to the Colony.
FIRST NIGHT in these Colonies of Mr. Coppin as Paul Pry. First night in these Colonies of Villikins and his Dinah, by Mr. Coppin . . .
The Band will play the Argo Medley Polka, descriptive of the Argo leaving England and arriving in Victoria, announcing the fall of Sebastopol.
After which, THE WANDERING MINSTREL. Jim Bags - Mr. Coppin.
With the Tragedie of VILLIKINS AND HIS DINAH, As sung by Mr. Coppin with great success in England; with other Entertainments.

"BOXING DAY. PUBLIC AMUSEMENTS . . . THE QUEENS THEATRE", The Argus (27 December 1854), 4

The house was crammed to the ceiling, money being refused at the doors half an hour after they had been opened. On no previous occasion had we seen the theatre so full in every part. Even the orchestra and the corners of the stage under the proscenium had their occupants. Notwithstanding the proverbial noisiness of a theatrical audience on Boxing night, the first piece, "Box and Cox," was listened to with much attention, that amusing farce being well sustained by Messrs. Young and Hydes, both of whom played with their usual vivacity and humor. The "Argo Polka," which is a collection of familiar melodies arranged in polka time by Mr. G. Coppin, was spiritedly performed by the excellent band under the directorship of Mr. Thom. The airs have been arranged for full orchestra in a musician-like manner, and the polka is an extremely effective one. It was vociferously applauded by the audience in spite of the general anxiety to come to the grand feature of the evening. "Riddle-Me-Riddle-Me-Ree, or Harlequin and Conundrum Castle," is the name of the pantomime . . .

ASSOCIATIONS: Charles Young (actor); John Proctor Hydes (actor); Bream Thom (leader, violin)

"VICTORIA", Empire [Sydney, NSW] (10 January 1855), 5 

The Argus of the 6th says - "Mr. Coppin's Polka, the Argo,' has acquired that kind of popularity which many a musician of far greater pretensions would give his ears to obtain for his compositions. It is now played in the streets of Melbourne by the itinerant bands, who, judging by the crowds which assemble upon hearing the favorite airs which Mr. Coppin has introduced into his polka, will be able to back up our evidence in favour of its great popularity."

[Advertisement], The Sydney Morning Herald [NSW] (15 January 1855), 4

The entertainments will commence with a new drama, entitled BEN BOLT . . .
Mr. Coppin will then appear in his original character of BILLY BARLOW.
During the evening the Band will perform Overture, "Guy Mannering," Bishop; Quadrille, "The Lago Maggiore," D'Albert;
Valse, "The Thistle," Lamont; Our Polka, cornet-a-piston obligato, Mr. Wheeler; Galop, "Spirit of the Ball;"
and the "Argo Medley Polka," arranged by Mr. Coppin on board on her passage out to the colonies . . .
To be followed with MRS. WHITE. Peter White, Mr. Coppin.
To conclude with the ARTFUL DODGE. Demosthenes Dodge, Esq., Mr. Coppin.
A. TORNING, Sole Lessee and Manager.

ASSOCIATIONS: Stephen Thomas Wheeler (cornet)

"DEATHS", The Argus (3 September 1859), 4 

On the 2nd inst., at Richmond, aged 38, Harriet Hillsden, wife of the Hon. George Coppin, M.L.C.

"Mr. George Coppin", The Lorgnette (24 November 1881), 4 

This able comedian and veteran manager was born on the 8th of April, 1819, at Steyning, near Norwich, in Sussex [sic], and is consequently now in his sixty-second year. His father was educated as a surgeon, but entertaining a dislike to the medical profession he took to the stage as a means of livelihood, and became manager of a company travelling through his native county and occasionally some of those adjoining. Our Mr. George Coppin became a violinist when very young, and from time to time he appeared on the stage with his father's troupe. With his fiddle under his arm he left home to seek his fortune at the age of seventeen . . . In 1852, having been unsuccessful as a gold digger, he became the manager of the Geelong Theatre (now a brewery), and was eminently successful. Having made a good competency, he paid all his South Australian creditors in full, and in the early part of 1854 he sailed for England . . . In December, 1854, Mr. Coppin returned to Melbourne, and on the 18th of the same month commenced a star engagement at the Queen's Theatre, when he was most warmly welcomed back to the scene of his earlier triumphs. (To be continued.)

"Mr. George Coppin (Continued)", The Lorgnette (1 December 1881), 4 

In December, 1853, the well-known comedian, Mr. George Coppin, while playing a most successful season at the Theatre Royal, Geelong, conceived the idea of taking a trip to England . . .

"Mr. George Coppin (Concluded)", The Lorgnette (8 December 1881), 4 

The first venture of any magnitude in which the subject of our sketch was interested was the engagement of the late G. Y. Brooke . . .

"PROJECTING HEADS. No. XI (BY PHAR-ISSEE)", Melbourne Punch (16 May 1889), 4 

ON the 8th April, 1819, while Mr. and Mrs. Coppin were on a visit to Steyning, in Sussex, there was born unto them a fine baby boy, whom they forthwith registered and named George, in an off-hand promiscuous sort of way, without any regard to nomenclature or cause and effect or the eternal fitness of things. Could they have peered into the future they might have given him a less common name, and one more in keeping with his future greatness and his manly beauty. Most infants on their advent into this world have a look of immovable solemnity, or else sublime vacancy in their eyes, but it was not so with George. He commenced the business of life right away, and displayed a comical twist about his mouth, and a merry twinkle in his eye, which seemed to say as plainly as words, "I hope I don't intrude." He didn't know, however, how much money it was going to put into his pocket to keep on saying that through a long and bumpy career. Although "wayward and techy was his infancy" in a general way, at a very early age he learned to play the violin. There was no malice aforethought in this, as might be imagined at first sight, but it was just one of those foibles of youth to which all boys are prone; which seemed perhaps a little stranger in his case, because the next door neighbours had done him no harm, nor had he been crossed in love, neither had he any particular religious tendencies to speak of, nor poetic temperament; to any or all of which things a passion for the violin may usually be ascribed. It seems to have been simply an incident or an accident of his early surroundings. It was certainly a tribute to that abundant generosity for which in after life he became noted, that, on being shown the error of his ways, and the suffering he was likely to inflict on humanity, he immediately hung up the fiddle and the bow, and resolved to take his chances on low comedy for weal or woe. He narrowly escaped becoming a musician, and for that he ought to be thankful. Moreover, he was not built for a violinist. Violinists never smile, rarely drink and are often a little mad, whilst George was sane to a fault, and had a grin of vast dimensions always on his open countenance, which would have ill assorted with the long, lank hair, lanthorn jaws and dreary eyes of the conventional cat-gut scraper; and had he, with such a make-up, ever attempted to unravel a Wagnerian overture, or hammer out a Beethoven sonata, the gallery-boy would have guyed him to death, and thrown lemonade bottles on the stage as a token of his disapproval. George, therefore, just kept a sufficient grip on the fiddle to interpret the music incidental to the "Wandering Minstrel," and then handed over the king of instruments to his brother, the late Fred Coppin, who at his death was leader of the Royal orchestra. It was not a kind fraternal act perhaps, but let that pass. George was a precocious lad, and that was lucky, for at 18 years of age he had to scoop up the portion of goods that fell to him, and face the music at a London theatre, in the triple capacity of stage manager, actor and violinist, for the lordly sum of one pound per week. It was here, at the outset of his career, that they obtained his written consent, signed, sealed and delivered in the presence of witnesses, that he would foreswear the old barbiton, and lead a good moral straight-going theatrical life, as a reward for which he was appointed first low comedian, with a rise of five shillings per week in his salary . . .

"THE MELBOURNE STAGE IN THE FORTIES. BY J. S. No. II.", The Argus (24 May 1890), 13

. . . Master George was almost born in a theatre evinced a precocious taste for music, took to the violin when a mere child and was second fiddler in the orchestra of his father's theatre. As soon as he was old enough to make a start on his own account, he fiddled his way up to London, and was engaged as second low comedian and second violin by Saville Faucit . . .

"THE INFANT MELBOURNE . . . COPPIN'S DIARY", Hamilton Spectator [VIC] (23 September 1911), 2 

I was born in 1819, same year as Queen Victoria, and one year younger than Brooke. My grandfather was a clergyman, and my father had the Norfolk Circuit, as theatrical manager. My earliest taste was for music, and at eight years old I played the violin in my father's orchestra. However, I gave the musical line over to my brother Fred, who conducted my Melbourne orchestras. I soon became an actor in low comedy, mostly, but I acted Osric to Brooke's Hamlet. He was known as the boy tragedian, going about with his mother. Brooke is the greatest actor I ever saw. A genius. His face was not expressive, but what fire he could put into his acting. His attitudes were magnificently statuesque, and what a glorious unrivalled voice he had. I acted in the company of Manager Davenport, the original of Vincent Crummies. I knew his little daughter well. She is shamefully caricatured by Dickens as the infant phenomenon. A most interesting child. I think she became an esteemed actress in America. Oh, I suppose Dickens's Lenville and Folair were in the company. Was I Folair? Surely not. Nor do I remember any Smike.

The toss of a penny decided me in coming to Australia rather than going to America. Mrs. Coppin accompanied me. She had been Mrs. Watkins Burroughs, wife of an Irish manager. I sung Billy Barlow in Dublin. "Oh, dear, raggedy, oh." We cme to Sydney, and were engaged for £60 a week at the Old Vic. Not half bad. Lyster, afterwards the Melbourne operatic manager, was a middy. He heard me sing Billy Barlow in Dublin, and found me singing it in Sydney. Our opening play in Sydney, in 1843, was Evadne, or the Hall of Statues. I went into the hotel line, and only succeeded in losing my money, as at sundry after periods. I became a manager in Hobart and Launceston. My best actor was George Herbert Rogers, never equalled in Australia for old men. No, never. Lambert was excellent, and more unctuous, but with no versatility like Rogers. Lambert was much the best as Sir Anthony Absolute, but Rogers as Sir Peter Teazle beat him out of all cooey. Why, Sir! Rogers would make everybody cry as the Vicar of Wakefield, and then he would have them in roars of laughter as the Mock heroine Pauline, in the Lady of Lyons burlesque. He had been a soldier in Tassy, and first shone in garrison theatricals.

Charles Young, was my leading man in Tasmania. Afterwards a low comedian. In the year 1857 Mr. and Mrs. Young went to London. However, let me keep to Old Tassy, of 1845. Mrs. Coppin played the lead with great ability and public favour. Mr. and Mrs. Thomson, parents of Mrs. Young, were valuable Performers. Another of their daughters was Mrs. Jones, who became a Sydney favourite. Fanny Young, not in my company, was sister of Charles. My utility people included Mrs. Rogers, Mr. and Mrs. Watson, and Mr. and Mrs. Hambleton. Mrs. Young was youthful, and only danced. Opie was my scenic artist. He used to paint the scenes upside down. When Wilson, the scenic artist, came from London to Melbourne, and saw Opie at work, he said, "Now I will believe I am at the Antipodes." Megson was my leader of the orchestra.

Well, sir, in 1845 I heard of the opening of the Queen's Theatre in this flourishing little town of Melbourne. I wouldn't have been George Selth Coppin if I didn't decide to take over my whole company, scenery, and everything. So behold us aboard the schooner Swan. Caesar and his fortunes! Crossing the Rubicon, which meant Bass's Straits. The Queen's Theatre had opened with Nesbitt in the "Bear Hunters" and "Black-eyed Susan." A good actor and very like Brooke. We began at the Queen's with the "Lady of Lyons," an eye-opener for Melbourne, and then a new play. The leading parts were by Young, Rogers, Thomson, Coppin, and Mrs. Coppin, respectively as Melnotte, Damas, Beaseant, Glavis, and Pauline. The next night we gave the "School for Scandal," with Coppin, Rogers, Young, Thomson, and Mrs. Coppin, respectively as Teasle, Oliver Surface, Charles, Joseph and Lady Teazle. I had the honour then of laying the first carpet on the Melbourne stage. My wife and I stayed a year in Melbourne, its public library has the playbill of our farewell in 1846, under the Patronage of the bar, with the plays of the "Ambassador's Lady," "Four Sisters," "Turnpike Gate," and another, with some entertainment besides. Programmes were liberal then. People would sit, if need be, from seven till twelve, or more.

Musical works (extant in red bold; non-extant in black bold):

Argo medley polka (Melbourne, 1854)

Unpublished manuscript; NO COPY IDENTIFIED

[Advertisement], The Argus (18 December 1854), 8

Go to the Queen's Theatre this Evening, and give our old colonist, Mr. Coppin, a hearty welcome back to the Colony
FIRST NIGHT in these Colonies of Mr. Coppin as Paul Pry. First night in these Colonies of Villikins and his Dinah, by Mr. Coppin . . .
The Band will play the Argo Medley Polka, descriptive of the Argo leaving England and arriving in Victoria, announcing the fall of Sebastopol . . .

"BOXING DAY. PUBLIC AMUSEMENTS . . . THE QUEENS THEATRE", The Argus (27 December 1854), 4

. . . The "Argo Polka," which is a collection of familiar melodies arranged in polka time by Mr. G. Coppin, was spiritedly performed by the excellent band under the directorship of Mr. Thom . . .

ASSOCIATIONS: Bream Thom (leader, violin)

Billy Barlow (Sydney, 1843)

Billy Barlow: the favourite comic song, as sung by Mr. Coppin, at the Royal Victoria Theatre, arranged for the piano forte, with the original encore verses; Billy Barlow's visit to Sydney (Sydney: Thomas Rolfe, 1843) [words and music] (DIGITISED)

ASSOCIATIONS: Thomas Rolfe (music publisher); Billy Barlow (character and song)

Villikins and his Dinah (Sydney, 1855)

Villikins and his Dinah, as sung at the Royal Victoria Theatre by Mr. G. Coppin (Sydney: H. Marsh, [1855]) (DIGITISED)

ASSOCIATIONS: Henry Marsh (music publisher)

NOTE: Villikins and his Dinah was first introduced into the farce The wandering minstrel by Frederick Robson in London in 1853, and was immediately popular; Coppin first encountered the song on his 1854 visit to England

Bibliography and resources:

Alec Bagot, Coppin the great: father of the Australian theatre (Melbourne: Melbourne University Press, 1965) 

Sally O'Neill, "Coppin, George Selth (1819-1906)", Australian dictionary of biography 3 (1969)

CORCORAN, James Vincent (James Vincent CORCORAN; Revd. Mr. CORCORAN, O.P.)

Church singer, Roman Catholic cleric

Born ? Cashel, Ireland, "1800", ? c. 1802
Arrived Sydney, NSW, 12 September 1835 (per Oriental, from Liverpool, April)
Died Sydney, NSW, 4 August 1837, aged "35" (TROVE tagged by Australharmony) (shareable link to this entry)


"SHIPPING INTELLIGENCE", The Colonist (17 September 1835), 7

September 12. .- Oriental (ship), Allen; from Liverpool in April, via Hobart Town. Passengers - The Rev. Dr. Paulding, Roman Catholic Bishop, the Rev. Messrs. Spencer, Corcoran and Gregory, Roman Catholic Priests . . .

ASSOCIATIONS: John Bede Polding (bishop); John Benedict Spencer (vocalist, cleric); Henry Gregory (cleric)

"DOMESTIC INTELLIGENCE", The Sydney Herald (21 September 1835), 3

The inauguration of the Roman Catholic Bishop Poulding, took place yesterday, at Saint Mary's Chapel, Hyde Park. The Bull, containing the Bishop's authority, was read by the Vicar-General, after which an address was delivered by Dr. Poulding. During the Mass, which followed, several new musical pieces were performed by Mrs. Rust, the Rev. Messrs. Spencer and Corcoran, &c. Mrs. Chester and several other professional singers were also in the choir, Mr. Cavendish presiding at the Seraphine.

ASSOCIATIONS: William Bernard Ullathorne (cleric, vicar-general); Margaret Rust (vocalist); Marian Maria Chester (vocalist); William Joseph Cavendish (musician); St. Mary's cathedral (Roman Catholic, Sydney); see also, "Domestic and Miscellaneous Intelligence", The Australian (22 September 1835), 2 

. . . Mr. Cavendish presided at the organ and the music, which was most beautiful was, we understand, executed by Mrs. Rust and several of the clergymen . . .

And, "DR. POLDING", The Sydney Monitor (23 September 1835), 3 

. . . The Bishop was received at the great door at the west end of the building . . . and assumed his Crosier and Mitre, he and the Clergy moved in procession to the foot of the High Altar, chaunting the Te Deum, accompanied by the organ . . .

"Deaths", The Australian (5 September 1837), 2

Yesterday evening, in consequence of injuries received by being thrown out of his gig, the Reverend James Vincent Corcoran, aged 35 years. The deceased was universally respected in the neighbourhood of Windsor by a numerous circle of friend. He was the friend of the orphan and the widow of the poorer class, of whatsoever faith or denomination, will have to deplore the loss of one of their most charitable and humane supporters. In that district he will be considered a public loss.

For a fuller report, see also "MELANCHOLY DEATH", The Colonist (7 September 1837), 4 

"FUNERAL OF THE REV. MR. CORCORAN", The Sydney Monitor (8 September 1837), 2

In consequence of the announcement in the papers of yesterday, that the funeral of this gentleman would take place at twelve o'clock, to be preceded by High Mass, numbers of persons began to assemble, by ten o'clock, and the Church of Saint Mary soon became crowded. The coffin was placed in the centre of the aisle, surrounded by candles, and the ceremony proceeded in the usual manner, the Bishop, and the Rev. Mr. Gregory, officiating. The solemn Requiem for the Dead was distinguished for its melody and sweetness . . .

"FUNERAL OF THE REV. JAMES VINCENT CORCORAN", The Sydney Gazette and New South Wales Advertiser (9 September 1837), 2

On Thursday last, a Solemn High Mass was celebrated at St. Mary's Cathedral, for the repose of the Soul of the late Rev. J. V. Corcoran, whose melancholy fate is lamented by all. As early as ten o'clock the spacious edifice was crowded by Christians of all denominations; shortly after, the coffin, borne by the Rev. Messrs. J. J. Therry, McEncroe, Sumner, and Gregory, and followed by the Bishop, was placed immediately in front of the Altar. The children of the Female School, all dressed in white, surrounding the whole, to the number of 150 . . . After Divine Service the procession proceeded to the Catholic Burying Ground . . . and officers of H. M. 50th. Regt., followed by the Band, and such of the soldiers of the Regiment, as are Catholics . . . The procession, on reaching George-street, extended from the end of King-street as far as the Police Office . . . James Vincent Corcoran, at the early age of twelve years, was sent to commence his studies at Rome, by the late most Rev. Dr. Everard, Archbishop of Cashel. After finishing his classical education, he was received into the Dominican Order, and in due time ordained a Priest. Having spent twenty years in Italy, he returned to England, and zealously discharged the clerical functions for two years in Cornwall, when he offered to join the Right Rev. Dr. Polding coming to labour on the arduous mission of New South Wales. The regret so extensively manifested for his premature death, bears strong testimony to his valuable services and charitable exertions. "Consummatum in brevi explevit tempora multa." May he rest in peace. - CORRESPONDENT.

ASSOCIATIONS: John Joseph Therry (cleric); John McEncroe (cleric); Joseph Charles Sumner (cleric)

[News], The Sydney Herald (11 September 1837), 2

The funeral of the Rev. Mr. Corcoran took place on Thursday morning. The church of St. Mary was thronged by a mixed congregation of Catholics and Protestants. High Mass was performed, and an excellent sermon preached by Bishop Poulding. There were near three hundred persons following as mourners, many of whom came from Windsor, where Mr. Corcoran had been officiating. There were about twenty carriages and gigs sent by different gentlemen as marks of respect. The funeral was very ably managed by the undertaker, Mr. Curtis. The deceased was much respected by his flock and it is a singular circumstance that on the day before his death he preached a sermon on the uncertainty of life, in which in supporting his argument, he said that he who was then addressing them might be seized by death that night. This remark was unfortunately prophetic, for within thirty hours the unfortunate gentlemen was a corpse.

Bibliography and resources:

"REMINISCENCES OF CATHOLICISM IN THE EARLY DAYS OF THE COLONY (To the Editor of the Goulburn Argus.)", Freeman's Journal [Sydney, NSW] (25 November 1865), 741 

. . . I never heard anything like it [the choir formed by Reichenberg in 1825] except once - that was the day on which our venerated Archbishop first landed in Sydney. On that occasion Dr. Ullathorne, new Bishop of Birmingham, had made every preparation for a grand High Mass, and poor Cavendish (who was drowned with his sister off Bradley's Head in after years) had charge of the choir; he exerted himself to the utmost and secured the assistance of a great cantatrice (Mrs. Rust) who happened to be in the colony at that time. Mr. Clarke the architect who was a fine singer also lent his aid, and those with the assistance of the regular choristers quite astonished the Bishop. Dr. Polding was only Bishop at that time and he did not expect to hear Mozart's Mass sung in Botany Bay, and well sung too: he was accompanied by several rev. gentlemen, some of whom were fine singers, amongst those were the Rev. Mr. Spencer, who afterwards went home, and the Rev. Mr. Sumner, who was the first priest ordained in these colonies. He could sing very sweetly at that time, but neither these nor the Rev. Mr. Watkins, who took charge of the choir, could ever equal Mr. Richenberg's choir . . .

ASSOCIATIONS: Columbus Fitzpatrick (memoirist, eyewitness); Joseph Reichenberg (choirmaster in 1825); Francis Clarke (architect, amateur vocalist); James Watkins (cleric, choirmaster)

John Kenny, A history of the commencement and progress of Catholicity in Australia, up to the year 1840 (Sydney: F. Cunninghame, 1886), 67, 69, 72, 115-19 (DIGITISED) (DIGITISED)

[117] . . . The Mission, towards the end of 1837, sustained a great loss in the death of the Rev. J. V. Corcoran. But for the will of God, he could badly be spared. He was stationed at Windsor, 40 miles from Sydney. While seated in a gig, journeying towards Sydney, the wheel slipped into a rut near the old toll-bar - he was thrown out, and the vehicle passed over his head and neck. He was taken into the toll-house, but only survived about a quarter of an hour . . .


Dancer, actor, vocalist

Born Sydney, NSW, 1842; daughter of Thomas CORCORAN (c. 1818-1858) and Ann ? (c. 1819-1871) (TROVE tagged by Australharmony) (shareable link to this entry)

CORCORAN, Kate (Catherine CORCORAN; Kate CORCORAN; Mrs. John Samuel SMITH)

Dancer, actor, vocalist

Born Sydney, NSW, 1844; daughter of Thomas CORCORAN (c. 1818-1858) and Ann ? (c. 1819-1871)
Married John Samuel SMITH (1840-1882), c. 1870
Died Sydney, NSW, 11 September 1882, aged "37" (TROVE tagged by Australharmony) (shareable link to this entry)


"FUNERAL", The Sydney Morning Herald [NSW] (19 August 1858), 8 

The Friends of the late THOMAS CORCORAN, who met his death from falling out of the gallery into the pit of the Prince of Wales Theatre, on the 18th instant, are requested to meet at his late residence in Ann's-place, Kent-street, at half-past three o'clock, THIS DAY, to attend his funeral. T. CURTIS, undertaker, &c.

ASSOCIATIONS: Prince of Wales Theatre (Sydney venue)

"CORONER'S INQUESTS", The Sydney Morning Herald (21 August 1858), 7 

An inquest on view of the body of Thomas Corcoran, shoemaker, of Kent-street, aged 40 years, was held on Wednesday evening, at the Wheatsheaf public-house, George-South. Deceased had attended the, performance at the Prince of Wales Theatre the Previous night. His wife saw him before he went, and he was sober. He had then only two shillings upon him. It appeared the eldest [sic] of his six children, a boy (nine years old) [sic] was with him to the theatre, and that at midnight, when the company (which had been an inordinately large one) had dispersed, after failing to rouse his father, the deceased, from sleep, he went home and reported to his mother. She, according to her evidence was in bed at the time, and "thought it was no use of going to see about him at that late hour, as he was in the habit of stopping out late at night;" she was sure he had no intention of committing suicide.
William Osborne deposed: He was in charge of the lighting department of the Prince of Wales Theatre; before he put out the lights he generally called out "all out," he did so on Tuesday night, and received no answer; afterwards locking up and going home. On the Wednesday morning about nine o'clock on opening the pit door and going in, he saw deceased lying on the floor between the seats, immediately under the dress circle, upper boxes, and gallery; he found the body lifeless.
Inspector Rawlinson, of the A Division of Police, spoke to the facts of his seeing the body a deceased soon after it was found, and of his discovering the hat identified by deceased's son, as belonging to his father: this was found on the south side of the gallery, and appeared to have been lain on. [The catastrophe happened at the crescent, immediately in front of the stage.] Witness had upon examination, found the gallery protected by chains in the front, and as well protected as any building he had seen at home; in looking for the signs of drink, he found an ale bottle close to the spot where deceased had lain, and he also found other bottles, and was aware people were in the habit of taking liquor into the theatre.
Mr. Rutter, police surgeon, made an inspection of the body, and found broken ribs, fractured, and several abrasions, and pronounced death to have been the result of "fracture of the base of the skull." The Jury returned the following verdict: "We find that the deceased came by his death from falling out of the gallery into the pit, a height of forty feet, thereby fracturing his skull and left leg, and we are of opinion that the deceased was suffering from the effects of drink at the time."

ASSOCIATIONS (Thomas's younger children): Anne / Annie Corcoran (born Sydney, NSW, 1846; married Robert Henry Ormiston, NSW, 1865); Thomas / Tommy Corcoran (born Bathurst, NSW, 1848); Mary Corcoran (born Bathurst, NSW, 1850); for another report on the inquest, see "DEATH FROM INJURIES RECEIVED BY A FALL FROM THE GALLERY TO THE PIT OF THE PRINCE OF WALES THEATRE", Empire (21 August 1858), 4 

[Advertisement], The Maitland Mercury and Hunter River General Advertiser (27 August 1859), 1 

We, the undersigned, Members of the Company . . . have much pleasure in tendering to you our services for the purpose of a
Sam Howard, Edward Faning pro self and son, Charles Miran,
Geo. Palmer A. Crosby, T. Hasker, Miss S. Griffiths,
J. B. Weston, A. M. Miran, M. Schmidt,
Julia Corcoran, E. McLean, John Patrick, Eliza Fagan, &c. . . .

ASSOCIATIONS: Harry Edwards (actor, manager); Sam Howard (actors); Edward and Charles Faning (musicians); Charles and Anna Maria Miran (actors); M. Schmidt (dancer); Eliza Fagan (dancer); Olympic Theatre (Maitland venue)

"PRINCESS'S THEATRE", The Age [Melbourne, VIC] (4 February 1860), 4

The pieces at this Theatre yesterday evening, consisted of "Jenny Foster," and Talfourd's new burlesque "Pluto and Proserpine." The latter is the piece de resistance, and is the best thing of the kind, put on the boards in the best way that we have seen for some time. The scenes are really works of art, and the dancing excellent. The chief characters in the piece are Pluto, King of Hades (Mr. Fawcett), Ceres (Mr. Jackson), and Proserpine, her daughter (Miss Fanny Young) . . . The piece was well sustained throughout, and where all have performed their parts well, it is scarcely necessary to particularise any. We may, however, mention, Mr. Fawcett, Mr. Jackson, Miss Young and Miss Howard amongst the players; and Misses Green, Earl, Corcoran, and Target, amongst the dancers, as worthy of mention . . .

ASSOCIATIONS: George Curtis Fawcett (actor); Harry Jackson (actor); Fanny Young (actor); Tilly Earl (dancer); Princess' Theatre (Melbourne venue)

"PRINCESS THEATRE", The Age [Melbourne, VIC] (6 February 1860), 6 

The burlesque of "Pluto and Proserpine," which secured a lengthened run at the Haymarket, in London, some time since, is being performed at the Princess Theatre, and with considerable improvement on the original piece. Wanting none of the original bits, it now includes some local additions which are intensely local, and the addition of which have constituted it almost a new play . . . Scene 6th is another work of art. It discloses a corn field, with a neat little cottage in ths back ground, and the reapers merry-making. This gives occasion for the performance of some national dances, so well executed that we cannot refrain from mentioning the principal performers, Irish Jig - Miss Earl; Marsellaise - Miss Targett and Miss Holroyd; Tullachgorum - Miss Fagan and Miss Corcoran; Sailors' Hornpipe - Miss Green and Miss Earl . . .

"BATHURST", Empire [Sydney, NSW] (13 February 1861), 8 

The ballet troupe, consisting of Fraulein Fannie, Miss Corcoran, Miss Dixon, and the Brothers Leopold, have been giving a round of performances at the Prince of Wales Theatre during the past week. The attendance on each evening has been large, particularly on Thursday, when every seat was occupied, and nearly all the leading families of the district present . . . The dramas Household Fairy and Newly Married, and the ballet, "The Boatman of the Ohio," have also been produced. The latter is one of the most humerous performances witnessed; the dancing of our favourite Fraulein was exceedingly fantastic . . . The Misses Corcoran and Dixon, too, are a powerful addition, and acquit themselves elegantly and gracefully . . .

ASSOCIATIONS: Leopold family (Fannie, Henry and Tom, dancers); Prince of Wales Theatre (Bathurst venue)

"THEATRICALS AND MUSIC . . . PRINCE OF WALES THEATRE", Bell's Life in Victoria and Sporting Chronicle [Melbourne, VIC] (4 May 1861), 2 

Thanks to the low tariff, this little theatre has been tolerably well attended during the week . . . On Saturday night an accident, attended with very serious consequences, occurred to Miss Kate Corcoran. During "Therese" a thunderbolt is supposed to come down from the sky, and set a bouse on fire. This is managed by having a quantity of tow saturated in some combustible, firing it, and leading it from the flies to the wing by means of a wire. By some mistake turpentine was made use of instead of spirits of wine, and some of the burning mass fell upon Miss Corcoran, and set her dress on fire. Mr. Warner and a carpenter put out the flames, the latter being severely burnt while so laudably engaged, and medical aid was at once sent for. It was found that she was much injured about the neck and shoulders, but no unfavourable symptoms have supervened, and she is now out of danger.

ASSOCIATIONS: Henry Neil Warner (actor, manager); Prince of Wales Theatre (Melbourne venue); the play was Therese; or, The orphan of Geneva (melo-drama)

"SIR WILLIAM AND LADY DON", The Maitland Mercury and Hunter River General Advertiser [NSW] (25 June 1862), 2 

. . . Among the professional passengers for the Maitland [Olympic] theatre are - Sir William and Lady Don, Mrs. Crosby, Mrs. Charles Jones, Miss Corcoran, Mr. Burford (who, we believe will be stage-manager), Mr. Sam Howard, Mr. Flynn, Mr. Hasker, and Mr. Manly - Empire of yesterday (Monday).

ASSOCIATIONS: William and Emily Don (actors); Emelia Crosby (actor); Christina Jones (actor); Charles Henry Burford (actor)

"THE PANTOMIMES . . . PRINCESS' THEATRE", The Argus [Melbourne, VIC] (27 December 1861), 5 

"Harlequin Mrs. Hubbard and Puss in Boots" commenced its reign last evening at this theatre, and a large audience witnessed the performance. Mr. Fawcett has been very happy in his adaptation . . . Miss Julia Matthews . . . as Columbine . . . Mr. George Fawcett makes a very fair harlequin . . . but Miss Kate Corcoran, Mr. Wray, and Mr. John Dunn, also deserve notice for their performance of the other parts allotted to them . . .

ASSOCIATIONS: Julia Mathews (actor, dancer, vocalist); John Benjamin Dunn (actor)

"MR. AND MRS. McGOWAN'S DRAMATIC ENTERTAINMENT", Goulburn Herald [NSW] (11 February 1862), 2 

The first of Mr. and Mrs. L. McGowan's dramatic entertainments was given on Monday evening, in the hall of the school of arts. There was a good audience, including several of the most respectable families of the district. Mr. and Mrs. McGowan's performances were highly applauded, and each of the songs sang by the lady - The Young Man from the Country, My Johnny was a Shoemaker, The Young Lady's No, and Who Wants a Steady Wife - were encored, as was also the Highland Fling by that very excellent and most attractive danseuse, Miss Julia Corcoran, whose performances on the Sydney boards elicited the highest encomiums . . .

ASSOCIATIONS: Lachlan and Amelia McGowan (actors)

"ROYAL VICTORIA THEATRE", Empire [Sydney, NSW] (3 June 1862), 4 

Any doubts or fears under which Mr. Dind might have laboured when entering on the lesseeship of this establishment, and expending a large amount of money on the improvements of the theatre, have all been dispelled by the great and indulgent kindness which the public have shown him, and we must say deservedly so. With such a company - Mr. Fawcett, who, in his light, easy, gentlemanly acting, has acquired for himself a high reputation . . . Rogers ever drawing down nightly the plaudits . . . Of the ladies, Miss Julia Matthews stands first . . . Mrs. Crosby, so long a popular favourite . . . Mrs. Charles Jones, who always appears to advantage . . . with many others, including two rising actresses - Miss Griffiths and Miss Corcoran - make the strength of the company a very powerful one . . .

ASSOCIATIONS: William Dind (proprietor); George Herbert Rogers (actor); Maggie Griffiths (actor, dancer); Royal Victoria Theatre (Sydney venue)

[Advertisement], Bendigo Advertiser [VIC] (4 October 1862), 1 

THIS EVENING, (SATURDAY), 4th OCTOBER. The management have much pleasure in announcing that they have engaged those favorite artistes
MISS JULIA MATHEWS, MR. HARRY JACKSON . . . Favorite Dance - Miss Kate Corcoran . . .

ASSOCIATIONS: Barnett Moses Nathan (manager); Lyceum Theatre (Bendigo venue)

"ROYAL LYCEUM THEATRE, The Sydney Morning Herald [NSW] (11 October 1862), 5 

. . . On Thursday and Friday Mr. Gardiner's successful engagement having been brought to a conclusion, the theatre was closed. This popular place of public amusement is, however, to he re-opened to-night, when the Dramatic Season is to commence, under the able stage management of Mr. C. W. Barry. The services of a powerful and well-organised company have been secured by the lessee - a company yet stronger than that which played here with so much acceptation whilst the Opera was so extensively patronised Besides Mr. C. W. Barry the new company at the Lyceum comprises the well known names of Mr. Frederick Younge, Mr. T. S. Bellair, (from Melbourne), Mr. Charles Burford, Mr. Manly, Mr. Sam. Howard, and Messrs. Daniels . . . The principal lady performers are Miss Fanny Morgan, Mrs. Frederick Younge, Miss Lizzie Naylor, Mrs. Avins, Miss Corcoran, and Miss Brice. It is announced that there is to be a full and efficient ballet . . .

ASSOCIATIONS: Charles W. Barry (actor, manager); Frederick and Emma Jane Younge (actors, vocalist); Thomas Smith Bellair (actor); George Washington Daniels (actor); Fanny Morgan (actor, dancer); Lizzie Naylor (actor, dancer); Julia Avins (actor); Lyceum Theatre (Sydney venue)

[Advertisement], The Sydney Morning Herald (18 November 1862), 1 

To conclude with a scene descriptive of life in South America, entitled THE OLD PLANTATION.
Ballad - "Gently down the stream," Mrs. F. Younge.
The celebrated Stump Oration - "Am I right, or any oder man?" will be delivered by Mr. Fred. Younge.
Negro Breakdowns by Miss Julia Corcoran, and Messrs. S. Howard and Fred. Younge, concluding with the
RAILWAY GALOP by all the characters.

"ENTERTAINMENTS. THE THEATRES, &c.", The Australasian [Melbourne, VIC] (1 October 1862), 18 

Last Monday night Miss Kate Corcoran made her reappearance in Melbourne. She has been in Sydney for the last three or four years, and has been, as I understand, a favourite there. She was a favourite when she was in Melbourne, though not an overwhelming one. That is to say, she was liked and admired a good deal, but, as she had never been entrusted with any conspicuous part she had never had the opportunity of taking a prominent position. But what she did was very good of its kind. She had the advantage of being pretty, graceful, well formed, and natural in manner, and she sang a little. She had not an astonishing voice, but what there was of it was pleasing. She played soubrette parts jauntily, and burlesque parts daintily, if not dashingly. With a little more voice, a little more confidence, and a little more culture she seemed likely to become a leading actress in light comedy and burlesque. In Sydney she has made a good deal of progress, and her voice has improved, and if she were going to remain upon the stage, one might be inclined to hope a good deal from her. But it is understood that her present appearance in Melbourne is a farewell appearance. She has accepted another engagement of a permanent kind and her connexion with the stage is to be severed. This is to be regretted so far as the stage and the public are concerned, though, no doubt, Miss Corcoran consults her own advantage in relinquishing the anxieties and ambitions of a laborious profession, which her good fortune, happily for herself, renders it no longer necessary that she should practise. She evidently retains some affection for it, or she would hardly have accepted this engagement, and this obvious liking for her art increases the regret that is felt at the loss the stage will experience by her quitting it. For it can hardly be doubted that enthusiasm sufficient to prompt an actress to remain on the stage when there is no need for her doing so as a means of livelihood argues a prepossession in its favour very different from that which causes it to be regarded solely as an occupation. It almost prompts one to wish that Miss Corcoran had been less fortunate, in order that the public might have been more so. And this regret is all the more likely to suggest itself, in that the Melbourne stage is not largely supplied with good actresses. I do not remember the time when there were so few good stock actresses in this city, either what we understand by leading actresses, or those to whom burlesque offers the most ready mode of distinction. With but one theatre, so sparse a company is something difficult of explanation, so that it is impossible not to regret that Miss Corcoran contemplates a farewell of the stage. The house was crowded on Monday, seemingly demonstrating that Miss Corcoran had many friends . . . - JACQUES.

ASSOCIATIONS: James Edward Neild (reviewer)

"Shipping Intelligence", New Zealand Herald [Auckland, NZ] (11 March 1864), 2 

The clipper Novelty, Captain Austen . . . dropped anchor about 1 p.m. [yesterday] She left Sydney on the 26th ult. . . . brings a general cargo and the following passengers, amongst whom are Mr. Barry's theatrical company: - Mr. and Mrs. Barry, 2 children, and servant, Mr. Daniells and 2 children, Miss Fanny Young, Mr. Clifford, Mr. and Mrs. Selwyn, Miss Maggie Griffiths, Miss Julia Corcoran, of the Theatrical Company . . .

[Advertisement], New Zealand Herald (2 April 1866), 1 

PRINCE OF WALES THEATRE. Sole Lessee and Manager Mr. Henry Edwards. EASTER MONDAY.
Together with the MISSES JULIA & MARY CORCORAN . . .
Every Visitor to the Stalls and Amphitheatre will be presented with a
LIKENESS OF MISS FANNY YOUNG And MISS JULIA CORCORAN. Photographed by Crombie, Queen-street . . .

ASSOCIATIONS: Harry Edwards (actor, manager)

"DEATHS", The Sydney Morning Herald (12 July 1871), 7 

CORCORAN - June 30, at her residence, Castlereagh-street, Ann, relict of the late Thomas Corcoran, aged 52 years.

"Deaths", The Sydney Morning Herald (12 September 1882), 1 

SMITH. - September 11, at Hyde Park, Catherine, relict of the late John S. Smith, of Molong and Mamre, South Creek, late M.P. for the electorates of Penrith and Wellington, aged 37.

"MUMMER MEMOIRS . . . Kitty Corcoran . . . THIRD SERIES. No. 10 (By 'Hayseed')", Sydney Sportsman (11 March 1908), 3 

. . . Life was not all a charm to the pretty and useful Kate Corcoran, whom I remember in the early sixties with George Fawcett's Company at the Old Princess's in Spring-street, Melbourne. Kate had improved vastly in after years, when she married the wealthy Mr. J. S. Smith, of 'Mamre,' South Creek, and member for Wellington in the Legislative Assembly, 'the stout blonde gentleman,' who died in England while on a visit with Mr. W. A. Long. Poor Kitty pre-deceased him [sic]. I wonder if there were any children . . .

ASSOCIATIONS: William Alexander Long (politician)

"MUMMER MEMOIRS. KATE CORCORAN AND HER SISTER . . . THIRD SERIES. No. 12 (By 'Hayseed')", Sydney Sportsman (25 March 1908), 3 

. . . An interesting letter from a Sydney suburb: -
"Dear Hayseed, . . . In your Issue, 11/3/08, you speak of the late lamented Kate Corcoran. I was well acquainted with her. I was her dresser at the old Prince of Wales Theatre, when she was just budding into a beautiful actress. That was in 1866. She went to Melbourne, and (as you say) appeared at the old Princess's Theatre, in Spring-street. She returned in 1867 with Mr. George Coppin, and played Annie in 'Milky White,' and sang the song, 'Early Love.' You say correctly when you assert she was useful and pretty, and she was one of the best; always ready to help the distressed. She was a good daughter to her widowed mother. I lived in the same house with her, and saw a good deal of her. Her greatest stage triumph was as Ariel, in the 'Tempest,' when produced in 1869, by the late Mr. William Hoskins. I spangled her dress for the character. Kate Corcoran was beloved on and off the stage. When she married Mr. J. S. Smith, of Mamre, she left the stage, and the public lost one of the best performers. She appeared once, I think, in the play of 'Money,' for the late Mr. William Dind's benefit, The announcement of her reappearance for one night secured a bumper house. She survived her husband; he died in England, and, poor, dear Kitty, as we all called her, died a few months after, at the residence of Mrs. Hicks, at the Old Women's Asylum - the old Immigration Barracks, at the top of King-street. Mrs. Hicks was the matron, and Kate was her guest, as they were great friends. Kitty died somewhat suddenly in a fit. She was buried from Mrs. Hicks's, and among all the friends she numbered while living, it seemed strange that I should I be the only one that stood by while I the coffin was being placed in the hearse. I saw Mrs. Hicks a few days after, and she told me how much Kate took her husband's death to heart. I may state that they had no family. Mrs. Hicks had poor Kitty's remains interred in her family grave at Balmain. Hoping I have not taken up too much of your valuable space, and hoping and longing to hear more of your 'Mummer Memoirs,' -
I am, yours truly, C. D."

In 1870, Miss Kate Corcoran, described as an actress was registered at 544 Bourke-street. Surry Hills, while her sister and her sister's husband resided at Hills Terrace, in the same street, close by. My suburban correspondent, in a subsequent communication, tells me something still more interesting, if sad, about the Corcoran family, and how Kate and her sisters came upon the stage. The father went to the old Prince of Wales Theatre, to see Mr. G. V. Brooke, in some play; he took his son, Tommy, then a boy, with him. The son left the father asleep, and it is supposed that he got up in the night and fell over the gallery, his dead body being found next morning across some seats in the pit. Mr. Brooke took the girls on the stage - Mary, Julia and Kate. The two former went to America. There was a fourth daughter, Annie, who married Mr. Robert Ormiston, a Civil servant, and member of an old Sydney family. Mrs. Ormiston died before Kate . . .

ASSOCIATIONS: Joseph Michael Forde ("Hayseed"); George Coppin (actor, manager); William Hoskins (actor, manager); Gustavus Vaughan Brooke (actor, manager)

"MUMMER MEMOIRS. The Corcoran Family . . . THIHD SERIES. No. 15 (By 'Hayseed')", Sydney Sportsman (15 April 1908), 3 

Mention of the lamented Kate Corcoran has brought forth some very interesting letters concerning the family history, and from correspondents who were acquainted with the parents before the necessity arose for the girls to take to the stage: -
"Dear 'Hayseed,' . . . Your mention of the death of Mr. Corcoran at the old Prince of Wales Theatre brings the sad fact to my memory. I remember it well. It was as you stated. He fell asleep during the performance, and his little son, Tommy, could not get him awake, although he shook him well. The boy then left him. The last house he visited was that of a near relative of mine in Castlereagh-street - near, but on the opposite side of the theatre. As he was not quite well my relative advised him not to go, but as G. V. Brooke was performing, he would go. It was through his death that the manager of the theatre took the three eldest girls, to teach them for the ballet, as much to assist the widow as to benefit the children - Annie, Julia and Kate. Mary was too young at that period, and never became an actress. On one occasion she did make an appearance, when about 14 years of age. It was during the visit of Mr. and Mrs. Charles Kean. They required a child, and Mary was introduced. She made such a success that Mr. Kean paid for a quarter's education for her at one of the ladies' academies In Sydney. I think the play was 'The Gamester' in which I saw them perform. Julia did not remain long in the profession. Annie also retired soon, but Kate remained, and scored many a success until her untimely death. The son never took kindly to the stage, but was a very good amateur minstrel, and performed around Sydney for charitable objects."

On the same subject Mr. Ford writes - "I see the account of the terrible and shocking death of poor Tom Corcoran. We knew him as Tom Cochran [sic], but we all called the daughter Kate Corcoran. Tom was a bootmaker, and lived with his wife and six children in Kent-street. Tommy was the eldest of the family [sic]. On July 19, 1858, soon after our return from Parramatta, Mr. Charles Poole became the lessee of the Prince of Wales Theatre, Castlereagh-street, Sydney. Under his management G. V. Brooke commenced a long Shakespearian engagement. The opening night was the date above given. I was engaged, and I also worked on the costumes worn by G. V. Brooke. 'Othello' was the play. On Tuesday, August 17, 1858, Mr. Brooke played 'King Lear,' by command of Governor Denison, who was present to witness the performance. It was on that fatal night poor Tom paid for two - himself and son - to the gallery. The gallery was 40 feet above the pit. The fall broke poor Tom's skull, ribs and legs. It was not discovered until 9 o'clock next morning. Osborne, the caretaker and cleaner of the theatre, was about to commence his daily duties, and was in the act of opening the pit doors for ventilation when he discovered the dead body lying across two seats. I had arrived early to get at a dress for Mr. Brooke. As I approached the stage door I saw policemen carrying a dead man to a cart. I thought someone had been murdered. I was soon enlightened as to the cause of the terrible sight. Mr. Brooke and Mr. and Mrs. Poole were quickly informed as to the catastrophe. I believe Mr. Brooke paid for the funeral. He took Kate and Julia on the stage, so that their earnings might help for the loss of the bread-winner. Some time had elapsed before they appeared, but they were on salary all the time. I cannot forget the morning they came on the stage for rehearsal. They were in deep mourning. The whole company was on the stage, and at the sight of the poor girls there was not a dry eye amongst them. In fact, some of the, ladies wept bitterly. Mrs. Poole kissed the poor things, and they were made much of by everybody. They were both very pretty girls. Kate made rapid strides in the profession, and became clever: but fancy what must have been their feelings every time they looked up to the gallery. Wonders will never cease. Years afterwards, in 1866, when I was manager of the Princess Theatre, Forbes, I obtained an engagement for Kate. She came, and I have a press notice of her first appearance, praising both her and myself - she as Victorine, I as The Miser. I believe the sister Julia went to New Zealand. Mary, the youngest girl, was extremely pretty, so much so that when Lady Don was in Sydney she offered fo adopt her; but the family would not part with Mary. Tommy was with Mr. Corcoran (or Cochran) the night of the shocking accident. He became very clever in Charity Minstrel business - a good corner man. He also visited Forbes with the 'Leighton Ironclads.' I happened to be in Forbes at the time. They gave a very good entertainment. I have also a press notice of them. I considered Tommy Corcoran very good. The company did well, there being some good musicians among them.' . . .

ASSOCIATIONS: William Henry Ford (actor, memoirist); Charles and Amelia Poole (actor, manager)

"MUMMER MEMOIRS . . . KATE CORCORAN AND SOME OF HER CONTEMPORARIES - DR. NEILD'S OPINION OF KATE . . . (By 'Hayseed') No. 137", Sydney Sportsman (12 October 1910), 3 

I find, on reference to my notebook, that Miss Julia Mathews was at the Haymarket Theatre, Melbourne, in October and November, 1866 . . . Julia Mathews was succeeded at the Haymarket by a Sydney native who was popular in both Melbourne and her native city, Kate Corcoran, who re-appeared in 'The Maid and the Magpie.' Of her at that time, 'Jaques' [J. A. Neild] wrote:
'Miss Corcoran has a great deal of merit in her, but it is that sort of merit which requires discipline and cultivation. She is pretty and graceful, and dances admirably, and so far, perhaps, discipline and cultivation may be said to have had a full opportunity. But she sings, and here I find indications of a lack of cultivation, for her voice is not well under control. She has unlimited confidence, but this is not sufficiently blended with discretion. Her voice is musical, and, thank Heaven! it has not a Yankee flavor, but she some times speaks too fast, and she occasionally speaks it correctly [sic, ? incorrectly]' . . .

CORDNER, William John (William John CORNDER; W. J. CORDNER; Mr. CORDNER)

Musician, organist, pianist, tenor vocalist, violin and viola player, conductor, composer, arranger, actor, merchant sailor

Born Dungannon, Tyrone, Ireland, 4 December 1826 (date on gravestone); son of Samuel Waring CORDNER (d. 1860) and Margaret WEIR (d. 1831)
Arrived Sydney, NSW, 16 February 1854 (boatswain per Patrician, from Liverpool)
Married Ellen MUNTON, Sydney, NSW, 18 May 1858
Died Woolloomooloo, NSW, 15 July 1870, aged "43/44" (TROVE tagged by Australharmony) (NLA persistent identifier) (shareable link to this entry)

CORDNER, Ellen (Ellen Munton BIELINSKI; Ellen MUNTON; Miss MUNTON; [1] Mrs. William John CORDNER; Mrs. CORDNER; Madame Ellen CORDNER; [2] Mrs. John MILES; Mrs. CORDNER MILES)

Musician, contralto vocalist, pianist, teacher of pianoforte and singing

Born Brentford, Middlesex, England, 3 January 1841; baptised St. Mary, Ealing, 15 October 1843; daughter of Ferdinand BIELINSKI and Elizabeth MUNTON (1822-1910)
Arrived Sydney, NSW, 31 October 1854 (per Patrician, from Plymouth, 5 August)
Married (1) William CORDNER, St. Philip's, Sydney, NSW, 18 May 1858
Married (2) John Balfour Clement MILES (d. 1907), NSW, 25 February 1871
Died Sydney, NSW, 23 January 1932, aged "90" (TROVE tagged by Australharmony) (shareable link to this entry)

William John Cordner

"THE LATE MR. W. J. CORDNER", Illustrated Sydney News (3 August 1870), 12 


Though himself Episcopalean, Cordner was organist of St. Patrick's Church, Sydney, until early in 1857, and by August that year organist of St Mary's Cathedral, when he also performed in Anna Bishop's oratorio (under George Loder). He was Lewis Lavenu's choirmaster for the 1859 University of Sydney Music Festival, and conductor of the Sydney Vocal Harmonic Society.

A rare record of a Cordner composition is the Thanksgiving hymn ("for the preservation of H.R.H. the Duke of Edinburgh from the late attempt upon his life; words: Derwent Coleridge), published and first performed in March 1868, but lost.


"DIED", Newry Telegraph [Ireland] (5 August 1831), 3 (PAYWALL)

On the 14th ult., Margaret, wife of Mr. Samuel Waring Cordner, organist, Dungannon.

Baptisms solemnized in the parish of Ealing in the county of Middlesex in the year 1843; register 1837-61, page 85; London Metropolitan Archives, Dro/037/A/01/014 (PAYWALL)

No. 680 / 1843 October 15th / [born] 1841 Jan'y 3d / Ellen Munton Dr. of / Ferdinand and Elizabeth / Bielinski / Old Brentford / Military Officer . . .

ASSOCIATIONS: Bielinski was also identified as her father in Ellen's death certificate; Jean Ferdinand Mielkowitz Bielinski, Refugee, Poland, arrived in London on 13 May 1840 on the Henriette from Trieste (UK National Archives, HO3/16); Bielinski was last heard of in a letter to the editor of the London Sun (19 June 1844, 2), recording his resignation from the Court Gazette, on which he had been employed for the past three months, protesting a pro-Russian anti-Polish article recently run in that journal. Elizabeth Munton, born Boulogne Sur Mer, France, c. 1823; married Walter Christie Downie, Sydney, NSW, 1856; died Grafton, NSW, 24 January 1910; see "MARRIAGE", The Sydney Morning Herald (3 May 1856), 1 

And "DEATH", The Sydney Morning Herald (26 January 1910), 8 

"ARMAGH MUSICAL SOCIETY . . . FIFTH CONCERT", Newry Telegraph (1 April 1841), 3 (PAYWALL)

This Concert was given on Wednesday evening last, to a numerous auditory, and the performances, we are happy to say, were eminently successful . . . In the vocal department, the greatest favourite of the evening was the beautiful duett, "As it fell upon a day," sung by Masters Dobson and Cordner in the most exquisite manner, with thrilling pathos and correct intonation. It would be no easy task to adjust, with critical impartiality, the respective merits of these youthful and promising vocalists. Each displayed superior powers, and their combined efforts elicited, from a delighted audience, loud and continued plaudits. The last note had scarcely reached the ear, when, by a hearty and unanimous encore, the whole assembly, with one voice, solicited a repetition of the performance . . .

MUSIC: As it fell upon a day (Bishop)


. . . The whole performance was admirable - the improvement in the Society most striking. Mr. Turle presided at the piano with his accustomed precision, and vast knowledge of the science of music . . . "Crudel! perche," sung by Masters Dobson and Cordner, and accompanied by Mr. Hopkins on the violoncello, produced a powerful effect . . . "Hark, the Vesper Hymn," sung by Master Cordner, was encored . . .

ASSOCIATIONS: Robert Turle (1804-1877, organist and choirmaster of St. Patrick's cathedral, Armagh, younger brother of James Turle)

MUSIC: Crudel! perchè (Mozart, from The marriage of Figaro); Hark, the vesper hymn in stealing (Thomas Moore, to a Russian air)

"ARMAGH MUSICAL SOCIETY - SIXTH CONCERT", Newry Telegraph (13 May 1841), 3 (PAYWALL)

This last Concert of the season took place on the evening of the 5th instant, and we heartily congratulate the Society on so brilliant a close of the first year of its existence . . . The instrumental pieces were selected from the works of Haydn, Gluck, Auber, and Mozart . . . we have time to notice only Gluck's overture to Iphigenie en Aulide, which was performed with thrilling effect. We particularly admired the fine taste displayed by Mr. Turle, the conductor, in adding to the overture the beautiful minuet in the opera . . . A quartette concertante, from Haydn, was performed by Messrs. F. Hart, Cherry, J. Hart, and Hopkins, in a finished style of execution . . . In the vocal department, we had every thing that could charm the ear and enchant the soul . . . We were much please with those special favourites, Masters Cordner and Dobson, who in all their performances, elicited the spontaneous plaudits of the assembly. Master Cordner sung, with fine taste and feeling, the Cavatine Dolce Fiamma, accompanied by Mr. Lee, on the flute - whose liquid and mellow notes, well accorded with the singer's beautiful voice. Mr. Lee's masterly performance was the theme of general admiration. We were much pleased with all the glees, but preeminently so with one of surpassing beauty, - "The Vesper Hymn," sung by Master Cordner, with choral accompaniments in a side room. It was in truth a solemn and soul-inspiring strain . . . The audience showed their taste and feeling by greeting it with a rapturous encore . . .

India (c. 1842-48):

Dungannon, Ireland (c. 1848-54):

"CONCERT", Armagh Guardian [Ireland] (23 April 1849), 4 (PAYWALL)

On the 10th inst., an evening concert of vocal and instrumental music took place in the great room of the Literary Institute, Dungannon. This concert was given by Monsieur Pothonier, Professor of Music, Dungannon, who was aided by the members of the Armagh Musical Society, and some of the gentlemen of the Anacreontic Society, Belfast, Messrs. Francis and John Hart. The attendance was numerous and fashionable, and the arrangements in the selection of music were made with great skill and judgment, and gave universal satisfaction. The overtures were performed in the most finished style, and with very beautiful effect. Monsieur Pothonier's two solos, by Liszt and Dohler, displayed the wonderful powers this brilliant pianist possesses over that instrument. Mr. Francis Hart's solo the violin was a first-rate effort, and drew forth the acclamations of the whole auditory. The vocal performances were very fine. Mr. Barnby, late of London, in his song, "Give me Music - Give me Wine," displayed great power, quality, and cultivation of voice. Mr. Cordner, jun., sang the "Dream of Home," with a great deal of feeling and effect, and was unanimously encored. Mr. Lee, of Armagh, assisted, most efficiently, in the glees and overtures, and sang two favourite songs, "My Bark is Bounding Near," and "The Gipsy Bard," with orchestral accompaniments, to the manifest pleasure and satisfaction of the audience. Monsieur Pothonier's concert was altogether a rare musical treat. - A Correspondent of Northern Whig.

ASSOCIATIONS: Francçois de Pothonier (teacher of music and languages); Joseph Barnby (vocalist, composer; another report on the concert positively identified him as "lately from the Choir of York Minster")

Sydney, NSW (from 1854):

A list of the crew and passengers and arrived in the ship Anglesea from Liverpool to Sydney, NSW, 16 February 1854; State Records Authority of NSW (PAYWALL)

William Cordner / Boatswain / 26 / Ireland . . . George Munton / Emigrant . . .

List of immigrants per ship Patrician, arrived Sydney, NSW, 31 October 1854; State Records Authority of NSW (PAYWALL)

. . . Munton / Eliza / 31 / Housekeeper / [born] Boulogne France
[Munton] Ellen / 13 / [Housekeeper] / [born] Brentford Middlesex . . .

[Advertisement], The Sydney Morning Herald (8 November 1854), 4 

A Favourite Song, by Mr. Cordner. To conclude with the Drama of THE MIDNIGHT WATCH.
A. TORNING, Solo Lessee and Manager.

ASSOCIATIONS: Andrew Torning (manager); Royal Victoria Theatre (Sydney venue)

[Advertisement], The Sydney Morning Herald (15 November 1854), 1

ROYAL VICTORIA THEATRE. THURSDAY, November 16th, 1854. GRAND VOCAL AND INSTRUMENTAL CONCERT. FIRST APPEARANCE of that extraordinary Violinist, MISKA HAUSER . . . PROGRAMME. PART 1. Overture - "Fra Diavolo" (Auber) - Orchestra Madrigal - "Now is the Month of Maying" Mrs. Guerin, Madame Sara Flower, Mr. John Howson, Mr. Cordner, and Mr. Frank Howson . . .
Finale - "God Save the Queen". Leader - Mr. John Gibbs. Conductor - Mr. W. Stanley . . .

ASSOCIATIONS: Miska Hauser (violinist); Theodosia Guerin (vocalist); Sara Flower (vocalist); John Howson (vocalist); Frank Howson (vocalist); John Gibbs (violin, leader); William Stanley (pianist, accompanist, conductor)

[Advertisement], The Sydney Morning Herald (19 December 1854), 4 

ROYAL VICTORIA THEATRE. THIS EVENING, DECEMBER 19, WILL be introduced Loder's opera of THE NIGHT DANCERS. Operatic manager, Mr. Frank Howson . . . Albert, Mr. J. Howson; Godfrey, Mr. Holloway; Fridolin, Mr. F. Howson; Peterkin, Mr. L. McGowan; Wilfred (head ranger), Mr. Cordner; huntsmen, &c.; Bertha, Madame Sara Flower; Mary, Mrs. H. T. Craven; Giselle, Mrs. Guerin; Gretchen, Miss Sinclair . . .

ASSOCIATIONS: Edmund Holloway (actor, vocalist); Lachlan McGowan (actor, vocalist); Eliza Nelson Craven (actor, vocalist); Fanny Sinclair (actor)

MUSIC: The night dancers (Loder)

[Advertisement], Empire (26 December 1854), 1 

ANCIENT STREET IN ENNEWARIA. Proclamation of the Resignation of King Blear! And fearful excitement among the populace.
Spittytouty (a Bellman, called by courtesy a Herald,) Mr. Turner; Selvote, and Lushus (Citizens), Messrs. Cordner and Styles . . .

ASSOCIATIONS: John Turner (actor, vocalist)

"ROYAL VICTORIA THEATRE", The Sydney Morning Herald (13 February 1855), 5 

This evening, will be produced for the first time in this colony, an English version of Donizetti's opera Lucia di Lammermoor . . . Mrs. Chester, Alice . . . Mr. Cordner, Arthur. The opera is to be produced under the immediate management of Mr. Frank Howson. The orchestral arrangements will be conducted by Mr. Winterbottom.

ASSOCIATIONS: Marian Maria Chester (vocalist, actor); John Winterbottom (conductor)

"ROYAL VICTORIA THEATRE", Empire [Sydney, NSW] (14 February 1855), 4 

The opera of Lucia Di Lammermoor was produced last night before a full house - it was eminently successful, and was received with marked applause throughout. Madame Sara Flower personated Edgar Ravenswood . . . Mrs. Guerin was Lucy Ashton . . . Mr. Frank Howson acted the moody Henry Ashton exceedingly well . . . Mr. Holloway, as Raymond, did not disappoint . . . Mr. Cordner, and Mr. Turner also sustained their parts very creditably. The opera was brought out in a very handsome manner, and reflects much credit upon the management. The last scene, descriptive of Ravenwood House and the tomb of Edgar's ancestors, was admirably painted, and much commendation is due to the artist Mr. Fry. As a whole the opera must rank as one of the successes of the season.

ASSOCIATIONS: John Fry (scenic artist)

"THE THEATRE", Bell's Life in Sydney and Sporting Reviewer (17 February 1855), 2 

The event of the week has been the production of the long announced opera of "Lucia di Lammermoor," one of Donizetti's masterpieces . . . As to the rendering of this chef-d'oeuvre we were certainly surprised, having anticipated something nearly approaching to a failure . . . Mr. Holloway, as Raymond, sang very creditably; especially as he neither has, nor professes to have, any scientific knowledge of music. Mr. Cordner, also, got well through his musical debut. He has a good and sweet tenor voice, requiring only nerve and energy to show it off to better advantage. The Chorus did their best, though that is not saying much for them. However, Mr. Torning cannot be expected to create nightingales, and therefore must make the most of his aviary . . .

[Advertisement], Empire (4 June 1855), 4 

ROYAL VICTORIA THEATRE. THIS EVENING. Monday, June 4th, the performances will commence with Shakspere's historical Tragedy of KING JOHN.
English characters by . . . G. V. Brooke, Heir, Cordner . . .

ASSOCIATIONS: Gustavus Vaughan Brooke (actor); Robert Heir (actor); having previously appeared as Sir Walter Blunt in Richard III, this was Cordner's last billing as an actor at the Victoria Theatre; there is no record of him at all in the latter half of 1855 or the whole of 1856

[Advertisement], Empire (29 April 1857), 1 

MUSIC. - Pianoforte and Sinning taught, on moderate terms, by Mr. CORDNER, Organist of St. Patrick's.
Communications addressed to Mr. Johnson's Music Warehouse, Pitt-street; or, 43, Kent-street, promptly attended to.

ASSOCIATIONS: William Jonathan Johnson (musicseller); St. Patrick's church (Sydney)

"SYDNEY CHORAL SOCIETY", Empire (9 June 1857), 5 

The annual general meeting of the members of the Choral Society was held last evening in St. James's School-room, Castlereagh-street, over which Mr. J. Johnson presided. There was a fair attendance, and after a few remarks from the Chairman, Mr. Usher, the secretary, read the report for the year. It was not so encouraging a document as could have been desired, but we trust, nevertheless, that the society will take courage, and strive to attain excellence. It appeared from the report that the progress of the society had been retarded by the apathy and indifference of the singing members who resided too far from Sydney to be able to attend the meetings regularly. Another cause which influenced its success was the frequent change of officers, but the members were congratulated that the services of Mr. Cordner, as organist, had been lately secured . . .

ASSOCIATIONS: James Johnson (chair); Samuel James Ussher (secretary); Sydney Choral Society (association)

[Advertisement], Freeman's Journal (8 August 1857), 3 

MUSIC - PIANOFORTE and SINGING TAUGHT on moderate terms by Mr. CORDNER, Organist of St. Mary's.
Communications addressed to Mr. Johnston's Music Warehouse, Pitt-street, promptly attended to.

ASSOCIATIONS: St. Mary's cathedral (Sydney)

[Advertisement], Empire (11 August 1857), 1 

GRAND ORATORIO. The public is respectfully informed that a
GRAND ORATORIO will be given in ST. MARY'S CATHEDRAL, on the EVENING of TUESDAY, August 18th, 1857,
by MADAME ANNA BISHOP, in aid of the Building Fund.
She will be supported on this occasion by the following Artistes who have kindly volunteered their valuable services:
(Soprani) Miss Flora Harris, Mrs. Guerin, and Mrs. Bridson; (Tenori) Mr. John Howson and Mr. Fisher;
(Bassi) Mr. Frank Howson, Mr. Banks, and Mr. Thompson, together with a number of Amateur Ladies and Gentlemen.
In order to render the works of the great Masters in a proper manner,
The celebrated Solo Flautist, MR. JULIUS SIEDE, will also perform, for the first time in the colony, at the Oratorio.
A GRAND ORCHESTRA bas been engaged.
Mr. CORDNER (Organist of the Cathedral) will preside at the Organ.
Tho whole under the direction of MR. GEORGE LODER.

ASSOCIATIONS: Anna Bishop (vocalist); George Loder (conductor); Flora Harris (vocalist); Sarah Bridson (vocalist); James Churchill Fisher (vocalist); Thomas Banks (vocalist); Sara Flower (vocalist); Jean-Baptiste Laglaise (vocalist); Robert Farquharson (vocalist); Julius Siede (vocalist)

"GRAND ORATORIO", The Sydney Morning Herald (20 August 1857), 8 

On Tuesday evening, St. Mary's Cathedral was crowded in every part . . . The programme, divided into three parts, included the whole of Rossini's "Stabat Mater," and concluded with Mozart's "Twelfth Mass" . . . At the request of Sir William Denison and the Venerable the Archbishop Polding, Guglielmi's grand aria, "Gratias Agimus," was repeated . . . Mr. Frank Howson was very effective in a composition of Clifton's, "Ecce Deus;" and in his duet with Mr. Farquharson, "The Lord is a Man of War" . . . Mr. Cordner as the organist is worthy of much commendation, and thoroughly mastered the difficulties attending his separation from the orchestral department. The choral and instrumental forces were numerous and efficient, though it may be that a larger number of vocalists would have been of advantage. The festival was under the direction of Mr. George Loder, an artiste whose composition "Regina Apostolorum" (exquisitely rendered by Madame Anna Bishop, Madame Sara Flower, Monsieur Laglaise, and Mr. Farquharson,) evinces genius of an elevated and refined order . . .

ASSOCIATIONS: William Denison (governor); John Bede Polding (archbishop)

See also "ORATORIO AT ST. MARY'S", The Month: a literary and critical journal (December 1857), 181 

ASSOCIATIONS: Joseph Sheridan Moore (editor, reviewer, The month); and "ORATORIO", Freeman's Journal (22 August 1857), 3 

"CATHOLIC HYMNS", Freeman's Journal [Sydney, NSW] (28 November 1857), 2 

We are delighted with the first number of a series, of Tunes for Catholic Hymns, &c., which Mr. Dolman (the publisher) has sent to our office . . . In the present number we notice two tunes which are very great favorites with all who attend the Cathedral, namely "Daily, Daily," and "Pilgrims of the Night." The pianoforte accompaniment to these two is very good. Musicians who attend the Cathedral, and are familiar with the tones of its mighty organ, can have but little difficulty in discovering who was the arranger of them. The other airs are all charming bits; the names of the composers are too well known to stand in need of commendation. The two Litanies are very good: the first of them is a very popular one. The mechanical part of the work is good: the notes are very legible; and the size is very convenient. We hope there is not a Catholic young lady in Sydney, or in the country, who has a piano, that will not take a copy. All members of country choirs should at once secure their copies. The quicker the first number is disposed of, the sooner the publisher will bring out the second one; which he promises shall contain Benediction pieces, and other music for the evening service.

ASSOCIATIONS: William Dolman (publisher); it was implied that Cordner was the musical editor; no copies of this publication are known to survive

"REVIEW", Freeman's Journal (12 December 1857), 4 

Catholic Hymns, Litanies, &c., arranged with an easy accompaniment for the use of Country Missions and Schools. Sydney: Dolman, 1857.
This is the first number of a publication which was much needed . . . The first here given is the hymn "To the Most Holy Trinity," and it is set to a beautiful and simple German melody, nicely harmonized. This, we are sure, will be a lasting favourite. The next is a "Hymn to the Eternal Father," set to a very sweet air by Mayer, arranged in the same correct and easy style. Then follows a translation of the celebrated Hymn of St. Casimir, "Omne die, dic Maria," set to a rather lively melody, of French origin, we believe. After this comes the well known hymn, "Mother of Mercy, day by day," very well adapted to a pathetic German air; and then the sacred song, "Pilgrims of the Night," pleasingly set, but to a somewhat operatic looking air, in six-eight time, with an arpeggio accompaniment, which we suspect the organist of St. Mary's plays after a very different fashion from what it exhibits here. But the editor, doubtless, thought it necessary to do something for our fair pianists, and, although we should have treated the chords differently, in this instance, we are willing to pardon him for the sake of the said fair piano players. "Jesus is God" is adapted to a very beautiful melody by Pleyel, which will be more admired the oftener it is heard. After this we have a simple and pleasing litany, B. V. M., in D major, which is followed by that most charming hymn, "Jesus, my God and my all," adapted to a well known and much admired air from Mehul's delightful Oratorio of Joseph. We consider this last and the two first hymns well worth the whole price of the book, and we shall be surprised as well as pained if they are not heard in every church and school, as they ought to be heard in every Catholic family, before many weeks shall have elapsed. The publication concludes with a very good melody for the Litany, but to which the word "Kyrie," in the first line, is twice incorrectly set, and there occurs an instance of consecutive octaves in the harmony of the first bar, where the bass rises from F to G, and the same motion occurs in one of the intermediate parts an octave higher. If the F in the second part was necessary to resolve the discordant G preceding it, the error might have been avoided by contrary motion in the bass part. We feel bound to notice the apparent negligence with respect to this last piece, because we think a work so admirable in design, and so excellent in execution, generally, should be purged even of these trifling faults . . .

See also a later edition, also lost, and also possibly edited by Cordner, "REVIEW", Freeman's Journal (29 October 1859), 2 

"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" . . . The concert terminated with the well rendered and always impressive "Hallelujah chorus."

ASSOCIATIONS: Charles Chizlett (conductor)

"CONCERT OF SACRED MUSIC", The Sydney Morning Herald (12 March 1858), 5 

Mr. C. Chizlett, last evening, gave a concert of music, at the School of Arts, when the new organ was opened by Mr. Cordner. The former more powerful instrument has been removed to the Pitt-street Congregational Chapel; but the new one, though only a chamber instrument, is of large size, and its capacity of tone would also suit a larger building. It was built by Walker, and comprising fourteen stops (all enclosed in a swell) is a very effective one. There is, besides, a posaune stop attached to the pedals, which gives a richness to the bass and modifies the shrillness of the treble tones. Some of the reed stops when used judiciously in obligate accompaniments have a very good quality; but when the instrument was played to its full power, a metallic sound was apparent. Of course it is difficult to give a very confident opinion upon an instrument which had been tuned but half an hour prior to the commencement of the concert, and after an occasion which did not afford full opportunity for display. The programme included in its first part selections from various composers of sacred harmony; and the second part comprised some of the choicest portions of the Messiah. The execution, probably from the newness of the instrument by which it was accompanied, was not so good as that noticed when a week ago a similar programme was performed by the same choir, yet it appeared to give much gratification to the audience.

ASSOCIATIONS: Joseph William Walker (English organ builder) Mechanics' School of Arts (Sydney venue)

"MARRIAGES", The Sydney Morning Herald (10 June 1858), 9

CORDNER - MUNTON. May 18th, at St. Philip's Church, by the Rev. G. W. Richardson, Mr. W. J. Cordner, of Dungannon, county Tyrone, Ireland, to Ellen Munton, of Brentford, county Middlesex, England.

[Advertisement], The Sydney Morning Herald (5 October 1858), 1 

THE ANCIENT MUSIC OF IRELAND - A LECTURE to be delivered THIS EVENING, at the LYCEUM THEATRE, in aid of the Donegal Relief Fund,
by J. H. PLUNKETT, Esq., Q.C., M.L.A, assisted by many ladies and gentlemen who have kindly volunteered their services for the occasion . . .
"The Harp that Once through Tara's Halls."
"Rich and Rare were the Gems She Wore."
"Coolin" - harmonized by Mr. Cordner, for four voices.
"She is Far from the Land" - harmonized for three voices.
The Song of Fionnuala.
"O! Where is the Slave?"
"I saw from the Beach" - Duett.
"The Deserter" - harmonised for four voices, by Mr. Cordner.
"The Meeting of the Waters."
The Song of the Battle Eve - harmonized for four voices, by Mr. Cordner . . .

"SYDNEY PHILHARMONIC SOCIETY", The Sydney Morning Herald (23 November 1858), 5 

Last night the fourth concert of the season, in connection with this Society, took place in the Great Hall of the Sydney Exchange, before a large and most distinguished audience . . . Lee's soft and gentle ballad "Down where the Blue Bells grow" was then given by Mr. Cordner, and so rapturously applauded that that gentleman had to comply with an unmistakable encore before Beethoven's Symphony No. 1. Andante e Minuetto could be performed, and the first part so concluded . . .

ASSOCIATIONS: John Deane (conductor); Sydney Philharmonic Society (association); Exchange Hall (Sydney venue)

MUSIC: Down where the blue bells grow (Alexander Lee)

"To the Editor of . . .", The Sydney Morning Herald (3 January 1859), 5 

. . . an attempt is now making in Sydney to get up a Vocal Harmonic Society . . . what is now wanted is the uniting together in one choral body the scattered lovers of song, in order that the full grandeur and effect of this "divine art" may be displayed. This, in fact, is the object of the Sydney Vocal Harmonic Society. It purposes to include in its ranks all creeds and all classes . . . I would refer your readers to the published list of the committee in your advertising columns to-day . . . They have appointed Mr. Cordner to the office of conductor and vocal teacher, and will proceed immediately to organise the classes for pupils and the practice for amateurs in choral singing. I think it may safely be predicted that next Christmas eve Sydney will not be very far behind Melbourne in the performance of Handel's Messiah.

ASSOCIATIONS: Sydney Vocal Harmonic Society (association); for the prospectus, see [Advertisement], The Sydney Morning Herald (11 January 1859), 1 

"SUMMARY OF MONTHLY NEWS [For Europe]", The Sydney Morning Herald (12 March 1859), 5 

On Thursday evening last, the Sydney Harmonic Vocal Society [sic] gave its first concert in the Castlereagh-street school-house, which was crowded to the doors by an attentive and most respectable audience. Little more than two months have elapsed since it was originated; yet, during that brief space of time, the progress made has been satisfactory in the highest degree. The rehearsals have been well attended, and so successful that last night the members, numbering upwards of 160, made their first appearance in public, having selected for the occasion the first portion of Handel's Oratorio of the "Messiah," terminating with the Hallelujah Chorus . . . The soloists included Madame Sara Flower, Madame Flora Harris, and Mr. F. Ellard . . . Mr. John Deane led, Mr. Packer presided at the organ, and Mr. Cordner, to whose indefatigable exertions in harmonising the voices much is due, conducted and all these gentlemen filed their difficult positions very ably.

ASSOCIATIONS: Frederick Ellard (tenor vocalist); Charles Sandys Packer (organist)

"PUBLIC AMUSEMENTS", Empire (14 June 1859), 5 

. . . But one of the greatest triumphs of "the power of song" was the production of Haydon's "Creation," on Thursday [9 June], by the Sydney Vocal Harmonic Society. This amateur association has only been in existence since the commencement of the present year. Composed at first of the crudest materials, many of the members being perfectly unknown to each other, it has been enabled, in a few months, under the able guidance of Mr. Cordner, the unwearied conductor, to present to a crowded auditory a concert that might well have vied with the productions of some of our old societies. The freshness and purity of the soprano voices, the evenness of the tenors, and the cultivated style of the principal bass, with the fullness of the choruses, rendered the performance the most attractive that has been given in Sydney. Active preparations are in progress for the ensuing University Musical Festival, to be held on the occasion of the opening of the Hall of the Sydney University, during the ensuing month. A union of the several choirs will take place; all the vocal and instrumental talent in Australia will be engaged; the whole to be under the direction of Mr. Lavenu . . .

ASSOCIATIONS: Lewis Henry Lavenu (conductor); Sydney University Musical Festival (event); see also on the 9 June concert, "AUSTRALIAN NEWS. - SYDNEY VOCAL HARMONIC SOCIETY", Belfast Morning News [Ireland] (22 August 1859), 2 (PAYWALL)

"In noticing the performance of the 'Creation,' unlimited praise is due to the conductor this society, Mr. William J. Cordner, for his indefatigable efforts. He is perfectly at home in the music of the oratorio. We hope to see him at the head of combined orchestra and chorus that will enable bim to produce such works Elijah and other master-pieces." - Sydney Empire.
[Mr. Cordner was member of this cathedral choir, where he received such musical proficiently enabled him to take his present honourable position. - Editor of Armagh Guardian.]

[Advertisement], Empire (4 July 1859), 6 


[Advertisement], Empire (14 July 1859), 6 

REMOVAL. - Mr. W. J. CORDNER, from Pitt-street, Redfern, to 135, Bourke-street, four doors above William-street.

"UNIVERSITY MUSICAL FESTIVAL", Empire (25 July 1859), 4 

. . . The concert of Saturday was unanimously pronounced to be the best executed of any during the entire Festival . . . The first part was devoted to SACRED MUSIC - from the works of Handel, Haydn, Mendelssohn and Rossini . . . The remaining portions of the concert consisted of selections from the works of various composers in the different schools of SECULAR MUSIC . . . Mr. Packer was about to ascend the rostrum [for the 3rd and final part], but so vociferous and continued were the calls for Mr. Cordner, that that gentleman whose natural modesty of character had kept him in the back-ground during the entire Festival - yielded to the clamour; - with every respect for Mr. Packer's great abilities, this was an ovation due to Mr. Cordner; no one has done more towards the success of the Festival than he has - his unwearied exertions in practising the choruses. It will be sufficient to mention the pieces of this part. Festa's old English Madrigal "Down in a Flowery Vale," was magnificently executed under the baton of Mr. Cordner; the effect, of the powerful chorus without instrumental accompaniment was thrilling . . . Morley's Madrigal, "Now is the Month of Maying," gave an opportunity for a grand burst of harmony from the chorus; and the University Commemoration and Inauguration Musical Festival appropriately terminated as it began with - "GOD SAVE THE QUEEN" . . . We do sincerely hope that the Committee will mark this era in the annals of New South Wales (or rather of Australia), by a medal to be presented to each of the performers - a grateful and graceful reminiscence for those who have so strenuously exerted themselves for the end in view, often, at much personal inconvenience. To Mr. Lavenu and Mr. Cordner we consider that a more, substantial acknowledgment is necessary.

ASSOCIATIONS: Lavenu and some of the vocal and instrumental performers had to leave the concert early in time for an opera performance that night at the Prince of Wales Theatre; Packer and Cordner duly took over as conductors for the final part of the concert

[Funeral notices], The Sydney Morning Herald (2 August 1859), 8 

FUNERAL. The Friends of the deceased LEWIS HENRY LAVENU, Esq., are invited to attend his Funeral, to move from his late residence, Horbury-terrace, Macquarie-street, THIS (Tuesday) AFTERNOON, at a quarter-past 2 o'clock, and will proceed to Christ Church, from thence to the Cemetery, at Camperdown. JAMES CURTIS, undertaker, Hunter street . . .
FUNERAL OF THE LATE L. H. LAVENU .- The Musical profession, and such Ladies and Gentlemen, members of the Choral Societies, as are desirous of testifying their respect for the memory of this lamented gentleman, are requested to meet Mr. CORDNER, at the Pitt-street entrance to Christ Church, at half past two o'clock, THIS DAY. A selection from the Oratorio of the Messiah is proposed to be sung.

"SYDNEY VOCAL HARMONIC SOCIETY", The Sydney Morning Herald (16 September 1859), 5 

Last night, the fourth concert of our Vocal Harmonic Society was given in the school-room, Castlereagh-street, which was crowded to overflowing, by a musical auditory, if we may judge from their marked appreciation of the quality of the music, and the evenness of its performance. The oratorio, or sacred drama, of "Judas Maccabeus," had been chosen for the occasion, and, all things considered, perhaps a better selection could not have been made, for displaying the talent of the different members, whose progress during the short period the society had been in existence in as gratifying as it is surprising . . . Miss Brady's clear voice was heard to advantage in the recitative and aria "O let eternal honour," and in the duets in which she took part with Mrs. Cordner, and a gentleman amateur, acquitted herself well . . .

ASSOCIATIONS: Mary Ann Brady (vocalist)

"VOCAL HARMONIC SOCIETY", Empire (16 September 1859), 8 

. . . The duett, "Come, ever smiling liberty," was effectively executed by Miss Brady and Mrs. Cordner, the concluding notes slightly out of tune. Less successful was the beautiful duett "Hail Judea," by Miss Duffy and Mrs. Cordner . . . Mr. W. J. Cordner conducted, and Mr. Packer accompanied at the organ with his usual consummate ability . . .

[News], Empire (29 October 1859), 4 

The execution of the first portion of Handel's oratorio of "Judas Maccabaeus," at the fourth concert of the Sydney Vocal Harmonic Society, though exceedingly creditable, scarcely warranted the expectation or the superiority arrived at on the occasion of the fifth concert, held on Thursday evening [27 October], when, with the exception or one or two trifling omissions, the whole of this grand oratorio was performed . . . In the third part all the honour was due to Mrs. Cordner, (who on the former occasion was scarcely beard to advantage,) she well merited the burst of applause for her admirable delivery of the air "Father of Heaven." This amateur possesses a rich mezzo-soprano voice of pure metallic quality. Equally well sung was the duet "O lovely [Peace]," between Mrs. Cordner and Miss Brady . . .

"MRS. CHESTER'S CONCERT", The Sydney Morning Herald (23 November 1859), 5 

. . . The concert of last night . . .was the voluntary tribute of various members of the musical profession to and unfortunate and superannuated member of the craft . . . The bill was an attractive one . . . The duet "Sainted Mother," from the opera of Maritana, sung by Miss Brady and Mrs. Cordner, was loudly encored, and in response these ladies sang another equally acceptable, though not possessing such classical merit . . .

ASSOCIATIONS: Marian Maria Chester (retired vocalist, actor)

"COMPLIMENTARY BENEFIT TO MR. J. R. BLACK", The Sydney Morning Herald (26 November 1859), 2 

Notwithstanding the number of musical entertainments offered to the public during the present week, the complimentary benefit given last night to Mr. J. R. Black, at the Exchange, was crowded with a highly respectable audience . . . Mrs. Cordner joined in the duet "The Wind and the Harp" with Miss Brady, and subsequently a solo "O Salutaris," in the low notes of which she was very effective . . .

ASSOCIATIONS: John Reddie Black (vocalist)

"SYDNEY VOCAL, HARMONIC SOCIETY", The Sydney Morning Herald (23 December 1859), 8 

The sixth sacred concert (the last of the season) in connection with the Sydney Vocal Harmonic Society, took place last night, at the schoolroom, Castlereagh-street, at which Handel's oratorio of The Messiah was produced - the recitatives and airs being rendered by Miss Brady, Mrs. Cordner, Mr. Waller, and several other amateurs, the choruses being performed by the whole strength of the Society. In spite of the unfavourable state of the weather, the attendance was a very large one, the room being crowded in every part. Miss Brady, Mrs. Cordner, and Mr. Waller, were in first-rate voice, and listened to with feelings of the liveliest satisfaction. In the first part Mrs. Cordner, in the contralto recitative "Behold a virgin," &c., and the next following air, was eminently successful, as well as in the air - "He was despised" - at the commencement of the second part . . . The organist was Mr. C. Packer - Mr. W. J. Cordner acting as conductor. The choruses were all sustained in a correct and effective style.

ASSOCIATIONS: James Waller (vocalist)

"MR. CORNDER'S CONCERT", The Sydney Morning Herald (24 December 1859), 7 

An advertisement in another column will inform our readers that Mr. Cordner purposes to give a concert on Thursday next, at the Exchange. We have much pleasure in drawing the attention of our readers to the announcement, and in recommending all lovers of music not to lose the treat in store for them. Mr. Cordner has done much to advance the cause of music in this city by his exertions as conductor and chorus master of the Sydney Vocal Harmonic Society, and by his readiness to assist on all occasions where his talents could be useful. The Philharmonic Society is also indebted to him for assistance in superintending the vocal portions of their entertainments, and his numerously attended classes shew how highly he is appreciated as a teacher. But it is a chorus master that Mr. Cordner displays the greatest ability. To those unacquainted with the fact, it would appear almost incredible that in twelve months he could have collected and trained such a powerful and efficient chorus as that which performed the "Messiah" on Thursday evening last. It is a gratifying feature, too, to find that, although one of the strictest of masters, the members of Mr. Cordner's classes fully appreciate his zeal, and manifest their regard by placing their services entirely at his disposal. The proposed concert will be a mixed performance of sacred and secular music; in the former part several fine choruses will be sung that have never before been heard in Sydney, being selections from the works of Handel, Haydn, Mendelssohn, and Spohr, &c. In the secular part there will be various novelties introduced, but perhaps the greatest attraction will be the performance of Madame Rawack, on the pianoforte, this highly gifted artiste having in the kindest manner consented to give her powerful aid. An organ will be specially erected to accompany the choruses, and Mr. Packer will perform. Altogether this promises to be the most attractive concert of the season, and we shall be disappointed if the beauty of the music, and the claims of Mr. Cordner to the consideration of the musical portion of the public, do not combine to ensure him a bumper house.

ASSOCIATIONS: Amalia Mauthner Rawack (pianist)

"MR. CORDNER'S CONCERT", The Sydney Morning Herald (30 December 1859), 5 

A miscellaneous vocal concert, under the direction of Mr. Cordner, came off last night, in the hall of the Exchange, and proved an appropriate conclusion to the many excellent musical entertainments which the public have enjoyed during the year now drawing to a close. Of the several musical associations in this city, by which these entertainments have been given, the Vocal Harmonic Society has taken the most prominent position, and in the remarkable success that has attended its proceedings, Mr. Cordner has been greatly instrumental, having acted very efficiently and perseveringly as its conductor, and having brought out from the large and skilful choir, and trained, some very good vocalists, whose performances, while they have contributed so much to the success of the concert, have earned for them fair reputations as singers. The large and influential attendance, which completely filled the large hall and a portion of the adjoining reading room last night, was a fitting acknowledgment on the part of the music-loving public of Mr. Cordner's exertions, and was also calculated to afford a stimulus to him and to the pupils of the Vocal Harmonic Society to persevere in the practice of standard music. A commodious platform was erected at the eastern end of the hall, so as to render the gallery available for a portion of the chorus at the back of the platform was a fine organ, recently built by Mr. Kinlock, at which Mr. Packer presided. The first portion of the concert consisted chiefly of selections from the oratorios, most of the pieces being comparatively little known in Sydney, and some not having been before produced. The concert opened with the grand chorus, "We worship God," from Judas Maccabaeus, which was sung with the same amount of vigour and precision as when this oratorio was last performed; but it was noticeable that, owing to the construction of the building, the effect of this and of other pieces was not quite equal to that when, they were produced at previous concerts. The air "Holy, Holy," and the chorus "Blessing, Honour," from Spohr's "Last Judgment," were then given, the , air being rendered by Miss Brady, with her accustomed ease and purity of expression. This young lady's subsequent execution of the exquisite but difficult air "With verdure clad," from the "Creation," was splendid, and was an admirable rendering of music which pictures the glories of the field as they first delighted the "ravished sense," in notes as charming as the odours and colours of the "flowers sweet and gay." Equally expressive and suggestive of the marvellous event was Mr. Waller's execution of the recitatives and air describing the appearance of animated nature "And God said," "Straight opening her fertile womb," and "Now Heaven in fullest glory shone." After the chorus from the same oratorio - "The Heavens are telling," Mrs. Cordner sang the air - "Lord, to Thee," by Handel, with considerable taste and feeling. The sacred portion of the concert closed with some of the most thrilling passages from Mendelssohn's "Elijah," the recitative between the prophet and the youth being sustained by Mr. Waller and a young lady, one of the pupils of the Society, who filled her part very creditably. The succeeding chorus - "Thanks be to God! He laveth the thirsty land," was unquestionably the best performance of the evening, being produced in a manner worthy of this noble and impressive song of thanksgiving. An interesting feature in the second part of the concert was Mr. J. Waller's "Patriotic Song," written and composed by himself. The words (which we give in another portion of our paper), though without any striking poetical merit are pretty, and embody sentiments naturally excited on contemplating the past and the probable future of these colonies; the air, which is in a major key, is pleasingly suggestive of some well-known and favourite English melodies; the song was given with Waller's usual animation, and an encore was loudly demanded and complied with. A solo on the pianoforte Grand Fantasia du Trovatore par L. de Meyer - was very brilliantly performed by Madame Amalia Rawack; an encore was called for amid loud and prolonged applause, but it was declined, owing probably to the lateness of the hour. Glover's Duet - "The Star and the Flower" was exquisitely sung by Miss Brady and Mrs. Cordner, and was followed by a very fine solo performance on the seashore from "La Straniera," by an accomplished amateur, who has rendered valuable assistance at the concerts of the Vocal Harmonic Society. The music was throughout excellent, and the entertainment, while affording a gratifying proof of the value of Mr. Cordner's labours, also pointed to further results that might be expected from the development of the sterling vocal abilities displayed by the members of the musical society over which he so ably presides.

ASSOCIATIONS: John Kinloch (organ builder)

[News], Empire (30 December 1859), 4 

As was to have been anticipated from the popularity of the "beneficier" and the character of the entertainment provided for his patrons, the concert of Mr. W. J. Cordner, at the Exchange, last evening, was attended by one of the most crowded auditories we remember to have witnessed within the building; every available spot in the Hall and the adjoining reading room being occupied by attentive listeners; and thanks to the excellent arrangements (for which, we believe, we must thank the very attentive Secretary), not the slightest discomfort was experienced. The arrangements of the staging for the chorus, over the eastern entrance was very effective, but the organ was so miserable an instrument, that Mr. Packer was reluctantly compelled to make use of the pianoforte for the accompaniment to the florid music of Hayden. The first part of the programme consisted of sacred music from the works of Handel, Spohr, Haydn, Rossini, and Mendelssohn, of which the air and chorus from Spohr's "Last Judgment," and the recitatives and chorus from Mendelssohn's "Elijah," undoubtedly were the gems of this portion of the entertainment, both as regards the genuine worth of the compositions, and their execution. Miss Brady sang the beautiful air "Holy, Holy," in the former piece, with great purity and sweetness, but we now require from this favourite vocalist more finish and expression. In the Elijah selection, the chorus "Thanks be to God," went brilliantly, the piano and forte were smoothly given, and with precision; an occasional discord excepted, it was the finest choral execution we have for sometime heard. We must also notice favourably the young lady who made her debut at the last Vocal Harmonic Concert, and who sang the slight responsive recitatives with a trembling but clear voice, and a purity of intonation that was truly refreshing. Miss Brady's best solo was the "Inflamatus," from Rossini's "Stabat Mater," in which she held the upper C for three octaves with full choral accompaniment with great purity and power, though it evidently tried her voice. Mr. Black sang the "Pro Peccatis," from the same composition, in a quiet, unostentatious style; with out being a great singer, Mr. Black has a very agreeable and sonorous barytone voice, which will bear more frequent hearing. With regard to both these pieces, however, we should prefer a less independent mode of pronouncing the Latin text. Mr. Waller gave evident symptoms of having suffered from indisposition; the "Elijah" recitative was, nevertheless, powerfully executed. Mrs. Cordner was very nervous in the commencement of the air, "Lord to thee" (Handel's Theodora), but recovered herself, and displayed the excellent qualities of her voice. This lady should regard her audience less, - her music more. The "Creation" selection was the least effective. "The Heavens are telling," dragged considerably, the tenors being sadly out of tune. The second part of the concert was lighter, serving as a dessert. The Puritani quartette, "A te o cara," was not so well sung as at the last Philharmonic Concert, it was taken a trifle too slow, and wanted life. A patriotic song "Australia," written, composed, and sung by Mr. Waller was, of course, loudly encored. It is a pleasing and spirited composition, - though reminding one of "Jeannette and Jeannot." Madame Rawack next ascended the platform, and played a Fantasia on Airs from "Il Trovatore" written by Leopold de Meyer for Arabella Goddard: the composition is well calculated for its evident intention of producing effect: it is otherwise worthless. The brilliant - we may say masterly execution of Madame Rawack only makes us regret that this lady should be so sparing in the display of her talents. It would surely not be derogatory to her as an artiste to assist the cause of music by appearing more frequently in public. Her manipulation is of the true Clara Schumann (Wieck) school, and is a pleasure to behold, as well as to hear. We could wish that Madame Rawack would, like that gifted artiste, play compositions more worthy of her powers. The encore to this piece was very properly refused. One of Glover's worst duetts, "The Star and the Flower," calls for no particular notice; not so, however, the beautiful tone breathed into the saxhorn, in the solo, "Meco tu vieni," as played by H. Distin. The piano was exquisitely given, and gave the audience a specimen of the amateur talent we have in this city. The glorious finale to the third act of Hernani, "O Charlemagne," remarkably well sung, concluded the concert.

"SYDNEY VOCAL HARMONIC SOCIETY", The Sydney Morning Herald (19 January 1860), 5 

The first annual meeting of this society was held last night in the Infant Schoolroom, Castlereagh-Street, Dr. Charles Nathan in the chair. On account of the rainy weather the attendance was small. The CHAIRMAN having read the advertisement convening the meeting, called on the Secretary, Mr. Joseph Dyer, who read the following REPORT . . . One important object the committee set forth in their prospectus was the formation of a class for the study of vocal music. This has been effected under the tuition of Mr. Cordner. The pupils have numbered as many as 142 in the first class, which was commenced on June 13th. The attendance has been regular, and Mr. Cordner reports that a large number of the pupils have mastered the rudiments of part singing, and that in some instances promising pupils have been selected to take solo parts in the public concerts of the society . . .

ASSOCIATIONS: Charles Nathan (president); Joseph Dyer (secretary)

"Deaths", Armagh Guardian [Armagh, Ireland] (14 December 1860), 5 (PAYWALL)

Nov. 28 at Cookstown, Mr. Samuel Waring Cordner, aged 65 years, for upwards of 30 years Organist of St. Anne's, Dungannon, subsequently of the Castle Chapel, and Parish Church, Tandragee, and latterly, to the day of his death Organist of the Parish Church at Cookstown. Throughout life he was an upright and honorable man.

"MR. CORDNER'S BENEFIT CONCERT", The Sydney Morning Herald (30 January 1862), 4 

Although it is quite evident that the great number of musical entertainments recently given and to come off are in excess of the legitimate demand, yet we invite especial attention and patronage to the concert which is announced for this (Thursday) evening. It is true that it is not nominally for the benefit of a valuable and benevolent public institution, but we consider that as it is intended as a public recognition of the services Mr. Cordner has rendered to musical art in this city (and wo may say in this colony), the lovers of good music are bound by a heavy debt of gratitude to support this highly-deserving artist. Until this gentleman was made conductor of the Vocal Harmonic Society it was impossible to produce classical oratorios in their entirety. Under his direction such works as "The Elijah;" "The St. Paul," by Mendelssohn; "The Messiah," and "Judas Maccabeus," by Handel; "The Last Judgment," by Spohr; and other masterpieces, have been introduced to the Sydney public, and performed in a highly creditable manner. Mr. Cordner has also brought out several talented amateur singers, who, in all probability, would have been "born to blush unheard, and waste their sweet notes on the desert air," had he not discovered their merits and encouraged them to appear. The names of the Misses Brady, the young lady who so charmingly filled the role of the May Queen, and the fine tenor singer who took the part of the lover in the same cantata, with the various basses who so efficiently took part in the performance of the Vocal Harmonic Society, testify to Mr. Cordner's sagacity in discerning musical talent, and his skill in training it. We ought not to omit, moreover, the valuable aid rendered by his talented wife, a lady who bids fair, with her fine contralto and rapidly improving style, to fill the place which must, ere long (though very long may it be postponed) be vacated by our favourite Madame Sara Flower. We trust we have said enough to urge the lovers of music to give Mr. Cordner a bumper house; the highly attractive programme itself ought to secure it.

See also review, "CONCERT", Empire (31 January 1862), 5 

[Advertisement], Empire (20 October 1863), 1 

PROGRAMME . . . SECOND PART. - SECULAR . . . Part Song - "Come to the sunset tree" - W. J. Cordner . . .
Organist - Mr. W. J. CORDNER. Conductor - Mr. C. CHIZLETT . . .

ASSOCIATIONS: People's Vocal Music Association (association)

"SYDNEY PHILHARMONIC SOCIETY", Empire (28 November 1864), 4 

After an unusually long recess caused partly by the serious indisposition of the conductor, and partly to his anxiety that the new season should commence with a performance worthy the reputation of the society and satisfactory to its patrons, the first concert is announced to take place on Tuesday (to-morrow) evening next, at the Masonic Hall commencing as usual at 8 o'clock. The first part of the programme consists of Handel's "Acis and Galatea," a work which stands among the most favourite and popular of the great master's compositions, and which has never yet been performed in Sydney. It will be given with full orchestral accompaniments, the portion for the wind instruments having been arranged by Mr. W. J. Cordner with great skill and care expressly for his orchestra. The "Masque" (as it was originally called) or cantata contains some of Handel's most charming music, and the choruses are as beautiful, as they are elaborate. For the careful production and singing of these Mr. Cordner has been indefatigable, and the associates and members have striven hard to second his desire and maintain the position of the Philharmonic as the first musical society in the city . . . The second part contains several musical gems of instrumentation, as it is the desire of conductor and committee to produce both vocal and instrumental music of the highest class, and perform them in first-class style. Among these may be noted Mozart's overture to "Don Giovani," a trio for two violins and piano, from "Il Trovatore;" and last, but by no means least, one of those enchanting compositions of the immortal Beethoven, an instrumental quartett, Op. 18 No. 2, for two violins, viola, and violincello. This will be performed by Messrs. Haimberger. W. Rice, W. J. Cordner, and C. Howson . . .

ASSOCIATIONS: Julius Haimberger (violin); Walter John Rice (violin); Charles Edward Howson (cello)

"PUNCH AT THE THEATRE", Sydney Punch (22 July 1865), 8 

At the Prince of Wales "the cry is still they come" to witness the varied programme of musical, vocal, saltatory, and eccentric excellences dispensed by those able professors of the "black art," the Christys' Minstrels. The principal novelty of the week has been the production of a clever burlesque on the opera of "Lucretia Borgia," which was as replete with features of interest and gratification as any of its predecessors of the same description. An effective recitative and trio (music by Mr. W. J. Cordner, and words by Mr. G. R. Morton) on the death of President Lincoln, was also introduced with great success, and done the fullest justice to by Messrs. Nish, Melvyn, and Rainford . . .

ASSOCIATIONS: George Ross Morton (lyricist); Anthony Nish (minstrel); James Hadock Melvyn (minstrel); Thomas H. Rainford (minstrel); Nish's Christys' Minstrels (troupe)

"SYDNEY", The Musical Times and Singing Class Circular [London, England] (1 April 1865), 38 (DIGITISED)

The annual performance of the Messiah, by the Sydney Philharmonic Society, took place on the 22nd of December, before a large and appreciative audience. The solos were entrusted to Madame Flora Harris, Mrs. Cordner, Miss Hardee, and another young lady amateur; Messrs. Gerard Phillips (tenor), James Waller, and J. Black (basses), all of whom acquitted themselves to the utmost satisfaction of the listeners. The band and chorus were exceedingly numerous. Mr. M. Younger (an amateur) presided at the organ, and Mr. W. J. Cordner conducted. - A CONCERT, under the direction and conductorship of Mr. M. Younger, was given at St. Peter's School-room, Cook's River, in aid of the fund for purchasing an organ for the church. The local papers speak in the highest terms of the execution of portions of Spohr's Last Judgment on this occasion; and attribute much of the rapid spread of the knowledge and practice of music in the colony to the cheap editions of the great works issued by Messrs. Novello. - AT St. Mary's Cathedral, on Christmas Day, a grand selection of music was performed, under the conductorship of Mr. W. J. Cordner, organist of the Cathedral, Mr. Nash presiding at the organ. The performance included the Kyrie and Gloria from Mozart's Twelfth Mass, and the Credo and Sanctus from Weber's Mass in C. The Cathedral was densely crowded the whole time.

"SYDNEY", The Musical Times and Singing Class Circular (1 November 1865), 167 (DIGITISED)

. . . THE St. Mary's Choral Society also gave a concert during the month [August], under the direction of Mr. W. J. Cordner, which was very successful . . .

"PUNCH'S EVENING AMUSEMENTS", Sydney Punch (21 March 1868), 134

. . . Mr. W. J. Cordner's Promenade Concert, also, in consequence of the "great grief," postponed from Saturday last, will take place on Saturday evening next at the Pavilion in Hyde Park. A most attractive programme has been arranged for the occasion, including a loyal anthem of Thanksgiving for the Prince's recovery, written by Mr. D. Coleridge, and composed by Mr. Cordner. The novelty and excellence of the entertainment, the deserved popularity of the entrepreneur, and the low prices of admission ought to combine in making this Promenade Concert a great success.

[Advertisement], The Sydney Morning Herald (21 March 1868), 9

Principal Vocalists . -Mesdames James, W. J. Cordner, and Lady Amateurs;
Messrs. A. Fairfax, H. Hoffmann, H. Ackland, J. C. Neild, and Gentleman Amateurs.
Principal Instrumentalists - Messrs. J. Deane, B. Klein, C. Deane, W. Turner, H. Deane,
Moore, Grenfell, C. Drager, E. Deane, Drager, Crook, Hare, Hodge, Hardie, Cramer,
Gaffney, Pearson, McCarthy, Tottenden, Morcombe, Leigh, Brady, and numerous Amateurs.
The Chorus will number 300 voices with the Juvenile Choir.
The Concert will be opened with the THANKSGIVING HYMN for the preservation of H.R.H. the DUKE OF EDINBURGH from the late attempt upon his life.
The words written by DERWENT COLERIDGE, the music is composed by W. J. CORONER.
The composition is published in vocal score with accompaniment for pianoforte or organ, price 2s.
Copies can be purchased by visitors to the concert at the reduced price of 1s 6d.
Leader - Mr. JOHN DEANE.
Accompanyist - Mr. MONTAGUE YOUNGER.
Conductor - Mr. W. J. CORDNER . . .

"To the Editor of . . .", The Sydney Morning Herald (30 June 1868), 6 

SIR, - Will you kindly correct a trifling inaccuracy in your report of the opening of St. Mary's Church, at St. Leonards, North Shore, where I am represented to have acted us organist, &c. This may lead to some misapprehension, as I have been confined to my own room for some weeks by severe illness. The duty of organist at St. Mary's, North Shore, was performed by my pupil, Mr. W. J. Turner, who was commissioned by me to take direction of the music, which was sustained by a portion of St. Mary's Cathedral choir, Sydney, assisted in the kindest manner by Miss Geraldine Warden - the remaining portion being required for the usual duties in the Cathedral, where Mr. C. E. Horsley has, in the handsomest manner, volunteered his services as organist during my illness.
Trusting the circumstances will sufficiently excuse my troubling you, I am, your obedient servant,
116, Woolloomooloo-street, June 29.

ASSOCIATIONS: William John Turner (organist); Geraldine Warden (vocalist); Charles Edward Horsley (organist)

"THE QUEEN'S OWN BAND", The Sydney Morning Herald (17 December 1868), 4 

The above band will give their weekly performance, in the Botanic Gardens, at 5 o'clock this afternoon . . .
the programme for this afternoon . . . 2. Quadrille - "Lanka" - Gassner . . .
4. Valse - "Kumberalung" - composed and scored for military band by Cordner . . .

ASSOCIATIONS: Giovanni Gassner (composer, master of the band); Band of the 50th Regiment (military)

"ORGAN PERFORMANCE", The Sydney Morning Herald (15 July 1869), 4 

A public performance on the organ of the Pitt-street Congregational Church, marking the occasion of its enlargement and improvement by Mr. C. J. Jackson was, with the permission of the pastor and managers of the church, given last evening. As compared with other organs in the colony, this instrument is now ranked as second only to that of St. Andrew's Cathedral, and some excellent music was chosen to test its power and the quality of its tones. With few exceptions these selections were from the composition of the great classical masters. The organists who took part in the performances were Mr. W. J. Cordner (St. Mary's Cathedral), Mr. W. H. Nash, B.A. (Christchurch), and Mr. A. Rea (Pitt-street Congregational Church). The pieces produced by Mr. Cordner were Hesse's variations on the National Anthem, Beethoven's Adagio Cantabili et Scherzo (septet), the overture to "Zaubertfote," selections from Masses (including the opening movement of the "Gloria," No. 12 Mozart, the "Agnus Dei," No. 1 Mozart, and the fugue movement, "Cum Sancto Spirito," No. 5 Haydn), and he finished with the Hallelujah Chorus in "The Messiah." His playing was marked by the development of orchestral effects and by the introduction of diversities and combinations suited to display the stops as much as possible . . .

ASSOCIATIONS: Charles James Jackson (organ builder); William Henry Nash (organist); Alex Rea (organist)

"NEW SOUTH WALES", The Musical World [London, England] (12 February 1870), 109

Rossini's Messe Solennelle was performed at the Sydney Academy of Music recently [22 November], and a local critic says of the affair: -
"The part-singers included Signor Ugo Devoti, David Dickson, Esq., Mrs. W. J. Cordner, Miss Kosten, Miss Wiseman, and other vocalists of repute. The orchestra - a large and well-trained one - was under the leadership of Mr. John Gibbs, Mr. W. J. Cordner acting as accompanist. The great attraction of the evening was, of course, the Messe Solennelle. It was certainly a rich feast, and was keenly appreciated . . . "Qui Tollis," duet - Miss Kosten and Mrs. Cordner, with harp and harmonium accompaniment-was exquisitely rendered. "O Salutaris" - Mrs. W. J. Cordner, accompanied by Mr. J. Hill, K.S., R.A.M., on the harmonium - was one of the most agreeable numbers in the work, both from the lady's excellent singing and the smooth accompaniment . . . "Agnus Dei," rendered by Mrs. J. W. Cordner, was pronounced by many the finest number in the work. It was sung with great pathos by many the finest number in the work. It was sung with great pathos and feeling, moving the audience to a high state of enthusiasm. Altogether the evening's entertainment passed off in a most satisfactory manner, and appeared to be most heartily enjoyed."

For the source article, see "ACADEMY OF MUSIC", Empire (26 November 1869), 2 

"DEATHS", The Sydney Morning Herald (16 July 1870), 1

On the 13th instant, at his residence, 116, Woolloomooloo-street, WILLIAM JOHN CORDNER, aged 43 years.

"DEATH OF MR. CORDNER", The Sydney Morning Herald (16 July 1870), 6

Another well known and, respected citizen has been called away from amongst us. After a long and painful illness, Mr. Cordner, Professor of Music, died at his residence in Woolloomooloo-street, yesterday morning, at half-post 2 o'clock. Mr. William John Cordner was a native of Armagh, and is understood to have received his elementary education in Musical Science in the school attached to the Protestant cathedral of that ancient Irish city. About fourteen years ago, Mr. Cordner arrived in this colony, where his professional ability was immediately recognised, and he was appointed organist at St. Patrick's Church, then under the pastoral care of the Very Rev. Dean Sumner. In that position Mr. Cordner made himself so remarkable for the untiring zeal which he displayed in the performance of his duties that the authorities of St. Mary's appointed him, in 1857, organist and choirmaster to that cathedral - an office wherein he is understood to have given entire satisfaction to his employers, and which he continued to hold until his death. For a long time past Mr. Cordner's health has been very infirm, and his sufferings often great, but he bore up against his manifold ailments so manfully, that the news of his death has affected many of his friends with a sorrowful surprise. In his last illness he was attended by Messrs. Charles Nathan and Alfred Roberts. Mr. Cordner was an Episcopalian, and died in that communion. He was visited for some time before his decease by the Rev. G. H. Moreton, of St. Peter's. By all who know him Mr. Cordner will be much regretted, and by none, perhaps, more than by the Roman Catholic clergy of St. Mary's, by whom he appears to have been universally respected and esteemed. Mr. Cordner was remarkable for having always shown himself ready and willing to give the influential aid of his cultivated talents and assiduity to any public or private charity, although a man of but limited means, working for his daily bread. Whatever he agreed to undertake he always exerted himself to have thoroughly well done - totally irrespective of the amount of compensation (if any) contingent upon its performance. His place will be vacant amongst the members of his profession, and he will long be remembered by the Sydney public. Mr. Cordner leaves a widow, but no children, after him. He was in the forty-fourth year of his age. His remains will be interred to-morrow afternoon, in the Episcopalian Cemetery, Haslem Creek.

See also, "Death of Mr. W. J. Cordner", The Sydney Morning Herald (16 July 1870), 3

See also, "Death of Mr. W. J. Cordner", Bell's Life in Sydney and Sporting Chronicle (16 July 1870), 3 

See also, "DEATH OF MR. W. J. CORDNER", Empire (16 July 1870), 2 

See also, "THE LATE MR. W. J. CORDNER", Freeman's Journal (23 July 1870), 9 

"The Late William John Cordner", Australian Town and Country Journal (23 July 1870), 9 

SOCIETY IS generally just to the memory of those who have contributed to its recreation or amusement. The death of a Dickens is popularly felt to be a far greater loss than that of a distinguished politician, or even of an eminent, philanthropist. In the musical world, much popular emotion is excited by the demise of a Master. When the skilled fingers are rigid, or the rich voice stilled for ever, society condones for its past exactions by vain regrets over the grave of the gifted artist. The late Mr, Cordner is widely regretted; but in his case, the many amiable qualities of the man - the many personal friendships he formed - produced a sense of bereavement altogether apart from his loss as a distinguished Professor of Music. A few particulars of the life of one so generally esteemed cannot fail to interest our readers.
William John Cordner was born in the town of Dungannon, County Tyrone, Ireland, in the year 1826. He was the second son of Samuel Cordner who had been for years organist to the parish (Episcopalian) church of Dungannon. At a very early age the young Cordner showed indications of those musical powers which were afterwards so amply developed. When he was seven years old he could play the organ and sing with considerable expression. The dormant desire of his young life was to be a chorister; and a chorister he became, in the venerable Cathedral of Armagh, before he had attained his eighth year. It was fortunate for the young musical enthusiast that he was placed under a rigid master - Mr. James Turle [sic, Robert Turle] - but one who had the happy power of stimulating the efforts of genius while he repressed its extravagances. Under this able master, for eight years did the subject of this notice pursue his studies, and pursue them successfully, till a longing to see the world got the better of his musical aspirations, as well as his love for the romantic landscapes about Lough Neagh and the historical ruins of Armagh.
Finding his father who was a stern, conscientious man-averse to gratifying his son's desire, young Cordner did what hundreds of boys of his temperament had done before - he ran away to sea. Of course he was disenchanted after a time, but not till he had undergone great privations - privations which undermined a fine constitution. His sensitiveness - compounded of pride, shame, and a spirit of independence - induced him to follow for several years a pursuit which was every way unsuitable to him; and it was not till ague had laid him low in India, some six or seven years after he had left "the old folks at home," that the thought of giving up his wild sea life gained mastery over him.
He returned from India and settled in Armagh, where he became a popular teacher of music, and was esteemed the best tenor singer in the North of Ireland.
As one by one the ties of youth were dissevered, he at last resolved to leave the old land; and, accordingly, in 1854, he emigrated to Australia. Shortly after his arrival in Sydney he became organist at St. Patrick's Roman Catholic Church, the Rev. Dean Sumner being pastor. Two years subsequently he was appointed organist to St. Mary's Cathedral, an office which he held to the day of his death. He was married some ten years ago to a lady who is professionally known as the best contralto in the Australian colonies.
The musical school in connection with the Armagh Cathedral is one of the first in the United Kingdom. Amongst the late Mr. Cordner's contemporaries there were Joseph Barnby, conductor of the Oratorio concerts of London; Henry Barnby, principal bass at St. Paul's Cathedral; Wilbye Cooper, the celebrated tenor of England; and Benson and Gray, both soloists at the Chapel Royal.
The zeal with which Mr. Cordner devoted himself to musical progress in this city will be evident when we consider the numerous societies of which he was the prime mover. He was conductor of the old Vocal Harmonic Society, subsequently of the Philharmonic; later, of the Balmain Musical Union; of the Choral Society of Parramatta; of the Amateur Choral Society (a private re-union of musical friends); and, finally, of St. Mary's Choral Society. The assistance he rendered to charitable concerts will never be adequately acknowledged. He had only to be asked to give his aid; and his aid once promised, he brought all his energy to bear on the movement, and was never satisfied unless it proved a musical and pecuniary success.
Mr. Cordner was a modest man - indeed it required some tact on the part of his friends to sound the depths of his attainments. Had he not formed such a moderate estimate of his capabilities, we should now have many compositions, full of exquisite melody, from his pen. Even what he did write he disliked to publish. We may mention an instance. A song was written for Mrs. Cordner by a local writer, who aimed at producing "words" calculated to bring out the fine effects of her voice, As the stanzas have a peculiar significance now, we give them:
Fondly I dream of the bright lagoon.
And the forest in which it is set,
In a frame of woodlands set;
Like a mirror of silver set.
Fondly I sigh for the pearl-white moon,
Which lit us when first we met,
Where Willie and I first met,
Long ere the night of my soul's eclipse,
Ere life and the love-smile died on his lips.
While I dream and sigh the hours fly on,
But the fitful hours no solace bring,
The hours no bright hopes bring,
The hours dark memories bring:
They toll of the time when the love-light shone,
Then shadow it o'er with sorrow's wing,
With sorrow's ebon wing,
Dark grief's oppressive wing.
And my spirit the light shall not shine upon,
Till ensphered in the orb to which Willie's gone.
Mr. Cordner composed - almost improvised - beautiful music for this song; but his extreme sensitiveness would not permit him to publish it. He said, laughingly, "It will almost sound like my own dirge. While I have the music of Beethoven, Mozart, and Rossini, I won't trouble about composition." His appreciation of the latter's genius induced him to produce the "Messe Solemnelle" in a highly creditable manner. What was the result? One he had been accustomed to - increase of reputation and loss of money. The musical treat did not pay expenses. But the troubles of the gentle Master are now over. He suffered keenly, but silently, during the last five or six years of his sojourn on earth, and met death with the same heroism which enabled him to bear up against the troubles of life so bravely. He will be fondly remembered, when many far more pretentious, and far more famous in their day, are forgotten.

See also, in the same issue, "Music and the Drama", Australian Town and Country Journal (23 July 1870), 24 

. . . The musical profession has sustained a very severe, and - for a time, under present circumstances - an almost irreparable loss, by the decease, at the early age of forty-four years, of Mr. W. J. Cordner, for many years organist of St. Mary's Cathedral. Mr. Cordner was so zealous and indefatigable in his profession that it will not be easy to supply his place. Most of the musical societies in Sydney, for the last twelve years, were, during the periods of their separate existence, indebted for their success mostly to his unwearying activity and energy. Few learned professors of the art were so well acquainted as he with the works of different composers. He was always ready, either personally, by his talents and energy, or through the instrumentality of the organizations over which he had influence, to assist the cause of public or private charity. Kind-hearted and good-natured to a fault - though of a hasty temper - he was the first to yield to reason, or to forget an injury. Of late years Mr. Cordner was heavily afflicted by ill-health, and his death may be considered a happy release from earthly suffering. - BIRON.

ASSOCIATIONS: Henry Neville Montagu ("BIRON")

[Advertisement], The Argus [Melbourne, VIC] (26 July 1870), 2 supplement 

TO the MUSICAL PROFESSION, Societies, and Amateurs Mrs. Cordner wishes to DISPOSE OF a large quantity of valuable MUSIC belonging to the late Mr. W. J. Cordner, 140 Woolloomooloo-street, Sydney.

"MARRIAGE", The Sydney Morning Herald (20 June 1871), 1 

At St. Peter's Church, Woolloomooloo, by the Rev. J. F. Moran, JOHN BALFOUR CLEMENT MILES, to ELLEN, widow of the late WILLIAM JOHN CORDNER.

"THE MUSICAL CONTROVERSY. To the Editor of . . .", The Sydney Morning Herald (15 March 1887), 8 

. . . Amongst our conductors of that day we had one W. J. Cordner, a man who had church and oratorio music implanted in him from the time he was nine years old, I believe; a chorister in Armagh Cathedral; a man whose love of music and his knowledge of the works of the great choral harmonies were only exceeded by an intense zeal and an indomitable energy that was one of the causes of an early death. But, since his day we have had no efficient performances of the great massive choral works . . .

ASSOCIATIONS: "NUR EIN GEIGER" (= Henry Neville Montague, as see above)

"DEATH OF THE CATHEDRAL ORGANIST", Freeman's Journal (19 May 1888), 18 

. . . [T. P. Banks] came to Sydney when a mere boy, and continuing his studies, had the advantage of instruction from such masters as Charles Packer, Charles Horsley, and William Cordner, Mr. J. A. Delany, the conductor of St. Mary's choir, being a fellow-pupil under the lastnamed celebrated teacher . . .

ASSOCIATIONS: Thomas Philip Banks (organist, former pupil of Cordner, deceased); Charles Edward Horsley (Banks' teacher after Cordner); John Albert Delany (organist, former pupil of Cordner)

"MUSICAL MEMORIES. Mrs. Sheridan Moore - Miss Flora Harris - Sixty Years a Singer (BY JAS. T. DONOVAN . . .)", Sunday Times (31 January 1909), 7 

. . . Towards the end of 1854 [Flora Harris] was engaged as "professional leader" of St. Mary's Cathedral choir - a position which was held by her for five years. At the time there was a blind organist at St. Mary's - Mr. Walton. Mr. Banks, father of the late T. P. Banks, succeeded Mr. Walton, and then Mr. William John Cordner took charge of the choir . . .

ASSOCIATIONS: James Thomas Donovan (journalist); Humphrey Walton (organist); Thomas Banks senior (organist, vocalist)

"MRS. E. MILES", The Sydney Morning Herald (29 January 1932), 15

Mrs. Ellen Miles, who died at her residence in Albyn-road, Strathfield, on Saturday, was formerly one of the best-known singers in Sydney. She was born at Brentford, Middlesex, England, in 1842, and came to Australia as a girl. She married Mr. W. J. Cordner, at the time Sydney's chief organist and conductor. Under his tuition, his young wife developed a fine contralto voice, and was Sydney's chief resident contralto singer during the sixties and seventies. Their home was a centre for all visiting musicians. Among Mrs. Cordner's pupils were John D. Delany and the Gehdes. Among her early friends was Mrs. Stewart, and her famous daughter, the late Nellie Stewart, whom she often nursed as a baby; and Nellie Stewart's step-sisters, Maggie and Docie Guerin. Some years after Mr. Cordner's death his widow married Mr. J. B. C. Miles, a well known accountant. He died in 1907, and Mrs. Miles had lived in retirement since. She was well known for her charity. She is survived by one son, Mr. W. Miles. The funeral took place at Rookwood Cemetery on Monday.

"DEATHS", The Sydney Morning Herald (30 January 1932), 12 

MILES. - January 23. 1932, at the residence of Mr. and Mrs. H. C. Brown, Vallima, 49 Albyn-road, Strathfield, Ellen Miles, widow of the late John B. C. Miles, public accountant, aged 90 years. Privately Interred at Rookwood. January 25.

Bibliography and resources:

John Henniker Heaton (ed), Australian dictionary of dates and Men of the Time (Sydney: G. Robertson, 1879), 44 (DIGITISED)

CORDNER, WILLIAM JOHN, was born in Dungannon, Ireland, in 1826. After having received a good musical education, he went to India, and after an absence of seven years returned to Armagh, Ireland, where he became a popular teacher of music, and was esteemed the best tenor in the north of Ireland. In 1854 he came to Sydney, and was organist of St. Patrick's, and two years afterwards, of St. Mary's Cathedral, which last position he held until his death, which took place in Sydney, July 15, 1870.

E. J. Lea-Scarlett, "Cordner, William John (1826-1870)", Australian dictionary of biography 3 (1969)

Graeme D. Rushworth, Historic organs of New South Wales: the instruments, their makers and players 1791-1940 (Sydney: Hale and Iremonger, 1988), 371-72

CORK, William (William CORK)

Musician, bandmaster (Volunteer Artillery)

Active Sydney, NSW, by 1870 (TROVE tagged by Australharmony) (shareable link to this entry)



"VOLUNTEER ARTILLERY", Empire (9 July 1870), 2

A very handsome testimonial, in the shape of an inkstand, was made last Saturday to Sergeant W. Cork, in acknowledgment of the esteem and appreciation of the members of the Volunteer Artillery Band, which he has conducted gratuitously for sometime past. The inkstand, which was presented by Band-sergeant Devlin, with an address, at the residence of Mr. Cork, consists of a large-sized emu egg, mounted with silver work upon a stand of polished tulip wood. The stem is divided into four branches, whose terminals are fern leaves, and in the centre of each foot are neatly chased specimens of the Australian kingfisher (or jackass), the kangaroo, and the emu. The lid is surmounted with the habitual aboriginal, armed with a spear and crushing a snake in his left hand. A shield in front of the egg bears the inscription -
"Presented by the members of the Volunteer Artillery Band to their bandmaster, William Cork, Esq., as a token of their respect and esteem.
Sydney, June, 1870. J. Devlin, Sargeant."

ASSOCIATIONS: John Devlin (band sergeant); Sydney volunteer force bands (general)

CORNISH, Ebenezer (Ebenezer CORNISH; Mr. E. CORNISH)

Amateur musician, organist, choirmaster, store keeper, grocer, city rate collector

Born Holbeton, Devon, England, 1836; son of Thomas Vivian CORNISH (d. 1870) and Grace AMBROSE (d. 1869)
Arrived Adelaide, SA, 11 December 1840 (per Brightman, from London, 29 August)
Married Frances Elizabeth JACQUES, Christ Church, Adelaide, SA, 27 June 1857
Died Port Augusta, SA, 26 November 1873, aged "37" (TROVE tagged by Australharmony) (shareable link to this entry)


"MARRIED", South Australian Register [Adelaide, SA] (2 July 1857), 2

On the 27th June, by licence, at Christchurch, by the Venerable Archdeacon Woodcock, Mr. Ebenezer Cornish, of Rundle-street, to Frances Elizabeth Jaques, second daughter of Mrs. Mullett, Rundle-street.

"INSOLVENCIES", South Australian Register (18 June 1859), 4 

Subjoined is a list of persons who have been declared insolvent since the publication of our last Summary . . .
June 1. Ebenezer Cornish, of Adelaide, grocer and dealer (since annulled) . . .

"ST. LUKE'S ANNIVERSARY TEA MEETING", The South Australian Advertiser (27 September 1860), 3 

The anniversary tea meeting of St. Luke's Church was held at White's Rooms; after which a public meeting was held, presided over by the Lord Bishop of Adelaide. Upwards of 500 persons were present . . . There was an efficient choir engaged, conducted by Mr. E. Cornish, who presided at the harmonium . . . During the intervals between the addresses several pieces of sacred music were sweetly sung by the choir. Horsley's Trio, "When shall we three meet again," was deserving of special mention. This piece was executed by Mr. Cornish, Mr. Serle, and Miss Howard, a young lady who possesses a very fine voice, which might be very much improved by cultivation. A vote of thanks to the ladies for providing the entertainment, to the Lord Bishop for presiding, and to the choir for so efficiently contributing to the harmony of the evening having been passed, the meeting separated.

ASSOCIATIONS: Augustus Short (bishop)

MUSIC: When shall we three meet again (3 voice version arranged by the composer, William Horsley, father of Charles Edward Horsley)

"PIRIE-STREET WESLEYAN CHAPEL. ANNIVERSARY SERVICES", The South Australian Advertiser (30 October 1860), 3 

The anniversary of the Wesleyan Chapel, Pirie-street, was celebrated last evening by a tea and public meeting. There was a very large attendance, many clergymen of other denominations and influential gentlemen being present. The proceedings were varied by some very fine music performed by a most efficient choir, Mr. Cornish presiding at the magnificent organ. The pieces performed were six in number, and the manner in which they were executed reflect the highest credit upon Mr. Cornish, by whose indefatigable exertions the choir have attained to proficiency of no ordinary degree. The tea, and the good things provided by the ladies, having received a proper share of attention, the Hon. the Commissioner of Public Works (Alexander Hay, Esq.) was voted to the chair, and after a few opening remarks the magnificent chorus "When the Lord shall build up Zion," was performed by the full choir, Miss Howard singing a solo and a duet with Mr. Eaves in a most creditable manner. The Treasurer, Mr. Alderman Colton, then read the financial statement, as follows . . .
Dawes, repair of organ - 5 10 0
Shakespeare [? also for organ] - 10 0 0
Mitchell, organ-blowing - 5 0 0 . . .
The quartette, "Oh Praise the Lord," was then executed in a most able manner by the Misses Wheatly and Madge, and Messrs. Broadbent and Palmer . . .
The Choir then executed the quartette "Thine O Lord" . . .
The quartette "Blessed is the Man," was then sung by Miss Howard and Messrs. Hake, Uren, and Searle.
Votes of thanks were then proposed and unanimously carried to the Ladies, and to the Organist and Choir; after which Jackson's "Awake, &c." was well rendered . . .
The full Choir then performed the chorus, "The earth is the Lord's and the fullness thereof;" after which the meeting was closed by prayer.

ASSOCIATIONS: Robert Daws (organ builder); Joseph and James Shakespeare (organ builders)


On Sunday, December 8, the new Primitive Methodist Chapel, Morphett-street, was opened for divine service . . . On Monday, December 17, a tea meeting was held, when upward of 300 persons sat down . . . During the evening several anthems and choruses were sung by the Pirie-street Wesleyan choir, under the leadership of Mr. Ebenezer Cornish. Votes of thanks were accorded . . . to the choir, for their gratuitous services . . .

"ST. PAUL'S CHURCH ANNUAL FESTIVAL", South Australian Weekly Chronicle (21 September 1861), 3 

The annual festival in connection with the above Church was held at White's Rooms on Wednesday, September 18 . . . The musical arrangements were under the direction of Messrs. Light and E. Cornish, the latter gentleman presiding at the harmonium. The following pieces of sacred music were beautifully given: - "The earth is the Lord's," "Great and Glorious," "Thine O Lord, is the Greatness," "When the Lord shall build up Zion," "He shall feed his flock." Mrs. Fox gave a beautiful solo, which was very much admired. A vote of thanks to the Chairman, the Lecturer, the Choir, and the Ladies, concluded the meeting.

ASSOCIATIONS: George Thomas Light (conductor); Sarah Hannah Fox (vocalist); White's Rooms (Adelaide venue)

"EAST ADELAIDE INSTITUTE", South Australian Register (28 November 1861), 2 

The usual monthly conversazione of the East Adelaide Institute in connection with St. Paul's Church was held in Pulteney-street Schoolroom, on Wednesday evening, the 27th instant. There were about 120 present . . . The choir, under the direction of Mr. E. Cornish, then sang, "Behold, how brightly beams the morning!" . . . The choir performed "Mark the merry elves" with good effect. This was followed by an interesting lecture from the Rev. Canon Marryat on "Franklin and the Arctic Regions." An interval of 10 minutes having been allowed for conversation, the second part of the programme was commenced by the choir giving a musical selection entitled "Thro' lanes with hedgerows pearly." The Chairman followed with a concluding address . . . "Morn amid the mountains" was next performed in a creditable manner by the choir . . .

"EAST ADELAIDE INSTITUTE", South Australian Register (25 January 1862), 2 

The first monthly conversazione of the East Adelaide Institute for the year 1862 was held in the Pulteney-street Schoolroom on Friday evening, the 24th instant. The attendance was rather smaller than on previous occasions, the room being little more than half filled. The Rev. A. R. Russell took the chair. After a few introductory remarks from the Chairman, the choir, consisting of one female and three male voices, under the direction of Mr. E. Cornish, sang a piece known as "Blessed is the man" in a creditable manner. In justice to Mr. Cornish it is only right to state that he was unable to procure the assistance of a larger number of singers, owing to the short notice which had been given to him. Mr. F. H. Needham then read his paper on the "Knights of Old" . . . The choir next gave "O, what beauty, Lord, appears," and commenced the second part of the entertainment after an interval of five minutes had expired by singing "Deep silence reigns around." Mr. W. H. Flood followed with his lecture, entitled, "Reading from popular Authors" . . . Votes of thanks were accorded to the lecturer and the choir; and Miss Howard, - a young lady possessing an excellent treble voice having sang "Angels ever bright mid fair" with much taste and sweetness, the proceedings terminated.

"EAST ADELAIDE INSTITUTE", The South Australian Advertiser (25 January 1862), 2 

. . . The choir was admirably led by Mr. Cornish, every piece being excellently well executed. But we must specially mention the concluding solo by Miss Horwood of "The Alpine Morning Song. The manner in which this young lady sang this solo showed that she is under careful instruction, and we have no doubt, with some short end careful practice, she will be an ornament and acquisition to the musical world of Adelaide.

"WESLEYAN CONFERENCE", South Australian Register (4 February 1862), 3 

A valedictory tea meeting, in connection with the assembling of the Australasian Wesleyan Methodist Conference in Adelaide, was held in the Pirie-street Chanel, on Monday afternoon last . . . A public meeting was afterwards held in the chapel, which was attended by between 500 and 600 persons . . . The choir, conducted by Mr. E. Cornish, then gave "Lift up your heads" with good effect . . . The choir performed another anthem, and the meeting closed with the benediction.

"EAST ADELAIDE INSTITUTE", Adelaide Observer (22 March 1862), 4 

About the usual number of ladies and gentlemen attended the monthly conversazione of the East Adelaide Institute, held in the Pulteney-street Schoolroom on Friday evening . . . an effective choir, under the direction of Mr. E. Cornish, performed the musical piece called "Bells of Eve" . . . The anthem, "I'll wash my hands in innocency," was sung by the choir; and Mr. A. Fullarton . . . then read an interesting and lucid paper on "Geological Formations" . . . The choir then gave "To Thee, Great Lord" . . . The musical piece entitled "Holiest, breathe an evening blessing," was well sung by the choir, and the company separated.

"ORGANIST", South Australian Register (14 April 1862), 3

Mr. E. Cornish his been appointed organist of St. Paul's Church, Pulteney-street, by which a vacancy has been caused in the organ-loft at the Wesleyan Chapel, Pirie-street.

"EAST ADELAIDE INSTITUTE", Adelaide Observer (24 May 1862), 4 

The usual monthly entertainment in connection with the East Adelaide Institute was held at the Pulteney-street Schoolroom on Wednesday, May 21 . . . The choir, which was under the direction of Mr. E. Cornish, then sung "Beautiful star" . . . A trio, "Fair Flora decks," was here sung by Messrs. Cornish, Hake, and H. Goode, after which a few minutes were devoted to conversation. The duet "How sad it is to say farewell" having been sung by Mr. Hake and Miss Howard, the Chairman expressed his thanks to Mr. Boake for his lecture; to Mr. Cornish and the choir for their efficient assistance . . . The proceedings were closed by singing the chorus "Awake, AEolian lyre." This, together with the other pieces of music, was performed very satisfactorily, although we understand Mr. Cornish laboured under a disadvantage owing to the absence of several lady vocalists.

"CONCERT OF SACRED MUSIC", South Australian Register (4 February 1863), 2 

On Tuesday evening a concert of sacred music was given by Messrs. Beaumont and Wilkinson at the Adelaide Assembly Rooms, under the patronage of the Venerable the Archdeacon and several of the clergy. There was not a large attendance, the room having been scarcely half full. Mr. R. B. White presided at the piano, and Mr. E. Cornish performed on the harmonium. The principal vocalists were Mrs. Fox, Mr. Beaumont, and Mr. Wilkinson. They were, however, assisted in the choruses by 10 or 12 amateurs. The concert for the mast port consisted of solos, duets, and trios from the most popular oratorios of Handel, Mendelssohn, Haydn, &c. . . . During the evening the following choruses from the "Messiah" were performed: - "And the glory of the Lord," "Lift up your heads," and the "Hallelujah." Though the powerful harmonium and the grand piano were brought into requisition to accompany the voices, we think it a pity that the attempt should have been made to sustain such colossal productions by such a feeble orchestra . . .

ASSOCIATIONS: Armes Beaumont (vocalist, Sarah Fox's brother); W. H. Wilkinson (vocalist); Richard Baxter White (pianist)

"ADELAIDE PHILHARMONIC SOCIETY", Adelaide Observer (7 February 1863), 8 

A meeting of the members of the Philharmonic Society was held at the Hotel Europe, on Wednesday evening, January 28. There was a good attendance, and Mr. W. G. Harris was called to the chair. The Secretary (Mr. C. Scrymgour) explained that the object of the meeting was to confirm or quash the proceedings of the meeting held on January 14, when it was decided to break up the old Society and form a fresh one. On the motion of Mr. J. Chapman, seconded by Mr. E. Cornish, and supported by Mr. Spiller, the proceedings were quashed, and declared to be null and void on the ground of illegality. It was proposed that the old Committee resign, which being carried, Messrs. W. G. Harris, Betteridge, Bristow, Hatchett, and Cope were elected Committee-men. A vote of thanks to the chair closed the meeting.

ASSOCIATIONS: Charles Scrymgour (secretary); Emanuel Spiller (member); Henry Betteridge (member); Adelaide Philharmonic Society (association)

"TOPICS OF THE DAY", The South Australian Advertiser (8 May 1863), 2 

In continuation of the festivities attending the ceremony of laying the foundation-stone of the new Town Hall, the Mayor of Adelaide invited the officers of the Corporation to dine with him on Thursday evening, the 7th instant. Soon after 7 o'clock about 92 gentleman sat down to an excellent dinner provided by Mr. Geo. Aldridge, in the present Civic Council Chamber . . . Several other speeches were made during the evening, and some good songs sung. Some glees were also performed by four voices, under the direction of Mr. E. Cornish, Mr. Plumbstead presiding at the pianoforte . . .

ASSOCIATIONS: George Aldridge (caterer, musical amateur); Henry Plumstead (pianist)

"ST. PAUL'S CHURCH, ADELAIDE", South Australian Register (24 June 1863), 2 

A correspondent informs us that "the congregation of this church have purchased, for the sum of £107, the splendid and fined-toned harmonium recently imported by Mr. Marshall, and hitherto used in the Adelaide Assembly Rooms. Mr. Marshall says of this instrument that it is superior to any one now in the colony, and equal in tone to any exhibited in the last Great Exhibition of London. We understand that Mr. Cornish will play it for the first time in St. Paul's on Sunday next."

ASSOCIATIONS: Samuel Marshall (musicseller)

"GLEN OSMOND", Adelaide Observer (26 September 1863), 4 

A correspondent says: - "A valedictory tea meeting to the Rev. R. W. Needham by the congregation of St. Saviour's Church, took place in Mr. Mudie's schoolroom on Thursday evening, September 24, and was very numerously attended. After the tea a public meeting was held in the church, when the Lord Bishop presided. The choir of St. Paul's Church, led by Mr. Cornish, gave the chorus, "O praise the Lord," and prayer was then offered by Mr. Needham, after which a quartett was sung by Mrs. Smart, Messrs. Goode, Holt, and Jarvis, entitled "O what beauty," which was very effectively given. The Lord Bishop then gave a short address, which was followed by a collection, whilst Mr. Cornish played a solo on the harmonium. Mr. Needham then addressed the meeting . . . A solo followed by Mrs. Smart, accompanied by Mr. E. Cornish, "He shall feed His flock" . . . After this Mrs. Smart sang "Angels ever bright and fair." The Lord Bishop made a most effective speech, at the conclusion of which the choir gave in a masterly manner, "Lord of all power and might" . . .

ASSOCIATIONS: Mary Ann Pettman Smart (vocalist)

"TOPICS OF THE DAY", The South Australian Advertiser (29 October 1863), 2 

A first-rate concert in connection with the sixth anniversary of the Gawler Institute was given in the Oddfellows' Hall on Tuesday evening, October 27. The Hall was nearly filled, and but for the previous bad weather the attendance would have been much larger. A large number of ladies and gentlemen who had consented to give their services started from Adelaide by the last train, and returned by a special train about midnight. Mr. R. Bowe acted as conductor, and Mr. E. Cornish as harmoniumist, and they both did their duty well. The following programme was then most successfully gone through: -
Chorus, "The Lord is King;" Quartette, "O, what beauty!" by Miss Vale, Messrs. Burgess, Jarvis, and W. Rowe; Duet and chorus, "Shew us Thy mercy," by R. and W. Rowe; Song, "O! Rest in the Lord," by Mrs. Smart; Duet and chorus, "Zion," by Mrs. Carvosso and Mr. Burgess; Trio, "When shall we three meet again?" by Miss Vale, Messrs. Burgess and Cornish; Chorus, "The earth is the Lord's;" Trio and chorus, "Morn amid the mountains;" Trio, "The wreath," by Messrs. Pounsett, Jarvis, and W. Rowe; Chorus, "Awake AEolian lyre;" Song," Sweet spirit hear my prayer," by Mrs. Smart;" Chorus, "The sun's gay beam;" Trio, "Fair Flora decks," by Messrs. Hurst, R. and W. Rowe; Solo and chorus, "National Anthem." The whole entertainment went off most satisfactorily and pleasantly.

ASSOCIATIONS: Richard and William Rowe (vocalists); Henry Pounsett (vocalist); perhaps Thomas Jarvis (vocalist); Gawler Institute (association); see also "Local Intelligence", Bunyip [Gawler, SA] (7 November 1863), 4 

"ST. PAUL'S YOUNG MEN'S SOCIETY SOIREE", South Australian Register (4 November 1863), 2

The prestige acquired by the members of St. Paul's Young Men's Society in the art of getting up an entertainment was fully sustained on Tuesday evening, the occasion of the second soiree in aid of the funds for the enlargement of the church; and notwithstanding the threatening aspect of the weather, the promising programme proved sufficient to attract a full attendance in the building known as the Pulteney-street Schoolroom . . . Mr. Ebenezer Cornish presided ably at the harmonium, and the choir consisted of about 20 voices. The chorus "Through Lanes with Hedgerows Pearly" having been given with good effect, Mr. A. Fullarton recited "Mary Queen of Scots" in a masterly manner. The trio "Shepherds, tell me," was well sung by Messrs. Pounsett, Edwards, and Goode . . .
The trio "When shall we three meet again" by Miss Vale and Messrs. Pounsett and Goode succeeded . . . Spofforth's "Hail, smiling morn," having been beautifully rendered by the choir, Mr. E. W. Andrews rose to move a vote of thanks . . .

ASSOCIATIONS: Solomon Nicholas Edwards (vocalist)

[Advertisement], South Australian Register (23 February 1864), 1

White's Rooms, on Thursday, the 17th of March next . . .
The Programme, which is being prepared by Mr. E. Cornish, Organist of St. Paul's, will contain some superior Pieces of Music, and as several of the best performers in Adelaide have consented to assist something superior may be expected.
The proceeds of the Concert will be applied to the liquidation of the debt on the large Harmonium used at St. Paul's Church.
The Orchestra will consist of above 50 persons.
Conductor and Pianist - Mr. Linly Norman.
Harmoniumist - Mr. E. Cornish.
W. HEWETT, Treasurer to the Fund.

ASSOCIATIONS: Linly Norman (musician); and see programme, [Advertisement], South Australian Register (22 March 1864), 1 

"GENERAL NEWS", The Adelaide Express (5 March 1864), 2 

The Lancashire Bellringers, in pursuance of their offer to perform to the inmates of the Lunatic Asylum, attended there on Friday afternoon, accompanied by Miss Chalker and Mr. Edwards. One of the dormitories in the east portion of the building (formerly the hospital) was cleared and prepared as a concert-room, and between 60 and 70 of the most composed patients, in about equal numbers of both sexes, were selected from the 200 inmates of the Asylum, and took their seats in perfect order and quietness. The Bellringers then commenced to play the "Royal Irish Quadrilles," and the merry music seemed at once to take the attention of all the afflicted patients, and to delight them greatly . . . As piece after piece was played and sung by the Bellringers and Miss Chalker, Mr. Edwards, and Mr. E. Cornish, the interest of all was increased, and most of those who were at first apparently indifferent became aroused and pleased. They applauded every piece performed during the hour and a half the concert lasted . . .

ASSOCIATIONS: Lancashire Bellringers (troupe); Marie Chalker (vocalist)

"TOPICS OF THE DAY", The South Australian Advertiser (17 May 1864), 2 

Pursuant to announcement special services were held on Whit-Sunday at St. Paul's Church, when sermons were preached and collections made on behalf of the harmonium fund. Full cathedral service was performed under the able direction of Mr. E. Cornish, organist, and this being the first time that this has been attempted at St. Paul's, we cannot but congratulate Mr. Cornish and the choir upon the effective manner in which the chants and responses were rendered. The Venite and Psalms were sung to Spofforth's and Gregorian in G, and was followed by Jackson's services (Te Deum [and] jubilate in F), the anthem being taken from that one well-known of Kent's, "Blessed be thou." Both services were well attended, although the weather in the evening was very threatening. At this service the anthem taken from Isaiah, 62 chap., "Awake, awake," was effectively sung . . .

MUSIC: Te Deum in F (William Jackson); Blessed be thou (James Kent); Awake, awake (Burgiss)

"ST. PAUL'S". South Australian Register (17 May 1864), 2 

Special services were held on Sunday last (Whit Sunday) at St. Paul's Church, Pulteney-street . . . Full cathedral services were performed by the choir, including the following: -
Tallis's Litany and responses; Jackson's morning and evening services in F; morning anthem, Kent's "Blessed be Thou;" evening anthem, "Awake, awake;" Spofforth's and Holdsworth's chants, &c. Mr. E. Cornish presided at the powerful harmonium. Collections were made after each service towards the harmonium fund, which amounted to £17 15s. 7d.

"GENERAL NEWS", The Adelaide Express (21 June 1864), 2 

Mr. Wm. Townsend, M.P., delivered his lecture upon "The Successful Merchant" last night in the Temperance Hall, North Adelaide, for the purpose of aiding a distressed family . . . Mr. E. Cornish presided at the new cabinet organ, and performed a piece with much skill, showing in the course of the performance the great volume and the exquisite tones of the instrument . . .

[news], The South Australian Advertiser (19 August 1864), 3 

E. Cornish, collector of the East Adelaide city rates, was brought before the Police Court on Thursday on a complaint for embezzling £169, the moneys of the Corporation, and was sent to gaol for three months, and a warrant issued to levy on his goods for the amount; the imprisonment to cease if the money should be paid within the three months.

"INSTITUTE COMMITTEE", Border Watch [Mount Gambier, SA] (6 October 1866), 2 

The Institute Committee met last night, and a large amount of routine business was transacted. The Sixpenny Roadings Sub-Committee was reappointed for October, and it was resolved .to keep up those entertainments as long as possible . . . Votes of thanks were recorded . . . to the gentlemen who gave readings or songs at the Sixpenny Readings; and to Mr. Cornish for conducting the music . . .

"CHORAL SOCIETY", Border Watch (30 November 1868), 2 

It is gratifying to observe the taste for music which obtains at Mount Gambier . . . a Choral Society has been initiated, upon the basis adopted by the Philharmonic Society in Melbourne, under the leadership of Mr. Cornish. The Choral Society held their second meeting on the evening of Wednesday last, when the rules to govern the action of the members were submitted and approved of. The names of thirty members already appear upon the roll, amongst whom, it is gratifying to state, there are a considerable number of ladies. It is the intention of the Society to sing not only secular but sacred music, and in the course of eight or ten days they will have a full rehearsal preparatory to making a first appearance . . .

ASSOCIATIONS: Melbourne Philharmonic Society (association)


. . . The Deutsche Liedertafel did excellent service upon the occasion under the leadership of Mr. Jonas . . . The glee, "Through lanes with hedgerows pearly," was pleasantly sung by the members of the Christ Church choir, led by Mr. Cornish . . .

"DEPARTURE OF SETTLERS", Border Watch (5 September 1868), 2 

. . . By an announcement in our advertising columns to-day we perceive that Mr. E. Cornish is about to leave The Mount with his family the beginning of next week, and that his household furniture, &c., are to be sold by auction on Tuesday morning next. Mr. Cornish will be missed after his departure, not only by his personal friends, but also by the public, his musical talent having by its exercise in this district much contributed both to the solemnity of public worship, and the intellectual gratification of assemblages at Institute Readings, Concerts, and on other public occasions.

[Advertisement], Border Watch (5 September 1868), 3 

PUBLIC AUCTION. Unreserved Furniture Sale. On TUESDAY, SEPTEMBER 8, 1868 . . .
under instructions from Mr. E. Cornish, who is leaving the district, on his premises, behind Mr. C. Clark's Foundry.
Household Furniture, Consisting of . . . Small HARMONIUM, by Alexander [sic, Alexandre], and A Large Quantity of MUSIC . . .

"THE SOUTH-EAST. MOUNT GAMBIER", South Australian Register [Adelaide, SA] (14 September 1868), 3 

We are informed that the Trustees of the Institute have just added another valuable item to their list of property, viz.. a very superior harmonium. This fine instrument was the property of Mr. E. C. Cornish, who, being about to leave the district, has sold it to the Institute, the price being £55.

"COUNTRY LETTERS . . . SADDLEWORTH, July 4", Adelaide Observer (8 July 1871), 6 

The first of a series of entertainments given by the Improvement Class, assisted by others in connection with the Institute, on Friday evening, was a decided success. Solos, glees, and trios were well rendered by Messrs. T. Cornish, E. Siekmann, J. P. Mart, and the Misses Coombe and Dee, who were three times deservedly encored. Mr. E. Cornish ably presided at the harmonium . . .

ASSOCIATIONS: Thomas Cornish (1832-1907, elder brother)

"BIRTHS . . . DEATHS", South Australian Register (13 December 1873), 4

. . . CORNISH. - On the 12th December, at Stepney, the widow of the late Mr. Ebenezer Cornish, of Port Augusta, of a son . . .
CORNISH. - On the 26th November, at Port Augusta, of exhaustion from over-exertion whilst bathing, Ebenezer Cornish, aged 37 years . . .

On Cornish's involvement in competitive swimming, see also 1863 'FEMALE EMIGRATION SCHEME.', South Australian Register (Adelaide, SA : 1839 - 1900), 23 March, p. 3. , viewed 22 Aug 2023,

Bibliography and resources:

"Pioneering Families Of The Early Days", Chronicle [Adelaide, SA] (23 February 1939), 55 

Ebenezer Cornish, WikiTree 

CORNISH, Henry (Henry CORNISH; Robert Henry CORNISH)

Musician, "professor of music", violinist, fiddler

Born c. 1818 (? c. 1815/16)
Arrived Sydney, NSW, c. 1829 (per Mary)
Married Ann WILLIAMS (convict), St. James, Sydney, NSW, 1841 (aged "26")
Active Sydney, NSW, by 1841; Maitland, NSW, by 1846; Sydney, NSW, 1850
Died Sydney, NSW, 12 May 1852, aged "34" (TROVE tagged by Australharmony) (shareable link to this entry)


"THE EMIGRANT'S ANNUAL BALL", Australasian Chronicle (7 January 1841), 2 

On Friday night last, the fifth anniversary of this festival took place at Mr. Clarke's dancing academy, King-street, and went off in a style that reflected much credit upon the stewards. About eight o'clock the musicians occupied the tastefully decorated orchestra . . . About half-past nine the ball was commenced with a country dance, led off by one of the stewards, which was admirably gone through, and followed by the first set of quadrilles; the next was a Spanish waltz, which was pretty fairly gone through; then came the lanciers and were well danced; but in the triumph, country dance, which followed, I assert that nothing I have seen for years could excel the precision, which appeared to be in a great degree attributable to the just and well arranged music of the leader, Mr. Cornish, supported by Mr. Sutton on the clarionet, with which the other instruments formed a band of nine. The Caledonian quadrilles and Scotch reel followed, which completed the first part in the programme. I cannot omit noticing that the general admiration of the assembly was elicited at the splendid manner in which Mr. Clarke's pupil, Miss Thompson, aged twelve years, acquitted herself in a pas suel [sic]. The dances in part 2 were then begun, comprising, Patronella, country dance; Paine's first set quadrilles; the Circassian circles; lanciers; Towe's first set; Scotch reel and Spanish waltz. Between the second and third parts Mr. Clarke, brother to the Professor, entertained the company with an admirable hornpipe, at the conclusion of which the stewards ordered the whole company up for the last country dance, when six full sets appeared, leaving about forty ladies and gentlemen yet in their seats, forming in the party about 112 persons . . .- Correspondent.

ASSOCIATIONS: John Clark and Charles Miller Clark (dancing masters); Mr. Sutton (clarinet); Eliza Thomson (dancer, pupil)

Convict applications to marry granted, 1841; State Records Authority of NSW (PAYWALL)

Robert Henry Cornish / 26 / [ship] Mary of Liverpool / Free / 22 /
Ann Williams / 26 / Planetr / 10 years / Bond / Rev. R't Allwood Sydney

"CATCHING A TARTAR", The Maitland Mercury and Hunter River General Advertiser (11 November 1846), 2

On Wednesday last, at the opening of Mr. Burgess's new public-house, at Hinton, a lot of choice spirits were assembled to celebrate the occasion; for the amusement of whom Mr. Burgess had provided the delectable tones of a violin, under the manual direction of Mr. Cornish. This person at last, in the exuberance of his spirits, "threw music to the dogs" and began playing a number of tricks, one of which is fancifully termed "bonneting." This consists in giving a smart rap on the capital covering, thereby sending it down over the eyes of the wearer, when several playful digs in the ribs are usually administered. One of the professor's victims was Mr. Holdstock, publican of West Maitland, who was bonneted for a "fiat," but turned out to be a "tartar," and administered a sharp kick to that part of the professor which is not the seat of reason. The affair came before the police court yesterday, in the shape of a summons for assault, at the instance of Cornish, but was dismissed.

ASSOCIATIONS: Music on licensed premises (general)

"ALLEGED BREACH OF THE LICENSING ACT", The Maitland Mercury and Hunter River General Advertiser (30 June 1847), 2

Yesterday Robert Keddie, of the Trades' Arms, East Maitland, appeared to answer the charge of having kept his house open after nine o'clock on the evening of the 23rd June. Mr. Keddie pleaded not guilty to the charge, but admitted that he had served liquor after that hour, although his door was shut. The bench appeared to feel considerable doubt whether, under the Act, they could convict him if this were found to be the case, and at length deferred their decision till Tuesday next. As no evidence had been gone into, Mr. Keddie begged permission to state how the matter occurred. It appeared from Mr. Keddie's statement, and the deposition of Mr. John Wilson, that on that evening two lodgers at the Trades' Arms had invited Mr. Wilson to join them, and Cornish, a violin-player, calling in to borrow Mr. K.'s violin, had also been invited in, with two companions, to play a tune. Cornish had commenced tuning the instrument, neither himself nor his companions having had any liquor after the house had been closed at nine o'clock, when three constables, Murray, Hood, and Walker, tapped at the door, and were admitted. At this time the two lodgers and Mr. Wilson had each a glass of whiskey toddy. Constable Hood insisted on tasting the liquor, and pronouncing it gin, gave some to Murray, who also tasted. This was about half-past nine. They then left, and some time afterwards the party broke up, and Mr. Keddie was serving Cornish in the bar with a glass of rum, which had been given him by one of the lodgers, when the constables again entered. Mr. Keddie complained much of Hood's manner in the affair, which he stated was very insolent, and said also that Hood had repeatedly told him he would have him some day. The bench remarked that these complaints were always made when an information was laid, and that they could not listen to them when a charge of a breach of the Act was being heard; but if complaint had been made at the time, and the fact proved, no constable should remain in the force who had uttered such threats, or performed his duty in an improper manner. The case was then adjourned till Tuesday next.

ASSOCIATIONS: Robert Keddie (publican, owner of a violin)

"MORE FREE THAN WELCOME", The Sydney Morning Herald (11 September 1850), 2

Between one and two o'clock yesterday morning, Thomas Haynes, in the service of Mr. Fraser, of the Parramatta Road, publican, was awoke from his slumbers by a noise in the house, and of some persons talking outside. He arose, and on proceeding to the taproom, he found the window open, which had been secured, and on a stool in front of the fire, a man lying as if about to go to sleep. On putting sundry pertinent questions to this stranger, he gave his name as Henry Cornish professor of music, who got his living by practising in public houses, on the violin he exhibited to his examiner, adding, that he had liberty from Mr. Ireland, the late occupier of the premises, to turn in there at any hour of night or day, the window being left unfastened for his especial accommodation, and that he had taken up his quarters on this occasion in pursuance of such right so conferred upon him by Mr. Ireland. Haynes being somewhat puzzled how to act in the matter, called up his master, who was by no means at a loss, but summarily ejected the fiddler. On after consideration, Mr. Fraser thought it better to make a prisoner of the man, caused him to be brought into the house, and sent off for constable Isaac Shaw, to whom he committed him; yesterday Shaw introduced Mr. Cornish to the notice of the bench. The prisoner on the road admitted to Shaw that he obtained ingress at the window, which bore evident marks of considerable force having been used to open it, but when before the bench wished his Worship to believe that he found the door open, as he had been wont to do in the olden times of Mr. Ireland. Mr. Fraser did not know what Mr. Ireland's practice may have been, but he was no party to any such management, his predilections being quite of a different turn. A jacket and a pair of trousers having been missed from the premises, and the prisoner having admitted that he had company when he went to the house, one of whom he named, his worship remanded him, in order to afford opportunity for further inquiry by the police.

Description book, Darlinghurst Gaol, 1850; State Records Authority of NSW (PAYWALL)

1212 / Henry Cornish / [arrived] Mary / 1829 / [born] 1816 [sic] / 5 ft 7in / Slender / Pale . . .

"BURGLARY", The Sydney Morning Herald (10 October 1850), 2

Henry Cornish was indicted for having, on the 9th of September, burglariously entered the house of James Fraser, on the Parramatta road, and with having stolen a jacket and pair of boots. It appeared that the prisoner made his way into the house through the taproom window, and in so doing aroused the inmates of the house, by whom he was laid hold of and bundled into the street a fiddle which was found along with him being cast after him. Prisoner was very drunk, and stated that he had received permission to come in by that way from the late Mr. Ireland, when the latter occupied the house. The articles alluded to were missing, but there was no evidence to show that the prisoner had been concerned in taking them. The Jury acquitted the prisoner without leaving the box.

Burials at Camperdown Cemetery, 1852; Biographical database of Australia (BDA) (PAYWALL)

Henry Cornish /Parramatta Street / Died 12 May 1852 / Sydney Infirmary / Disease of Liver / Buried: 14 May 1852 / Age 34 / Musician

Also NSW, BDM, 264/1852 V1852264 38B, Cornish, Henry, aged 34; and burial: (PAYWALL)

CORRI, Emma Jane (Emma Jane CORRI) = Mrs. Frederick YOUNGE


Musician, bugler, bugle player, bandmaster

Born c. 1835; son of James CORRIGAN and Elizabeth ?
Active Warrnambool, VIC, by June 1861
Died Warrnambool, VIC, 16 February 1867, aged "31/32" (TROVE tagged by Australharmony) (shareable link to this entry)


? List of passengers arrived at Melbourne, 14 March 1861, from Hong Kong, per Aurifera; Public Record Office Victoria (DIGITISED)

. . . Second Cabin . . . James Corrigan / 26 / Irish . . .


On Tuesday last, the ladies of Warrnambool presented a silver bugle to this corps. At two o'clock, p.m., the company assembled in front of the Municipal Council Chambers, and, preceded by the band, Captain Basbe, and Mr. Drill Inspector Bernard, and accompanied by a large concourse of spectators, marched down Timor-street to the parade ground, which presented an exceedingly gay appearance. The Volunteers were then put through various manoeuvres, including forming into squares, marching and counter-marching to various points. After some time being spent in this manner the Volunteers were marched up in front of the ladies' tent, were formed in hollow square, and presented arms. Mrs. Helpman, lady of Lieutenant Helpman, R.N., then proceeded read an address, after which she handed the bugle to Captain Busbe, who in turn handed the beautiful present to Bugler Corrigan. The instrument is of pure silver, and is a most exquisite piece of colonial workmanship. Three hearty cheers were then given by the volunteers for the ladies, and they were again exercised by Mr. Bernard, and delighted the spectators by firing in "extended skirmishing" order. We cannot but compliment the Warrnambool Volunteers on their appearance. The great improvement which the Volunteers show is to be attributed greatly to the untiring exertions of Mr. Drill Instructor Bernard. Since he arrived this District the corps has almost doubled itself, and bids fair soon to become the leading one in the Western District. - Warrnambool Examiner, June 21.
[The above Inspector BERNARD, late of her Majesty's 56tn Regiment, is son of the late Captain Bernard, of the 84th Regiment, and of Mrs. Bernard, now residing on Langford Row, and brother of late Lieutenant and Adjutant William Bernard, of the 3lst Regiment, who so nobly fought in the respective battles of Moodkee, Sobraon, and Ferozeshah, in which lost his life.]

See also, "PRESENTATION OF A SILVER BUGLE TO THE WARRNAMBOOL VOLUNTEERS", Bell's Life in Victoria and Sporting Chronicle [Melbourne, VIC] (29 June 1861), 4 

See also, "SILVER BUGLE", The Argus [Melbourne, VIC] (17 June 1861), 5 

And see also, "WARRNAMBOOL MILITIA", in Richard Osburne, The history of Warrnambool, capital of the Western ports of Victoria, from 1847 . . . (Prahran: Chronicle Printing Company, 1887), 251-52 (DIGITISED)

. . . The Warrnambool Volunteer Rifle Corps was very successful, keeping up a fine band, and making a creditable show at volunteer encampments. During its existence that ladies of Warrnambool and district presented the volunteers with a splendid silver bugle, [252] and at the disbandment of the corps this fine instrument was handed over to the custody of the Borough Council, in trust for any future company. We suppose it is now amongst the treasures of the Warrnambool Militia . . .

"THE VOLUNTEER SPORTS", The Star [Ballarat, VIC] (18 March 1864), 4 

The long advertised sports in aid of the funds of the Ballarat Volunteer Rangers were held on the Copenhagen Grounds on St. Patrick's Day; and we regret to say that the patronage accorded by the public was so small that we fear the result of the day's events was a loss rather than a gain to the funds of the corps . . . At noon, also, the rifles mustered at the camp, about forty-five strong, including the drum and fife band, and were marched under Captain Strachan to the grounds, when the band enlivened the proceedings at intervals during the day with performances on the "ear-piercing fife" and other instruments. The whole of the events were gone through in a very orderly manner . . .
Singlestick; open to all volunteers; prize £2. Judges - Captain Strachan and Lieut. Moore. Entries - Lieut. Hillas, and Privates Hayes, Thurston, and Bugler Corrigan . . . In the second heat Bugler Corrigan made nothing, and Private Thurston nine hits . . .

Ballarat and Ballarat district directory (1865), 69, 82 (DIGITISED)

Wills street, From Mair street. Left . . . Corrigan, James, musician . . .


On Monday, the Botanic Garden Reserve presented a scene of enjoyment such as it has rarely, or never, except on the occasion of the Orphan Asylum Fete on Boxing Day, been witness to. The ground was literally covered with parties of Sunday School children from all quarters of Ballarat and Ballarat East . . . Dancing, running, jumping, foot-ball, swinging, singing, cricketing, and the various other descriptions of amusement which render a picnic so enjoyable - and certainly without omitting eating and drinking - were carried on to the utmost extent . . . The Band of Hope children were conspicuous among the schools, and attended by their juvenile drum and fife band created something of a stir on the ground. The band certainly acquitted itself admirably, and reflected credit on Mr. Corrigan, of the Volunteers, who trained it into its present state of efficiency . . .

"NEWS AND NOTES", The Ballarat Star (11 August 1866), 2

We regret to bear that bugler Corrigan, of the Ballarat Rangers, is compelled by ill-health to retire from the corps. He is an old Indian soldier and the two climates of India and Ballarat have impaired his health and rendered his resignation of his present position inevitable. His services have been so well appreciated by his comrades that they are subscribing a testimonial for him, in which we doubt not a good many civilians will readily unite if applied to for that purpose.

"COUNTRY NEWS", The Age (22 February 1867), 7

THE DEATH OF JAMES CORRIGAN, formerly bugler in the 2nd Queen's Royals, the first bandmaster to the Warrnambool Volunteer Rifle Corps, and latterly bandmaster to the Ballaarat Rifle Rangers, is announced, very regretfully, in the Warrnambool papers.

ASSOCIATIONS: 2nd Regiment (Queen's Royals) (British military)

"DEATH", The Herald [Melbourne, VIC] (22 February 1867), 2 

CORRIGAN. - On the 16th of February, at Warrnambool, James Corrigan, formerly bugler in the 2nd Queen's Royals, the first bandmaster to the Warrnambool Volunteer Rifle Corps and latterly bandmaster to the Ballaarat Rifle Rangers, aged thirty-two.

Musical instruments:

Silver bugle, Warrnambool, 1861; Flagstaff Hill Maritime Museum

Silver bugle, Warrnambool, 1861; Flagstaff Hill Maritime Museum and Village 


Amateur musician, vocalist, choirmaster, bandsman, pupil of Joseph Reichenberg (c. 1838)

Born Saleen, near Cloyne, County Cork, Ireland, 6 April 1826; baptised Aghada parish church, 8 April 1826; son of John COSGRAVE (d. 1869) and Ellen CONNELL
Arrived Hobart Town, VDL (TAS), 12 December 1837 (per Bussorah Merchant, with parents, from Cork, aged "12")
Arrived Melbourne, NSW (VIC), 1839 (per Britomart)
Married Ellen ATCHESON (d. 1868), Melbourne, NSW (VIC), 25 April 1849
Died Melbourne, VIC, 25 January 1885, aged "58" (TROVE tagged by Australharmony) (shareable link to this entry)


Baptisms, Aghada, Cloyne, April 1826; National Library of Ireland; Dublin, Ireland; Irish Catholic Parish Registers; Microfilm Number: Microfilm 04990 / 05 (DIGITISED)

8th / For John Cosgrave & Ellen Connell, Scartlay [?] / John / Sp. John Cosgrave, Ellen Connell

Arrival, per Bussorah Merchant, 12 December 1837; Tasmanian names index; NAME_INDEXES:415705 

Cosgrave, John / aged 12

"SHIPPING INTELLIGENCE. ARRIVALS", Port Phillip Gazette [Melbourne, NSW (VIC)] (14 September 1839), 3 

On Wednesday last, from Hobart Town, having sailed the 3d instant, the schooner Elisabeth Lloyd, Steward, master, with general cargo. Passengers . . . John Cosgrave, Helen Cosgrave and four children . . .

"MARRIED", The Melbourne Daily News (27 April 1849), 2 

By special license on Wednesday, the 25th instant, at St. Francis Church, by the Venerable Dean Codey, Mr. John Cosgrave, to Miss Ellen Atcheson, both of this city.

"TOWN TALK", Geelong Advertiser (12 April 1871), 2 

It will be learned with regret that Mr. John Mansfield, through pressure of business, is about to retire from the choir of St. Mary's Church. Mr. Mansfield, in conjunction with Mr. Cosgrove, the present City Treasurer of Melbourne, was the first to establish a Roman Catholic choir at St. Francis', Melbourne, when that church was simply a wooden edifice. Since then Mr. Mansfield has been one of the originators of the choir of St. Mary's, where his well-known voice has aided - without fee or reward - the services for many years. It is to be hoped that some of the young men of the congregation will emulate his example, and make an effort to fill his place at the choir.

ASSOCIATIONS: John Mansfield (amateur musician); Music at St. Francis's church (Melbourne)

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

Cosgrave, John, treasurer the City Corporation of Melbourne. Mr. Cosgrave was born 6th April, 1826, in the village of Saleen, County Cork, Ireland. His father was a carpenter by trade, and carried on the combined callings of builder and timber merchant. Early in 1837 he left England with his father, mother and five brothers, bound for Tasmania, then known as Van Diemen's Land. The voyage was not prosperous from a sanatory point of view; a number of the passengers died, amongst them three of Mr. Cosgrave's younger brothers, and when the vessel, Bussorah Merchant (Captain Moncrief), dropped anchor in the Derwent, she was ordered into quarantine, and kept there for about three months. Arrived in Hobart Town, he commenced the study of music under Professor Reichenberg, and showed signs of a musical taste that earned for him the esteem of his master. Soon after arrival in Tasmania he was taken in hand as a pupil by Dr. John Pearson Rowe, of Hobart Town, for the purpose of studying medicine, and came with that gentleman to Port Phillip, in the ship Britomart, in 1839. Amongst his shipmates were the late Hon. W. J. T. Clarke and the late Thos. Austin, Esq., of Barwon Park. On arrival in Victoria, Dr. Rowe started business as a chemist and druggist, on a site close to where the Union Club Hotel, in Collins-street, now stands. Not having any taste for the medical calling, young Cosgrave went to live with his parents soon after their arrival in the Port Phillip settlement, and for a time worked as a carpenter with his father, and assisted in the construction of the first vessel ever launched on the Yarra. He worked at his trade until 1847, when he purchased the Fitzroy Arms Hotel, King-street, Mel-[xxxvi]-bourne, and entered into business as a publican. He retired from business, with a competency, in 1853, and having purchased land where the town of Hotham now is, built the first dwelling houses, and also erected a residence for himself and family on Kensington-hill. Soon becoming tired of an idle life, Mr. Cosgrave started in business as a wholesale wine and spirit merchant, and unfortunately, soon lost a very large sum of money. In 1850 he was returned by a large majority as councillor for Bourke Ward, was re-elected without opposition in 1852, and in the same year was elected alderman for Gipps Ward. He inaugurated the Smith Ward, which has since grown into the Smith and Victoria Wards. In 1858 Mr. Cosgrave was appointed to the position of chairman to the City Council (being senior alderman at the time), during the absence of the late Hon. J. T. Smith, then Mayor, who was on a mission to England with a congratulatory letter from the Council to Her Majesty the Queen, on the occasion of the marriage of the Princess Royal. In 1861 Mr. Cosgrave resigned his position as alderman of the City of Melbourne, and on retirement was presented by the municipal body with a handsome illuminated and framed address, in token of esteem. He married on the 25th April, 1848 [sic, 1849], Ellen, second daughter of the late M. Atcheson, Esq., by whom he has one son and one daughter. The subject of this notice is an expert swimmer, and has been the means of saving several lives. Mr. Cosgrave claims to be the father of yachting in Victoria, and has always taken a prominent part in aquatic sports. Besides this he has designed, built and owned a number of yachts and smaller craft, which have attained an enviable notoriety. At the Melbourne Exhibition of 1866-7, be obtained the first award of merit for a sailing model of a fore-and-aft schooner. At the Melbourne International Exhibition of 1880-1, he exhibited a splendid collection of nautical models, for which he received the first award of merit. These models have since been presented to the Technological Museum. Mr. Cosgrave prides himself upon being the first bandmaster that led a regular orchestra in Victoria, and was for about seven years in charge of, and instructor to, the choir of St. Francis' Church. He also claims to be the first indentured carpenter and joiner in Victoria.

ASSOCIATIONS: Joseph Reichenberg (teacher)

"THE CHRONICLES OF EARLY MELBOURNE . . . by Garryowen [ = Edmund Finn] . . . THE FIRST ROMAN CATHOLIC CHOIR, ETC.", The Herald (7 September 1883), 4 

A well-informed correspondent, writing from Geelong [John Mansfield above], has favored me with the following curious facts on this subject: -
"The first choir at St. Francis', Melbourne, consisted of Dr. C. J. Sandford, with Mr. J. P. Smith, a solicitor, and Mr. William Clarke, a music seller and music teacher, who kept a shop in Collins street east. Clarke was supposed to act as president, and took a prominent part in the singing. There was a fourth (F. L. Clay, another attorney ? ), whose name has passed out of my recollection. Though none of them belonged to the faith of which St. Francis was supposed to be one of the great expounders, they were not the less all "jolly good fellows," but most decidedly better adapted to "trolling a catch" than chanting High Mass. The next attempt at choir-making was essayed by the Misses O'Farrell, assisted by the Rev. Father Watkins, one of the young ladies very efficiently doing the instrumental part. But such praiseworthy efforts were intended to serve only temporary purposes, and consequently only performed on special occasions and at Benedictions, Vespers not being sung in those remote days. It happened that three or four young fellows who met at a wedding talked over forming a choir as Father Geoghegan had been speaking to some of them about it. These were Tom Kennedy, Michael Lyons, Davy Hurley, plasterers; John Cosgrove, late city treasurer, John Mansfield and James Reilly. They determined to form a class, and take lessons from Wm. Clarke, already mentioned. One of the party was so eager in the matter that he sold his watch to pay his share of the preliminary expenses. Their first attempt in the church was on the occasion of Archbishop Polding's first visit to Melbourne. After having acquitted themselves to their own entire satisfaction, they were complimented by the Rev. Father McEvey as they were leaving the little square box that did duty for a vestry on having made "a precious mess of it." They persevered, however, and, with the assistance of a few ladies, got on very well. John Dowling, with his violin, and Robert Newstead with flute, helped at the practices to keep them together. After a little while Micky Mac picked up an old harmonium in some sale-room and made it a present to the choir. A Miss Lyons - now Mrs. Dutfoy (now of Rokewood), sister to the late Mrs. Quirk, and a daughter of Peter Whelan (who once kept the Daniel O'Connell in Bourke street, near the Post Office) - with a few other ladies, joined. J. Cosgrave, as well as singing, learned the harmonium from Mr. Clarke; beside; which he had McDonald on the cornopian, P. Phelan, clarionet.

The chronicles of early Melbourne, 1835 to 1851, by Garryowen [ = Edmund Finn] (Melbourne: Fergusson and Mitchell, 1888), 534-35, 967 (DIGITISED)

THE FATHER MATTHEW SOCIETY. An institution though not necessarily restricted in its membership to the Roman Catholic persuasion was mainly composed of such, and indirectly controlled by the Roman Catholic Clergy. It was fenced by a certain exclusiveness (implied though not expressed), and, therefore, though engaged in the promotion of a common purpose, acted so far apart from kindred bodies, as to render a separate notice of it desirable. Though as moderate a drinker as Bishop Perry, Father Geoghegan, the first Roman Catholic pastor, so highly appraised the beneficial effects of total abstinence, that in his efforts to propagate them, he drew no fine distinctions between Temperance and Abstinence, and at an early date initiated a St. Francis Total Abstinence Society. Under the already described Bounty system of emigration, there was a large influx of the Irish element to Port Phillip during 1839 and the two succeeding years. Many of these Southern Celts had, before leaving the Green Isle, "taken the pledge" as it was termed, personally from Father Matthew, the Hibernian "Apostle of Temperance," and they brought with them their pledge-cards, which each regarded as little short of a consecrated amulet, that would act as a spell in influencing for the better his future career. Several of them afterwards lived for thirty, even forty years in the colony, bearing their pledges unbroken to the grave, and a few of those strong, unflinching teetotallers still survive in Victoria. Such were the materials whereon the untiring priest relied for co-operation, and not in vain. In 1844 the [535] movement acquired considerable numerical importance, and the meetings were held in a schoolroom erected rearward of the St. Francis' Presbytery in Lonsdale Street. Probably in consonance with the light-hearted elasticity of the Irish temperament, the Father Matthewites went in strongly for outside spectacular display - such as processions, picnics, and excursions. A band was formed, which acquired more celebrity than that of the Society before referred to. The functions of this musical combination were somewhat mixed, being partly lay and partly ecclesiastical, for on special occasions it used to assist at the church services.

The first bandsmen were Mr. John Cosgrave, (late City Treasurer), then (in 1844) a smartly-made well-shaped, good-looking juvenile, who performed on the clarionet; Mr. John Mansfield, now a seriousfaced, white-haired "Geelongoose," proprietor of one of the best-established bakeries in "The Pivot," who worked a trombone; four strapping youngsters known as Phelan, Egan, Connor, and Conlon, (a compositor), operating on various instruments, the whole concluding with Mr. J. P. ("Jerry") Dalton, who thundered away on a big drum. The Society's first street demonstration was on the 22nd January, 1845, when 150 of them marched forth with band and banners, wended their way to the then grassy and well-wooded Richmond Paddock (now the cut up and disfigured Yarra Bank), where they bivouaced on the fragrant bank of the river, drank "billied" tea brewed in big pots, and crammed themselves with sandwiches, cakes, and ginger beer, returning in the evening, blowing and half-bursting specimens of total abstinence. On Easter Monday (24th March) there was a grand "Father Matthew" procession through the principal highways of Melbourne, and after "doing the town" the members adjourned for refreshments to the St. Francis' school-room, finishing with a dance in a tent pitched on the Church reserve; and amongst a number of admiring outsiders were the then Resident Judge, the Honorable Roger Therry, and his better half. The Society has now so far succeeded as to number 600 members, and the funds looked so promising that there was some notion of building a "Father Matthew" Hall.

[967] . . . A well-informed correspondent writing from Geelong, has favoured me with the following: -
"The first choir at St. Francis', Melbourne . . . [a slightly reduced version of 1883 above] . . . Three or four young fellows - Tom Kennedy, Michael Lyons, Davy Hurley, John Cosgrave (late City Treasurer), John Mansfield, and James Reilly, determined to form a class . . . J. Cosgrave, as well as singing, learned the harmonium from Mr. Clarke; besides which, he had McDonald on the cornopean, and P. Phelan, clarionet."

ASSOCIATIONS: William Clarke (musician); Frederick Lord Clay (vocalist); Alexander McDonald (cornopean);
see also "Memories and Musings", Advocate (15 January 1848), 12 

"Deaths", The Argus (26 January 1885), 1 

COSGRAVE. - On the 25th inst., at his residence, Rostellan, Ferrars-place, Albert-park, John Cosgrave (city treasurer), aged 58 years.

"City and Suburbs", Advocate (31 January 1885), 20 

MR. JOHN COSGRAVE, treasurer of the City of Melbourne, expired at his residence, Rosstelton, Ferrars-place, Albert Part, on Sunday, at the age of fifty-eight. Deceased was an old servant of the Corporation. He was born on the 6th April, 1826, in Saleen, County Cork, Ireland . . . Mr. Cosgrave showed a strong taste for music and for a few years was in charge of, and instructor to the choir of St. Francis' Church. He was a skilled yachtsman. His funeral was largely and respectably attended.

See also, "NEWS OF THE DAY", The Age (27 January 1885), 5 

See also, "OBITUARY", The Australasian (31 January 1885), 44 

Bibliography and resources:

John Cosgrave, WikiTree 

COTTON, Louisa (Lousia Sarah GOODERED; Mrs. Frederick Lane COTTON)

Musician, teacher of singing and piano

Born London, England, 11 November 1820; daughter of John GOODERED and Louisa OLDFIELD
Married Frederick Lane COTTON (1822-1903), Kensington, London, England, 21 August 1848
Arrived Sydney, NSW, 21 June 1857 (per Contest, from the Downs, 5 March)
Died Richmond, VIC, 8 January 1908, aged "86" [sic] (TROVE tagged by Australharmony) (shareable link to this entry)


Baptisms, St. James, Westminster (Piccadilly), 1825; register 1823-28; City of Westminster Archives, STJ/PR/1/11 (PAYWALL)

No. 111 / [1825 February] 5 / Louisa Sarah [daughter of] / John & Louisa / Goodered / Piccadilly / Wine Merchant / . . . [born] Nov. 11 1820 . . .

ASSOCIATIONS: In the same ceremony her siblings Frederick Augustus (born 5 August 1822) and Edwin Best (born 5 January 1825)

1848, marriage solemnized at All Saints Church in the parish of Fulham in the county of Middlesex; register 1837-78, page 32; London Metropolitan Archives, P77/ALL/024 (PAYWALL)

No. 63 / [1848] August 21st / Frederick Lane Cotton / Full [age] / Bachelor / Lieutenant / Woodford Essex / [son of] William Cotton / Gentleman
Louisa Goodered / Full / Spinster / - / Fulham / [daughter of] John Goodered / Gentleman

England census, 30 March 1851, Swanage, Dorset; UK National Archives, HO107/1856/77/47 (PAYWALL)

Frederick L. Cotton / Head / Mar. / 27 / Lt. R. N. / [born] Essex Woodford Bridge
Louisa [Cotton] / Wife / Mar. / 24 / - / Middlesex London
Charles J. C. [Cotton] / Son / 1 / - / Dorset Swanage

"SHIPPING. ARRIVALS", The Sydney Morning Herald (23 June 1857), 4 

June 21. - Contest, ship, 1120 tons, Captain Jennings, from the Downs 5th March. Passengers - Mr. and Mrs. Cotton and family (4) . . .

Autograph letter, Isaac Nathan, Byron Lodge, Coogee, to Stuart Donalson [sic] introducing Mr. Cotton; 1 page only, inserted inside front cover of copy of The southern Euphrosyne; State Library of New South Wales, MLMSS 6227 

ASSOCIATIONS: Isaac Nathan (musician); Stuart Donaldson (politician)

[Advertisement], The Sydney Morning Herald (12 August 1857), 1 

A LADY, recently from London, pupil of the first masters in England, gives lessons in singing and pianoforte, on moderate terms; she attends Balmain and Enfield twice a week.
Address Mrs. COTTON, 4, Berwick-terrace, Berwick Castle, Woolloomooloo.

[Advertisement], The Sydney Morning Herald (18 August 1857), 1 

A LADY recently from London - pupil of some of the most eminent professors in England -
gives lessons in Singing and Piano; she visits Enfield, Balmain, and Kissing Point -
she would be happy to receive under her immediate care one or two little girls;
every attention would be paid to their health, morals, and education.
Terms, sixty guineas per annum. English, French, music, and dancing included.
Address Mrs. COTTON, 4, Berwick-terrace, Berwick Castle, Palmer-street, Woolloomooloo.

[Advertisement], The Sydney Morning Herald (20 January 1862), 1 

ASHFIELD. - Mrs. COTTON begs to inform her pupils that she resumes her LESSONS in Singing and Piano on the 20th instant.
Having a few hours disengaged, she would have much pleasure in visiting in the vicinity, or receiving pupils at her own residence.
Most satisfactory references from the first families she has been teaching in for many years, also from professionals. Address, Post Office, Ashfield.

"INSOLVENCY COURT, MONDAY . . . SURRENDER", The Sydney Morning Herald (12 October 1869), 2 

Frederick Lane Cotton, of Sydney, gentleman. Liabilities, £186 7s. 10d., of which £25 is secured. Assets, £77 2s. 6d. Mr. Sempill, official assignee.

[Advertisement], The Sydney Morning Herald (15 November 1869), 8 

A GRAND SOIREE, to celebrate the organisation of the Australian Division of the Sons of Temperance, will be held in the
Division Room, Liverpool and Sussex streets, THIS EVENING; tea on the table at 7 o'clock.
After which, a CONCERT, assisted by Miss Wiseman, Miss Martin, and Lady and Gentlemen Amateurs.
Accompanyist - Mrs. F. L. Cotton.

"DEATHS", The Age [Melbourne, VIC] (11 January 1908) 5 

COTTON. - On the 8th January, at her residence, 50 Stephenson-street, Richmond, Louisa Cotton, relict of the late Frederick Lane Cotton, Lieutenant, beloved mother of John, Julia, Fanny, Ernest, after a long illness, aged 86 years. New South Wales papers please copy.

COUAT, Mons. (Monsieur COUAT; Mons. COUAT; M. COUAT)

Musician, violinist

Arrived Sydney, NSW, 4 August 1855 (per Marcus Caesar, from San Francisco, 17 May) (TROVE tagged by Australharmony) (shareable link to this entry)


Wales (1853):

MECHANICS' INSTITUTION", Swansea and Glamorgan Herald [Wales] (26 October 1853), 3 (PAYWALL)

The annual concert in connexion with the above institution took place last Friday evening at the Llanelly Schoolrooms. We are glad to state that it was numerously and fashionably attended. Our correspondent adds that the proceedings went off remarkably well. Mons. Couat, a violinist of some celebrity, pupil to M. De Beriot, elicited the warmest applause, and was loudly and repeatedly encored. Miss Freeth performed admirably on the piano forte . . . The Llanelly Philharmonic Society, who kindly consented to assist on the occasion, under the leadership of Mr. E. Ribbons, went through their parts in the most satisfactory manner. We cannot conclude without remarking the rapid progress they have made in music lately.

ASSOCIATIONS: Charles de Beriot (violinist, composer)

[News], Swansea and Glamorgan Herald [Wales] (26 October 1853), 3 (PAYWALL)

MONS. COUAT'S CONCERT which has been the subject of much conversation for the past week or two, came off on Monday with great eclat, and seems to have given unmingled satisfaction. The beneficiaire was assisted on the occasion by Miss Marsden, Miss D'Austein, Messrs. W. and J. Bowen, Miss Freeth, and Mr. W. P. Williams. The following programme will give our readers idea of the arrangements, and spare our entering into particulars: -
Violin Solo, 2nde "Air varie." Mons. Couat - De Beriot.
Song, "Shells of the Ocean," Mr. W. Bowen - Cherry.
Piano solo, "Fleurettes de Beyer," Miss D'Austein - Beyer.
Song, "Tell me my heart," Miss Marsden - Bishop.
Violin, "Air varie," Mons. Couat - Ghys.
Duett, Piano and Violin, from Guillaume Tell - M. Couat and Miss Freeth - De Beriot.
Son, "Good bye, sweet love, good bye," Mr. Bowen, - Hatton.
Duett, Harp and Pianoforte, Mr. W. P. Williams and Miss Freeth.
Son, "Dermot Astore," Miss Marsden - Crouch.
Piano Solo, "La Reine Blanche," Miss D'Austein - Rickards.
Song, "Sing not thy song to me, sweet Bird," Mr. J. Bowen - Glover.
Violin Solo, "Carnaval de Venise," Mons. Couat - Paganini.
. . . Of course the attraction was Mons. Couat's playing, and it certainly was a great treat. His style and very different from any thing we ever heard in this district. His style of playing was of the highest and purest line, not depending upon any quackery or tinsel for its attraction, but relying upon a purity and volume of tone which is perfectly marvellous, and a delicacy and firmness of finger that would do credit to the very first players. We have heard it whispered that Mons. Couat intends repeating this concert, if so, we hope our readers will not fail to avail themselves of the treat. The last was under distinguished patronage, and brought together a highly fashionable audience, filling the Assembly Rooms to suffocation.

"LLANELLI", Yr Amserau [Wales] (2 November 1853), 4 

LLANELLI-Cyngherdd. Dydd Gwener wythnos Pr diweddaf, cynaliodd y Llanelly Philharmonic Society . . . y Mechanics Institution am y tymhor presenol. Cynorthwywyd hwy gan Monsieur Couat, un o'r Violinists gorau yn y byd . . .

San Francisco, CA, USA (1855):

[Advertisement], Daily Alta California [San Francisco, CA, USA] (7 April 1855), 3 

Benefit of the young American Actress, MISS ESTELLE POTTER. This (Saturday) Evening, April 7th.
MUSICAL OLIO. Air (from II Bravo of Mercadante) Signor A. Lanzoni.
Grand Air and Variations (De Beriot) Mons. Couat.
A Favorite Melody By Little Laura Mowbray.
Air (Carnival of Venice - Ernst) Mons. Couat . . .

New South Wales (1855):

"SHIPPING. ARRIVALS", The Sydney Morning Herald [NSW] (6 August 1855), 4 

AUGUST 4. - Marcus Caesar, French barque, 350 tons, Captain Arceron, from San Francisco 17th May. Passengers - Mr. and Mrs. Mansfield and child, Madame Denerei [Dimier] and daughter, M. Couat. Captain, agent.

ASSOCIATIONS: Aurelie Dimier (dancer)

"THE THEATRES", The Sydney Morning Herald (6 August 1855), 4

. . . We have also to add that, by the Marcus Caesar, which arrived here from San Francisco on Saturday, Mademoiselle Denerie [Dimier], from the leading Parisian theatres, a danseuse of whom report speaks highly, and Monsieur Couat, a violinist (a favourite pupil of M. Sivori), were passengers. Both artistes have testimonials of their ability and great success before the most critical audiences of Paris and some of the chief cities of England and the United States.

ASSOCIATIONS: Camillo Sivori (violinist)

[Advertisement], Empire [Sydney, NSW] (10 August 1855), 1 

PRINCE OF WALES THEATRE, Castlereagh-street. SATURDAY EVENING, August 11, 1855.
MISS CATHERINE HAYES' Second Grand Concert.
Under the distinguished patronage of his Excellency the GOVERNOR and LADY DENISON.
First appearance of the celebrated violinist, Monsieur Couat . . .
PROGRAMME. PART I . . . Solo Violin - "Souvenirs de Bellini (Artot) - Monsieur Couat . . .
PART II . . . Solo Violin - "Carnival de Venice" (Sivori) - Monsieur Couat . . .
Conductor - Mr. Lavenu . . .

ASSOCIATIONS: Catherine Hayes (vocalist); Lewis Henry Lavenu (musical director); William and Caroline Denison (governor and wife); Prince of Wales Theatre (Sydney venue)

MUSIC: Souvenirs de Bellini (Artot); Carnaval de Venise (probably as at least partly pirated by Sivori from the variations by Ernst);
Lavenu had accompanied Sivori on the piano in England in 1844, and he may well have asked Couat to perform the version of the Carnaval he had heard Sivori perform then;
see, for instance, "BRIGHTON", The Musical World [London, England] (29 August 1844), 279 (DIGITISED)

"MISS CATHARINE HAYES' SECOND GRAND CONCERT", The Sydney Morning Herald (11 August 1855), 5

. . . On this occasion, M. Couat, a violinist of Parisian celebrity, a favourite pupil of Sivori, and who has just arrived here from the United States, will make his first appearance, and will play Artot's Souvenirs de Bellini, and the Carnival of Venice . . .

"MISS CATHARINE HAYES' CONCERTS", The Sydney Morning Herald (13 August 1855), 5

THE Prince of Wales Theatre, on both evenings of Miss Hayes' concerts, attracted crowded audiences. On both occasions, the attendance of our principal citizens and their families - observing more attention to suitable evening costume than is observed on ordinary evenings at the theatre - imparted quite an aristocratic tone and brilliant appearance to the dress circle. The Governor-General, Lady Denison, and family, occupied the centre box on Saturday evening, and appeared to share in the delight which, by incessant and enthusiastic applause, the audience testified they derived from the exquisite singing of Miss Hayes . . . A MONS. COUAT was announced as a celebrated violinist. This word celebrated becomes somewhat ill-used of late. He is certainly a good violinist, but we should like to hear a little more of him before we pronounce an opinion upon his deserts. There is no instrument more capable of trickeries than the violin, and a man, without being a first-rate violinist, might imitate the mewing of the very cat, and the squeaking of the very rat, that "eat the malt that lay in the house that Jack built" . . .

"MISS HAYES' SECOND CONCERT", Empire (13 August 1855), 4 

. . . M. Couat's solos on the violin were pronounced good - no small compliment, considering that the greater part of the audience had still the strains of the unrivalled Miska Hauser tingling in their ears . . .

ASSOCIATIONS: Miska Hauser (violinist)

[Advertisement], The Sydney Morning Herald (16 August 1855), 1 

PRINCE OF WALES THEATRE. - THURSDAY, 16th August, 1865.- Triumphant success of Bellini's Grand Opera of LA SONNAMBULA.
Miss Catharine Hayes as Amina, TO-NIGHT . . . The greatest operatic triumph ever known in the colonies.
Splendid Chorus - Effective Orchestra. Violino Principalo, Monsieur Couat; Conductor, M. Lavenu.

"PRINCE OF WALES THEATRE", The Sydney Morning Herald (11 September 1855), 5

Last evening, his Excellency the Governor-General, Lady Denison, and family, honored this Theatre with their presence on the occasion of Miss Catherine Hayes' third appearance in English opera, as Arline, in M. W. Balfe's Bohemian Girl . . . In Mr. Balfe's piquant instrumentation, the orchestra, under M. Lavenu's direction, did ample justice. The obligato accompaniments of M. Couat, violin; M. Tranter, double bass; and M. Francesco Volpi, clarionet, demand especial attention . . .

ASSOCIATIONS: William Tranter (double bass); Francesco Volpi (clarinet)

[Advertisement], The Sydney Morning Herald (15 September 1855), 4

PRINCE OF WALES THEATRE . . . Benefit or Miss CATHERINE HAYES; positively her Last Appearance previous to her departure for Melbourne . . .
Solo, violin, Monsieur Couat . . .
F. HOWSON, Manager.

ASSOCIATIONS: Frank Howson (actor, vocalist, theatre manager)

"PRINCE OF WALES THEATRE", Empire (17 September 1855), 5

The announcement that, on Saturday night Miss Catherine Hayes was to take her benefit and make her last appearance in Sydney at this Theatre, previous to her departure for Melbourne, was sufficient, notwithstanding the unpropitious state of the weather, to draw numbers of persons from all parts of the city, anxious to testify their admiration of the excellent performances of this gifted songstress . . . nor must we omit to mention M. Couat, who played a solo on the violin in a masterly style and was loudly encored . . .

COULON, Emile (Emile Jean Joseph COULON; in USA, Emile Georges COULON, George COULON; in Australia Emile COULON; M. COULON; E. COULON)

Musician, bass-baritone vocalist, arranger

Born Nivelles, Belgium, 4 April 1825; son of Louis Joseph COULON and Marie Catherine GILBERT
Arrived (1) Sydney, NSW, 10 September 1854 (per Fanny Major, from San Francisco, 8 July, and Honolulu, 28 July)
Departed (1) Melbourne, VIC, 11 July 1859 (per Africaine, for Mauritius)
Arrived (2) Melbourne, VIC, 11 March 1860 (per Emeu, from Mauritius, 15 February, King George's Sound, 4 March, Kangaroo Island, 9 March)
Departed (2) Melbourne, VIC, 26 December 1860 (per Jeddo, for Galle, aged "35")
Married Marie Henriette HOCHEDER, Lille, Belgium, 3 June 1865
Died Paris, France, 24 March 1916, aged "90" (TROVE tagged by Australharmony) (NLA persistent identifier) (shareable link to this entry)


According to his death certificate, Emile Jean Joseph Coulon, "artiste lyrique", was born at Brussels, Belgium, on 4 April 1825 (parents' names unknown), and died at Paris, France, on 24 March 1916.

According to a published report on the Australian colonies written by Martial Cloquet in Sydney in 1858, Coulon was born in Nivelles, Belgium, a brother of the painter Louis Coulon (1819-1855) and of the bass vocalist Theodore Jean Joseph Coulon (1822-1874) who was then at the Paris Opera. Theodore's 1872 French marriage certificate identifies their parents as Louis Joseph Coulon and Marie Catherine Gilbert.

By mid-1853 Coulon must have been in the United States, for he appeared several times in the San Francisco opera season beginning in September 1853. There his regular co-artist was the tenor Jean-Baptiste Laglaise (or Laglaize), who from 1856 also sang with him regularly in Australia.

In San Francisco, on 7 July 1854, Coulon assisted Catherine Hayes at her farewell concert, prior to sailing with her for Sydney the next day.

The Hayes company's arrival on 10 September 1854 was announced in an article in The Sydney Morning Herald the following morning that mentioned Coulon favourably. After working with Hayes and her musical director Lewis Henry Lavenu in 1854 and 1855, in 1856 Coulon and Laglaise (more recently arrived from California) next toured with Anna Bishop and her music director, George Loder, as a member of their English Opera Company.

From July 1859, Coulon spent about 8 months in Mauritius, returning to Melbourne in March 1860. He was in Sydney appearing in opera in June and July 1860, and in Melbourne in October-November floated a scheme to form a European opera company for the colonies.

Coulon finally sailed from Melbourne for England on 26 December 1860.

Most, though perhaps not all, European references to the bass singer "M. Coulon" probably refer to his brother Theodore.

Emile Coulon, with Catherina Hayes, 26 September 1854

Emile Coulon, right, with Catherine Hayes, at their Australian debut, Royal Victoria Theatre, Sydney, 26 September 1854, with Lewis Henry Lavenu, conductor; woodcut by Walter George Mason (DIGITISED)

ASSOCIATIONS: Catherine Hayes (vocalist); Lewis Henry Lavenu (conductor); Walter George Mason (artist); Royal Victoria Theatre (Sydney venue)


San Francisco, CA, USA:

"BISCACCIANTI'S CONCERT", Daily Alta California [San Francisco, CA, USA] (29 March 1852), 2 

This lady gives her fourth concert to-night at the American, on which occasion Mr. George Coulon, a talented French artist, will make his first appearance before a San Francisco audience. An excellent programme is presented.

[Advertisement], Daily Alta California (29 March 1852), 3 

. . . Signora Biscaccianti begs to announce the first appearance of MONS. GEORGE COULON, eleve of the Academie Royal de Paris . . .

ASSOCIATIONS: Eliza Biscaccianti (vocalist)

"FOURTH GRAND CONCERT OF MADAME BISCACCIANTI", Daily Alta California (30 March 1852), 2 

The Concert last evening was another triumph for the fair Songstress. The house was filled with an enthusiastic audience, comprising the beauty, refinement and fashion of the city. The orchestra performed two overtures admirably, and they are very rapidly improving under the direction of that excellent musician, Mr. Loder . . . Monsieur G. Coulon made his first appearance before a San Francisco audience, and was flatteringly welcomed. He has an extremely powerful voice, round and full, but with very little flexibility. In the recitativo and aria from Adam's Le Chalet, and in Rossini's "La Gloire" from L'Assedio di Corinthe, he was quite successful. His best performance, however, was in the duetto from Le pre aux Clercs, in which both he and Madame Foubert won most marked plaudits.

ASSOCIATIONS: George Loder (conductor)

"EDITOR'S TABLE. MUSICAL", The Pioneer [San Francisco] (February 1854), 114-115; (April 1854), 245 (DIGITISED)

If we are to judge by certain unmistakable signs, the musical wants of our community are decidedly on the increase. The legitimate is patronized; but the opera is the thing desired . . . At the Metropolitan, for instance, we have had Madame Anna Thillon, Miss Gould, Madame Planel, Messrs. Hudson, Leach, Laglaise, Coulon and others. Here certainly was a force sufficient in numbers and talent to produce a series of musical entertainments, which would have completely satisfied the demand of [115] the public. But never have these artists, nor any equal number of artists, been united . . . We presume it would cost but a trifle more to produce the opera entire by means of all these artists, than it does to produce it mangled and abridged of its fair proportions . . . As affairs are now, Madame Planel and Messrs. Laglaise, Coulon, &c., lie idle most of the month, with no hope for employment. Could they not be induced to accept permanent situations at rates within the bounds of reason? . . . Thus far, in these musical entertainments, the public have only been able to hear Madame Anna Thillon . . . The orchestra is deficient in numbers. We desire to find no fault with its quality. We allude to its size. It is too wenk for the house. Mr. Loder attempts to remedy this defect with his piano; but that is an utter abomination . . . (DIGITISED)

April 3. Madame Anna Thillon appeared at the Metropolitan in the French opera of "La Fille du Régiment," assisted by Coulon, Laglaise and Racine . . .

Agreement between Catherine Hayes and Georges [Emile] Coulon, San Francisco, 6 July 1854; State Library of New South Wales, DLMSQ 606

Agreement between Catherine Hayes and Georges Coulon, San Francisco, 6 July 1854; State Library of New South Wales, DLMSQ 606 

This Indenture made and entered into, this, the Sixth day of July AD Eighteen Hundred and Fifty four by and between Miss Catherine Hayes of the first part, and George Coulon of the Second part, both of the City and county of San Francisco, State of California, United States of America. Witnesses to That the party of the second part for and in consideration of the sum or sums herein after named to be paid by the party of the first part, agrees and hereby binds himself to accompany the party of the first part from the City of San Francisco aforesaid to some port in Aust. and there at any time and place in said Australia to assist as a Vocalist in any concert or musical and operatic entertainments that may there be given by said party of the first part, to the best of his abilities as a public Vocalist; and further to accompany said Miss C. Hayes of the first part from Australia to Every other place or places as she may require, in his said capacity of Vocalist.

For and in consideration of such services faithfully performed, the party of the first part agrees and binds herself to pay the charges of Said George Coulon's [verso] passage, and current expenses, after landing, necessary for Board and Lodging Together with the further and additional sum of Two Hundred Dollars (say £40) per month, for the first Three months, commencing with the date of the first musical rehearsal in Australia, and being suspended whilst going from Australia to any other parts.

It is further agreed that said Indenture may be renewed with such changes of monthly salary as may be agreed upon at the expiration of the three months last above named, and the parties agree to perform the covenant and obligations herein named.

In testimony whereof they the parties have herewith set their hands and seals the day and year first above mentioned

Catherine Hayes

E. G. Coulon

Witnesses -
James E. Carnegie de Healy
Louis F. Zantizinger

ASSOCIATIONS: Catherine Hayes (vocalist)

"METROPOLITAN THEATRE", Daily Alta California (8 July 1854), 2 

There was a dense crowd at the Metropolitan Theatre last evening, on the occasion of the Farewell Concert of Miss Catherine Hayes. Upon her appearance she was loudly greeted with applause. Miss Hayes was assisted by Mrs. Margaret S. Voorhees, who sang two ballads, and by Mons. Coulon. Miss Hayes was in most excellent voice, and sang some of her favorite operatic selections and ballads . . .

"SANDWICH ISLANDS", Empire [Sydney, NSW] (11 September 1854), 5 

We have Honolulu journals to the 24th July [sic] . . . The following items are from the New Era of the 27th [July]: . . .
On Tuesday evening Miss Catherine Hayes gave a concert at the Court House, supported by M. Coulon, accompanied on the piano by Drs. Hillebrand and Hoffman, who kindly volunteered on the occasion. The hall was crowded, and the square below was full of groups of listeners. We have in vain looked through our dictionary for new words expressive of admiration and pleasure and disdaining to offer the trite and oft-repeated expressions of others to convey emotions as intense as they are new; we will simply say that though we have heard Catalani and Sontag in the prime of their power and glory, yet we firmly believe that the "Kate Mavourneen" of Miss Hayes would charm a soul from purgatory. In a word, she is a living AEolian harp, tuned by the Almighty and not to be beat.

Australia [1] (10 September 1854 to 11 July 1859):

"ARRIVALS", The Shipping Gazette and Sydney General Trade List [NSW] (11 September 1854), 170 

September 10. - Fanny Major, barque, 280 tons, Captain J. M. Green, from San Francisco July 8, and Honolula July 28th - Passengers - Miss Catherine Hayes, Mrs. Hayes . . . Mr. Bushnel, Mr. Coulon . . .

ASSOCIATIONS: William Avery Bushnel (agent, manager)

"MISS CATHARINE HAYES' FIRST CONCERT", The Sydney Morning Herald (27 September 1854), 4 

This event which has been so anxiously anticipated by the Sydney public came off last night. The boxes and parterre of the Theatre were crowded by an assemblage of the most brilliant description, including the elite of the city and its neighbourhood, while the galleries were thronged with an audience, who evinced their delight and appreciation of the efforts of the gifted cantatrice in a somewhat more boisterous manner perhaps than opera singers are accustomed to listen to in the auld countrie, but which was doubtless the no less genuine offspring of an admiration of the most wonderful musical talent which has yet presented itself to the Australian continent . . . M. Coulon, who is one of Miss Hayes' party, is a very promising young barytone, and sang most agreeably, and with great effect. We understand that this gentleman's brother is the first barytone at the Italian Opera at Paris . . . We must not forget to congratulate M. Lavenu, the conductor, on the able manner in which he has contrived to collect a very tolerable orchestra . . .

ASSOCIATIONS: Lewis Henry Lavenu (conductor); Royal Victoria Theatre (Sydney venue)

"MISS CATHERINE HAYES' CONCERT", Empire [Sydney, NSW] (27 September 1854), 5

. . . M. Coulon is a good bass singer, with great execution and a highly cultivated style. His voice, however, is rather thin in quality. He promises considerable histrionic abilities, and would be a great acquisition on the stage. He sang the favourite buffo air of "Largo al Factotum," with great spirit and volubility, and was loudly applauded . . .

"QUEEN'S THEATRE, SATURDAY NIGHT", The Argus [Melbourne, VIC] (20 November 1854), 5 

According to announcement, Miss Hayes made her final appearance at the theatre on Saturday evening . . . introducing Miss Hayes, for the first time in Melbourne, in the role of Norma. The fair artiste also reappeared as Norina in "Don Pasquale" . . . Prior to the operatic performance, Miss Hayes and M. Coulon sang several ballads . . . The adaptation of "Don Pasquale," as given on previous occasions was repeated, and the two duets Were deliciously rendered, M. Coulon playing up to Miss Hayes with great comic power. At the conclusion of the second operatic selection, Miss Hayes was called before the curtain . . . A loud and most enthusiastic shout was then raised for M. Coulon, who accordingly reappeared and bowed his acknowledgments . . .

ASSOCIATIONS: Queen's Theatre (Melbourne venue)

"MISS CATHERINE HAYES'S CONCERT", South Australian Register [Adelaide, SA] (30 November 1854), 3 

Miss Hayes gave a last, a first, and only concert in Adelaide on Tuesday morning last. She was en route to India by the P. and O. Company's steamer Norna . . . The programme originally issued was necessarily altered in consequence of the defection of Mons. Coulon from Miss Hayes's suite prior to her departure from Melbourne - a defection which placed her in a somewhat unlooked-for position with regard to her engagement in Adelaide. It appears that Miss Hayes first heard Mons. Coulon at some theatre in California, and after a considerable interval heard him again, when she considered that his voice and acting were such as, with cultivation, would enable him to become a useful assistant to her in the operatic parts of her performances, although at that time he understood little or nothing of the Italian language. By the advice of chose whom she consulted, Mons. Coulon was engaged, and expressed himself greatly pleased with the patronage extended to him. Miss Hayes, herself instructed him in all the most important parts of those performances in which he afterwards excelled; and as soon as he became efficient made the most liberal arrangements with him, and entered into a definite agreement for a certain number of years. In Sydney Mons. Coulon obtained the respect and good wishes of all who heard him; and when arrangements were being made there for a testimonial and presentation to Miss Hayes, that lady was consulted as to whether it would be agreeable to her feelings that some mark of approbation should likewise be given to Mons. Coulon, when she not only suggested the present which she knew would be most acceptable and useful to him, but also requested, that the funds necessary for procuring the same might be deducted from the amount already subscribed for herself which was accordingly done. At Melbourne, however, immediately before Miss Hayes's departure for Adelaide, Mons. Coulon demanded a higher rate of salary than he had agreed to take; but that demand Miss Hayes was advised to resist; and thinking it undesirable to retain by legal means an unwilling person in her service, had no alternative but to make up her mind to great extra personal exertions in Adelaide . . .

"ROYAL VICTORIA THEATRE. M. Coulon's Final Concert", The Courier [Hobart, TAS] (20 February 1855), 3 

The Final Concert of M. Emile Coulon took place at the Royal Victoria Theatre last evening, when he was assisted by all the vocal and instrumental strength which the metropolis could secure, although the attendance was not more numerous than on previous occasions. Indeed we may reiterate an opinion which we recently transmitted to Singapore upon this point, that the general audiences of Tasmania are not sufficiently ripe to the introduction and due appreciation, numerically speaking, of the Italian Opera - the Thespian Astraea has not risen . . . Madame Carandini's assistance was most valuable appreciated, although she evidently laboured under a slight catarrhal attack. M. Coulon sang with that power and feeling in which he appears to excel any performer at present in the colonies and his efforts were duly acknowledged. As a whole the concert passed off delightfully, and we entertain a feeling or personal regret, that the attempt to keep up the concerts will not be repeated . . .

ASSOCIATIONS: Maria Carandini (vocalist); Royal Victoria Theatre (Hobart venue)

[Advertisement], The Sydney Morning Herald [NSW] (6 April 1855), 1 

ROYAL VICTORIA THEATRE. - Grand Operatic Entertainment. - EMILE COULON'S Farewell to Australia. -
M. E. COULON begs to inform his friends and the public that he will give an operatic entertainment at the
Victoria Theatre on THURSDAY, the 12th instant, being his last appearance before quitting the colonies for Europe.
The entertainment will comprise favourite selections from the operas of IL BARBIERE and DON PASQUALE;
to conclude with OUR REPORTER IN THE CRIMEA, from the pen of Mr. Craven, in which M. Coulon will appear in the character of a Zouave, and will sing the Marseillaise; to conclude with GOD SAVE THE QUEEN.
M. Coulon will be assisted by MR. and MRS. CRAVEN and other members of the corps dramatique . . .

ASSOCIATIONS: Henry and Eliza Craven (actors)

"DEPARTURES", Bell's Life in Sydney and Sporting Reviewer (21 April 1855), 2 

Mons. Coulon has left Sydney en route for the opera at Batavia.

"RETURNS", The Argus [Melbourne, VIC] (21 April 1855), 5 

M. Coulon has returned to Melbourne from Sydney, where he made a successful appearance.

"M. COULON", Geelong Advertiser and Intelligencer [VIC] (28 April 1855), 2 

We perceive that this talented singer assists at the Concert this evening, for the benefit of Madame Carandini. M. Coulon is not only the best, but by far the best male singer in this hemisphere, and those who appreciate music will do well to avail themselves of this opportunity.

"THEATRICAL AND MUSICAL", The Argus [Melbourne, VIC] (29 June 1855), 5 

Madame Carandini, with M. Coulon and Mr. Griffin, have proceeded to Adelaide with the view of giving concerts there.

ASSOCIATIONS: Nathaniel Lewis Griffin (theatrical manager)

"LOCAL INTELLIGENCE", The Age [Melbourne, VIC] (30 August 1855), 6 

M. Coulon and Madame Carandini are engaged at the Royal for the operatic season, shortly to commence.

ASSOCIATIONS: Theatre Royal (Melbourne venue)

"THEATRE ROYAL", The Argus (7 September 1855), 5 

On Wednesday evening another crowded house at this establishment witnessed the repetition of "The Daughter of the Regiment." Since Monday evening a number of crudities, which were then noticeable, had been corrected, and on this occasion the opera was performed in such a manner as left little to be desired. Although the plot has to some extent been necessarily interfered with on account of the absolute impossibility of procuring in the colony an efficient tenor, yet as the principal and most popular morceaux of Donizetti's sparkling music were given, a few irregularities in respect to the libretto, a very inferior one, by the way, at the best of times, - might be passed over without implying any injurious reflection upon the production. Madame Carandini and M. Coulon, two of the best artistes that the lyrical drama possesses in the colonies - for we must, we fear, look upon Miss Catherine Hayes as merely a bird of passage, - a wondrous singing bird though - have had the honor of inaugurating in this colony the opera; and although years back operatic performances were given at the Sydney Theatre, nothing had ever been produced there in such a state of completeness as has marked the presentation of the "Daughter of the Regiment" at our Theatre Royal . . . The lady, whose quality of voice is unequalled for purity in this part of the world . . . was most efficiently supported by M. Coulon, who, however, we have heard in better voice. His acting was a treat throughout. A song, introduced from Adolphe Adam's "Le Chalet," known as "Le Tambour Major," was most spiritedly sung and acted . . . The audience, judging by the con fuoco applause with which the opera was received throughout, appeared to be also highly gratified, and the ovation which at the termination of it was accorded to the principal performers was at once general and genuine . . .

[Advertisement], The Argus (22 October 1855), 8 

COPPIN'S OLYMPIC . . . And on Wednesday,
The Grand Operatic Ballet, LA BAYADERE, In which Mdlle. Aurelia Dimier,
M. Emile Coulon (who will sing in English for the first time),
Mr. Lyall, and Mr. and Mrs. Hancock, will appear, supported by an efficient Chorus and Ballet . . .

ASSOCIATIONS: Aurelie Dimier (dancer); Charles Lyall (actor, vocalist); Mary and Edward Hancock (actors, vocalists); George Coppin (actor, proprietor); Coppin's Olympic (Melbourne venue)

MUSIC: Le dieu et la bayadere (Auber)

"[SUMMARY FOR EUROPE] . . . THEATRICAL AND MUSICAL", The Argus [Melbourne, VIC] (24 December 1855), 6 

. . . Madame Anna Bishop and M. Bochsa have arrived at Sydney, and are expected in this city shortly; and Lola Montes has returned here from Adelaide, where she has been filling a short engagement. There is a talk of the formation of an operatic troupe, to be composed of a number of efficient French and Italian artistes now staying here, including Madame Cailly, formerly of the Parisian Opera, M. Coulon, brother of the primo basso at that establishment, and who was formerly engaged with Miss Hayes, and Signor Bosotti, said to be a basso profondo of great power. The corps will probably be strengthened by the co-operation of Mesdames Carandini and Sara Flower, and Messrs. Lyall and Hancock. Mr. Lavenu has conducted the orchestra during the engagement of Miss Hayes, and rendered great service in that department by the effective exercise of his undoubted abilities. That gentleman, with Mr. Gregg, who was formerly known in London as a vocalist of promising talent, and who has been singing in the bass roles in the opera - have engaged with Miss Hayes to assist her in the performances which the intends giving prior to her departure from Australia . . .

ASSOCIATIONS: Anna Bishop (vocalist); Nicholas Charles Bochsa (musician); Clarisse Cailly (vocalist); Paolo Borsotti (vocalist); Sara Flower (vocalist); John Gregg (vocalist, replaced Coulon in Hayes's troupe for her second Australian visit)

"ORIGINAL CORRESPONDENCE (To the Editor of the Bendigo Advertiser)", Bendigo Advertiser [VIC] (29 May 1856), 3 

Sir, - A mistake in the agreement between Mr. Heffernan and myself necessitates my ceasing to sing longer at the Shamrock, and my proceeding to town. I understood him when I was engaged (believing him to be an honorable man, I did not require a written agreement) that at the end of my three months' engagement I would have a benefit. My term has now nearly closed, and on my requesting Mr. Heffernan to name Monday, the 16th June, as the day of my benefit, he refused to do so. If he did not choose to give me a benefit, because it would be injurious to his prosperity, I should not so much object. But to deny the agreement - to falsify his word, which I took instead of a bond - is indeed beyond my share of human endurance. Not only has he refused me the benefit, but actually informed me that I was no longer required, and might be off at once if I objected. This is not all: he refused to pay my expenses back to Melbourne - a promise (one of the first) he made when I was engaged. My professional career is so well known to you, Mr. Editor, and the public, that I deem it my duty to lay these facts before you, and through you to warn my professional brethren against making verbal agreements: persons are so apt to forget that it is always best to have written documents.
I am, Sir, yours respectfully,
Bendigo Hotel, 28th May, 1856.
[We give insertion to Mr. Coulon's letter, omitting unnecessary personalities, because we think it only fair that he, as a professional man and a foreigner, should be allowed an opportunity of setting himself right with the public. The letter is an exparte statement, and as we have given it insertion, our columns are open to a reply. - Ed. B. A.]

ASSOCIATIONS: William Heffernan (proprietor); Shamrock Theatre (Bendigo venue)

"MUSIC AND THE DRAMA", The Age [Melbourne, VIC] (25 August 1856), 3 

. . . Madame Anna Bishop has appeared in "Norma," at the Prince of Wales Theatre, Sydney, and achieved her usual triumph over both role and audience. The Herald speaks very favorably of the efforts of Mrs. Guerin, as Adelgisa, Coulon as Oroveso, and Laglaise as Pollio, though it has some abatement to make for all three. The Sydney critic pronounces Mrs. Guerin's singing to have been "very creditable," for which she received applause in acknowledgment; Coulon to be not altogether suited to the correct and perfect rendering of the music of Oroveso; and that Laglaise "promises to be one day a leading member of the corps musicale." The company have since performed "Tancredi" and "L'Elisir d'Amore" . . .

ASSOCIATIONS: Theodosia Guerin (vocalist); Jean-Baptiste Laglaise (vocalist); Prince of Wales Theatre (Sydney venue)

"MINING INTELLIGENCE. McIVOR [FROM OUR OWN CORRESPONDENT] Heathcote, Dec. 16th. 1856", Bendigo Advertiser (19 December 1856), 2 

. . . Heathcote has for some time been very barren of public amusements, until lately, when the arrival of Miss Octavia Hamilton and Mons. Emile Coulon has given us a musical treat such as we have never hitherto enjoyed in our quiet little township . . . we have a fine large room at the Heathcote Hotel, and . . . we can wind up the business of the day with a little rational amusement in the evening . . .

ASSOCIATIONS: Octavia Hamilton (vocalist)

Diary of John Buckley Castieau, Beechworth, VIC, 1857; original MS, National Library of Australia; transcribed and edited by Mark Finnane, online at Centre for 21st Century Humanities, University of Newcastle (TRANSCRIPT) (Finnane 2004 DIGITISED)

[1857-02-02 Monday 2 February 1857] . . . In the morning went to a concert at the Eldorado Hotel. After the concert had a chat with Coulon, Miss Hamilton and Pierce.

ASSOCIATIONS: John Buckley Castieau (diarist); John Ottis Pierce (vocalist)

[1857-02-05 Thursday 5 February 1857] . . . Purchased a ticked for Concert at the Hospital a Ten Shilling affair . . . After the Concert which was rather a troublesome affair, no Single Room in the building being large enough for the Audience some of us went to the Eldorado Hotel.

ASSOCIATIONS: As above Hamilton, Coulon, and Pierce (vocalists); Leopold Collin (pianist);
see program, [Advertisement], Ovens and Murray Advertiser (2 February 1857), 3 

[1857-02-08 Sunday 8 February 1857] . . . After muster went to the Eldorado Hotel and had a chat with Miss Hamilton, Coulon & Pierce.

[1857-02-10 Tuesday 10 February 1857] . . . In the evening attended the concert at Mackay Miller & Co's Store given for Miss Octavia Hamilton's Benefit . . .

[1857-02-12 Thursday 12 February 1857] . . . In the evening attended a concert for the Benefit of Ellis. Went home to the Eldorado with Coulon & Miss Hamilton.

ASSOCIATIONS: James Ellis (proprietor of the Star Hotel)

THE OPERA AT SYDNEY", The Age [Melbourne, VIC] (14 May 1857), 6 

Paer's operatta of the Chapel-Master will be produced for the first time this evening at the Prince of Wales. The principal characters will be sustained by Madame Cailly and M.M. Coulon and Laglaise; the entire opera of Don Pasquale concluding.

"PRINCE OF WALES", Bell's Life in Sydney and Sporting Reviewer [NSW] (23 May 1857), 3 

The Opera at this establishment has virtually ceased for the present. On Monday a complimentary benefit was given to the manager, Mr. Frank Howson, and if a full and fashionable attendance on the occasion be taken as a test of the estimation in which he is held by his fellow citizens, we think it has been fully proved. Apropos of the company, a writer in the Melbourne Herald has thought proper to state that Monsieur Coulon has "grossly insulted" the public of Victoria, by not joining the Operatic Company there, thereby breaking his engagement with Mr. Black, the manager of the Princess' Theatre. The facts of the case, as reported to us, however, are simply these: When Monsieur Coulon signed his engagement in Melbourne for the Princess' Theatre, the manager assured him that Monsieur Laglaise was expected to arrive there in the same week, and would appear on the opening night as Gennaro in "Lucretia Borgia". M. Coulon, depending on this assurance, and thinking that it was impossible to make an Opera in Sydney without M. Laglaise, signed his agreement with Mr. Black for six weeks performances. Next day, M. Coulon received two letters per Governor General, from Frank Howson, to whom M. Coulon had written upon the subject of terms, and which were then accepted; M. Laglaise also writing, requesting M. Coulon's immediate presence in Sydney, to form an Opera, to appear in "Ernani", &c., he being much wanted. It was only then that M. Coulon decided to follow M. Laglaise's advice, and next day he left Melbourne foe Sydney, where we are sorry to record that although his performances have been eminently successful, the public have been slow in appreciating his great abilities; the lack of patronage in not supporting the Opera having caused him much pecuniary loss in common with Frank Howson, whose exertions in the cause of the Lyric Drama we trust will not be forgotten. The Victorians, it would appear, want to have everything their own way. They have taken our military from us; they wanted to make Melbourne the chief seat of Government; and they want now our Operatic Company - at all events, they want Coulon; but this gentleman has formed the determination to remain in Sydney, and that too, for a considerable period. Why do not the Victorians apply at once for our Harbour? They would be sure to get it.

ASSOCIATIONS: Frank Howson (vocalist, actor, manager); John Melton Black (theatre proprietor); Princess Theatre (Melbourne venue)

"THE SHAMROCK CONCERTS", Bendigo Advertiser [VIC] (22 October 1857), 3 

Those who visited the Shamrock last evening must have been delighted with the style in which the operatic morceaux, which have become a feature in these entertainments, were given. The first gem was A te o cara, from Bellini's opera of "Il Puritani." Mons. Coulon was in fine voice, and was received with warm greeting by his old favorites, many of whom were recognised as being present. Madame Carandini's performance it is unnecessary for us to enlarge upon, favorite as she is, and deservedly so. Monsieur Laglaize was also in a position to display his splendid voice to perfection, especially in the Trio Finale from Verdi's opera of "Ernani," which was the second gem of the evening . . .

"THEATRE ROYAL", The Cornwall Chronicle [Launceston, TAS] (30 December 1857), 4 

Madame Carandini was honored at her benefit on Monday evening with a very large audience, and her brilliant talents were rewarded withe most rapturous applause. As the "Daughter of the Regiment," she was in her acting graceful, elegant, and girlish . . . Monsieur Coulon's artistic and bonhommie style of rendering the part and songs of "Sergeant Sulpizio," was also a triumph, and for the sake of those who were present, as well as those who were absent, we trust the piece will be repeated . . . Monsieur Coulon's benefit, we regret to say, when Don Pasquale was reproduced, was not quite so fully attended last night, but the applause was unbounded.

ASSOCIATIONS: Theatre Royal (Launceston venue)

"ADDRESSÉS A M. LE MINISTRE DES AFFAIRES ÉTRANGÈRES. Sidney, le 10 fèvrier 1858 . . . Le consul général de Belgique en Australia, MARTIAL CLOQUET", Le moniteur belge (19 April 1858), 1394 (DIGITISED)

Arts et sciences . . . Les beaux-arts, la peinture, la musique, la sculpture, ne sont pas encore élevés à un rang distingué; cependant la musique est très-généralement répandue et cultivée, ainsi que le chant, et l'on rencontre des dilettante remarquables, dans le beau sexe surtout.
Il n'existe pas d'académie de musique, mais beaucoup de professeurs distingués qui pourraient former le noyau d'une école de musique et de chant, sous le patronage du gouvernement et avec le secours de la société philharmonique, composée des principaux artistes et amateurs.
Il existe des salons où l'on donne de nombreux concerts, où l'on entend les artistes qui viennent d'Europe, des Etats-Unis, du Chili et de Pérou recueillir ici des lauriers et des guinées.
Trois théâtres assez spacieux et dignes de la ville permettent la représentation de tout genre de pièces, et l'année dernière, sur celui de l'opéra, un artiste belge, dont un frère est mort trop jeune, au moment où il prenait un rang distingué dans la peinture et dont l'autre occupe une place brillante à l'Opéra de Paris, M. Coulon, de Niveiles, recueillit les applaudissements et les sympathies du public . . .

"OPERATIC ENTERTAINMENTS", The Argus [Melbourne, VIC] (21 April 1858), 4 

Various attempts have been made from time to time to establish an operatic company in Melbourne, but hitherto without sufficient success to warrant persistency in the experiment. We are glad to learn, however, that we are not to be permitted altogether to forget the choicest morceaux of the greatest composers, a series of operatic entertainments of a somewhat novel character being about to be given at Hockin's New Assembly Room by the following artists: - Miss Julia Harland, Mrs. Hancock, M. Coulon, Mr. Sherwin, Mr. Linley Norman, and Mr. Hancock. Each concert is to consist of an entire opera, so far as the same can be judiciously rendered without theatrical accompaniments. The public of Melbourne will thus have an opportunity afforded it of making its first acquaintance with the new operas produced in Europe during the last few years. It is probable that the introductory performance will take place next week.

ASSOCIATIONS: Julia Harland (vocalist); Walter Sherwin (vocalist); Linly Norman (pianist); Hockin's Assembly Rooms (Melbourne venue)

"AMUSEMENTS", The Age [Melbourne, VIC] (15 September 1858), 6 

At the other house, the Princess's . . . has now opened for a short opera season under the musical direction of Messrs. Lavenue and Linly Norman. Madame Carandini, Miss Julia Harland, Mr. Farquharson, and Mons. Coulon are the principal artistes . . .

ASSOCIATIONS: Robert Farquharson (vocalist)

"THE NEWS OF THE DAY", The Age (27 September 1858), 5 

At the Princess's Theatre on Saturday evening Auber's opera of "Fra Diavolo" was repeated, and, we are glad to say, to a vary good house. The dress circle was nearly filled. It is impossible to bestow too much credit on the management, the artistes, and the musical directors, for the manner in which this opera has been put on the stage. Certainly it could not have been better produced in any provincial town in Britain. Madame Carandini was in excellent voice, and quite charmed the audience by her make-up of the Brigand - the very beau ideal of a gentleman cut-throat. She was repeatedly encored. Next in merit is Coulon's Beppo. His droll acting, and still droller pronunciation were irresistible. Mr. Farquharson as Lord Allcash sang and played well. Mrs. Hancock would have been better had she given the character of Lady Allcash a little more animation. The principal performers were called before the curtain at the close of the piece. If outward demonstrations of approval are to be taken as the test of the satisfaction at a performance, the audience on Saturday evening evinced their approbation in a very marked manner.

"THE NEWS OF THE DAY", The Age (8 November 1858), 5 

The first opera season for the present year concluded at the Princess's on Saturday last by the performance of Donizetti's "Lucia di Lammermoor." The opera went much better than we have heard it for some time, and was very flatteringly received. Madame Carandini's principal success was in the "mad scene," and procured for her a large amount of applause. The Henry Ashton on this occasion was sustained by Mr. Coulon, who to a good voice adds good acting.

"HAYMARKET THEATRE. THE 'BOHEMIAN GIRL'", Bendigo Advertiser [VIC] (13 December 1858), 3 

. . . we have it in our power to go of an evening and hear some of the best modern operas performed by a company which, if not quite equal to that of Drury Lane, is, certainly, as a whole, one of the best we have ever heard in the colony. The opera of the "Bohemian Girl" is one that is always listened to by all classes with a degree of pleasure that some of the more classical productions of the great modern musical composers often fail in producing . . . Too much praise cannot be bestowed on Miss Julia Harland for her singing in the part of Arline . . . Mons. Coulon, in the character of Devilshoof, not only sustained the great reputation he has earned for being a splendid singer, but exhibited an amount of humor in his impersonation of the character that we hardly believed him capable of. Some of his by-play in the opera was capital, and in the exuberance of his acting introduced several drolleries, which although we are certain were never intended by the author of the piece were productive of great amusement amongst the audience . . . The music in the orchestral department, under the able direction of Mr. Linley Norman, was from the overture to the finale most efficiently rendered. The last act of "Norma" concluded the performances . . .

ASSOCIATIONS: Haymarket Theatre (Bendigo venue)

Frank Fowler, Southern lights and shadows: being brief notes of three years' experience of social, literary, and political life in Australia (London: Sampson Low, Son, and Co., 1859), 34 (DIGITISED)

. . . The "Prince of Wales" was generally devoted to opera, and here I have heard Bellini, Meyerbeer, and even Verdi and Beethoven as carefully rendered as at any theatre in London, the two Italian opera houses only excepted. Madame Anna Bishop was generally first-lady, Miss Sarah Flower contralto; Messrs. Laglaise and Coulon - not quite unknown names - tenor and bass; and Messrs. Lavenu and Loder, men of some English reputation, leaders of the orchestra . . .

ASSOCIATIONS: Frank Fowler (journalist)

"THEATRE ROYAL. 'LA TAVIATA'", Williamstown Chronicle [VIC] (9 April 1859), 3 

A special train will leave this town on Wednesday next at 7 p.m., returning from Melbourne at 12 o'clock. This arrangement has been entered into for the purpose of affording the musical public of Williamstown an opportunity of attending the Theatre Royal on the production that evening of Verdi's beautiful opera "La Traviata." It is to be produced under the direction and for the benefit of Mons. Coulon, who is stated to be in possession of Verdi's original arrangement of its vocal and band parts. As the programme for the same evening is in every other respect unusually attractive, we have no doubt the special train will be handsomely appreciated.

ASSOCIATIONS: Theatre Royal (Melbourne venue)

"THEATRE ROYAL", The Argus [Melbourne, VIC] (14 April 1859), 5 

A full house assembled last night, on the occasion of Mons. Coulon's benefit, to hear the opera of "La Traviata." Itself a novelty, and possessing the additional interest of being condemned and denounced by the most influential portion of the London Press, it was sure to attract a large audience. It can scarcely be supposed that any person went with the expectation of witnessing anything like completeness in its production. The resources at M. Coulon's command were obviously limited, but as he procured the best materials he could, and as all the persons concerned exerted themselves to the extent of their ability, a reasonable indulgence was nothing more than might be expected . . . On the lyric merits of Verdi's work it would be mere mockery to offer an opinion from this incomplete sample of it; but as Mons. Coulon is said to be going to England for the purpose of engaging a trained operatic company, it may possibly be presented in its entirety (and without the excrescence of a long supplementary overture) before the year is out. At the fall of the curtain, Mr. F. Younge came forward and announced that it would be repeated on Saturday evening. A more interesting circumstance than the production of a maimed opera, was the first performance of a national song - it cannot be called either a hymn or an anthem - composed by Mr. S. Nelson, the words by Mrs. Postle, a lady new to colonial fame. This work, though for various reasons scarcely fulfilling the purpose of musical representative of a people, has yet very much merit of an intrinsic kind . . . It was sung by Mons. Coulon, who necessarily labored under the difficulty of imparting sufficient expression in its delivery, owing to his malpronunciation of some of the words. These last we append:
"Advance, advance, Australia!
Australia, advance!
Thy standard among nations plant
With youthful spur and lance!
Beauty and valor by thy side,
Honor and commerce for thy guide,
Upward and onward in thy pride,
Australia, advance! . . .

ASSOCIATIONS: Frederick Younge (actor, manager); Sidney Nelson (composer); Eliza Postle (lyricist)

MUSIC: Advance Australia (Nelson)

"SUMMARY FOR ENGLAND", The Argus (16 May 1859), 1 supplement 

. . . The musical history of the month records a mutilated version of Verdi's "La Traviata" at the Theatre Royal, on the occasion of the benefit of Mons Coulon, who, it was announced, was about proceeding to Valparaiso . . .

"THE NEWS OF THE DAY", The Age (7 June 1859), 4 

Yesterday evening Miss Octavia Hamilton gave a concert in the Trades' Hall, Lygon-street. The arrangements were not so good as they might have been, and, therefore, notwithstanding the array of well known names announced, the concert was a failure. There were three grades of prices, and this appears to have kept away the tradesmen, who might otherwise have filled the Hall. They did not like the idea of being excluded from any part of the building which they themselves had erected. Mons. Emile Coulon's singing was as usual the principal attraction of the evening. He was encored several times.

"MELBOURNE NEWS (Argus)", Bendigo Advertiser [VIC] (12 July 1859), 3 

The musical world in this hemisphere has sustained a great loss by the departure of M. Emile Coulon, who sailed yesterday for Mauritius.

Names and descriptions of passengers per Africaine, from Melbourne, 11 July 1859, for Mauritius; Public Record Office Victoria (DIGITISED)

. . . Emile Coulon . . .

Mauritius (mid 1859 to early 1860):

Australia [2] (11 March to 26 December 1860):

"SHIPPING INTELLIGENCE. ARRIVED", The Argus [Melbourne, VIC] (21 March 1860), 4 

MARCH 11. Emeu, Peninsular and Oriental Company's Royal Mail, s.s., 1,300 tons, D. G. Munro, Esq., commander, Captain Keatley, R.N., Admiralty agent, from Suez January 27, Aden Feb. 3, Mauritius Feb. 15, King George's Sound March 4, Kangaroo Island March 9. Passengers - saloon: for Melbourne . . . E. Coulon . . .

[News], The Argus (12 March 1860), 5 

Among the passengers who arrived by the Emeu yesterday was M. Emile Coulon, a gentleman who for some years has been well known to the musical world of Victoria. Mr. Coulon has been on a visit to Mauritius for eight months. His return to Melbourne will no doubt be a matter of gratification to those who have heard him, and his reappearance will be a valuable addition to our present limited opera company.

"THE NEWS OF THE DAY", The Age [Melbourne, VIC] (16 April 1860), 5 

Verdi's opera, "Altila," has been produced in its entirety for the first time in the Southern hemisphere at Ballaarat. Signors Grossi and Bianchi, Mons. Coulon, and Signora Bianchi were the principal vocalists.

ASSOCIATIONS: Eugenio and Giovanna Bianchi (vocalists); Enrico Grossi (vocalist)

"CURRENT TOPICS", Geelong Advertiser [VIC] (30 April 1860), 2 

The performances at the Theatre to night are for the benefit of M. Emile Coulon, a very talented vocalist and an indispensable member of the operatic company now nightly delighting the music loving section of the town. M. Coulon may also claim the distinction of being an old chum. Although it is not very many years since his first arrival it is a fact that there were only two theatres - one in Melbourne and one in Geelong - in the whole colony; there must now be about twenty. He has but lately returned from a cruise in Mauritius and elsewhere and has improved both as an actor and a singer. The opera selected for the occasion is La Traviata . . .

ASSOCIATIONS: Theatre Royal (Geelong venue)

"NEWS AND NOTES BY A SYDNEY MAN. XCII", The Moreton Bay Courier [Brisbane, QLD] (22 May 1860), 4 

. . . [in Sydney] . . . We are promised a great treat. Signor and Signora Bianchi, and M. Coulon, have arrived, and the Italian opera is to be restored at the Prince of Wales Theatre a great luxury after all the bosh that has been produced there lately . . .

ASSOCIATIONS: William Wilkes (journalist)

"THE OPERA. TO THE EDITOR OF THE EMPIRE", Empire [Sydney, NSW] (12 July 1860), 3 

SIR, - My benefit, announced for to-morrow evening, will not take place, in consequence of the extraordinary conduct of the present lessee, who, not content with £90 for the house (a sum hitherto unasked), but coolly refuses that I should put at the door my own money takers, insisting as a right that he will do all that, and so I have given up the idea of taking a benefit at all at any of the theatres, so long as they are under the present liberal manager.
Youn truly,

ASSOCIATIONS: Samuel Colville (manager)

[Advertisement], Empire [Sydney, NSW] (13 July 1860), 8 

TO THE PUBLIC. - After the statements that appeared in to-day's papers as signed by E. Coulon, and the demonstration in the Prince of Wales Theatre this evening, the following statement of facts is due to the public:
On the 17th day of May, 1860, Emile Conlon engaged his professional services to the undersigned upon a weekly salary of £25, to be paid at the termination of each "operatic week," together with a night to be set apart for his benefit, on which occasion (in the words of the agreement) -
"I (Emile Coulon) guarantee to furnish the services of Signor and Signora Bianchi free of all expense to Samuel Colville, and in consideration of the said Samuel Colville furnishing Company, Theatre, &c., promise and guarantee with competent security, as may be hereafter agreed upon, to pay the said Samuel Colville the sum of £90 (ninety pounds sterling), receiving the entire gross receipts of said night's performance; and I further bind myself for and in consideration of the weekly sum specified, to perform to the very best of my sbility, and in all respect conform to the general rules governing, etc."
In conformity with this agreement, in the presence of competent witnesses viz., Signor E. Bianchi, Mr. Charles Walsh, &c. - upon a a re-engagement of Emile Coulon for the present operatic season of two weeks, the benefit contemplated was set apart for Thursday evening, July 12, 1860. Mr. Coulon announced it accordingly; and I was generous enough to permit the first production of "Attila" for the occasion. On Tuesday evening last, my attention was called to bills announcing the prices to the Pit as changed from Two Shillings to One Shilling, without in anywise consulting me relative to such change; also, to the fact of Mr. Coulon having employed money and cheque takers to act in the capacity thereof in my theatre upon the occasion. By letter, I immediately objected to Mr. Coulon's authority to make a change in the prices of admission, or in any way altering or changing the regulations of my theatre, and requesting an immediate compliance with the terms and conditions of his benefit. On Wednesday, at half past one o'clock p.m., I received the following reply:
"127, Castlereagh-street,
"Wednesday, 11th July, 1860.
"Sir, - Not seeming satisfied with my paying you an exorbitant price for the use of the Prince of Wales Theatre, on Thursday evening, for my benefit, but as you seem to keep inventing obstacles to my success, and proper working of my own affairs, I hereby decline taking any benefit at all at any of the theatres you are (at present) lessee of.
"I am, &c.
To which I immediately replied:
"July 11th, 1860, 3 o'clock p.m.
"Sir , -I cannot concede at this late date to your declining to receive your benefit, but according to arrangements so far as appertain thereto, every particular as regards my part of the contract has been and will be fulfilled to the letter, and in accordance therewith - the bills have been printed and will be posted this evening. It now remains with you to fulfil your part of the contract, and as is customary on similar occasions, you must be well aware that you are at perfect liberty to select your own cheque and money takers, but you cannot control the latter until the condition of terms are infilled on your part.
"I am, &c.,
"Mons. E. Coulon."
There being a general rumour that Mr. Coulon would not appear on Thursday evening, notwithstanding his week, as engaged, would not terminate until after the performance of Friday evening, I addressed him the following note:
"July 13, 10 o'clock a.m.
"Mons. E. Conlon.
"It being reported throughout the city that you will not appear in Opera this evening, you will please answer Yes or no to the following inquiry, -
"Is it your intention to appear at the Prince of Wales Theatre this evening, Thursday, July 13, as announced in the bills of the day?
"Lessee and Manager."
About two o'clock p.m. I received a reply in the negative, from Mr. Coulon's solicitor.
After this plain statement of facts, in what manner, I ask a discerning public, have I acted "harsh and arbitrary?" What "restrictions" were placed upon the performance that "no gentleman" could submit to? Was it ungentlemanly to require a fulfilment of the conditions of contract, and claim security as implied therein? Perhaps it would have entirely suited M. Conlon, had I permitted him to take entire and sole control of all appertaining to the theatre for the occasion, and trusted to chance for the payment of the (£90) ninety pounds. I now leave it with the public to judge whether Mr. Coulon was justified in disappointing the patrons of the Opera, by refusing to perform in Attila, because of certain hostile feelings towards myself, which io no wise concerned the public, and the reasons for which hostility I am ignorant of.
Thursday Evening, July 12.

"THEATRICALS. ITALIAN OPERA", Bell's Life in Sydney and Sporting Reviewer (14 July 1860), 3 

With to-night's performance the entertainment of the operatic troupe trill terminate. The season opened with Il Trovatore; Traviata, Lucrezia Borgia, Nino, Ernani, Norma, Macbeth and Attila following in rapid succession. The whole of the Operas were magnificently mounted, and all deserved, though all did not win, success. Il Trovatore and Norma drew the largest houses. On the first and second nights of the representation of Traviata the attendance was good; the same may be said of the first and second nights of Nino, Ernani, and Lucrezia Borgia, which were well patronised; but Macbeth and Attila were, as far as the treasury of the theatre was concerned, absolute failures. Though Signor Bianchi is, without question, the best tenor who has yet appeared before a Sydney audience, he is not, we opine, a first-rate actor. The success, if we may so call it, of the opera season is mainly due to the great vocal and histrionic talents of the fair Signora . . . Next in the order of merit comes Mons. Emile Coulon. This gentleman is a clever actor, and a still cleverer vocalist. During his sojourn in Sydney he has won "golden opinions from all sorts of people" . . . and the orchestra, under the direction of M. Paltza [sic], and the leadership of Mr. Charles Eigenschank, were very effective.

We deem it our duty to contradict certain statements, which have appeared relative to the disturbance created by some friends of Mr. Coulon, at, the Prince of Wales Theatre, on Thursday evening last, by a simple narrative of what then actually occurred. Notwithstanding the advertisements of Mr. Coulon, announcing that he would not appear that evening, and his doing so in such terms as were evidently calculated to create a very unfavorable impression against the management, and, moreover, that the Opera of Attila, in its entirety, could not, of course, be presented at the short notice given by Mr. Coulon of his withdrawal from the part, there was a very fair house in attendance, and not "empty benches," as asserted by one of our veracious contemporaries. The rise of the curtain was obviously the concerted signal for outcries and hisses from a knot of Mr. Coulon's partisans, who were congregated together in a corner of the Pit; no disapprobation of any kind emanating from the Boxes, or, indeed, from any other part of the house. One particularly zealous individual made himself so exceedingly obnoxious that be had to be addressed from the stage by name; whereupon of course he immediately collapsed. This violent manifestation of angry fooling was accompanied by loud cries for Mr. Coulon, and retarded the commencement of the performance. The curtain was consequently lowered, and after a short interval again raised and lowered amid the same uproar. At length, when raised for the third time, the Manager stepped forward, and having with some difficulty obtained a hearing, said: -
LADIES AND GENTLEMEN, - If, after I shall have read this short statement, which I have prepared, as to what is in dispute between Mr. Coulon and myself, any of you should feel dissatisfied, I beg to state that I have given orders for your money to be returned at the doors. At the same time permit me to observe that none can have come here this night with any expectation of seeing Mr. Coulon perform.
At this juncture, in spite of the efforts of Mr. Coulon's friends, who endeavoured to prevent any such explanation being given, silence was enforced by the decided expression of the majority of the house. Mr. Colville then read the agreement between himself and Mr. Coulon, as already published in the daily newspapers, and which appears in our present issue. The purport of this appeared to give universal satisfaction, and was received with loud applause - no dissentient voice being heard. Mr. Colville then proceeded to read the correspondence between himself and Mr. Coulon, which contained the only conceivable grounds of dissatisfaction. The audience - perceiving by this that Mr. Coulon was in fault, and that no exception could justly be taken to the manager's conduct in any respect, manifested their approbation in a continuous and most emphatic manner, fully endorsing all that he had done in the affair. Mr. Colville made a few remarks respecting the difficulties of a manager; appealing to the manner in which he had always kept faith with the public, and observed that it was the fault of Mr. Coulon alone that the Opera of Attila was not in its entirety performed. The observations of Mr. Colville were loudly and generally cheered; even the ladles in the boxes joining in the demonstrations of approval as he retired from the stage. No farther interruption took place during the performances of the evening.

ASSOCIATIONS: Jacques Paltzer (violin, conductor); Charles Eigenschenck (violin, leader)

[News], The Argus [Melbourne, VIC] (8 September 1860), 5 

A brilliant and crowded house assembled at the Royal last night, on the occasion of the benefit of M. Emile Coulon. The opera, "Lucrezia Borgia," was on the whole the most successful effort yet made by the company. Signora Bianchi, as Lucrezia, and M. Emile Coulon, as Don Alfonzo, both in singing and acting, did themselves great credit, and were enthusiastically applauded. The other principal parts were tolerably well filled, as follows: - Gennaro, Signor Bianchi; Gubetta, Mr. Gregg; Orsini, Miss Octavia Hamilton; and Rustighello, Mrs. Hancock.

"CITY COUNCIL . . . CORRESPONDENCE", The Age [Melbourne, VIC] (30 October 1860), 6 

. . . From. Mons. Coulon, requesting the patronage of the City Council, for the effort which he is about to make to procure from Europe a complete operatic troupe . . .


We have already announced that a movement has been set on foot, for the purpose of establishing a full and efficient Opera Company in these colonies. Hitherto we have been content to receive any occasional contribution of talent towards this desirable and intellectual source of enjoyment, and have felt only too happy to secure even the skeleton of an operatic season, at intervals of a year or two apart. The visit of Catherine Hayes, Mdme. Bishop, Mdme. Caillly, Laglaise, the Bianchis, and the permanent presence of Coulon, Farquharson, Mdme. Carandini, Julia Harland, Sherwin, Miss Hamilton, Mrs. Hancock, etc., have afforded a large amount, of musical enjoyment and a substantial instalment of Italian Opera. As a necessary element in the campaign, for some years we were largely indebted to the sterling ability and industry of poor Lavenu, whose struggles and incessant labour contributed not a little, it is to be feared, to this premature death. For some time he had found little scope for his acquirements, but on the arrival of Catherine Hayes and M. Coulon, Lavenu's services became invaluable, and indispensable. To commence opera here, at that time was to enter upon a sort of musical "bush life," if we may use the term. The land had not only to be cultivated, but cleared; and it required no little application and perseverance, to say nothing of the professional knowledge, and the very varied talent, which were essential for the undertaking. Whole operas had to be scored, choristers and instrumentalists "rummaged up" and drilled into tolerable efficiency, in a few days; and incessant toil, night and morn, was the portion of the courageous conductor. For some time the public responded with delight, and the success and the large harvests reaped by the two great prima donnas, have since been the theme of wonder and envy amongst the profession in England. But these special rewards, - these showers of gold upon those favoured goddesses, left little behind for those who were also essential to that success which had been realised by the two queens of song. Poor Lavenu died in poverty.

The "star" system, in fact, as is almost always the case, left little or nothing for manager and the other portions of the company. Mr. Black's spirited commencement of opera at the Royal, with Catherine Hayes, could, not clear a profit. Mr. Coppin produced, "Martha" in a manner that is rarely surpassed jn England, as to stage and general effect, and with a company that would be highly appreciated in any theatre, except the exclusive temples of opera. The share absorbed by the chief star, however, left but little for the lesser luminaries, and the manager, it is said, had to pocket a heavy loss on the transaction. Since then, our opportunities have been but few, and the realisation only of a very imperfect character. Without oboe, or violincello, or kettle drums, and with other defects, our orchestra has been anything but satisfactory; and with all due praise to the Bianchis for the successful little season they have just carried through, we find ourselves at the end of 1860, in the same state with regard to musical matters as our politicians do with our commercial and social condition. The body operatic is languishing for want of increased numbers, and nothing but "free immigration" will meet the case. We must send home the funds to bring them out, and appoint a suitable agent to conduct the operation -
"To this complexion must it come at last."

We therefore hail with satisfaction the proposal of M. Conlon to undertake the good work himself. His ability and professional standing fully entitle him to our confidence as regards a judicious selection of the artists; and under the plan set forth, there appears ample surety for the thoroughly carrying out of the scheme. We have not the details at hand, but the plan is, to raise, by subscription tickets, £2,000 or £3,000, which sum is to be entirely under the control of a committee to be appointed for carrying out the project in conjunction with M. Coulon. This committee, it is to be presumed, would sufficiently provide against any chances of failure or incompleteness in the arrangements; and M. Coulon's interest as well as reputation are good hostages of his earnestness in the cause. A number of gentlemen have already expressed their willingness to cooperate in the matter, and His Excellency the Governor has promised a handsome subscription in the event of the undertaking being accomplished. The engagements of M. Coulon's company comprise: -
Principals: Prima Donna. Contralto. First Tenor. Second Tenor. Barytone. Basso Cantanto. Basso Profundo. Maestro (Conductor.)
Chorus: Two Sopranos, two Tenors, two Basses.
Say from fourteen to sixteen artists. With such, a reinforcement, we should possess a really powerful company, taking it for granted that [3] every member of the new corps is to be really efficient. Of all the additions, the chorus leaders will prove not the least important, for comparatively satisfactory as our colonial choristers have shewn themselves, their efforts under well seasoned professional captains would be greatly strengthened and improved. Several well known artists are named as likely to enlist under M. Coulon, amongst whom is his brother of the Grand Opera, Paris, where he has held the position of Primo Basso for many years. We understand that M. Coulon intends to set out on his expedition as soon as such a proportion of the full sum is subscribed as will enable him to meet preliminary expenses; and from the favourable manner in which the project has been entertained he is very hopeful of inaugurating his first season next June. In this case his second season in Melbourne would commence somewhere about December, the intention being to institute two opera seasons during the year in all or most of these colonies. This would keep the company fully employed, and insure for them a handsome remuneration, at moderate salaries. It is, in fact, the great feature of the scheme, that instead of trusting for opera to the occasional visit of a prima donna or a tenor, when we are favoured with a hasty hash of half a work, and at such a rate of remuneration to the stars, that the manager cannot afford to serve up the other essentials, - we shall have a good and efficient working company, whose engagements will be made and fixed before they arrive, and whose interest it will be to obtain the good opinion of those they are to meet again in the due course of their returning seasons. Should these expectations and plans be realised, there can be no doubt, that not only will a large measure of enjoyment be reaped from the services of our standard corps, but the excellence of our operatic entertainments will be constantly increased by new additions of higher and higher qualifications. We have gone at some length into the matter, because we have no doubt, that our musical friends will thank us for bringing M. Coulon's proposition more prominently under their notice.

ASSOCIATIONS: John Melton Black (manager)

Passenger list, per Jeddo, from Melbourne, 26 December 1860, for Galle; Public Record Office Victoria (DIGITISED)

. . . [Mr.] Coulon / [single] / 35 / [Gentleman] / Belgian . . .

"SHIPPING INTELLIGENCE", The Argus (28 December 1860), 4 

The following is the list of passengers from Melbourne, by the R. M. s.s. Jeddo . . . For Marseilles - Messrs. . . . Coulon . . .

After Australia:

[Advertisement], The Argus [Melbourne, VIC] (14 May 1861), 8 

COULON'S OPERA SCHEME. All gentleman interested in the above are requested to ATTEND a MEETING, to be held at Wilkie's music warehouse, Collins-street, on Wednesday, May 16, at 8 p.m.

ASSOCIATIONS: Joseph Wilkie (musicseller, supporter); Thomas Holme Davis (secretary)

[News], The Argus (16 May 1861), 5 

Several gentlemen desirous of promoting the success of Monsieur E. Coulon's project for the introduction of an opera company into these colonies met yesterday afternoon at Mr. J. Wilkie's Music-saloon, Collin Street. A letter was announced as having been received from M. Coulon, which stated that he had succeeded in organising a company provisionally, which would be ready to proceed to the colonies upon approval. The correspondence was considered satisfactory as far as it had gone, but it was not resolved to close with scheme immediately. Those present expressed their regret that all the subscriptions promised had not been paid up. We believe M. Coulon's company embraces three ladies, three gentlemen, 10 members of the orchestra, and the nucleus of a competent chorus.

[News], The Argus (31 August 1861), 5 

M. Coulon's opera scheme may be considered defunct. At a meeting of the subscribers, held yesterday at Wilkie's rooms, Collins-street, it was decided that the balance of the unexpended fund should be payable to them at the rate of 10s. 3d. in the £1, on and after Monday next, the 2nd September, at Mr. Wilkie's.

"TOWN TALK", The Herald [Melbourne, VIC] (2 September 1861), 5 

The scheme originated by M. Coulon, which was to introduce an Italian opera company in Victoria, has fallen through, owing to the really culpable indifference exhibited by the majority of those whose names appeared on the subscription list to the carrying out of the engagement they entered into. At a meeting of gentlemen interested in the scheme, which was held on Friday, at Mr. Wilkie's music establishment, Collins street, the following letter, addressed to Mr. Wilkie by M. Palmieri, one of the artistes whom M. Coulon, acting upon his instructions, engaged, was read: -

"Dear Sir, - I hope you will excused the liberty I am now taking in addressing you this letter. In the month of last March M. E. Coulon came to London and made engagements with these artists - Madame Palmieri, soprano; Madame Lemain, contralto; M. Moderati, conductor; and myself, tenor, for the theatres of Melbourne, Sydney, etc. M. Coulon assured these artistes that it would be an excellent and good affair, because at Melbourne a subscription, for an Italian opera had already been opened under your direction; and he said that the sum would amount to L.2000. After we had signed our engagements M. Coulon introduced us to Mr. Burton, banker, in London; and this gentleman told us that he had received from Melbourne assurances that the money would arrive with the mail of the 14th April. M. Coulon also told us that he had received from the trustee in Melbourne L.250; and he said, if by chance our engagement for some reason or other should not take place, he would have divided this sum, L.250, between the artists engaged as recompense for the engagements lost. After this M. Coulon left for Paris. The mail arrived on the 14th of April, but without the money assured us by M. Coulon and Mr. Burton. We have not seen any more of M. Coulon, and this is the reason the engagements have finished.

"I hope you will excuse me troubling you, but we should like the know the truth of this strange affair to our own satisfaction. If all M. Coulon told us about the theatres of Melbourne, Sydney, etc., should be true, and if the trustees should like a good Italian opera company, the same artists would willingly undertake this voyage for Australia, providing the money was sent by the trustee to a banker in London. An answer would greatly oblige.
"Believe me, dear Sir, yours faithfully,
"1 Carlisle place, Victoria-street, Westminster, London, 25th May, 1861.

The meeting determined to abandon the scheme, and to divide amongst the bona fide subscribers what funds remained unexpended. The balance sheet showed subscriptions received to the amount of L.238 10s., and payments, L.115 12s, of which L.1000 was expended for M. Coulon's passage. The great majority of the subscribers have not paid up, and the loss will fall upon the few who have faithfully observed their promise.

ASSOCIATIONS: Tito and Maria Palmieri eventually visited Australia in 1874; on Tito Plamieri's (1861) impending London debut, see , "ITALIAN OPERA LYCEUM", The Musical World [London, England] (1 June 1861), 343 (DIGITISED)

[News], The Argus [Melbourne, VIC] (23 January 1875), 7 

The announcement of the death of Emile Coulon (which appeared as an extract in yesterday's Argus) will recall to the reader's mind many a scene in the stirring times which followed the discovery of gold in Victoria. At the time when the "Salle Valentino" was the chief place for musical entertainment, the old Theatre Royal was being built, and long before the theatre itself was finished, the Vestibule was used, and very largely patronised as a concert room. It was here that Coulon sang twenty years ago and delighted the audience of that day (and it was a thoroughly appreciative and critical audience). The people who had come free from London, Paris or Vienna recognised the good quality of the singer who could do justice to the buffo music of Rossini and Donizetti. Here in those days Coulon's name was associated with many another yet remembered. Mrs. Hancock, Madame Carandini, Octavia Hamilton, Louisa Swannell, the Australian Nightingale, Charles Lyall, Charles Biall, "Johnston of the 40th" and "Callen of the 12th." From this time up to 1859, in which year M. Coulon left the country [recte 1860], he was associated in opera with the Bianchis, Laglaise, Greig [Gregg] and many others of note in those days, who have long since passed from the scene. It was expected when Coulon left Melbourne that he was to return with a complete opera company, but he did not return, to the great disappointment of many citizens well disposed towards the patronage of musical art. The little obituary notice from which we quote says that Coulon was 53 years old when he died, that he made his debut in 1851, and that he was one of the best of Garcia's pupils. We who remember him know that was a good singer, and had a good voice; while he remained in Melbourne he was in his very prime. The Garcia who was his master was the brother of Malibran and of Viardot. There is no such singer now in Melbourne as Emile Coulon was in those lively days we speak of.

NOTE: In fact, the death reported was not Emile's, but that of his elder brother Theodore Jean Joseph Coulon (1822-1874); see "MUSICAL", New York Clipper [USA] (21 November 1874), 271 (DIGITISED)

ASSOCIATIONS: Salle de Valentino (Melbourne venue); Louisa Swannell (vocalist); Charles Bial (pianist); Henry Johnson (military bandmaster); George Douglas Callen (military bandmaster); Emile Coulon never claimed publicly to be a pupil of Manuel Garcia, rather it was probably his brother

Death, Emile Coulon, Paris, 24 March 1916

Death registration, Paris, France, 24 March 1916; Archives de Paris (PAYWALL)

Emile Jean Joseph Coulon / [born] 4 avr. 1825 / Bruxelles (Belgique) / artiste lyrique / [died] 24 mars 1916 / [Paris, France] / [parents names unknown] / [spouse] Maria Henriette Hocheder

Musical publications:

The Marseillaise hymn, arranged by M. Coulon (Sydney: Woolcott & Clarke, [1855]) (DIGITISED) (DIGITISED) (DIGITISED)

[Advertisement], The Sydney Morning Herald (8 May 1855), 6 

MARSEILLAISE HYMN, arranged by M. Coulon (illustrated), 2s. 6d. WOOLCOTT and CLARKE.

ASSOCIATIONS: Woolcott and Clarke (publishers)

Other sources:

M. Coulon as "Il Sergente" in "La Figlia del regimento" (Sydney, 1854-55); reproduced in the Australian picture pleasure book (Sydney: J. R. Clarke, 1857) (DIGITISED)

ASSOCIATIONS: Charles William Andrews (artist, engraver); Walter George Mason (artist, engraver); Jacob Richard Clarke (publisher)

La Hayes' quadrilles [music by] F. Ellard (Sydney: Woolcott & Clarke, [1855]) (DIGITISED)

ASSOCIATIONS: Frederick Ellard (composer); Woolcott and Clarke (publisher); has the following two woodcuts of Hayes and Coulon as cover illustrations

Miss Hayes and M. Coulon in "L'elizir d'amor" (Sydney, 1854-55) [signed] "C.W.A." and "W.G.M."; reproduced in the Australian picture pleasure book (Sydney: J. R. Clarke, 1857) (DIGITISED)

Miss Hayes and M. Coulon in "Don Pasquale" (Sydney, 1854-55) [signed] "C.W.A." and "W.G.M."; reproduced in the Australian picture pleasure book (Sydney: J. R. Clarke, 1857) (DIGITISED)

A comic sketch of M. Coulon, Mr. Barry and Mr. Torning [signed] "W.G.M."; reproduced in the Australian picture pleasure book (Sydney: J. R. Clarke, 1857) (DIGITISED)

ASSOCIATIONS: Tom Barry (clown); Andrew Torning (actor, manager)

Bibliography and resources:

Harold Love, The golden age of Australian opera: W. S. Lyster and his companies 1861-1880 (Sydney: Currency Press, 1981), 27-30, especially 29-30 

Alison Gyger, Civilising the colonies: pioneering opera in Australia (Sydney: Opera-Opera/Pellinor, 1999), 70-117 passim 

George Martin, Verdi at the Golden Gate (Berkeley and Los Angeles: University of California Press, 1993), 56-60, 105, 201, 215, 217, notes 272, 284 (PREVIEW)

Emile Jean Joseph Coulon, Geneanet 


Musician, professor of music, singing master, organist, pianist, musicseller, piano tuner, grocer, draper

Born Armley, Yorkshire, England, 1824; baptised St. Bartholomew, Armley, 1 August 1824; son of Thomas COUPLAND and Harriet HARDCASTLE
Married (1) Ruth HARRISON (c. 1828-1876), St. Oswald, Guiseley, Yorkshire, England, 16 July 1853
Arrived Melbourne, VIC, 13 December 1854 (per Constance, from Liverpool, 30 August)
Active Ballarat, VIC, c. 1857-63
Active Bendigo, VIC, c. 1869-79
Married (2) Elizabeth MASON (d. 1906), St. Jude's, Carlton, VIC, 6 April 1880
Died Malvern, VIC, 9 October 1906, aged "82" (TROVE tagged by Australharmony) (shareable link to this entry)

ASSOCIATIONS: William Henry Coupland (1860-1931, son, musician)


Baptisms solemnized in the parish of Leeds, chapelry of Armley, in the county of York in the year 1824; register, 1824, page 203; West Yorkshire Archive Service, Wakefield, RDP4/7 (PAYWALL)

No. 61 / [1824] Aug. 1 / Samuel Son of / Samuel & Harriet / Coupland / Armley / Clothier . . .

England census, 30 March 1851, Yeadon, Yorkshire; UK National Archives, HO107/2285/150/51 (PAYWALL)

Parrott Row / Thomas Coupland / Head / Mar. / 52 / Flubber / [born Yorkshire Yeadon]
Martha / Wife / 52 // Samuel / Son / Unmarried / 27 / Flubber / [born Yorkshire Yeadon] [sic]
William / 20 // Harriet / 13 // Daniel H. / 14 // Naomi / 11 . . .

1853, marriage solemnized at the parish church in the parish of Guiseley in the county of York; register 1853, page 236; West Yorkshire Archive Service, Leeds, WDP29/3/7 (PAYWALL)

No. 471 / July 16 / Samuel Coupland / full [age] / Bachelor / Flubber / Yeadon / [son of] Thomas Coupland / Flubber
Ruth Harrison / full [age] / Spinster / - / Guiseley / [daughter of] James Harrison / Flubber . . .

Names and descriptions of passengers per Constance, from Liverpool, 30 August 1854, for Melbourne; Public Record Office Victoria (DIGITISED)

. . . Sam'l Coupland / 30 / Grocer // Ruth [Coupland] / 26 / Wife . . .

"BALLARAT DISCUSSION SOCIETY", The Star [Ballarat, VIC] (8 December 1857), 2

There was a public gathering at the Temperance and Discussion Hall, Bakery Hill, on Monday evening, on the occasion of an "amateur entertainment," given for the purpose of raising funds for the purchase of a harmonium and piano, and to aid in the formation of a Choral Society, to be affiliated with the Discussion Society. There was a well filled Hall and the entertainment was of an interesting nature. Mr. Humffray was called by acclamation to the chair, and introduced the programme of the evening by some pertinent observations on the value of the objects contemplated by the Society. He remarked that discussion societies were calculated to develop that important element of social progress, namely "self help," a kind of help necessary, if we would have our wants attended to. Referring to the contemplated formation of a choral society, he said Ballarat was in great want of a concert hall, whither parents might be able to send their children without fear of their being contaminated with that stream of pollution which flowed so extensively down our streets. It was a sad fact that here, on this metropolitan goldfield, we had not a Mechanics' Institute, or a lecture room, or a concert hall, or a public library; and even our churches and chapels were inadequate to our population; while we had not less than 300 hotels. Ballarat thus could afford to build 300 gin palaces, but not a single public hall . . . The Chairman then called upon the performers who gave the entertainment, in the order of the programme prepared. Songs, glees, and recitations, by Messrs. Stoddart, Thorne, Pope, Bloor, Gates, and Chesney, were given in excellent style, to the infinite delight and amusement of the audience; the whole winding up with "God save the Queen," by the company. Mr. S. Coupland presided at the instrument, which is from Huxtable's Repository, and appeared to be in good tune and of mellow yet powerful tone.

"POLICE COURT. 8th December . . . HAWKERS' AND PEDLERS' LICENSES", The Star (9 December 1857), 3 

. . . Samuel Coupland. [Granted].

"BALLARAT PHILHARMONIC SOCIETY", The Star (25 March 1859), 3 

The first annual meeting of this society took place yesterday (Thursday) evening, at the Church of England School-room, Lydiard-street. There were present about thirty members, and at half-past eight o'clock business commenced, Mr. A. T. Turner being voted to the chair. The hon. sec., Mr. D. Oliver, read the committee's report for the past year, and the financial statement . . . The following were then elected on committee:- . . . Hon. Sec., D. Oliver; Treasurer, Thos. Lake; Librarian, Mr. Parish; Conductor, Mr. A. F. Turner [sic]; Organist, Mr. Copeland [sic] . . .

ASSOCIATIONS: Daniel Oliver (secretary); Austin Theodore Turner (conductor); Ballarat Philharmonic Society (association)


A tea meeting of the members of the Church of England in both the parishes of St. Paul's and Christ Church and others, took place yesterday (Monday) evening . . . The proceedings of the evening were pleasantly varied by some excellent music, among which Mr. D. Oliver's rendering of two solos from the Messiah, Mrs. Moss's performance of "Eve's Lamentation," and Mr. Coupland's admirable accompaniments were particularly noticeable. There was hardly sufficient strength in the choral pieces for their merit to be noticeable.

"SHORT HOURS SOIREE", The Star (21 November 1860), 2 

The soiree in celebration of the establishment of the Short Hours Association, took place on Thursday evening in the hall of the Eastern Police Court, Barkly street, which had been placed at the disposal of the Association by S. T. Clissold, Esq., P.M. . . . Representatives of nearly all the pulpits in town were present, as also several well-known lay-speakers, and a band of gentlemen also attended and gave their assistance as singers and musicians. Mr. S. Coupland presided at the piano, and Messrs. Fleury and Labalestrier accompanied on the violin and cornet . . .

ASSOCIATIONS: Achille Fleury (violin); Alfred Labalestrier (cornet)

"PHILHARMONIC SOCIETY", The Star (18 January 1861), 3 

The annual meeting of the Philharmonic Society was held yesterday evening in the hall of the Mechanics' Institute - Mr. A. Park, vice-president, in the chair . . . Mons. Fleury was elected as Leader . . . Mr. Robson, Secretary, and Mr. Parrish Librarian for the ensuing year. The following gentlemen were elected to form the Committee - Messss P. Cazaly, D. Oliver, A. Cazaly [sic, Oliver], Cootes, Copeland, Jervis, and Deane . . .

ASSOCIATIONS: John Robson (secretary); Peter Cazaly (member); Albert Oliver (member); Pryce Challis Jervis (member)

[Advertisement], The Star (19 April 1861), 3 

with a good connection, and in a rapidly improving situation; a Cottage, containing three rooms and kitchen; and a Garden, &c.;
with a frontage to Sebastopol road, near Nightingale Hotel and another to Urquhart street; on Crown land: To be sold cheap for cash.
For particulars apply to S. Coupland, on the premises.
Also, a splendid Piano and Harmonium, by Alexandre & Sons, Paris - the best made instrument, and the only one of the kind, in the colony.
The piano is a grand cottage; compass, full Seven octaves; three unisons in the treble; - check action; and containing several very valuable improvements, not to be met with except in the very best grand pianos.
The harmonium contains five octaves and twelve stops, including the patent percussion and expression stops; the whole is enclosed in a substantial and elegant rosewood case.
Apply to S. Coupland, draper, Skipton street, Sebastopol road. A well assorted stock of Drapery and Clothing; selling off at a considerable reduction from cost price.

[Advertisement], The Star (13 November 1861), 1 

SAMUEL COUPLAND, DRAPER, Skipton Street, HAS just received, ex "Kaffirland,"
two brilliant toned COTTAGE PIANOS, direct from the well known firm of Cocks & Co., London, to be sold cheap.
Also a fine toned twelve stop HARMONIUM, suitable for church.

[News], The Star (23 May 1862), 2 

There was a general meeting of the members of the Philharmonic Society held on Thursday evening, in the Warden's Court, which was kindly lent for the purpose by Mr. Warden Sherard. Mr. D. Oliver having been voted to the chair, explained to the members that the meeting was called to take into consideration the resignation of their Hon. Conductor, Mr. A. T. Turner, and the financial position of the Society, and to take such steps as they might deem necessary for the continuation of the Society or its dissolution . . . It was unanimously resolved that the Society should continue its rehearsals, Mr. Copeland having offered the use of his harmonium to the Society at a nominal rental. The meeting appointed Mr. Robson Hon. Conductor pro. tem., and determined on rehearsing Mozart's Twelfth Mass on Thursday next, the 29th instant. After the usual vote of thanks to the chair the proceedings terminated.

"THE CHINESE MISSION", The Star (9 April 1863), 2-3 

A soiree in connection with the Ballarat branch of the Presbyterian Church Mission among the Chinese inhabitants of Victoria was held on Wednesday evening, in the hall of the Mechanics' Institute. This was the first gathering of the kind and proved to be a very successful and interesting one. The hall was nearly full, and some fifty Chinamen were among the audience . . . Mr. Copeland, the harmoniumist of St. Paul's, and several musical assistants, lent variety to the proceedings by performing several concerted pieces during the evening . . . The Chairman then announced that some Chinese music would be given by way of entertainment, and two Chinamen thereupon came upon the platform. One had what looked like an extremely attenuated fiddle, and the other a kind of podgy banjo, the strings of which were attuned to accord, and they then proceeded to give the premised performance. The melody, if "Celestial," was not what barbarians call Heavenly, unless its monotony would make it so, after the manner of Byron's profane picture of George the Third's vocal exercises in paradise. The audience, however, was not critical, but sustained the thing heroically, the only dissentients being some uncourteous dogs who interjected occasional staccato notes in the more chromatic passages of the dual melody. The Chinese catechist then addressed his fellow countrymen, after which the choir performed the piece "Awake Aeolian lyre" . . .

"NEWS AND NOTES", The Star (27 June 1863), 2 

A concert of sacred music, (our local correspondent informs us), was given on Thursday evening at the Presbyterian Church, Creswick, in aid of the building fund of that institution. The concert was well attended, there being about two hundred persons present, comprising visitors from distant parts of the district. Mr. Brown, the well-known teacher of music in Creswick, was the leader of the choir, and Mr. Copeland, of St Paul's, Ballarat, presided at the harmonium in a most masterly manner . . .

[Advertisement], The Star (16 October 1863), 3 

Vocal Music ; also, Music arranged for Harmonium and Piano, AND OTHER EFFECTS,
At the shop and residence of Mr. S. COUPLAND, Skipton street.
JAMES ODDIE and CO. have received instructions from Mr. Samuel Coupland, draper, to sell by auction on the premises . . . on Friday, 16th. instant, at 12 o'clock,
A variety of HOUSEHOLD FURNITURE, comprising, beds, chairs, tables, carpets, crockery, and kitchen utensils.
Books, music in abundance, including vocal and instrumental works . . .

Teacher records, Samuel Coupland, 1869-78; Public Record Office Victoria (DIGITISED)

Samuel Coupland, Teacher of Singing / 23-1-69 Licensed Teacher of Singing (2nd Cl.) / Singing Master 5 Apr. '69 to 28 Feb. 71 / Resigned 30 Sep'r 1878

[Advertisement], Bendigo Advertiser (3 April 1869), 3

MR. S. COUPLAND, Certificated Singing Master under the Board of Education,
Teacher of the Organ and Piano-forte, WATTLE-STREET, SANDHURST. Schools attended.

"LONG GULLY POPULAR READINGS", Bendigo Advertiser [VIC] (9 November 1869), 2

One of the largest audiences of the season attended the popular readings at the Mechanics' Institute, last night, and they were not disappointed in the quality of the entertainment, which was unusually good. Mr. James Moore, J.P., occupied the chair, and stated that the proceeds of the entertainment were for the benefit of Wilson's Long Gully Band, which was rapidly improving and was already a credit to the district. The programme was a long one, and it was late before the meeting dispersed. Mr. Coupland played two lengthy overtures, on the cabinet organ rather wanting in life . . .

[Advertisement], Bendigo Advertiser (9 November 1869), 3 

A LECTURE will be delivered on Thursday Evening, 11th November, 1869, at eight p.m, in the Volunteer Rifles Orderly-room, by the Rev Robert Poynder, Incumbent of Dunolly, on Egypt, Arabia, and Palestine, composed from notes made by the lecturer during personal travels in those highly interesting countries, and illustrated by diagrams.
Several anthems suited to the subject will be sung in the course of the Evening under direction of Mr. Coupland, Organist of St. Paul's . . .

"BENDIGO PHILHARMONIC SOCIETY", Bendigo Advertiser (12 September 1873), 2 

We are glad to notice that this society are pushing forward the practice of Mozart's Twelfth Mass with great vigor, and have fixed the night of performance for Wednesday, the 8th October. The members, under their new conductor, Mr. S. Coupland, are making considerable progress, and we are much mistaken if a decided success does not crown their future efforts. Several new instrumentalists have joined lately, and a number of the old members have returned. Last evening the rehearsal at the Rides' Orderly room went capitally, and it was arranged that, in future the members should meet for practice twice a week, instead of once, until the concert takes place. We understand that the committee are in treaty with some first-class professional talent for the principal solo parts, and every precaution is being taken to ensure the forthcoming concert being one of the best they have yet given.

"THE PHILHARMONIC SOCIETY'S CONCERT", Bendigo Advertiser (26 December 1873), 2 

There was a good attendance last evening at St. James's Hall, on the occasion of the fifth subscription concert, by the Bendigo Philharmonic Society, when the oratorio of "The Messiah" was performed. The society has not been very successful of late in its concerts, and the last that was given was but poorly attended. The present one, however, is an exception, and the society has every reason to be satisfied with the success which has attended it. The society has made considerable progress during the last twelve months, and amongst its members are many of the leading amateur singers in Sandhurst. The production, however, of such a master piece of music as that of Handel's "Messiah" creditably is a very difficult task, and one which demands a great deal of time, labor, and vocal talent. The two former requisites have not been wanting, but in the latter an improvement could be made. The orchestra was a very fair one, and consisted of eighteen instruments. Mr. S. Coupland, acted as conductor and performed his arduous duties in a satisfactory manner . . .

"DEATHS", Bendigo Advertiser (2 November 1876), 2

On the 26th October, at Maryborough, Ruth, the wife of Mr. S. Coupland, professor of music, late of Sandhurst, aged 48 years.

"Marriages", The Argus [Melbourne, VIC] (13 April 1880), 1 

COUPLAND - MASON. - On the 6th inst., at St. Jude's, Carlton, by the Rev. C. A. Perry, S. Coupland, professor of music, to Elizabeth Mason, both of Carlton.

"DEATHS", The Argus (1 September 1906), 13 

COUPLAND. - On the 30th August, at her residence, "Bonnie Doon", East Malvern, Elizabeth, beloved wife of Samuel Coupland, dearly loved mother of Mrs. Alice Davie . . . aged 72 years . . .

"DEATHS", The Argus (10 October 1906), 1 

COUPLAND. - On the 9th October, at his residence, "Bonnie Doon," Findon-street, Malvern, Samuel Coupland, musician, beloved father of Mrs. H. Johnston, Northcote, Harriet Coupland, New Zealand, William H. Coupland, W.A., and step-father of Mrs. A. Davie, aged 82.

Will and probate, Samuel Coupland, died 1906; Public Record Office Victoria (DIGITISED) (DIGITISED) (DIGITISED)

"WILLS AND ESTATES", The Argus (21 November 1906), 7

Samuel Coupland, late of Findon street, East Malvern, who died on October 9, under a will dated September 29, 1906, left estate valued for probate at £2,228, including £2,000 realty, and £168 personalty to his children.

COURT, Mary Ann (Mary Ann COURT; ? Mrs. Peter NICOLL; ? Mrs. NICOLLE)

Musician, contralto vocalist ("the Native Contralto Singer"), actor, ? pianist

? Born Sydney, NSW, 17 March 1843; baptised St. Peter's, Cooks River, 2 June 1844; daughter of William COURT (d. 1875) and Ellen HINDLE
Active Sydney, NSW, 1856
? Married Peter NICOLL, St. Mary's, Balmain, NSW, 24 January 1862
? Departed NSW, by 1869 (for California, USA) (TROVE tagged by Australharmony) (TROVE tagged by Australharmony) (shareable link to this entry)


Baptisms solemnized in the parish of Petersham in the county of Cumberland in the year 1844; register 1839-98, page 17; St. Peter's Cooks River History Group (PAYWALL)

No. 235 / [1844] June 2nd / [born] march 17th 1843 / Mary Ann [daughter of] William [and] Hellen / Court / Newtown / Engineer . . .

[Advertisement], The Sydney Morning Herald (27 February 1856), 1 

MISS MARY ANNE COURT'S Benefit, at the Royal Polytechnic, Pitt-street, on THURSDAY, 28th . . . IRISH, SENTIMENTAL, and Comic Songs, at the Royal Polytechnic . . . TO MORROW NIGHT.

[Advertisement], The Sydney Morning Herald (28 February 1856), 1 

Miss MARY ANN COURT, the Native Contralto Singer, takes her Benefit
THIS EVENING, at the Royal Polytechnic Pitt-street.
Miss Court in some favourite Ballads, assisted by Madame E. L. Gunn, who will sing some of Moore's Irish Melodies.
"The Irish Jaunting Car," and other comic songs, by the Koh-i-Noor and his Sprite.
B. Lennox as "Cox," and Miss Court as "Mrs. Bouncer," in BOX AND COX.

ASSOCIATIONS: Royal Polytechnic Institution (Sydney venue)

? "MARRIAGE", The Sydney Morning Herald (27 January 1862), 1 

On the 24th instant, by special license, at St. Mary's Church, Balmain, by the Rev. W. Stack, Peter Nicoll, of Perth, Scotland, to Mary Ann Court, second daughter of Mr. William Court, engineer, Newcastle, N.S.W.

[Advertisement], The Sydney Morning Herald (27 April 1864), 1 

MRS. NICOLLE, teacher of the Pianoforte. Terms moderate. 1, Morea-ter., Forbes-st., Woolloomooloo.

[Advertisement], The Sydney Morning Herald (28 August 1866), 8 

A LITERARY AND MUSICAL ENTERTAINMENT will be given THIS EVENING (Tuesday), 28th instant, in the CHURCH SCHOOLROOM, Bourke-street.
PROGRAMME: PART 1. Overture - "Chant National des Croates" (Blumenthall) - Mrs. Nicolle . . .
Solo Pianoforte - "The Last Rose of Summer" - Mrs. Nicolle . . .

MUSIC: Chant national des Croates (Blumenthal)

USA census, 1880, Oakland, Alameda, California; United States Federal Census, 1880 (PAYWALL)

Nicol Peter / 50 / Plummer [sic] / [born] Scotland
[Nicol] Mary Ann / 36 / Wife / House keeper / [born] Australia
ISabell / 16 / Daughter / [born] Australia // Emily / 11 / daughter / [born] Cal. // Christina / 8 // Charles W. / 6 // Charlotte / 4

COUSENS, Harriette (Harriette Eliza LIGHT; Mrs. Walter Page COUSENS; Harriet)

Musician, professor of music, pianist, vocalist, pupil of Friedrich Kalkbrenner and Domenico Crivelli

Born England, c. 1806; daughter of James LIGHT (c. 1749-1826) and Mary ? (c. 1774-1856)
Married Walter Page COUSENS (1802-1863), Wilton church, Somerset, England, 12 April 1830
Arrived Launceston, VDL (TAS), 10 January 1838 (per Louisa Campbell, from London, 29 September 1837)
Arrived Sydney, NSW, 31 July 1841 (per Lowestoft, from Launceston)
Died Sydney, NSW, 7 April 1876, aged "70" (TROVE tagged by Australharmony) (shareable link to this entry)

COUSENS, Clara Helen (Clara Helen COUSENS; Mrs. Henry Kingsmill SHAW; Mrs. KINSGMILL-SHAW)

Musician, contralto vocalist, pianist, singing teacher, pupil of Sara Flower and Julius Benedict

Born Sydney, NSW, 18 August 1847; daughter of Walter Page COUSENS and Harriette Eliza LIGHT
Married Henry Kingsmill SHAW, St. James's Church, Sydney, NSW, 9 March 1867
Died Milan, Italy, 1922 (TROVE tagged by Australharmony) (shareable link to this entry)


Harriette Cousens, for "many years a Teacher of Piano Forte and Singing in London and Cheltenham", and as she later advertised "a pupil of Kalkbrenner and Crivelli", arrived in Launceston with her husband, Walter Page Cousens (1801-1863) and their four children in January 1838.

In March 1838 a report in The Sydney Gazette claimed she was formerly the vocalist "Miss Grant" of Drury Lane. This cannot be correct; the Miss Grant in question was almost certainly Anadalusia Grant (c. 1809-1888; she sang at one of Liszt's London concerts on 9 June 1827, and was active on the London stage 1828-30; later, as Lady Molesworth, wife of the British secretary for the colonies). It is perhaps more likely that Light and Grant were both pupils of Domenico Crivelli. Regardless of her identity, the gist of the Sydney report was that Cousens had been signed up by Joseph Wyatt for his new Royal Victoria Theatre. However, her husband having set up as a general agent in Launceston, she instead stayed and opened a school there.

She also continued to give "private lessons in Music, Singing, and Drawing, at her own residence", and in January 1840, perhaps uniquely in the colonies at that time, was "desirous of receiving an Articled Pupil for Music".

She and her family arrived in Sydney in August 1841, and in September she advertised as a music teacher. As well as continuing to teach music privately, she opened a school for young ladies, "Mrs. Cousens's Establishment", which she ran into the early 1870s.

My thanks to a Cousens descendent, Jane Beck, for kindly sharing information.


Marriages solemnized in the parish of Wilton in the county of Somerset in th year 1830; register 1813-37, page 32; Somerset Heritage Service, D\P\wilt/2/1/5 (PAYWALL)

No. 96 / Walter Page Cousens of the Parish of St. James's Bristol and Harriette Eliza Light of this Parish
were married in this Church by Licence this [12 April 1830]; in the presence of Harriet Butler, Harry Pigon

"Shipping Report. LAUNCESTON . . . ARRIVALS", Launceston Advertiser [VDL (TAS)] (11 January 1838), 3 

On Tuesday [9 January] . . . the barque Louisa Campbell, 274 tons, J. M. Buckley, from London 20th September, with a general cargo. Passengers . . . Mr. and Mrs. Cousens and four children . . .

[Advertisement], Launceston Advertiser (18 January 1838), 3 

A CARD. - MRS. COUSENS, arrived in the Louisa Campbell,
many years a TEACHER of the PIANO FORTE and SINGING in London and Cheltenham,
is desirous of resuming her Profession in Launceston, and solicits the patronage of the resident families.
Testimonials of ability and cards of address may be obtained on application to
Mr. H. Dowling, Brisbane-street. Jan. 10, 1838.

ASSOCIATIONS: Henry Dowling (merchant)

[News], The Sydney Gazette and New South Wales Advertiser [NSW] (3 March 1838), 2

It is reported in Sydney that Mr. Wyatt's agent at Hobart Town, has engaged a Mrs. Cousens, formerly Miss Grant, a celebrated vocalist, lately arrived by the Louisa Campbell, at Launceston, for the new Theatre, Pitt-street. Mrs. Cousens, when Miss Grant, belonged to the Drury Lane company, London.

[Advertisement], The Cornwall Chronicle (28 December 1839), 4

MRS. COUSENS'S Establishment for Young Ladies, Brisbane Street, Launceston.
THE Young Ladies at this Establishment will resume their Studies on MONDAY, the 13th January next.
Mrs. Cousens has pleasure in referring families who may favor her by placing children under her charge, to the parents of all the pupils who have been under her tuition since the commencement of her Seminary.
She continues to give private lessons in Music, Singing and Drawing, at her own residence, and is desirous of receiving an Articled Pupil for Music.
A Lady possessing a knowledge ol the usual branches of an English Education, with or without accomplishments, will meet with a comfortable situation on application to Mrs. Cousens.
Launceston, Dec. 21.

"ARRIVALS", Australasian Chronicle [Sydney, NSW] (3 August 1841), 2

JULY 31. - From Launceston, having left the 24th instant, the schooner Lowestoft, 114 tons, Captain Irvine, with 3620 bushels wheat. Passengers - Mrs. Cousens and family, and Mr. F. Hawker.

[Advertisement], The Sydney Herald (11 September 1841), 3

begs to announce to the Heads of Families in Sydney and its vicinity, that she has had extensive practice as a Teacher of Music and Singing in London, Cheltenham, and Van Diemen's Land; and that she will be happy to give instructions in the above accomplishments.
Cards of Terms may he had on application to Mrs. Cousens, at her residence, No. 5, Jamison-street.
For testimonials of ability she will have pleasure in referring to the numerous families of distinction in which she has taught.
September 10.

[Advertisement], The Sydney Morning Herald (21 December 1844), 3

ESTABLISHMENT FOR YOUNG LADIES, 119, Elizabeth-street, Hyde Park. MRS. COUSENS begs to announce to her friends and the public, that she has removed her Establishment for the Education of Young Ladies, from 233, Elizabeth-street North, to those extensive premises formerly occupied by C. Chambers, Esq., 119, Elizabeth-street, Hyde Park.
She also desires to offer her grateful acknowledgments for the patronage received since the re-opening of her School, and begs to assure those parents Who may favour her by placing their children with her as Boarders, that they will meet with maternal care and attention, with all the comforts of a home.
The number of Boarders is limited, the House exceedingly commodious, and its situation salubrious.
The morals of the pupils are strictly attended to.
The Course of Instruction comprises: the English, French, and Italian Languages, (the two latter taught by a Lady residing in the house, a native of Paris, who has also lived several years in Italy), Composition, Geography, the use and construction of Maps, Writing, Arithmetic, plain and fancy Needlework,
Drawing, Dancing, Music, and Singing, by competent assistants, under the immediate superintendence of Mrs. Cousens, who also conducts the musical department, having been a pupil of Kalkbrenner and Crivelli, and many years a Professor of Music and Singing in London and Cheltenham.
The Terms are exceedingly moderate, to suit the pressure of the times, and no vacation given except at Christmas.
The duties of the School will be resumed on the 2nd of January, 1845.
A Quarter's notice required previous to the removal of a pupil.
December 21, 1844.

ASSOCIATIONS: Friedrich Kalkbrenner and Domenico Crivelli (her former teachers)

[Advertisement], The Sydney Morning Herald (25 June 1845), 1

AT MRS. COUSEN'S ESTABLISHMENT, 199, Elizabeth-street, Hyde Park, young Ladies are instructed in every accomplishment essential to a sound and liberal education.
The course of study includes the English, French, and Italian Languages.
Ancient, Modern, and Natural History, Astronomy, Geography, the use and construction of Maps,
the Harp, Pianoforte, Singing, Drawing, and Dancing; also, plain, fancy, and German Needlework.
The accomplishments are taught by select Masters, and the French and Italian Languages by a Parisian Lady.
N.B. - Mrs. C. has vacancies for a few Boarders, und her terms are moderate. No vacation except at Christmas.
A quarter's notice required previous to the removal of a pupil.

"BIRTHS", The Sydney Morning Herald (20 August 1847), 4

On Wednesday, the 18th instant, Mrs. W. P. Cousens, at her residence, Elizabeth-street, of a daughter.

"DEATHS", The Sydney Morning Herald (16 September 1856), 1 

On the 3rd of June, aged 82, Mrs. Light, relict of Captain Light of the 12th Veteran Battalion, and mother of Major Light, late of her Majesty's 30th Regiment, Captain Light of the 50th, Lieutenant Light of the 28th Infantry, and of Mrs. W. P. Cousens of this city.

[Advertisement], The Sydney Morning Herald (27 March 1862), 1

The second quarter commences April the 2nd. The following professors are engaged: -
Finishing lessons in music, by M. Boulanger; Singing, Madame Sarah Flower; Drawing, Mr. Terry; Dancing, Signor Carandini;
French and Italian, by a gentleman, a native of Paris.

ASSOCIATIONS: Edward Boulanger (pianist); Sara Flower (vocalist); Gerome Carandini

"MARRIAGES", The Sydney Morning Herald (16 March 1867), 1 

On the 9th instant, at St. James's Church, by the Rev. G. H. Moreton, HENRY KINGSMILL SHAW, of Brisbane, to CLARA HELEN COUSENS, youngest daughter of the late Walter Page Cousens, of Sydney, and Emsworth, Hants.

"DEATHS", The Sydney Morning Herald (8 April 1876), 1

COUSENS. - April 7, at her residence, No. 30, Upper Fort-street, Mrs. W. P. Cousens, aged 70.

[Advertisement], The Sydney Morning Herald (25 April 1876), 11 

On TUESDAY, APRIL 25th, at 11 o'clock. By order of the EXECUTORS of the late Mrs. COUSENS, 30 UPPER FORT-STREET.
The whole of the surplus Household Furniture &c., comprising - Cottage Pianoforte . . . No reserve.

Florence Gordon, "MRS. KINGSMILL-SHAW. MEMORIES OF HALF-A-CENTURY OF MUSIC (Written for THE LONE HAND)", The Lone Hand (1 January 1921), 22 

"SYDNEY has grown up in an atmosphere of music; it has always had good music. As far back as I can remember all that was best in its society loved music with the critical appreciation that insisted on the best within rearch and knew when It got it."

Mrs. Kingsmill-Shaw looked out over Mosman Bay (Sydney), where a gusty southerly ruffled the waves with white caps and musingly linked up the long chain of yesterdays which built the to-day of musical Sydney with its national Conservatorium, its State orchestra, its rich field of exploration for the visiting world artist, its crop of examination candidates for antipodean examiners.

"From the time I was five," continued Mrs. Kingsmill-Shaw, "I grew up in the atmosphere of good music. I could have been little more than seven when I was taken to hear grand opera produced by a company conducted by a French musician, Lameneux [Lavenu]. Madame Cailleur [Cailly] was the prima donna - an exquisite soprano. Sara Flower, my earliest friend and teacher, sang contralto parts with them. Sydney has heard Madame Patey, Clara Butt, Kirkby Lunn, Eleanor de Cisneros, great singers and artists all of them, yet she has never heard such an incomparable contralto as Sara Flower. She was the favorite pupil of the great Crevelli [Crivelli], and brought to Australia the classic renderings of contralto roles, the bel canto of the best Italian method. She was a large woman, with too much temperament to be a great teacher. To the pupil who could imitate she would show the right rendering; those who could not imitate had to take their luck. She taught me all I knew until I went to Europe.

"When Sara Flower was engaged to play some operatic role, she would give me the score and together we came here to Mosman, then a solitary tract of virgin bush. Here where we are now she would let her great voice go out over the tree trunks across the water in a pure abandonment of song, only stopping when I called out, "You're wrong, you're wrong." I was barely in my teens when Sara was joined by her friend, and fellow pupil of Crevelli, Madame Anna Bishop, whose beautiful soprano rendered her husband's songs, "Where the Bee Sucks," "Lo, Hear the Gentle Lark," with great sweetness. Anna Bishop used all her persuasion to coax my mother into allowing her to take me home and train me for the operatic stage. Some times I took my small place on the platform with them. The accompaniments were played by that fine musician and genial oddity, Charles Packer. He was an accomplished organist, and wrote a tuneful cantata, "The Crown of Thorns," but those were nothing to his skill as an accompanist. Never, either in Europe or Australia, have I ever met his equal. He had the most absolutely beautiful touch on the piano. I learnt the piano with him.

"One of Packer's most distinguished pupils to whom I also taught singing was Miss Lottie Hyam. She had much of the beauty of his touch. Her appearances at concerts always attracted audiences, especially when she was associated with instrumental chamber music. I think also she played concertos with Hazon's orchestra with great success. Mr. Rivers Allpress was also associated with her in many notable performances.

"Packer collaborated with Mr. Nathan, a brother [?] of Dr. Nathan, then the principal specialist in Macquarie Street, in giving a series of subscription concerts in the Masonic Hall, then on the block in Pitt Street, between Market and King Streets.

"At that time, there was much good stringed instrumental chamber music in Sydney as opportunity offered of getting good musicians together. These concerts - generally subscription concerts - were usually given at the Royal Hotel in George Street, now the Soldiers' Club. I can recall a number of good concerts there. Besides that a great deal of chamber music could be heard in private houses. Sara Flower, who lived in a stone cottage still standing in Victoria Street, gathered round her many interesting personalities, mostly musical, while weekly, several private houses had quite large gatherings where people were content with simple refreshments, and each in their way contributed to the general amusement . . .

ASSOCIATIONS: Lewis Henry Lavenu (musician); Clarisse Cailly (vocalist); Sara Flower (vocalist); Anna Bishop (vocalist); Charles Sandys Packer (musician); Charles Nathan (surgeon, musical amateur)

"OBITUARY", The Sydney Morning Herald (8 March 1922), 14

News has reached her son in this city of the death of Mrs. Kingsmill Shaw. More than a year ago she left Sydney for Milan to live with daughter (Mme. Carrara) and granddaughter. Mrs. Kingsmill Shaw was then the oldest native-born teacher of singing in this city, having taught singing and music for about 45 years. Helen Kingsmill Shaw was the daughter of Mr. and Mrs. Cousens, who came here in the early 'Forties from Emsworth, Hampshire, with a considerable fortune, which they lost in a disastrous speculation. Mrs. Cousens, a pupil of the famous Cravelli [sic], then started a ladies' school at the corner of Elizabeth and Liverpool streets, where the grandmothers of many leading Australian families of the present day were educated. Clara Helen Cousens (Mrs. Shaw) was born at this house (in later years occupied by Dr. Sydney Jamieson and then demolished by Mark Foy's Company), and studied singing as a contralto under Sara Flower, and then in London under Sir Julius Benedict. Soon after her return to Sydney, the young artist married Henry Kingsmill Shaw, a Queensland business man related to the Kingsmill Abbott family . . .
The late Mrs. Shaw retired from public life as a concert artist in the early 'Eighties. One of her latest public activities was in August, 1918, when she trained the chorus of the Amateur Patriotic Musical and Dramatic Society for the revival of "The Cingalee" at the Theatre Royal. There are many interesting aspects of this artist's family history. Her mother was married in London from No. 1 Cavendish Square [sic], the house of Mrs. Durham, Thackeray's grandmother, and that novelist gave the bride away [sic]. Her mother's first cousin was Colonel Light R.E. who surveyed and laid out the city of Adelaide where two statues are elected in his honour.

ASSOCIATIONS: William Light (surveyor); Julius Benedict (her former teacher in London)

Other sources:

Prospectus for Mrs. Cousens's Establishment, 222 Elizabeth Street, Hyde Park (c. 1857); State Library of New South Wales

Other references (Miss Grant):

"ON ITALIAN SINGING ADAPTED TO THE ENGLISH STYLE", The Harmonicon [London, England] 5 (1827), 217 (DIGITISED)

Edward Stirling, Old Drury Lane: fifty years' recollections of author, actor, and manager (London: Chatto and Windus, 1881), 209 (DIGITISED)

James Huneker, Franz Liszt (New York: Charles Scribner's Sons, 1911), 305 (DIGITISED)

K. D. Reynolds, "Molesworth, Andalusia Grant", Oxford dictionary of national biography (2004; 2018) (PAYWALL)

COUSINS, Henry (Henry Charles COUSINS; Henry C. COUSINS; H. C. COUSINS; Henry COUSINS)

Musician, professor of violin and pianoforte, violinist, pianist, quadrille band leader, piano tuner

Born Clerkenwell, London, England, 1814; baptised St. Andrew's, Holborn, 4 September 1814; son of Dominick Peter COUSSENS and Ann WALKER
Married Rebecca Musselwhite HAILL (1815-1867), St. John's, Hackney, London, England, 20 December 1834
Arrived Melbourne, VIC, by c. 1855/56 (per Champion of the Seas)
Died Dunwich, QLD, 29 October 1884, aged "71/72" [sic] (TROVE tagged by Australharmony) (shareable link to this entry)


Baptisms solemnized in the parish of St. Andrew's Holborn London and in the county of Middlesex in the year 1814; register 1813-18, page 210; London Metropolitan Archives, P69/And2/A/01/Ms 6667/16 (PAYWALL)

No. 1676 / [1814 September] 4 / Dominck Alexander Son of / Dominick Peter [and] Ann / Coussens / 19 Water Lane Fleet St. / Cabinet Maker . . .
No. 1677 / [1814 September] 4 / Henry Charles Son of / Dominick Peter [and] Ann / Coussens / 19 Water Lane Fleet St. / Cabinet Maker . . .

Marriages solemnized in the parish of Hackney in the county of Middlesex in the year 1834; register, page 47; London Metropolitan Archives, P79/JN1/060 (PAYWALL)

No. 140 / Henry Charles Cousins of this Parish Bachelor and Rebecca Musselwhite Haill of this Parish Spinster
were married in this church by Banns this [20 December 1834] . . .

England census, 6 June 1841, St. Leonard, Shoreditch, Middlesex; UK National Archives, HO107/705/2/4/18/29 (PAYWALL)

Maria St. / Henry Cuson [sic] / 25 / Fiddler / [born in county]
M. [Cuson] / 20 / - / [born in county]
M. Haill / 55 / Shoe M. / [not born in county] // Sarah [Haill] / 50 / - / [not born in county] . . .

England census, 30 March 1851, St. Luke, Old Street, Middlesex; UK National Archives, HO107/1521/115/5 (PAYWALL)

4 Windsor Place / H. Cousins / Head / Mar. / 37 / Professor of Music / [born] Clerkenwell London
Rebecca [Cousins] / Wife / [Mar.] / 36 / - / [born] Oxfordshire Bicester

[Advertisement], The Argus [Melbourne, VIC] (14 February 1859), 8

H. COUSINS, PROFESSOR of the VIOLIN and PIANOFORTE, late Quadrille Player to Her Majesty, attends quadrille parties.
For terms apply 39 Fitzroy-street, Collingwood.

[Advertisement], The Argus (22 August 1859), 8

MANCHESTER UNITY BALL - The BAND will be under the sole direction of
Mr. COUSINS, late of Adams's Royal Band, London, who is a musician, which Mr. Denning neither affects nor assumes to be. Protestant Hall, August 20.

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

[Advertisement], The Argus (26 October 1859), 8

MR. COUSINS, Professor of Music, late of Foley-street, Regent's Park, London, has REMOVED to Woodbine Cottage, Princess-street, Collingwood. Balls and parties attended.

[Advertisement], The Argus (31 July 1860), 8

In aid of the WIDOWS and ORPHANS Of the SOLDIERS OF H.M. 40th REGIMENT Who have fallen in the War in New Zealand,
Will take place in the Exhibition Building, On FRIDAY, AUGUST 8, 1860 . . .
Leader of the orchestra, Mr. H. C. Cousins (Late leader of Adams's Band, Her Majesty's State Band)
M. C., Mr. C. P. Denning. S. MATTHEWS, Hon. Sec.

[Advertisement], The Argus (4 October 1860), 8 

MR. COUSINS, Teacher or Violin, Pianoforte. CONCERTS and QUADRILLE PARTIES ATTENDED. Woodbine Cottage, Prince's-street, Fitzroy.

[Advertisement], The Argus (19 November 1860), 8 

MR. DENNING'S usual weekly select QUADRILLE PARTY takes place THIS EVENING, at the Protestant Hall . . . Leader of the new string band, Mr. Cousins . . .

[Advertisement], Otago Daily Times [Dunedin, NZ] (5 March 1862), 5 

(GRAND OPENING NIGHT) THIS Evening, Wednesday . . . Pot Pourri - Mr. COUSINS . . .

ASSOCIATIONS: Tom Fawcett (actor, manager); John Wildblood Kohler (musician)

[Advertisement], Otago Daily Times (16 September 1862), 5 

MR. COUSINS, Professor of Violin and Pianoforte, IS OPEN to an engagement. Aldinga Hotel, Stafford-street, Dunedin.

[News], Otago Daily Times (24 October 1862), 4 

An opportunity will to-day be afforded the music-loving portion of the community, of enjoying a musical treat, which is seldom within the reach of colonial residents. The powerful company of artistes who will this afternoon minister to the ears of the musical public, comprises Miss Emma Neville, Madame Carandini, Madame Whyte, Mr. R. W. Kohler, Mr. Sherwin, Mr. Whyte, Mr. Small, Mr. J. Kohler, Mons. Fleury, Mr. Cousins, Mr. Minton, Mr. Moss, and Mr. Loder, which latter gentleman conducts the concert. Such an array of musical talent has not hitherto been presented to any New Zealand audience, and it may be long before such an opportunity occurs again. The programme has been very carefully and judiciously arranged. It includes several classical pieces, both vocal and instrumental, and well-selected pieces of a lighter character. We understand that the boxes are all engaged, and we have no doubt the other parts of the house will be equally well filled. The concert begins at 2 o'clock p.m.

ASSOCIATIONS: George and Emma Loder (conductor, vocalist); Maria Carandini (vocalist); Richard Wildblood Kohler (musician); Walter Sherwin (vocalist); Joe Small (vocalist); Achille Fleury (violinist)

[Advertisement], Otago Daily Times (1 January 1863), 3 

NEW YEAR'S BALL . . . in the Off Fellows' Hall, George-street . . .
First-rate Band. Leader, Mr. Cousens, of the Princess' Theatre . . .

[Advertisement], The Argus (3 February 1863), 8

MR. H. C. COUSINS, PROFESSOR of the VIOLIN, Pianoforte, and Tuner,
begs to inform the gentry and public that he has returned from Dunedin.
Concerts, quadrille parties attended. Rose-cottage, Bouverie-street, North Melbourne, opposite Lincoln-square.

The Victoria Post Office Directory (1866), 35 (DIGITISED)

Cousins, H., professor of music, 113 Bouverie st, Carl[ton]

"Funeral Notice", The Argus (2 November 1867), 8

THE Friends of HENRY COUSINS (Professor of Music) are respectfully invited to follow the remains of his late wife to the place of interment, Melbourne General Cemetery.
The funeral to move from his residence, Rose-cottage, 113 Bouverie-street, Carlton, on Sunday, 3rd instant, at half-past 2 o'clock.
JOHN DALEY, undertaker, Latrobe and Spring streets, Melbourne.

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

THEATRE ROYAL. Engagement for 12 Nights OF LYSTER'S Royal Italian and English OPERA COMPANY.
Under the Special Patronage of H.R.H. the DUKE OF EDINBURGH, K.O. . . .
Grand production, for the First Time in Australia, of Rossini's world-renowned Opera, WILLIAM TELL . . . MONDAY, DECEMBER 9 . . .
GRAND ORCHESTRA. 1st Violins. - Mr. Hall . . . 2nd Violins. - Mr. Devereaux, Mr. Filhon, Mr. Read, Mr. Cousins . . .
Conductor, Mr. JULIUS SIEDE . . .

ASSOCIATIONS: Alfred (duke of Edinburgh); John Thomson Hall (first violin, leader); John Robert Devereux (violin); Auguste Filhon (violin); Julius Siede (conductor); Lyster Opera Company (troupe); Theatre Royal (Melbourne venue)

[Advertisement], The Argus (29 June 1868), 8 

ROYAL COLOSSEUM, Bourke-street, opposite Albion Hotel. Manager - Mr. H. B. Wilton.
Extraordinary Success of this Immense Company of Artistes.
1200 Persons visited this splendid hall on Saturday Evening.
THIS and EVERY EVENING, Grand Orchestra at quarter to 8 . . .
Leader of Grand Orchestra, Mr. Cousins. Musical director, Mr. Stoneham.
Doors open at half-past 7. Grand Orchestra, of 10 persons, at a quarter to 8.
Dress circle and saloon, 2s.; area, 1s.

ASSOCIATIONS: William Stoneham (musician)

[Advertisement], The Argus (6 February 1869), 8 

Proprietors and Managers - Messrs. Zeplin and Son . . .
THIS EVENING, And every evening until further notice . . .
Zeplin's grand Orchestra, in OPERATIC SELECTIONS.
Musical Director - Mr. F. Zeplin.
Leader - Mr. T. Zeplin. Violin - Mr. G. Zeplin.
Tenor - Mr. H. Cousins. Bass - Mr. J. Thorne.
Harp - Mr. G. F. Zeplin. Flute - Mr. Zeplin.
Cornet - Mr. J. Richardson. Trombone - Mr. S. Hore.
Drums - Mr. P. Canna . . .

ASSOCIATIONS: Zeplin family (musician); James Thorne (bass); James William Richardson (cornet); Samuel Hore (trombone); Pietro Canna (drums)


A meeting of the wardens of this association was held at the Cafe de Paris, yesterday the master (Mr. George Coppin, M.L.A.) in the chair . . . The following ladies and gentlemen were elected members of the association -
Life governors - . . . Armes Beaumont . . . H. C. Cousins . . .

ASSOCIATIONS: George Coppin (master); Armes Beaumont (vocalist)

"PETTY DEBTS COURT", The Telegraph [Brisbane, QLD] (7 May 1878), 3 

Henry Cousins v. H. Stanley, - Claim, wages, £7.
Mr. Miller appeared for the plaintiff, and Mr. Sheridan for the defendant. Henry Cousins stated that the defendant hired him as a violinist at £2 a week; the defendant paid him every four weeks. Finding the work was too heavy for him, he gave a-written notice that he would leave the employment, but defendant refused to recognise the notice. Harry Stanley stated that he hired the plaintiff at £8 a month, and he always paid him monthly. John Lascelles stated that the plaintiff and himself had a conversation about their engagements, during which the plaintiff said he was paid monthly. The Bench gave a verdict for the defendant with costs.

"Petty Debts Court. TUESDAY, MAY 7", The Brisbane Courier (8 May 1878), 6 

Henry Cousins v. Harry Stanley. - Claim, £8, wages . . . The amount sued for was reduced to £7 by admission. Plaintiff is a violinist, and defendant the proprietor of the American War Diorama; the former sued for three weeks and a-half salary, at £2 a-week. The defence was, that the engagement was by the month, and that a month's notice was required, plaintiff having left suddenly. The evidence was somewhat contradictory, but the balance being in favor of defendant, judgment was entered for him accordingly, with costs £2 16s.

Henry Cousins, Dunwich, QLD, died 1884

Patient record, Benevolent Asylum, Dunwich, QLD, 1878-84; copy attached to Find a grave entry 

Name: Henry Cousins / Age: 66 / Admitted: 6 Sept'r 1878
From: Brisbane Hospital / Cause of Admission: Psoriasis & Debility
Where born: London England / Religion: R. C. / Trade or Profession: Musician
Father's Name and Profession: Dominic Cousins Cabinet Maker / Mother's Name and Maiden Surname: Anne Walker
Married &c.: Wife Dead, St. Agnes, London, when 21 to Rebecca Musslwaite / Children : None, 2 girls dead
History: Came to Melbourne about twenty three years ago per "Champion of the Seas" as paid passengers / Have been travelling about the colonies in the exercise of my profession since came to Brisbane attached to the American War Coy. Panorama . . .
Discharged 28 June 1881 / Died at Dunwich 29 October 1884


Musician, violinist, sailor, ship's fiddler on the H.M.S. Beagle, natural historian

Born Bedford, Bedfordshire, England, ? 30 January 1809 (? c. 1813); son of Simon COVINGTON and Elizabeth ?
Arrived [1] Sydney, NSW, 12 January 1836 (per Beagle)
Arrived Hobart Town, VDL (TAS), 5 February 1836 (per Beagle)
Arrived King George's Sound, WA, 6 March 1836 (per Beagle)
Arrived [2] Sydney, NSW, 1840
Married Eliza TWFORD (1821-1879), Australian Agricultural Company estate, Stroud, NSW, 18 August 1841
Died Pambula, NSW, 19 February 1861, aged "48" (grave stone) (NLA persistent identifier) (Wikipedia) (shareable link to this entry)

Summary (after Wikipedia et al.)

Covington became "fiddler & boy to Poop-cabin" on the second survey expedition of H.M.S. Beagle, which left England on 27 December 1831 under the command of captain Robert FitzRoy. Covington remained in Charles Darwin's service until 25 February 1839. He decided to emigrate, and was given a personal reference from Darwin in a letter dated 29 May 1839. Records indicate that Covington arrived back in Sydney in 1840. He continued to correspond with Darwin, who sent him a gift of a replacement ear-trumpet to help with Covington's increasing deafness, perhaps a result of exposure to guns used in collecting specimens. Covington became Postmaster of Pambula in 1854, and managed an inn.


Register of births, Old Meeting House, Bedford, 1809; register, 1761-1837, fol. 18v; UK National Archives, RG4/272 (PAYWALL)

Simon Covington Son of Simon Covington & Elizabeth his wife of St. Paul's Bedford born January 30 1809

"EDEN (From Correspondent of Goulburn Chronicle) LICENSING MEETING", Illawarra Mercury [Wollongong, NSW] (12 May 1859), 2 

At the annual licensing meeting, held at Eden, on Tuesday, 19th instant . . . the following licenses were granted . . . for Panbula - Michael Farrell, Roan Horse; Peter O'Neal, Swan; Thomas Smith, Plough; Syms Covington, Forest Oak . . .

"BEGA, TWOFOLD BAY (From our Correspondent)", Illawarra Mercury (8 February 1861), 3 

. . . I am very sorry to inform you Mr. Covington, Postmaster, of Panbula, was afflicted last week with a paralytic attack, and continues in a very dangerous condition . . . Jan. 28, 1861

"EDEN GENERAL SESSIONS. MONDAY, MARCH 26", The Sydney Morning Herald (2 April 1861), 6 

Daniel Duncan was charged with having burglariously broken into the dwelling-house of Eliza Covington, at Panbula, and stolen therefrom a bag of flour. It appeared in evidence that, on the 20th of February last, the funeral of the prosecutrix's husband took place, when many people were about the house . . .

[Notice], New South Wales Government Gazette (12 April 1861), 827 

In the Supreme Court of New South Wales. ECCLESIASTICAL JURISDICTION. In the goods of Syms Covington, late of Pambula, in the County of Auckland, in the Colony of New South Wales, postmaster, deceased . . .

Bibliography and resources:

Diary of Syms Covington, Sydney, Hobart, King George's Sound, January to March 1836; Australian Science Archives Project (archived Wayback Machine and NLA Pandora) (DIGITISED) (DIGITISED)

Syms Covington, Wikipedia

Simon "Syms" Covington, Find a grave 


Musician, teacher of music, teacher of singing, vocalist, Scottish vocalist, school teacher

Born Scone (Scoon), Perthshire, Scotland, 3 November 1821; baptised Scone, 23 November 1821; daughter of David COWANS [sic] and Jean DUNCAN
Arrived Hobart, TAS, 18 August 1858 (bounty immigrant per Constance, from the Downs, 8 May, aged "36")
Died Alexandra, VIC, 12 January 1884, aged "60" (TROVE tagged by Australharmony) (shareable link to this entry)


Baptisms, Scone, Perth, Scotland, 1821; Scotland, select births and baptisms (PAYWALL)

23 November 1821 / born 3 November 1821 / Isabella / daughter of David Cowans and Jean Duncan

Arrivals per Constance, Isabella Cowan, 18 August 1858; Tasmanian names index; NAME_INDEXES:415936; CB7/12/1/8 P236 (DIGITISED)

. . . Cowan Isabella / 36 / Perthshire / School Mistress & Teacher of Singing . . . [bounty] £ 16 0 0

[Advertisement], The Hobart Town Daily Mercury [TAS] (7 October 1858), 3 

Reading - "the Cotter's Saturday night"
Anecdotes of the Battle of Flodden.
The vision that appeared to King James in the Chapel of Linlithgow Palace.
The supernatural summons from the Cross of Edinburgh.
The Earl of Angus remonstrance.
Quotations from "Marmion."
Song - The Flowers o' the Forest.
Anecdote of the Duke of Athol.
Song - "Huntingtower."
Story of the Marchioness of Douglas.
Song - "Oh! Waley, Waley."
Scottish Courtship Jeanie and the Hard Potatoe.
Song - '"Twas within a mile o' Edinburgh."
Burns and Thomas Dudgeon.
Song - The Maid that tends the Goats.
Anecdote of an English Gentleman and his Gilly.
Song - "Loch na-garr."
Anecdote of Tamerhill and the Countess of Loudon.
Song - "Loudon's bonny Woods an' Braes."
Anecdote - The Carse Laird making his men."
Song - "The Lass o' Gowrie."
The Battle of Bannockburn.
The Bruce - Burns' poetical abstraction, &c.
Song - "Scots wha ha 'e."
Bonny Prince Charlie's wanderings in Scotland.
Devotion of the Highlanders to his person.
Flora Macdonald assists him to escape in female disguise.
Song - "Cam ye by Athol."
Reading - Burns' Address to a Mouse.
Social customs in Scotland.
Song - "Auld lang Syne."
Song - "Oh! love will venture in o'er the Posy."
Anecdote of Prince Charlie and his hundred Pipers.
Song - "The Hundred Pipers."
Doors open at 7 o'clock, Curtain rises at half past seven o clock.
Mr. Buddee has kindly consented to preside at the Piano.
Boxes, 2s. 6d., Upper Circle, 2s.; Pit, 1s.; Gallery, 6d.

ASSOCIATIONS: John Wilson (Scottish vocalist); Julius Buddee (pianist, accompanist); Royal Victoria Theatre (Hobart venue)

"MISS COWAN CAMERON", The Hobart Town Daily Mercury (7 October 1858), 2 

THIS lady intends giving a couple of a Scottish Musical Entertainments at the Theatre Royal the first of which will take place on Monday evening next. These entertainments are after the style of the well known Wilson, and they have succeeded in obtaining considerable popularity at home. Miss Cameron comes recommended by the prestige of a most successful career throughout the English provinces, and we have no doubt will well maintain the reputation she has acquired. The programme of the Entertainment on Monday will be found in our advertising columns, and it is of a nature to induce all who are fond of Scottish music, and whose minds are yet sensible to all which relates to "Auld lang Syne," to patronise the entertainments of Miss Cameron. As only two are to be given, and as each will differ from the other, we need scarcely recommend our readers to avail themselves of the opportunity of listening to both. At the recommendation of several influential gentlemen in this City, to whom Miss Cameron has brought credentials, she has been induced to fix the price of admission so low as to bring it within the means of all who may be desirous of attending.

"SCOTTISH ENTERTAINMENT", The Hobart Town Daily Mercury (11 October 1858), 3 

Miss Cowan Cameron will make her debut before a Hobart Town audience this evening at the Theatre Royal, in her celebrated Scottish Entertainment after the style of Wilson. This is an entirely novel kind of performance in the colonies . . .

"HOUSE OF ASSEMBLY. [WEDNESDAY, OCTOBER 13]", The Hobart Town Advertiser (14 October 1858), 2 

. . . Mr. ANSTEY, in pursuance of notice, asked the Col. Treasurer if a person named Miss Cowan Cameron arrived in the Constance as a Bounty Immigrant; and if so, under what circumstances the colony is saddled with any charge for her passage-money.
The Col. TREASURER in reply, stated that a Bounty Ticket had been sent home to the agents of the London Colonisation Society, which had been given to her, believing that if she came out, she would be useful as a teacher of music, &c.
Mr. J. C. GREGSON said he was sorry such a question should have been asked, and was surprised that the Col. Treasurer had deigned to reply to it . . .

ASSOCIATIONS: Henry Frampton Anstey (member); John Compton Gregson (member); Tasmanian House of Assembly (1858)

"EVENTS OF THE WEEK. PARLIAMENT . . .", The Courier [Hobart, TAS] (16 October 1858), 2 

. . . We do not know whether the third appearance of the Comet, or the first appearance of Miss Cowan Cameron, has caused the more animated discussion. The former has appeared every night in the southwest quarter of the heavens, and the latter only once at the Theatre Royal. The Comet is greatly admired, and Miss Cameron is greatly to be pitied. It is really most disgraceful that any unprotected female should be so unworthily made use of, as Miss Cameron has been, for the most sordid and selfish purposes . . .

"ORIGINAL CORRESPONDENCE. THE CAMERON HIGHLANDERS. To the Editor of . . .", The Courier (19 October 1858), 3 

SIR - The "Cameron Highlander" states that Miss Cowan Cameron "never once entered his doors," which will be a great relief to the sympathisers with that lady, for she may now enter the doors of any respectable Tasmanian family, which she could scarcely otherwise have hoped to do. By the way, what became of the money which Mercury or some one of his sprites received at the door of the Theatre ? There was a tolerably full house, and nobody that I can hear of asked to have his money returned. What share fell to the lot of Miss Cameron? Who audited the accounts? Did anybody check the "inches," or count the heads? I most confess I was one of the sold, and consequently have a right to make these inquiries. I fear that in this case Miss Cameron has played for the "benefit" of Mercury, and would suggest that the way to set matters right is for Mercury to play for the benefit of the lady. I can ensure a regular "crush" to see Mercury appear in the various characters of romantic interest in which he has shone conspicuous - indeed, unrivaled . . .

"ON DIT", The Courier (20 October 1858), 3 

That Miss Cowan Cameron has been engaged try Mercury to give a series of joint entertainments at the theatre with the hon. member for Norfolk Plains [Gregson], who was so indignant at the question recently put by Mr. Anstey respecting bounty imigration. The great Scottish artist is to give her usual performance. The great Norfolk plains artist is to give a series of Illustrations of modern and ancient oratory, with suggestive hints from Quintillian on gesture and expression. The whole extracts from some of the most sublime and passionate effusions of human genius are expected to be very attractive . . . "From grave to gay, from lively to severe," the hon. member, waving his subject, will speak so slowly that no reporter cart follow him, and so rapidly that his words will have to be photographed in order to be understood. It is expected that this exhibition will serve as usual to empty the Assembly, but to fill the Theatre.

"HOBART TOWN", Launceston Examiner (21 October 1858), 2 

Miss Cowan Cameron's Scotch performance was a failure.


MISS COWAN CAMERON has been giving two Scottish Entertainments, but they have been failures.

"TASMANIA . . . PUBLIC AMUSEMENTS", Australian and New Zealand Gazette [London, England] (1 January 1859), 7 (PAYWALL)

. . . As a strictly public amusement, we have to notice only the first appearance last night [11 October 1858] of Miss Cowan Cameron in a Scottish entertainment after the style of Wilson. It would be hardly fair to form any decided opinion on the merits of the debutante until we have had an opportunity to acquire a more matured judgment; the performance last night we are constrained, however, to pronounce a decided failure, although we were led to entertain better hopes from the high credentials which Miss Cameron brought to the colony . . . - Mercury.

[News], The Argus [Melbourne, VIC] (30 June 1875), 5 

We understand that by the last mail the Minister of Lands received a letter from Miss Isabella Cowan, the principal of the Ladies High School at Allahabad, asking upon what terms she could take up 100 acres of land next to that granted to Count Brunon as a silk farm in the Benalla district, as she and her sisters were anxious to engage in the occupation of silk raising. By the outgoing mail the necessary information will be forwarded to the lady in question. We understand that some 6,000 acres have been reserved for silk farming in the district referred to.

See also "THE BRUNO INQUIRY BOARD", The Argus (27 July 1876), 7 

Teacher records, Isabella Cowan; Public Record Office Victoria (DIGITISED)

Miss Isabella Cowan / Born 3 November 1841 [sic, 1821] /
Ass[istan]t 1 June 1863 / Resigned 31 Dec. 1863 / Bacchus Marsh 22 1 '64
Superintendent of the Calcutta Girl's School, India / Superintendent of Girls Sch., Allahabab . . .
4 12 '82 / . . . Elderly; deficient in organisation of a school . . .
Died 12 January 1884 . . .

"DEATHS", Weekly Times [Melbourne, VIC] (2 February 1884), 15 

COWAN - On the 12th January, at Alexandra, of heart disease, Miss Isabella Cowan, native of Scoon, Perthshire, Scotland, and late of Allahabad, India.

Will, grant of probate, Isabella Cowan; Public Record Office Victoria (DIGITISED) (DIGITISED) (DIGITISED)

[News], Alexandra and Yea Standard, Gobur, Thornton and Acheron Express [VIC] (28 March 1884), 3 

In the Equity Court last Friday his honor Mr. Justice Molesworth gave his reserved decision on an application for probate to the will of Isabella Cowan, of Alexandra, State school teacher, deceased. The testatrix made her will, and added a codicil on the 1st January, 1869, and some time subsequently, when no one else was present, she added a line in reference to a brother David. Later on, again, when no second person was present, she struck out of the will all relating to David, consisting of four lines. In the margin of the will, she made and signed a memorandum to the effect that she struck out three lines relating to her brother David, because he had died at Montreal, in 1881. His Honor granted probate to the will, including three lines struck out, and excluding one. The practical result, however, will be to carry out the wishes of the testatrix. The deceased died on the 12th January last. The value of her estate was £1,100. - Herald.

COWAN, John (John COWAN)

Vocalist, comic and local singer

Active Geelong, VIC, 1855 (shareable link to this entry)


[Advertisement], Geelong Advertiser and Intelligencer [VIC] (3 November 1855), 1 

GAMEKEEPERS HOTEL - Free Concert Room, Yarra-street, Geelong.
Mrs. Bartlett, Mr. J. C. Bland, and Mr. John Cowan, the comic and local singer,
will sing every evening in the week until further notice, commencing at 7 o'clock each evening.
Prices of refreshment same as at the bar. Ladies admitted.
F. CARMAN, Proprietor

ASSOCIATIONS: J. C. Bland (pianist, vocalist)

COWEN, Frederic Hymen (Frederick Hymen COWEN; Frederick COWEN; F. H. COWEN)

Musician, conductor, composer

Born Kingston, Jamaica, 29 January 1852
Arrived Melbourne, VIC, mid 1888
Departed Melbourne, VIC, early 1889
Died London, England, 6 October 1935 (NLA persistent identifier) (Wikipedia) (shareable link to this entry)


ASSOCIATIONS: Music at the Centennial Exhibition (event)

Bibliography and resources:

Kenneth Hince, "Cowen, Frederic Hymen (1852-1935)", Australian dictionary of biography 3 (1969)


Musician, bandsman, Band of the 4th Regiment, soldier, amateur actor

Arrived (part of 4th band with headquarters) Sydney, NSW, 27 August 1832 (per Clyde, from Deptford, 14 April, Portsmouth, 9 May)
Departed Sydney, NSW, 9 August 1837 (per John, for India) (TROVE tagged by Australharmony) (shareable link to this entry)

ASSOCIATIONS: Band of the 4th Regiment (military)


Pay-list of the 4th or King's Own Regiment of foot from 1 April to 30 September 1832; Australian Joint Copying Project, from UK National Archives, WO12/2214 (DIGITISED)

Privates . . . 566 / Cownley Jno. / Band / [per] Clyde . . .

Pay-list of the 4th or King's Own Regiment of foot from 1 April to 30 June 1833; Australian Joint Copying Project, from UK National Archives, WO12/2215 (DIGITISED)

Privates . . . 566 / Cownley Jno. / Band / Sydney . . .

Pay-list of the 4th or King's Own Regiment of foot from 1 April to 30 June 1834; Australian Joint Copying Project, from UK National Archives, WO12/2216 (DIGITISED)

Privates . . . 566 / Cownley Jno. / . . . In Sol'y Conf't from 1st Ap'l to 30th June, Sent'ce of a Gen'l Co't Mart'l

Pay-list of the 4th or King's Own Regiment of foot from 1 July to 30 September 1834; Australian Joint Copying Project, from UK National Archives, WO12/2216 (DIGITISED)

Privates . . . 566 / Cownley Jno. / . . . In Sol'y Conf't from 1st to 5th July, Sentence of a Gen'l Co't Mart'l

"St. George's Dinner", The Australian [Sydney, NSW] (26 April 1836), 2-3 

One of the most sumptuous and well-arranged public dinners that it has been our lot to see in New South Wales, was that of Friday last, at the Pulteney, on the occasion of the annual commemoration of the patron saint of England and Englishmen, St. George. There were upwards of a hundred gentlemen present, consisting of the very elite of colonial society, to enumerate whose names would be only occupying space without and beneficial result . . . The party sat down at about a quarter-past seven o'clock, and at half-past nine the cloth was removed, after which Non nobis was sung by members of the band [3] of the 4th regiment, which was in attendance, and played the airs to the several toasts in a manner which reflected the highest credit on the skill of the musicians, and bore evidence of the pains which must have been devoted to attain it, on the part of Mr. Coleman, the master . . . The following is the order in which the toasts were given. -
The King - by the President, with three times three; air, God save the King; glee, Long live the King.
The Queen and Royal Family - by the President, with three times three; air - Queen Adelaide's waltz
The Memory of St. George - by the President, in silence; air - Britons, strike home; glee, The Red cross Knight.
The Governor - by the President, with three times three; - Air, Garry Owen.
Prosperity to the Colony . . . air - Hail, Australia.
Lord Hill and the Army . . . air - The British Grenadiers.
The British Navy . . . air - Rule Britannia; glee - The Sea Sprites.
The Ladies of the Colony . . . air - Here's a health to all good lasses.
Colonel Snodgrass and the Staff . . . air - Grand March.
The Judges of the Colony . . . air - a March.
The Clergy of the Colony . . . air - Chorus from the Creation.
The Military and Civil Officers of the Colony . . . air - Highland Laddie . . . Glee - The wind whistles cold.
The Military Officers of the Colony . . . air - March of the Regiment; glee - Give me the Soldier.
Mr. Miller and the Officers of the Commissariat . . . air - Roast Beef of Old England . . . Glee - Mynheer van Dunck.
The Sons of St. Patrick, St. Andrew, and St. David, who have honoured us with their company . . . air, National Melody . . . Glee, When Arthur first in Court began.
Our American Friends . . . air, Hail Columbia.
The Agricultural and Commercial Interests of the Colony . . . air, Money in both pockets . . . Glee, Dame Durdon.
The President . . . air, Grand March.
The Stewards . . . air, Fly not yet . . .
We must not omit to state that the glee singers (Messrs. Paton, Counley, Lomax, and Enwood, members of the band of the 4th regiment) performed their tasks in admirable style, and their efforts received much applause, particularly the "Red Cross Knight," "Give me the Soldier," and "Dame Durdon," the execution of which would have been no discredit to much more celebrated performers.

ASSOCIATIONS: George Coleman (master); David Paton (bandsman); William Lomas (bandsman); Francis Henwood (bandsman)

[Advertisement], The Sydney Herald (11 July 1856), 3 

His Majesty's Servants of the Fourth, The King's Own Regiment, will perform,
for the amusement of the Public, the romantic Melo-Drama of
Judge - Andrew Grieg.
Bamfylde Moore Carew - John Cownley . . .
Old Martin - Michael Barber . . .
Nicholas - Francis Henwood.
Willie McDougall - David Paton . . .
Overture - GUY MANNERING, in character, by the full Band.
GLEE - "Give me the Soldier," by Messrs. Paton, Cownley, and Lomax.
SONG - "Darby Kelly," by A. Greig.
GLEE - "Dame Durdon," by Messrs. Paton, Cownley, and Lomax.
GLEE - "When Arthur First," by Messrs. Paton, Cownley, and Lomax.
The whole to conclude with the very laughable Farce of THE MOCK DOCTOR . . .
Davey - John Cownley . . .
The Band of the King's Own will compose the Orchestra on this occasion, under the Management of Mr. Coleman, the Master, when several favourite Airs will be performed . . .

ASSOCIATIONS: Michael Barber (actor, dancer); Andrew Greig (actor, vocalist); Theatre Royal (Sydney venue); Garrison theatricals (general)

PIECES: Bampfylde Moore Carew (Jerrold)

Playbill, Theatre Royal, Sydney, 21 October 1836; State Library of New South Wales (DIGITISED)

Under the distinguished Patronage OF His Excellency the Governor,
WILL PERFORM, For the Benefit of the Sydney Dispensary,
ON FRIDAY EVENING, the 21st of October, 1836, Dibdin's celebrated Comedy of
When, by particular desire, the performance will open with
Balff's [sic] Grand Chorus of "Vive le Roi," in Character . . .
Glee - "How merrily we live that Soldiers be."
Song - "Darby Kelly" in Character, by A. Greig.
Duet - "Thou hast left me ever, Jamie."
A comic Dance, by M. Barber.
A Comic Song (Giles Scroggins), by J. Cownley.
Overture, in character, by the full Band.
The whole to concluded with the very laughable Farce of
The Brave Irishman.
Captain O'Blunder - Francis Henwood
Treatwell - John Cownley . . .
Finale - "HAIL, ALL HAIL, OUR PATRIOT KING," By the whole Company.
The Band of the King's Own Regiment will compose the Orchestra on this occasion,
under the management of Mr. Coleman, the Master, when several favourite Airs will be performed . . .

MUSIC: Giles Scroggin's ghost (comic song)

Pay-list of the 4th or King's Own Regiment of foot from 3 August 31 October 1837; Australian Joint Copying Project, from UK National Archives, WO12/2219 (DIGITISED)

Privates . . . 566 / Cownley John . . .

COX, Mr. (Mr. COX)

Musician, band leader (Cremorne Band, Cremorne Brass Band)

Active Sydney, NSW, 1856 (shareable link to this entry)


[Advertisement], The Sydney Morning Herald (2 June 1856), 1 

IMPORTANT - The celebrated Cremorne Band are open for engagements, to attend Balls, Dinners and other activities on the off days and nights, which are Tuesday, Wednesday, and Friday in each week. Application to be made to WOOLCOTT and CLARKE, Music Hall, George street.

ASSOCIATIONS: Woolcott and Clarke (musicsellers)

"CREMORNE GARDENS", Empire [Sydney, NSW] (29 September 1856), 4 

This place of amusement will be re-opened to-day, with a grand gala, under the direction of Mr. Beaver. The grounds have been very much improved during the recess . . . Several new features have been added to the former attractions of the place. The Cremorne Band has been re-engaged, and will be conducted by Mr. Cox, and an efficient master of ceremonies has been secured for the salon de danse. A posse of police will be in attendance to preserve order . . .

ASSOCIATIONS: Cremorne Gardens (Sydney venue)

[Advertisement], Empire (2 October 1856), 1 

CREMORNE. - THIS EVENING. - The Grounds will be brilliantly illuminated, and dancing on the great monster platform commencing at 7 o'clock p.m., under the direction of a Master of Ceremonies - to Mr. COX'S Unrivalled CREMORNE BAND, introducing for the first time the LOVERS POLKA.

[Advertisement], The Sydney Morning Herald (7 October 1856), 1 

CREMORNE. Operatic Selections, by Cox's unrivalled Band . . .
The spirit-stirring Victory Polka, with astonishing pyrotechnic effects . . .
TO-NIGHT, Grand finale: Partant pour la Syrie, Marseillaise, Rule Britannia, God save the Queen, discharge of ordnance, shells, rockets, &c.

[Advertisement], The Sydney Morning Herald (7 November 1856), 1 

CREMOKNE.- THIS DAY, the usual arrangements. New music by Monsieur Cox's Grand Band.

[Advertisement], The Sydney Morning Herald (17 November 1856), 8 

CREMORNE, on THURSDAY. - In consequence of the increased patronage from the Votaries of Terpsichore, the proprietors have much pleasure in announcing that they have succeeded in engaging Herr Mohr's string Quadrille Band in addition to Mr. Cox's Cremorne Brass Band.
By this arrangement the dancing will continue throughout the evening without cessation.

ASSOCIATIONS: Henry Mohr (musician)


For some time past, the walls of the city have been placarded with bills announcing that Monsieur l'Maigre would make an accent in a balloon from the Domain, December 15 . . . On Monday afternoon, about 3 o'clock people began to pour into the Domain, and at five there were at least four thousand present. The Governor-General, Lady Denison and family . . . and several of the Catholic clergy were present to witness the ascent. The Cremorne band under Mr. Cox, and the military band enlivened the afternoon by playing alternately some of the best modern music . . .

ASSOCIATIONS: Band of the 11th Regiment (military)

COX, Alfred (Alfred COX)

Musical amateur, amateur musician, flute player, flautist, pupil of Spencer WALLACE (senior), grazier, memoirist

Born Clarendon, Windsor, NSW, 3 June 1825; baptised St. Matthew's, Windsor, 29 August 1835; son of William COX (1764-1837) and Ann BLACHFORD (1796-1869)
Married Mary MACPHERSON (1830-1899), All Saints, Parramatta, NSW, 26 November 1849
Departed NSW, 1854 (for New Zealand)
Died St Albans, NZ, 23 May 1911 (TROVE tagged by Australharmony) (NLA persistent identifier) (Wikipedia) (shareable link to this entry)

Alfred Cox 1825-1911

Alfred Cox (New Zealand, c. 1890)

Anna Cox (SL-NSW) William Cox (SL-NSW)

Cox's parents, William and Anna, c. 1830, by Charles Rodius, State Library of New South Wales 

ASSOCIATIONS: Charles Rodius (artist)


Baptisms, St. Matthew's, Windsor, 1825; Biographical database of Australia (PAYWALL)

29 August 1825 / born 3 June 1825 / Alfred son of / William and Anne / Cox

"DOMESTIC INTELLIGENCE", The Monitor [Sydney, NSW] (8 September 1826), 2 

Clarendon, near Windsor, the hospitable mansion of Captain Cox, has been the scene of gaiety and festivity, during the past week; three of the infant grandchildren of the worthy proprietor were to be admitted within the pale of the church of England; and a numerous party were congregated together on the occasion. Captain Piper's Scottish band arrived from Sydney in order to enliven the scene, and add another species of harmony to the other hilarities of the scene.

ASSOCIATIONS: Captain Piper's Band (performing group)

[Advertisement], The Sydney Morning Herald (5 December 1844), 1

the remaining ASSETS OF THE SAID ESTATE, in one lot, consisting of The equity of redemption, and other the right, title, and interest, of the said Insolvent . . .
Also, of and in one-third part or share of and in the Horse Stock bequeathed by the said William Cox, deceased,
to be divided between his sons, the said E. Cox, Thomas Cox, and Alfred Cox, when the youngest of the said sons shall attain the age of twenty one years . . .

"MARRIED", The Sydney Morning Herald (28 November 1849), 3 

By special license, at All Saints' Church, Parramatta, on the 26th instant, by the Rev. R. Forrest, Alfred, youngest son of the late William Cox, Esq., Fairfield, Windsor, to Mary, second daughter of Major Macpherson, late of H. M. 99th Regiment.

"NEW BOOKS", The Sydney Morning Herald (6 August 1884), 4 

"Recollections" is the title of a work by Mr. Alfred Cox, and published by Messrs. Whitcombe and Tombs, limited, of Christchurch, New Zealand. The book is a plain unpretentious one, that will be of considerable interest to colonists generally, inasmuch as it deals with matters of colonial history relating more particularly to New South Wales, but extending also to South Australia and New Zealand. The writer's reminiscences cover a period of some 50 years, so taking the reader back to the childhood, if not the very infancy, of the colonies. In addition to the colonies the writer speaks of visits made by him to England, Ireland, and Scotland. Some interesting particulars are also furnished of many of the leaders of New Zealand politics. "Recollections" is written in an interesting style, and will well repay the student of colonial history for its perusal.

"DEATHS", Press [Canterbury, NZ] (24 May 1911), 1

COX - On May 23rd, 1911, at his residence, Constance street, St. Albans, Alfred Cox, in his 86th year.

"MR. ALFRED COX", Press (24 May 1911), 10 

Mr. Alfred Cox, an old resident of Christchurch, died yesterday in his 86th year. The late Mr. Cox was born in New South Wales in 1825, and was a son of Mr. William Cox, an officer of the 102nd Regiment, which landed at Botany Bay about 1788. Mr. William Cox left the service and became a settler in New South Wales, and was a prominent man in that State up to the time of his death in 1837. Mr. Alfred Cox visited England in 1844 and again in 1855. He secured two grazing runs at Timaru in 1854, and settled in that district three years later. Deceased resided there till 1882, with the exception of some seven or eight years in the Waikato, Auckland, where he was interested in a very large block of swamp land, and on which he spent large sums of money on drainage. Mr. Cox came to Christchurch in 1882, and resided ever since at St. Albans. He was a member of the House of Representatives for Heathcote during 1863-65, and for Timaru during 1866-68, and unsuccessfully contested the Geraldine seat in 1884. He published a volume, entitled "Recollections," which contains a great deal of interesting information as to his career in England, Australia, and New Zealand, together with references to many of the public men of the colony. He also edited "Men of Mark in New Zealand," a work that was published some years later in Christchurch. Mr. Cox was married in November, 1849, to a daughter of the late Lieutenant-Colonel Macpherson, 99th Regiment, and had a family of two sons and nine daughters.

"DEATHS", The Sydney Morning Herald (1 June 1911), 8

COX. - May 28, at Constance street, St. Albans, Christchurch, Alfred Cox, in his 86th year.

"OLD SYDNEY . . . No. 191 (BY 'OLD CHUM')", Truth (11 June 1911), 12 

. . . My correspondent also writes: "Dear 'Old Chum,' - Re 'Old Sydney.' According to my records, William Cox, of the 102nd Regiment, who arrived here in the Minerva on July 10, 1800, had by his first wife, Rebecca Upjohn, nine children . . . By his second marriage to Anne Blatchford, sister of Mr. Beddick, solicitor, of Windsor, four children - (1) Edgar, (2) Thomas, (3) Alfred, went to New Zealand, (4) Anna Clarendon . . . I obtained my facts from a member of the family some time ago. I have no reason to doubt its authority." . . . Mr. Alfred Cox, who settled in New Zealand and wrote a book of reminiscences, died last week. He was born in 1825: settled at Waikato, became a large squatter and married a daughter of Major Macpherson of the 99th Regiment, and had, with other children, a daughter who married a son of the New Zealand statesman, Sir Walter. L. Buller, K.C.M.G.

ASSOCIATIONS: Joseph Michael Forde ('Old Chum', journalist)

King's School, Parramatta; by F. C. Terry, 1855

King's School, Parramatta, by F. C. Terry, c. late 1850s (detail); State Library of New South Wales (DIGITISED)

ASSOCIATIONS: Frederick Charles Terry (artist)

Windsor Court House, c.1870

Windsor Court House, built 1821, designed by Francis Greenway (1777-1837), photograph c. 1870s

Cox's musical recollections of the Wallaces

Recollections: Australia, England, Ireland, Scotland, New Zealand by Alfred Cox (Christchurch: Whitcombe & Tombs, 1884), chapter 4, 24-25; chapter 5, 29-31

[24] When I was quite a small boy I used to fancy that my father cared for music, for he seemed proud of my flute-playing, but after his bumping my head against a verandah post for persisting in whistling after he had repeatedly told me not to make a row, I began [25] to be of opinion that he must indeed have been utterly indifferent to the higher kinds of music.

Touching my flute-playing, I well remember that when one day I was practising my very hardest, out of school hours, my master came up behind me and said, "Ah, boy, if you were only half as much in earnest over your other lessons as you seem to be over that flute-playing, we should have little fault to find with you." Fifteen years after this encouraging speech was made to me, I ventured to say to my wife, "I think I could sing if I seriously made the attempt." She remarked, "I think you could, if you had a voice." I once heard a married brother say, "Depend upon it, there is no one in this wide world so ready to speak disagreeable (un)truths as one's wife" ...

[29] CHAPTER V. Music - William Vincent Wallace.

I HAVE already spoken of my having been taught to play the flute when I was a youngster. My music-master was Samuel [sic] Wallace, an old bandmaster in the 17th Regiment [sic]. He was a charming player, warbling exquisitely on the flute, and playing upon many other instruments nearly as well. He was the father of William Vincent Wallace, the well-known composer, who was a first-class performer on the violin and pianoforte.

The first concert that I ever attended was one given by Wallace the son, in 1837 or 1838. He alone performed at this concert, first on the violin and then on the piano. It is hardly necessary to say that I had never before heard such music. I sat by the side of my dear old grandmother, who, always ready to indulge me, had taken me with her to listen to Wallace's warblings. I was fairly entranced, confessing that I had at last heard something that I could never forget, and I then and there resolved that I would try and become a player myself.

This man, William V. Wallace, who had thus tickled my ears and filled my young soul with indescribable sensations, became, not many years after this, a very great man indeed in the musical world, establishing a reputation that has outlived him. All who know his music, will not be slow to admit that the lovers of melody are under great obligation to this composer. I have not a word to say here of the preference shown by many in these days of musical culture and development to the new school of music becoming fashionable; but I am not myself so far gone in this direction as to have outgrown my love for simple and flowing melody. The best proof of the claims of Wallace to be regarded as a tuneful composer is that his music still lives, is as popular as ever, and holds its own in these days with new works of a host of new writers.

I would like to say a few words as to variety in music. To my mind, that is one of its chief charms. It is calculated to soothe and [30] excite. My own experience prompts me to confess that there are times and seasons when my nerves are thrilled, my heart touched, and my thoughts are raised by sounds sweet and simple; and there are times, also, when my mind or soul, as well as my heart, craves and longs for something fuller and greater, higher and holier. It seems to me strange that anyone should have ever thought it a suitable thing to say that only one class of music should be tolerated and taught. There is a beauty and perfection in natural music, as certainly as there is in music the outcome of cultivation. Not all the world are yet musically educated, and even if they were, there is still a wonderful variety in the many schools of music. Italy represents one; Germany another; France a third; and, let us in all diffidence add, England another. I am not quite sure that in these days, when there is such a craze for culture, so called, and such a passion for something new and startling, that music may not suffer by the many attempts to perfect it. Plain speech, plain writing, simple and natural manners are still in high repute in the world; why not, then, strive to preserve, in all its purity, simple and natural music? Let us have variety in music, as we have it, unquestionably, in all other things. Diversity is a law of Nature. It has been written of the voice, "There are many kinds of voices in the world, and none of these is without signification." May it not as truly be said of music, "there are many kinds of music in the world, and none of these is without power to move us." I should as soon think of maintaining that one class of music only is worthy of being cultivated as that all my friends should be of one age, of one type, or of one nationality. I have had many friends in my time. They have been of all ages and various nationalities, and of different idiosyncracies, and I have loved them none the less in discovering them to have been not cast in the same mould. Were a man to invite me into his orchard and to tell me to help myself to one kind of fruit only, where there was a great abundance and variety, I should not know what to think of him; and were he to show me into his garden blazing with a variety and a profusion of beautiful flowers, and to tell me to fix my gaze upon one sort exclusively, I should wonder at his folly. When men are in a mood to make ornamental plantations, they keep before themselves the necessity of variety, even contrast. And when poets rave about loveliness in women, there are as many to be found praising blue eyes and fair hair as there are [31] those who are ready - on paper - to lay down their lives for a flashing eye and a dark skin. Music in all its varieties is one of heaven's best blessings - without it this world to some of us would be a dreary place to linger in. With music at command, we have always within reach a something to excite or to soothe us. I think and speak of music, of melody and harmony, as of twin sisters. I am enamoured of both, but wedded to neither.

ASSOCIATIONS: Alfred Cox was a pupil at the King's School, Parramatta, and it was probably there that he received music lessons from Spencer Wallace.

The concert by William Vincent Wallace that he attended with his maternal grandmother, Susannah Pike (Mrs. Joseph Blackford, 1765-1847), was almost certainly that held at Windsor on 4 January 1837; see:

[Advertisement], The Australian [Sydney, NSW] (3 January 1837), 1 

Leader of the Anacreontic Society, and Professor of Composition, Royal Academy
Will take place on WEDNESDAY, January 4th, 1837,
1. OVERTURE - Der Freischutz - Weber
2. SONG - Cease thus to palpitate - Rossini - MISS E. WALLACE.
3. SOLO, Piano Forte - Herz - MR. WALLACE.
4. FRENCH AIR - La Sentinelle - Boildieu - AMATEUR.
5. SONG - Rise gentle moon - Barnett - MISS E. WALLACE.
6. CONCERTO, Flute - Drouet - MR. S. WALLACE.
7. VOCAL DUET - O Pescator dell'Onda - Mozart - MISS E. WALLACE and AMATEUR.
8. GRAND CONCERTO, Violin - Mayseder in which will be introduced the favorite Irish Melody, Savourneen Deelish - MR. W. WALLACE.
9. OVERTURE - Italiana in Algieri - Rossini
10. CAVATINA - Uno Voce - Rossini - MISS E. WALLACE.
11. DUET, Piano and Flute - Henz - W. & S. WALLACE.
12. IRISH MELODY - Believe me if all those endearing young charms - AMATEUR.
14. VOCAL DUET - La ci Darem la Mano - Mozart - MISS E. WALLACE and AMATEUR.
15. FANTASIA - Dedicated to Paganini, introducing 'Tis the last Rose of Summer, Violin - MR. W. WALLACE.
16. FINALE - Overture to Il Barbiere de Siviglia
Tickets 7s. 6d. each, to be had at Mr. L. WHITE'S, Windsor.
By the kind permission of Colonel Wodehouse, Mr. Wallace will be allowed the aid of the Band of the 50th, Queen's Own Regiment.
In order that Families residing at some distance from Windsor may have an opportunity of attending this Concert, Mr. W. Wallace is induced to commence it at Four o'Clock, P. M., which arrangement will enable them to reach their Homes at an early hour in the evening.

ASSOCIATIONS: Eliza Wallace (soprano vocalist); Spencer Wellington Wallace (junior, pianist, flautist); Band of the 50th Regiment; the "amateur", almost certainly, was Charles Rodius

Wallace had also given a concert at Parramatta, a month earlier, on 7 December 1836;
see [Advertisement], The Sydney Gazette and New South Wales Advertiser (6 December 1836), 1 

Bibliography and resources:

[c. 1836-37] Mrs. Edward Cox's journal (written about 1877) [in pencil: 1880]; transcribed by Andrew Houison (1850-1912) 

[c.1836-37] . . . and [I] was then married to my dear Husband and then went to live at Mulgoa Cottage. It was a very pretty place [MS transcript page 37] . . . besides which we had a grand neighbour in Sir John Jamison, about four miles from the Cottage. It was a fine residence, a large Stone house: he entertained in a liberal manner. My husband and I used to meet many pleasant people there among which I remember Sir Francis Forbes, Sir Richard Bourke, W. Charles Wentworth, Esq., Wallace, the Composer of Maritana, Mr. Manning, the Father of Sir W. Manning, Commissary General and Mrs. Laidley and many other Military Men. It was there I first met Lady Deas-Thompson, whose singing enchanted me.

ASSOCIATIONS: Jane Maria Cox (1806-1888) arrived in New South Wales with her parents, Richard and Christiana Brooks, in 1814. In 1823 the Brooks family moved from Sydney to Denham Court near Liverpool. In 1827 Jane married Edward Cox (1805-1868) of Fernhill, Mulgoa; Alfred Cox was her much younger brother-in-law; Anna Maria Thomson (amateur vocalist)

Men of mark of New Zealand, edited by Alfred Cox (Christchurch: Whitcombe & Tombs, 1886) (DIGITISED)

Guy Scholefield (ed.), A dictionary of ew Zealand biography . . . volume 1, A - L (Wellington: Department of Internal Affairs, 1940), 179-80 

COX, ALFRED (1825-1911), was born at Clarendon, New South Wales, the son of William Cox, who came to the Mother Colony in 1788 as a captain in the 102nd Regiment, retired from the army and became a prosperous settler. Alfred received his education at the King's [180] School at Parramatta. As a pupil he was present at the funeral of Samuel Marsden (1837). Cox records that he was taught music by Samuel Wallace, bandmaster of the 17th Regiment, and father of William Vincent Wallace (q.v.). At the first concert that he attended young Wallace played on both piano and violin. Cox became an accomplished musician. In 1844, with the consent of his guardians, he paid a visit to England and to improve his knowledge of farming he stayed on a farm in Northamptonshire. In Ireland he saw the intense distress of the peasantry during the potato famine (1846). Returning to Melbourne (1847) Cox found many Tasmanians taking up the cheap runs offering in the Western District. On 26 Nov he married a daughter of Lieut-colonel Macpherson, of the 99th Regiment . . . In 1884 Cox published an interesting volume of Recollections and two years later a biographical dictionary entitled Men of Mark in New Zealand. Cox died in St. Albans on 23 May 1911 . . .

Ian Jack, "Homes of the Cox Family in New South Wales and Tasmania: a generational shift"

COX, Mrs. George (Mrs. George COX)

Contralto vocalist

Active Melbourne, VIC, 1854 (TROVE tagged by Australharmony) (shareable link to this entry)


[Advertisement], The Argus [Melbourne, VIC] (13 February 1854), 8 

ALFRED PHILLIPS'S Drawing Room Entertainments, A new series, entitled
OUR NATIVE LAND, will commence on Monday Evening, next, at the Mechanics' Institution,
on which occasion in addition to Miss Smith and Mr. Ruxton, Mr. Phillips will be assisted by
Mrs. George Cox, contralto singer from the Philharmonic Concerts, Liverpool . . .

ASSOCIATIONS: Alfred Phillips (actor, vocalist); Meabella Smith (vocalist); Henri W. Ruxton (pianist); Mechanics' Institution (Melbourne venue)

[Advertisement], The Argus (16 February 1854), 8 

ALFRED PHILLIPS has the honor to announce that he will repeat his popular Entertainment, entitled, "Our Native Land," at the Mechanics' Institution, this evening, Thursday, February 16th, and Saturday evening, February 18th.
Miss Miabella Smith, the favorite vocalist, and Mrs. George Cox, whose success on Monday and Wednesday evenings was most complete, will appear each evening . . .

[Advertisement], The Argus (3 March 1854), 8 

SALLE DE VALENTINO - Monster Concert. Mr. JAMES ELLIS has the honor to announce his
Benefit will take place on Monday next, 6th March, on which occasion the Band will be considerable augmented, together with the following vocalists, who have kindly volunteered their services: -
Madame Carandini; Miss Octavia Hamilton; Mrs. George Cox, from the Philharmonic Concerts; Mr. Lavenu, and Mr. Barlow;
Solo on the Cornet-a Piston, by Mr. de Gray. Tickets to be had at the Salle de Valentino.

ASSOCIATIONS: James Ellis (proprietor); Maria Carandini (vocalist); Octavia Hamilton (vocalist); Lewis Henry Lavenu (musician); Robert Barlow (vocalist, instrumentalist); Henry De Grey (cornet); Salle de Valentino (Melbourne venue)

[Advertisement], The Argus (28 April 1854), 8 

MECHANICS' INSTITUTE, - In consequence of the early closing of the Salle de Valentino,
Miss Octavia Hamilton has the honor to announce that her
First Benefit Concert in this colony will take place this evening, Friday, April 28th, 1854.
For which occasion all the available talent in the colony had been secured, including the following distinguished artistes -
Mrs. Testar, Mrs. George Cox, Miss Octavia Hamilton, Mr. Walter Frazer, Mons. Fleury, Signor Maffei, Herr Moritz.
Programme: Part I. Glee - Blow Gentle Gales, Miss Hamilton Mrs. Cox, and Mr. Frazer - Bishop.
Song - Constance, Mrs. George Cox - Linley.
Duet - What Fairy like Music? - Miss Hamilton and Mr. Frazer - De Pinna.
CAVATINA - Robert, toi que j'aime, Mrs. Testar - Meyerbeer.
Solo - Cornet a piston, Signor Maffei
Ballad - Why do I weep for thee, Miss Octavia Hamilton - Wallace.
Song - What is the Spell? Mr. Walter Frazer - Rooke.
Duet - Elfin Call, Miss Hamilton and Mrs. Cox.
Grand Duo, Pianoforte and Violin, Miss Hamilton and Mons. Fleury.
(An interval fifteen minutes.)
Part II.
Trio - Sleep, Gentle Lady, Miss Hamilton, Mrs. Cox and Mr. Frazer - Bishop.
Song - The Blind Girl to her Harp, Mrs. Testar.
Duet - Syren and Friar, Miss Hamilton and Mrs. Cox - Bishop.
Solo - Violin, Mons. Fleury.
Song - Mr. Walter Frazer.
Song - There is a flower that Bloometh, Miss Octavia Hamilton - Wallace.
Solo - Pianoforte, Herr Moritz.
The Concert will commence at Eight o'clock precisely. Admission: - Front seats 5s.; Back Seats 3s. . . .

ASSOCIATIONS: Elizabeth Testar (vocalist); Walter Frazer (vocalist); Achille Fleury (violin); Joseph Maffei (cornet); Herr Moritz (piano)

MUSIC: Constance [I do not ask to offer thee] (George Linley)

[Advertisement], The Argus (19 June 1854), 8 

GRAND CONCERT. To-night Monday, 19th June,
At the CRITERION HALL, For the Benefit of the Criterion Band.
On which occasion only the following talented artistes will appear:-
Vocalists: Miss Hamilton, Mrs. George Cox, Mr. Barsham, Mr. Gover
Instrumentalists: Herr Strebinger, Mr. Weston. Mr. Wild, Mr. James Thorne, Signor Maffei, Mr. George Chapman, Mr. Johnson, Mr. Hartigan, Herr Koehler, Herr Harendorff
Together with the entire Criterion Orchestra.
Part 1.
Overture - Massaniello - Orchestra - Auber.
Polka - Chatelle [?] - Chapman.
Favorlte Song - Where the Bee Sucks - Miss Hamilton - Dr. Arne.
Duetto - Clarionette and Opheiclide - Messrs. Johnson and Hartigan
Song - Annie - Mrs. G. Cox
Waltz - Summer Flowers - Orchestra
Song - Simon the Cellarer - Mr. Barsham
Quadrille - Exposition - Orchestra - D'Albert.
Part II.
Grand Selections frrom Norma - Orchestra - Bellini.
Song - Home, Sweet Home, with Miss Hamilton harp accompaniment Mr. Chapman.
Solo, Violin - Fantasia - Leon Lecina - Herr Strebinger.
Song - Constance - Mrs. G. Cox.
Schottische - Atherstone - Orchestra.
Song - I have need of all your kindness - Mr. Gover.
Duet - Elfin Call - Miss Hamilton and Mrs. C. Cox.
Galop - Cuckoo - Orchestra.
Finale - God Save the Queen - Orchestra.
Admission, Five Shillings. Doors open at half-past seven, commence at eight.
Leader of the Orchestra - Mr. Weston.
Conductor - Mr. G. Chapman.
Tickets to be had at Mr. Chapman's Music Warehouse, Queen's Arcade, and of the Gentlemen of the Band . . .
Accompanist - Herr Elsasser . . .

ASSOCIATIONS: Albert George Barsham (vocalist); Henry Barman Gover (vocalist); Frederick Strebinger (violin); John Weston (violin); James Thorne (musician); Henry Johnson (clarinet, oboe); Joseph Hartigan (cornopean); Franz Andres Kohler (horn); Herr Harendorff (musician); George Chapman (conductor); Charles Elsasser (accompanist); Criterion Hall (Melbourne venue)

COX, Margaret Anne (Mrs. Richard William COX) = Margaret Anne KNOWLES

COX, Richard Henry (Richard Henry COX; R. H. COX)

Actor, "light tragedian", light comedian, vocalist, manager

Arrived Sydney, NSW, 23 September 1853 (per Gipsy Queen, from London, 27 May)
Departed Melbourne, VIC, 20 October 1864 (per Claud Hamilton, for Wellington, NZ)
Active NZ, October 1864 until November 1868
Active California, USA, by 1869 (TROVE tagged by Australharmony) (shareable link to this entry)


"SHIPPING INTELLIGENCE. ARRIVALS", Empire [Sydney, NSW] (24 September 1853), 2 

September 23. - Gipsy Queen, barque, 810 tons, Captain Charles Barras, from London 27th May. Passengers . . . R. H. Cox . . .

"ROYAL VICTORIA THEATRE", Empire (6 October 1853), 2 

First appearance of MR. R. H. COX, from the Royal Surrey and Marylebone Theatres, in the character of OTHELLO. THIS EVENING, Thursday, October 6 . . .

ASSOCIATIONS: Royal Victoria Theatre (Sydney venue); see also review of

"VICTORIA THEATRE", Bell's Life in Sydney and Sporting Reviewer (8 October 1853), 2

On Thursday the tragedy of Othello was "put up" for the purpose of introducing Mr. R. H. Cox, from the "Royal Surrey and Marylebone Theatres," to a Sydney audience, in the character of the Moor. . . . It is a singular fact that most of our great comic actors commenced their career with tragedy, and our leading tragedians with the laughing Muse; but Time, which tells all things, convinced both of the inaptitude of their choice, and pointed out the true path to greatness. We feel bound to confess that in our opinion Mr. Cox has fallen into a similar error; at all events he has taken too high a flight at starting, and his wings like those of Icarus have been destroyed by the Sun of Shakspeare. In addition to an indifferent voice, he appears to want perception of Othello; the depth of feeling and intense passion of that character cannot be faithfully pourtrayed by rant and violent gesticulation, any more than the angry waves reveal the profound depths of the ocean. Where so many have failed, Mr. Cox must not be surprised at his own want of success. A curtailment of his ambition for the present will no doubt place him in a more favorable light. To eulogize the Iago of Mr. Griffiths is unnecessary . . . Mrs. Guerin represented Desdemona with grace, simplicity, and earnestness, whilst Mrs. Gibbs as Emilia manifested her wonted spirit and perfect knowledge of stage business . . . We do not wish to be illnatured, but really we opine that Mr. Cox's "Othello's occupation's gone."

ASSOCIATIONS: John Gordon Griffiths (actor); Theodosia Guerin (actor); Eliza Gibbs (actor)

[Advertisement], Bathurst Free Press and Mining Journal [NSW] (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.
Song - Miss Millan.
Song - Mr. Cox.
Solo, Concertina - "Tyrolean Air," with variations - Mr. Richardson.
Glee - To all you ladies now on land - Messrs. and Miss Chittenden.
An interval of ten minutes.
PART 2nd.
Overture - Company.
Ole Aunt Sally - Mr. Richardson.
Life by the Galley Fire - Mr. Cox.
Sukey Dear - Mr. G. Chittenden.
Quick Step - "Love Not." - Concertina Obligato - Mr. Richardson.
Old Folks at Home - Mr. Richardson.
Going Ober de Mountain - Mr. Chittenden.
Uncle Ned - Mr. Cox.
Da Colored Fancy Ball - Mr. Richardson . . .

ASSOCIATIONS: Henry Richardson (concertina); George Chittenden and family (musicians, vocalists); Rose Millan (actor, vocalist); John James Ryall (musician)

"DRAMATIC", Nelson Examiner and New Zealand Chronicle [NZ] (9 December 1857), 3 

We are happy to announce the arrival of a dramatic corps from Melbourne, who propose to give a few entertainments in Nelson. The company consists of - Mrs. R. H. Cox, Theatre Royal, Melbourne; Miss Clara Seymour, Princess' Theatre, Melbourne; Mr. R. H. Cox, formerly of the Theatre Royal, Sadler's Wells (London), Victoria Theatre (Sydney), and Coppins's Olympic, (Melbourne); Mr. Henry Bertram, Lyceum Theatre, London; Mr. James, Mr. Fawcett . . .

[Advertisement], Illawarra Mercury [Wollongong, NSW] (11 July 1859), 2 

THIS EVENING, Monday, the llth July. REDUCTION OF PRICES - Front Seats 3s, Back 2s.
THE PERFORMANCES THIS EVENING will commence, by particular desire, with the third act of OTHELLO.
Othello - Mr. E. Holloway; Iago - Mr. R. H. Cox;
Desdemona - Mrs. R. H. Cox; Emelia - Mrs. Holloway.
Comic Song (Billy Barlow) - Mr. R. H. Cox . . .

ASSOCIATIONS: Edmund and Elizabeth Holloway (actors)

MUSIC: Billy Barlow (song in character)

[Advertisement], Bendigo Advertiser (30 September 1864), 1 


ASSOCIATIONS: Frank Varley (manager); Lyceum Theatre (Bendigo venue)

Names and descriptions of passengers per Claud Hamilton, from Melbourne, 20 October 1864, for Auckland and Wellington; Public Record Office Victoria (DIGITISED)

. . . Mr. Cox / 29 // Mrs. Cox / 24 . . . [for Auckland]

[Advertisement], Wellington Independent [NZ] (29 October 1864), 2 


"RESIDENT MAGISTRATE'S COURT . . . ADJOURNED LICENSES", New Zealander [Auckland, NZ] (17 May 1865), 2 

. . . Richard Henry Cox, Exchange Hotel, Queen-street, granted . . .

"OUR OPENING DAY", New Zealander (1 July 1865), 3 

. . . Proceeding up Queen-street for a short distance beyond the Prince of Wales Theatre, we come to the Exchange Hotel, the proprietor of which is Mr. Richard Henry Cox, a gentleman who recently held the position of stage manager at the above theatre, and was held in general esteem by the play-going public . . .

[Notice], Westport Times [West-coast, NZ] (22 February 1868), 3 

IN THE SUPREME COURT OF NEW ZEALAND, WESTLAND DISTRICT, In the matter of the Petition of RICHARD HENRY COX, of Hokitika, Publican, Bankrupt . . .

"THE PLAY-GOER", Lyttelton Times [NZ] (25 August 1873), 3 

. . . From America I learn that . . . Mrs. R. H. Cox died a considerable time ago, and Mr. Cox is now doing utility business somewhere in the States. - JACQUES.

John S. Lindsay, The Mormons and the Theatre; or, The history of theatricals in Utah, with reminiscences and comments, humorous and critical (Salt Lake City, 1905) 

. . . I had been absent from October 14th, 1874, to January 26th, 1875, a little over three months, during which time the following attractions appeared at the Salt Lake Theatre . . . On December 2nd R. H. Cox, familiarly known as "Daddy Cox," among professionals on the coast, opened a four nights' engagement with "The Detective," which went for two nights. The other two nights he gave "The Bells That Rang Nellie a Bride." Daddy Cox had recently left Piper's theatre in Virginia City, where he had been stage manager for a time . . .

"BOOKS AND PUBLICATIONS", Evening News (8 August 1907), 8 

. . . There is an old play which was occasionally acted in Australia some half a century ago. It -was called, if we remember, "Rule a Wife and Have a Wife," or some such title. A capable stock actor, Mr. Richard Cox, of the days mentioned, as well as "stars" with larger reputations and sometimes less ability, played the principal male part in it . . .


Vocalist, comic vocalist, buffo vocalist, "local improvisatore", songwriter, ? mining and railway engineer

Born c. 1821
Arrived VIC, by March 1856
Departed Melbourne, VIC, 22 January 1859 (per Champion of the Seas, for Liverpool, aged "38") (TROVE tagged by Australharmony) (shareable link to this entry)

DISAMBIGUATION: In previous iterations of these pages and elsewhere Coxon was misidentified as William Wilson Coxon (c. 1842-1925, journalist, later active in Ballarat)


? [Advertisement], The Argus [Melbourne, VIC] (16 July 1855), 3 

COPIES of Addresses presented to Captain Dewar, ship Hope . . .
We the undersigned being the second cabin passenger of the ship Hope, out of London, for Port Phillip, have the honor to present you with the following resolution passed unanimously at a meeting of the said passengers, held on board, on Saturday, 30th June, 1855 . . .
John Coxon, Chairman . . .

"FRYER'S TOWN. FROM OUR OWN CORRESPONDENT", Mount Alexander Mail [Castlemaine, VIC] (28 March 1856), 4 

Fryer's Creek, during the past few days, has been all alive with wrestling, pigeon matches, &c. On Easter Monday, many hundreds met at Fryers Town to see the pigeon match . . . The other sports passed off very creditably . . . The public were much gratified by the performance of a very efficient German band, which played each day. A first-rate concert came off at the Derby, Kangaroo, Monday and Wednesday evenings. We have seldom listened to a concert with more pleasure than last evening; and as the parties are new arrivals in the colony (passengers by the unfortunate Schomberg), we can strongly recommend our friends to pay them a visit. Mr. Coxon's song, Robinson Crusoe, is first rate; so is the Corsican Brothers, and many others. The attendance was but very indifferent, owing in a measure to the decrease of the population in this place.

[Advertisement], Bendigo Advertiser [VIC] (19 April 1856), 2 

COXON and COOPER'S ENTERTAINMENT. On Monday evening, at the Sir Charles Hotham Hotel. Tuesday evening at the Falcon Inn, Pegleg Gully; and Wednesday evening at the Manchester Arms.

ASSOCIATIONS: C. Cooper (vocalist, actor)

[Advertisement], Bendigo Advertiser [VIC] (26 April 1856), 3 

SYDENHAM GARDENS. MONDAY, APRIL 28th 1856. New Serio Comic Entertainment!!
MESSRS. COXON AND COOPER BEG to announce the above, entitled the GRAVE and GAY;
Or, Two Hours with Henry Russell, John Parry, and Tony Bumpkin.
Commence at Eight o'clock. Front Seats, 3s. Back, 2s.

"SYDENHAM GARDENS", Bendigo Advertiser (1 May 1856), 3 

On Monday evening last Messrs. Coxon and Cooper gave one of their popular entertainments at these Gardens, before a very respectable audience. Mr. Cooper's songs in the Yorkshire, Somerset, and Devonshire dialect kept the company in a constant roar. Mr. Coxon, who sang several of Russell's songs, executed them in good style, and altogether the entertainment went off first rate. Messrs. Coxon and Cooper intend repeating their evening's amusement on next Monday night, when we would advise those who have not yet heard them to avail themselves of the opportunity.

"COXON AND COOPER'S SOIREES", Bendigo Advertiser (13 May 1856), 3 

Having heard a good deal of these gentlemen, we took an opportunity of visiting them at the Clydesdale Hotel, prior to their departure for Castlemaine to fulfil an engagement entered upon by them at that place. We were delighted and somewhat surprised with the bill of fare produced, which reminded us strongly of a first-class London free-and easy. The songs were excellent, and Mr. Coxon's "Ship on Fire" and "Man the Life Boat" were sung in a style not often heard on this gold-field. Mr. Cooper amused the audience with the comic adventures of "Tony Bumpkin," and kept the room in a constant roar of laughter, and finished by giving a real touch of his vocal abilities in the song of "One Bottle More." We understand that they purpose visiting Bendigo once more after their engagement at Castlemaine has terminated.

[Advertisement], Mount Alexander Mail (16 May 1856), 1 

ALBERT HOTEL. MR. JONES ever anxious to cater for the amusement of his friends and the public, having engaged those Talented Vocalists
MESSRS. COXON AND COOPER, Begs to announce that they will give their serio comic entertainment, Entitled,
"GRAVE AND GAY," Or Two Hours with Henry Russell, John Parry, and Tony Bumpkin,
In the first and third parts Mr. Coxon will introduce (for the first time in Castlemaine) the Musical Romances of Cinderella and the Glass Slipper, Bluebeard the Cruel, Whittington and his Cat, and the Corsican Brothers;
together with the celebrated descriptive songs of "The Ship on Fire," "Newfoundland Dog," "Dream of the Reveller," and "Main Truck."
The second and fourth parts will contain Mr. Bumpkin's Description of his First Love,
"MARY PORTER," And how she treated him; his Journey to London in consequence. Unkind Behaviour of his Uncle. Return to the Country, and Second Sweetheart,
"DOROTHY LEE." Unfortunate Termination of that Engagement. Visit to Derry Down Dale. Courtship and Marriage. Domestic Bliss and Household Expenses. Results of Going to Market. Reasons for coning to Australia. And lastly, his Analyzation of the Various Classes of Society.
Pianist - Mr. Wm. Hunter.

ASSOCIATIONS: William Hunter (pianist)

"CRITERION THEATRE", Bendigo Advertiser (15 July 1856), 3 

Last night the performances were for the benefit of Mr. and Mrs. Ricards. The weather was extremely unfavorable, and the attendance was consequently not nearly so good as it should have been. The comedy of the "Heir-at-law" was well performed, and Messrs. Coxon and Cooper's entertainment of the "Grave and Gay" gave universal satisfaction.

ASSOCIATIONS: Benjamin and Jessie Ricards (actors); Criterion Theatre (Bendigo venue)

[Advertisement], Bendigo Advertiser (8 August 1856), 3 

FOLLOWING Eminent Artistes have been engaged for the occasion, SATURDAYS, August 9, 16, 23, and 30:
Miss Graham, Messrs. Coxon and Cooper, Mr. Taylor. Also, - A Quadrille Assembly Every Night.
Mr. Hunter will preside at the Pianoforte.

ASSOCIATIONS: Amelia Graham (vocalist)

"AMATEUR PERFORMANCE AT DUNOLLY", The Argus [Melbourne, VIC] (14 April 1857), 3 

We were quite unprepared for the brilliant success which met the amateur performance for the benefit of the Maryborough Hospital, at the Pick and Shovel, last Friday night. The whole of the large hall was so crowded that we really believe it would have been a physical impossibility to have increased its contents. A large proportion of the audience were ladies, a part of whom were dressed in a manner which plainly showed that they were not accustomed to "rough it" on the diggings. The company seemed immensely pleased with the entertainment provided for the them, and, well they might be, for it is not too much to say that we do not believe on any diggings in the colony could be produced a better. The first piece was Sheridan Knowles' well-known play of the "Hunchback;" after which Madame Arnata White sang two, and Mr. Coxon three songs. A lecture on "Woman's Rights," a very comical performance of Mr. Watmore's, and the farce of "Boots at the Swan," wound up, at about half-past one, the evening's entertainment, which we are glad to learn will prove extremely profitable to the Hospital. - Maryborough and Dunolly Advertiser.

ASSOCIATIONS: Emilia Arnati White (vocalist)

[Advertisement], The Star [Ballarat, VIC] (17 August 1857), 3

CHARLIE NAPIER THEATRE. PROPRIETOR - MR. JOHN GIBBS. Entire Change of Performance, and Immense Attraction!
Engagement of the celebrated local Comic Singer, MR. COXON, Whose Shakesperian, and other Burlesques, have been received with unbounded applause in this and the neighboring colonies.
Engagement of the celebrated Dancers, the MISSES WISEMAN.
The Proprietor having determined upon affording the inhabitants of Ballarat, and its environs, a grand musical treat - a la Jullien -
has engaged the most celebrated artistes in the colonies, thus forming
A MONSTER BAND The solo performers consisting of Herr Richty, Monsieur Fleury . . . 1st Violins . . Leader of the Band, HERR RICHTY.

ASSOCIATIONS: John Gibbs (proprietor); Fanny and Emily Wiseman (dancers); Carl Richty (violin, leader); Achille Fleury (violin); Charlie Napier Theatre (Ballarat venue)

[Advertisement], The Star (21 August 1857), 3

MR. COXON, The celebrated Comic Singer, in his local Song, written on Ballarat, SIMON PUIR, OR, THE DAMAGED LOVER . . .

"CHARLIE NAPIER", The Star (21 August 1857), 3

The musical entertainment yesterday evening was of the first order, and deserved a far larger audience; not that the hall was not passably well attended, but that there was still room for many, whose absence laid blame on their appreciation of some of the best executed music we have ever heard . . . it reflected the highest credit on the conductor, Herr Richty . . . In addition, however, to the musical entertainments, there is now to be had at the Charlie any quantity of such enjoyment as can be extracted from the sight of prettily executed dancing, and from hearing a passably well sung song. The Misses Wiseman are the Danseuses, and Mr. Coxon is the vocalist. That gentleman's song of Simon Puir is a great favorite, on the mere account of the personal raillery of which it is made up. His other performances are creditable enough, and answer their purpose, which is all that is required of them . . .

"THE CHARLIE NAPIER", The Star (24 August 1857), 3

The Promenade Concert on Saturday evening was well attended . . . The entertainment has been varied by the introduction of a few clever dances by the Wiseman Children, under the direction of Mr. Powell, and some tolerable songs of a trifling character by Mr. Coxon. Beyond a facility of utterance, in time and keeping with the refrain music, to which the songs and burlesques are set, we do not apprehend that this gentleman aims at any very high standard of excellence as a concert singer. Although he has been nightly encored, very frequently four or five times in succession, his popularity is chiefly due to the matter of his songs, and their apt introduction of purely local peculiarities and allusions. Occasionally we have remarked a tendency towards license and double entendre, veiled however as it was under an almost total absence of coarse and disgusting epithets with which the notorious "flash" songs of a few years back were invested, we have not thought it worth while to submit them to the censure of the public. On Saturday night, however, a song, professedly new and original, was introduced, after considerable notice, which we hope never to hear again. Its introduction was prefaced by an apology from Mr. Coxon, that in its composition he did not intend to offend. Whatever his intention may be, he has entirely misconceived his vocation, if he imagines that, even through the medium of rhyme and music, one of the most offensive exhibitions which thrives and festers in our midst, is to be lauded, and praised, and flattered; and that the administrators of justice are to be held up to ridicule or reprehension, because of their very laudable efforts to suppress the outrage upon decency and good morals, whether it exist upon Bendigo or elsewhere. That we may not be misunderstood, we will state plainly that this new local song, "The Pretty Girls of Ballarat," is nothing else than an offensively impudent laudation of, and indirect apology for, the hundreds of abandoned women, now flaunting in the midst of our population; and the introduction of the name of Mr. McLachlan, the chief magistrate of Bendigo, because in that locality he endeavored to do his duty by keeping them in check, is not only a most unwarrantable liberty but a gross libel. In this matter there has been an evident neglect of proper supervision on the part of the proprietor of this place of amusement. It is quite sufficient that the eye is nightly compelled to witness the assemblage of these women of the town within the walls of the theatre, without disgusting the ears of those who are tempted thither to listen to music which cannot be heard elsewhere, by songs written in the worst possible taste in praise of a vice too common to need any pointed or marked allusion to attract attention. For the credit of those assembled, the song was not encored, and we trust it will not be repeated.

[Advertisement], The Star (26 August 1857), 3

CHARLIE NAPIER THEATRE . . . Lessee and Manager, MR. J. R. GREVILLE.
Fresh Attraction. TO-NIGHT, WEDNESDAY . . . MR. COXON'S REPLY TO THE PRESS, And Simon Puir, the Damaged Lover . . .

ASSOCIATIONS: John Rodger Greville (actor, manager)

[Advertisement], The Star (24 September 1857), 3 

THE PROPEIETOR begs to announce that he has secured the services of
MR. COXON, The celebrated Local Comic Singer, who will appear on Saturday next, 26th September, and every evening during the ensuing week,
is his budget of Colonial Comicalities, Burlesques, and New Local Songs, introducing (first time):
"The Flash Colonial Barman." "The Sleeping Half-share." "Unlucky Bill of London," &c.
Assisted by MR. DE COURCY, The favorite Baritone. Pianist, MR. JOSEPH PARKER.

ASSOCIATIONS: David De Courcy (vocalist); Joseph Parker (pianist)

"CHARLIE NAPIER", The Star (27 October 1857), 2

This theatre was again filled last evening . . . his Honor Mr. Justice Williams and the Attorney General with a party of ladies entered the private box prepared for their reception. Many of the members of the Bar were also present, and staid out the entire performance . . . By way of novelty at the conclusion of the extravaganza, Mr. Greville at the request, he said of the "Illustrious Visitors," announced Mr. Coxon with his "Simon Puir," at the pungent hits in which the "strangers" laughed heartily. With Coxon an encore was expected as a matter of course, and "The Flash Colonial Barman," and "The German Girls" followed, all of which the illustrious visitors listened to with evident enjoyment. Here our chronicle of the evening ends. His Honor and the ladies departed. What "the bar" saw afterwards, is not matter for our recording. Everything passed off with the utmost decorum, and a fair opportunity was afforded to the strangers, of judging for themselves of the general character of Ballarat amusements.

[Advertisement], The Star (7 December 1857), 3

DUCHESS OF KENT HOTEL . . . And re-engagement of MR. COXON, Who will sing his last new Local Song, "The Ballarat Races."
In addition to other entirely new and COLONIAL COMICALITIES, Every Evening until further notice. Pianist - Mr. PARKER.

[Advertisement], The Star (22 December 1857), 3 

DUCHESS OF KENT HOTEL . . . Colonial Comicalities.
Including "The Municipal Masquerade," "Dear Old Home," And his last new one, "The Licensed Victuallers' Ball," BY MR. COXON . . .

"CRESWICK (From our own Correspondent) 1st March", The Star (2 March 1858), 2 

. . . Madame Naej, with Mr. Coxon, gave a concert at the hall of the British Hotel, on Saturday evening. Madame Naej was well received, especially in the scena part, in which she sang admirably the Marseillaise Hymn. Mr. Coxon, comic as ever, gave some of his latest productions, some of which were so ludicrously apropos as to convulse the audience with roars of laughter.

ASSOCIATIONS: Madame Leon Naej (vocalist)

"CHARLIE NAPIER", The Star (12 March 1858), 3 

The house last night was rather scantily attended . . . The first piece was followed by some local comic singing by Mr. Coxon, who was three times encored. His songs of a "Ballarat Man" and "There's a Good Time Coming" are worth a visit to be heard . . .

"THE CHABLIE NAPIER THEATRE", The Star (20 March 1858), 2 

A rather thin house yesterday evening . . . but as few people ever will go to a theatre on Friday night the falling off was not so much to be wondered at . . . The first piece was the melodrama of "Jessie Vere" . . . The "celebrated local improvisatore" Mr. Coxon, followed . . .

[Advertisement], The Star (8 July 1858), 3 

THURSDAY EVENING. MR. JOHN GREGG'S BENEFIT. First night of the comic opera, THE ELIXIR OF LOVE . . .
Mr. Coxon, the inimitable, will make his positively final appearance, and sing his last local song, written expressly for the occasion, "Farewell to Ballarat" . . .

ASSOCIATIONS: Charles Walsh (actor, vocalist, manager); John Gregg (vocalist)

[Advertisement], Maryborough and Dunolly Advertiser [VIC] (27 July 1858), 2 

GOLDEN AGE CONCERT HALL. Wednesday next, July 28th, 1858.
MR. COXON (Late of the Charlie Napier Theatre, Ballarat,) Begs to announce that he will give his
MUSICAL ENTERTAINMENT, INTRODUCING his latest compositions, viz.:-
'Twas within a mile of Maryboro' town - Simon Puir -
The Union Bar - Mary of (the) Argyle -
The Letter Home - The Melbourne Shopman -
The Good Time Coming - Dear Old Home -
The Colonial Barbers - The Flash Colonial Barman -
The Flash Colonial Barmaid - The Death of Sly Grog, &c., &c., &c.
Together with the celebrated SERIES OF BURLESQUES.
Pianist - Mr. Cross. Admission, 2s. Reserved Seats, 4s.
The Entertainment will commence at Eight o'clock.

ASSOCIATIONS: Mr. Cross (pianist)

"MR. COXON AT THE GOLDEN AGE", Maryborough and Dunolly Advertiser (30 July 1858), 3 

We were highly gratified on Wednesday night by a visit to the Golden Age, to hear Mr. Coxon's Concert. Hid audience was rather scanty; but this was explained by the Ball and Hunt, at the Avoca, which had drafted away a great number of our pleasure-loving townsmen. Mr. Coxon has decidedly improved, both in style and voice, since his last visit to Maryborough; and we have no hesitation in declaring him by far the best comic singer that has visited the district. His choice of songs, too, is wry judicious, some of them are inexpressibly comical, and the audience were alternately laughing and clapping, and seemed very much pleased. The French say - les extremes se touchent - and in his last song, a serio-comic apostrophe to the pleasures of "Home, home, dear home," Mr. Coxon showed how short is the bridge that divides humour from sentiment. Each verse was received in in wrapt silence; and at the conclusion of the song," the house," scanty as it was, was fairly "brought down. Mr. Coxon announces a performance for to-morrow night, when he will give a local song, composed expressly for the occasion.

"MR. COXON'S CONCERT", Maryborough and Dunolly Advertiser (3 August 1858), 3 

The announcement of Mr. Coxon's concert on Saturday evening, drew together a large audience, including a number of ladies. Mr. Coxon sung his best songs in his best style, and received throughout the most hearty applause from his hearers. The local song, "Maryborough as it was and is," took very well. It referred to the improvements that had taken place in the town during the last few months, and contained many good-natured but telling hits on local subjects, that excited much mirth. Mr. Cross accompanied Mr. Coxon on the piano in a most able manner . . .

"DUCHESS OF KENT HOTEL", The Star [Ballarat, VIC] (23 August 1858), 3 

The proprietor of this establishment opened on Saturday with new, pretty, and remarkably commodious concert room. It is beautifully ornamented, possesses a large stage, and is better arranged for sound than any room we have seen on Ballarat. The "company" consists of Messrs. Morgan, Coxon, Percival, McDonald, Miss Sutherland (a danseuse), and Mr. R. A. R. Owen, pianist. The place was exceedingly well filled, and Mr. Coxon's new song anent the "New Rifle Corps" loudly applauded.

ASSOCIATIONS: J. W. Morgan (vocalist); Charles F. Percival (vocalist); Mr. McDonald (vocalist); ? Isabella Sutherland (dancer); Richard A. R. Owen (pianist)

"DUCHESS OF KENT CONCERT HALL", The Star (25 September 1858), 3 

. . . Coxon's new song apropos of the O'Shanassy banquet, is one of the cleverest productions of that fertile comic composer. It takes a ludicrous and congenial view of the affair, and is certainly worth hearing.

[Advertisement], The Star (30 October 1858), 3 

DUCHESS OF KENT NEW THEATRE . . . Each Evening, Musical Melange - Miss Chalker, Mr. J. Coxon. Musical Conductor - MR. R. A. R. OWEN . . .

ASSOCIATIONS: Marie Chalker (vocalist)

"THE DUCHESS OF KENT THEATRE", The Star (4 November 1858), 3

. . . Coxon continues to reign as our local comic singer . . .

"THE DUCHESS OF KENT THEATRE", The Star (29 November 1858), 2

Another week of success has added to the prestige of this bijou theatre, and it is well deserved. The "Tailor of Tamworth" we have seldom seen performed better than it was here on Saturday evening, and this fact sufficed to supply the lack of Mr. Coxon, whose homeward-bound intentions have, for a second time, taken him from Ballarat. He will not however, be soon forgotten, for he has been indomitable in making funny songs out of subjects that have appeared only too grave to others of perhaps less sense. His "Home, Sweet Home," "Poor Dog Tray," and "Ballarat Curiosities," &c., &c., will dwell in our memory for some time to come . . .

"THEATRICALS AND MUSIC . . . ARARAT", Bell's Life in Victoria and Sporting Chronicle (15 January 1859), 2 

Mr. Coxon gave a farewell entertainment on Monday evening, 10th January.

[Advertisement], Maryborough and Dunolly Advertiser (14 January 1859), 3 

GOLDEN AGE CONCERT HALL, MARYBOROUGH. On Saturday and Tuesday Evenings, January 15th and 18th.
MR. COXON (Of the Charlie Napier and Montezuma Theatres, Ballarat) in his
NEW ENTERTAINMENT ENTITLED "COXON AT HOME," Embracing the whole of his latest compositions, including
Being positively his Last Performances previous to his departure for England, per "Champion of the Seas," January 22nd, 1859 . . .

"MR. COXON AT HOME", Maryborough and Dunolly Advertiser (18 January 1859), 3 

Mr. Coxon's concert at the Golden Age Concert Hall, on Saturday evening, only attracted a limited audience. This, we are assured, was mainly due to the unsettled state of the weather. Those who were there, however, were delighted, and the loss was with those who stayed away. We have never heard so much applause from such a small body of persons. We are sure some of them must have been fatigued when they went away - at any rate, their hands must have tingled. Mr. Coxen gave several new songs, amongst which, "The Death of Sly-grog Selling," "The Dog Act" (a parody on Poor Dog Tray), and a local song - a skit on deputations sent down from a neighbouring town, - were the most successful. The last song, "Home, Sweet Home," acquired a peculiar significance from its being known that Mr. Coxon leaves the colony, in the Champion of the Seas, for England, next week. It was impossible to mistake the genuine empressement with which he gave the line, "My word, but I'll spend my next Christmas at home." Mr. Coxon, at the close of the concert, announced that be would sing again, and for the last time, on Tuesday (to-night), when he would introduce an entirely new local song composed for the occasion. We hope he will have a bumper house.

Names and descriptions of passengers per Champion of the Seas, for Liverpool, from Melbourne, 22 January 1859; Public Record Office Victoria (DIGITISED)

. . . Jno. Coxon / [single male] 38 . . .

"GREAT WESTERN RAILWAY LITERARY SOCIETY", Morning Chronicle [London, England] (20 January 1860), 4 (PAYWALL) - AS SEE BELOW:

"OUR OLD FRIEND COXON", Maryborough and Dunolly Advertiser [VIC] (27 June 1860), 2 

Many of our readers will be gratified to learn that this gentleman, whose amusing talents were so often exercised for their entertainment, is successfully following his profession in London. We subjoin an extract from the Morning Chronicle which will show that Mr. Coxon is turning his gold fields experience to profitable account: -
Great Western Railway Literary Society. - The monthly soiree which took place last evening in the rooms of the society, was most fashionably and numerously attended. The principle feature of the evening was a lecture, with musical illustrations, by Mr. John Coxon (a resident of Paddington), on his reminiscences of Australia. The lecture was most profusely studded with buffo songs, which were given by Mr. Coxon in a manner which bids fair to place him at the very head of this class of entertainment. His burlesque pathos was perfect, and his mimicry irresistible. The audience was perfectly enraptured, and the long-continued applause marked the approbation with which his efforts were received. Mr. Ward most ably accompanied Mr. Coxon on the pianoforte.

Published works:

Coxon's comic songster (Ballarat, 1859)

Coxon's comic songster, full of pungent parodies, quaint quizzicalities, odd oddities, local hits, colonial sayings and doings, &c., &c. (Ballarat: W. M. Brown, 1859) (DIGITISED)

[1] The good time coming; Air - "There's a good time coming" [There's a good time coming boys . . .] (page 3-5)
[2] The Ballarat man; Air - "The Englishman" [There's a place that bears a well-known name . . .] (5-6)
[3] The flash colonial barman; Air - "The Old English Gentleman" [Since I've been in this colony I've written many a song . . .] (7-8)
[4] The Melbourne shopman; Air - "I'm afloat" [I'm afloat! I'm afloat! on the Yarra's broad tide . . .] (8-9)
[5] Dear old home; Air - "Home! seet home!" [Though in the colony lots of us roam . . .] (9-12)
[6] Colonial Barners; Air - "The red, white, and blue" [The hair-cutters this side of ocean . . .] (12-14)
[7] Kangarooing; Air - "Barbara Allen" [Good people I am going to sing . . .] (14-15)
[8] Strand, strand, strand; Air - "Land, land, land" [Strand, strand, strand . . .] (16-17)
[9] The flash colonial barmaid; Air - "The Old English Gentleman" [Some time ago I wrote a song in which I tried to lash . . .] (17-19)
[10] Phrenology; [medley of airs] [Phrenology seems to be now all the go . . .] (19-21)
[11] The death of sly grog; Air - "Death of Nelson" [O'er "Sly grog's tomb" with drunken grief oppressed . . . To a grog ten 'tother day . . .] (22-23)
[12] The colonial wiow; Air - "Nora McShane" [About two years ago I left England behind me . . .] (23-24)
[13] The German girls; Air - "Low-back car" [I once fell deep in love, sir . . .] (24-26)
[14] Don't let your dogs stray; Air - "Poor dog Tray" [Fine weather's come at last . . .] (27-28)
[15] The Ballarat horse auctioneer; Air - "Irish washerwoman" [When a new chum arrives first upon Ballarat . . .] (29-30)
[16] The Nugget family; Air - "Bow, wow, wow" [I'm going to tell you about a family on Ballarat, sir . . .] (30-32)
[17] The rush to Port Curtis; Air - "Over the waters to Charlie" [Everybody's complaining that Ballarat's dull . . .] (32-34)
[18] The Port Curtis letter; Air - "The queen's letter" [There came a tale to Melbourne, of piles that had been won . . .] (34)
[19] The grog tent we got tipsy in; Air - "The days when we went gipsying" [The grog tent we got tipsy in, in old Bendigo . . .] (35-36)

[Advertisement], The Star [Ballarat, VIC] (19 July 1859), 3 

JUST PUBLISHED - Coxon's Comic Songster. One shilling. W. M. BROWN, Lydiard street, and all booksellers.

ASSOCIATIONS: William Maxwell Brown (publisher, printer); note that Brown published the songster after Coxon departed for England

Bibliography and resources:

Hugh Anderson (ed.), Two goldfields balladists [Coxon's comic songster, Ballarat, c. 1859; Bush poems by E. J. Overbury, Creswick, 1865] ([Hotham Hill]: Red Rooster Press, 1999) 

Ross A. Both and Warren Fahey, "Songs from the Australian goldfields, part 2: Life on the goldfields", Journal of Australasian mining history 14 (October 2016), 128-49 (DIGITISED)

COYLE, Francis (Francis COYLE; Rev. Mr. COYLE)

Musical amateur, lecturer on music, public lecturer, Roman Catholic cleric

Arrived Sydney, NSW, 30 March 1847 (per Sea Nymph, from Liverpool, 27 November 1846)
Arrived Adelaide, SA, 22 October 1847 (per Phantom, from Sydney)
Departed Adelaide, SA, 12 July 1849 (per Joseph Albino, for California) (TROVE tagged by Australharmony) (shareable link to this entry)


Letter, Francis Murphy, London, 8 September 1836, to Thomas (Paulinus) Heptonstall, O.S.B.; Downside Abbey, records, 1819-69, Australian Joint Copying Project, reel M997, L482 (DIGITISED)

London, Oct. 8th 1846 / My dear Mr. Heptonstal . . .
. . . a priest that I have procured at Melleray Abbey - His name in Coyle. I have arranged with Dr. Polding that he is to go immediately to Sydney, in order to do duty there until my return to Adelaide, & I am exceedingly anxious, that he should go by the very next vessel bound for Sydney - As he is at present out of a situation, & residing at Melleray [verso] Abbey a burden to the Trappists & he feels very uncomfortable & very anxious to sail immediately . . .
I have promised Mr. Coyle a free passage & twenty pounds as an outfit - ten pounds of this sum I have already paid him, & the other ten pounds is to be paid him by you upon his arrival in London . . . [fol 2.] If no money has come . . . Dr. Polding will pay for the passage of Mr. Coyle . . .

ASSOCIATIONS: Francis Murphy (cleric); John Bede Polding (bishop)

"SHIPPING INTELLIGENCE. ARRIVALS", The Sydney Morning Herald [NSW] (31 March 1847), 2 

March 30. Sea Nymph, barque, 467 tons, Captain Grange, from Liverpool the 27th November. Passengers . . . Rev. Francis Coyle, Rev. Michael Cornish, Rev. William McGinty . . .

[News], The weekly dispatch [Sydney, NSW] (17 July 1847), 21 

The Rev. Francis Coyle, Roman Catholic minister at this place [Parramatta], during his short sojourn amongst us has done much for the intellectual improvement of the poorer members of his church. Amongst other benefits he has introduced a "Debating Society," which meets weekly, and has, during the past week, issued a pamphlet, entitled, "Nemonic Tables and Rules," which he has distributed at his own cost. We are glad to see a person of so much talent laboring for the improvement of the moral atmosphere of his flock, and hope it will prove an incentive to others to "go and do likewise."

"DEPARTURES", The Shipping Gazette and Sydney General Trade List [NSW] (25 September 1847), 606 

September 25. - Phantom, brig, 158 tons, Captain Fox, for Adelaide. Passengers . . . Rev. Francis Coyle . . .

"MECHANICS' INSTITUTE", South Australian Register (15 April 1848), 2 

The third Conversazione was held at the rooms of the Mechanics Institute, on Thursday evening; and, judging from the large attendance of members and ladies, it appears that the Institute has lost nothing of its popularity, but is evidently increasing in public favour.

Mr. F. Dutton, as Vice President, took the chair, and said that that was the third time since the foundation of the Institute that they had met together to spend an evening in sociable and rational converse. He regretted that, in the absence of their honourable President, whom they had been in the habit of seeing occupying the chair on those occasions, he was obliged to offer the meeting so indifferent a substitute in his person. It was matter of congratulation to them all, as showing the increasing interest which was taken in the Institute, to see the room so densely crowded, as well as graced by the presence of so many ladies. He would not, then, occupy their time on any matter of business connected with the Institute. In general terms he might inform them that the Institute was flourishing, the members were increasing, and the funds also, which was not the least important point. And as ladies were proverbial for keeping secrets, he would tell them one. Next week they hoped to see the long-pending negotiations for the junction of the South Australian Subscription Library and that [of the] Institute finally concluded; and as the possession of a really good library was the keystone of the arch upon which the Institute would find a sure foundation to rest its fortunes upon, they would, he was convinced, all hail with pleasure that intimation, which he believed himself justified in making that evening.

The proceedings then commenced by Mrs. Murray playing on the piano, "We will March," which she executed in her best style, upon a wretchedly-bad instrument. Mr. Dutton then called upon Mr. Coyle to favour them with his promised lecture on Music.

The lecturer commenced by assuming that speech and music were given to man in the beginning. He knew, that it was asserted that language was not given in the beginning, but that men met by agreement, and formed it afterwards. He believed, with Rousseau, that for men to meet and form a language, they first required a language to enable them to do so. A proof that speech and music were given to man with his very being was found in their universality. All people have a language, from the most refined nations of the earth down to the poor New Hollanders at their corroborees. All have music after their own taste, about which there was no disputing; as in no place, so also in no time, was man found without music. No time could be assigned for its origin. It was supposed that man, hearing the sound of the thunder, the lashing of the waves, and the rustling of the trees, became astonished and awe-stricken, and endeavoured to supply their place by sounds. How early instrumental music was invented he left to antiquarians to decide. The first person mentioned as father or chief of those who played on musical instruments was Jubal, the seventh from Adam. He (Mr. Coyle) defined music to be the outpouring of the spirit under intense feeling. Then man broke forth in transports of thanksgiving, prayer, and praise, as in the Psalms of David; of triumph, as in the Song of Moses, of Deborah and Barak; of sadness, as in the Lamentations of Jeremiah; of grief, as David for the death of Saul and Jonathan; of love, as in the Song of Solomon. The lecturer then said he preferred carrying the subject off consecrated ground. So long as he kept it there, he should treat it most reverentially. He could not get his strength at it. He then took a clear and rapid view of the progress of music through the classic and middle ages down to the time when the English language began to assume something of its present form, and music appeared in the fine old English ballad and the touching lays of the Irish and Scotch, still thinking in Celtic, while struggling to express their strong feelings in the language of the strangers' land.

The lecturer then passed from the native music of the heart to the imported, mechanical music, that had driven the music that roused, soothed, and delighted our fathers, to lurk in dirty taverns and other miserable haunts. Modern music, its importers, and its patrons, he rallied in a tone not the less severe for being droll and perfectly good-humoured, and he followed up his attacks, as is his wont, by anecdote upon anecdote, each so appropriate and original, that he seems to possess the power of inventing anecdotes for present use, or of calling them up from the depths of a well-stored mind. The lecturer then told his audience not to be affected - not to pretend they had a taste for what is called "fine music." They might think they had, but he assured them, upon his word and honour, they had not, any more than they had a taste for sour crout and stewed nogs. The lecturer admitted that, with a few, a strange and unnatural taste might be acquired. Such might enjoy their own way; but when they attempted to sacrifice a whole people's right to their peculiar whim, then he felt as indignant as Juvenal did against the Roman citizen who would turn the corn-fields of Lybia into fallow ground to raise mushrooms for his own epicurean palate. No music will ever supply the place of a people's own music. No other music has the power of touching the springs of memory - of awaking sentiments generous, chivalrous, refined, holy. Imported and mechanical music might be admitted by way of dessert, but the mind should still have abundance of the substantial, health-giving national fare. He (the lecturer) had always expressed himself thus. In doing so he merely echoed the sentiment of Dr. Goldsmith, who could listen as unmoved as marble to the got-up music of the British metropolis, though Peggy Golding melted him to tears singing "Johnny Armstrong's Last Good Night."

The lecturer then appealed to the people, calling on them to assert their right to their music. It was not a luxury for the few, but given by a bountiful Providence for the consolation and elevation of all. I know (said the lecturer) you will have to fight for it. British men with foreign tastes will attack you, wearing the favours of Norma, Francisca de Rimini, and La Cracovienne, but just do you invoke the flames of Black eyed Susan, Nora Creena, and Lovely Jean, and then "Come on, Macduff."

At the conclusion of the lecture, Mrs. Murray entertained the meeting with singing the song of "The Rover's Bride." The glee "The Muleteers" was also excellently well sung by some members of the Glee Society and Mrs. Bushelle. At the termination of the amusements above stairs, a very amusing exhibition of Phantasmagoria took place in the room below, under the superintendence of Mr. R. Hall; which went off very merrily.

ASSOCIATIONS: Francis Stacker Dutton (musical amateur); Georgiana Murray (vocalist, pianist); Rebecca Bushell (vocalist); Adelaide Choral Society ("glee society"); on Coyle, see also
"SIR FRANCIS COYLE [sic]", South Australian Register (3 May 1848), 3 

"SHIPPING . . . CLEARED OUT", South Australian Gazette and Mining Journal (14 July 1849), 2 

July 12 - The brigantine Joseph Albino, 141 tons, T. Allen, master, for California. Passengers . . . Rev. Francis Coyle . . .

"PROGRESS OF RELIGION IN SAN FRANCISCO" Sacramento Transcript [California, USA] (3 August 1850), 1 

Among the various evidences of the progress of civilization in this city, the number of churches springing up on all sides is not the least gratifying. The following information on this subject will be interesting to our friends at home: The present Catholic church is situated . . . in Vallejo street, and is quite a spacious building. It was opened for divine service on St. Patrick's day - the 17th of March of this year . . . The very Rev. Antoine Langlois, vicar-general, has the charge of the congregation. He is assisted by Rev. Francis Coyle and Father Anderson, O. S. B., who has come out with the view of establishing a branch of his order in this city . . .

NOTE: Coyle was mentioned several times in the San Francisco press in January and February, and probably left California shortly afterwards.

Bibliography and resources:

Timothy L. L. Suttor, The Catholic church in the Australian colonies, 1840-1865 (Ph.D thesis, Australian National University, 1960), 204-13, 259-62 (DIGITISED)

NOTE: Suttor (259-62), following Bryne (History of the Catholic church in South Australia, 1896), reasonably assumed that Francis Coyle (as discussed 204-13) was also the "Rev. Dr. Coyle" who arrived in WA from England as chaplain to bishop John Brady on 13 December 1851; whether correctly, or not, that Coyle was also described elsewhere as a surgeon.


Musician, composer of the Adelaide march

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


[Advertisement], South Australian Register [Adelaide, SA] (26 November 1850), 2

AT THE EXCHANGE ROOMS, On Tuesday next, Nov. 26th,
PROGRAMME. PART I. 1. March - "Adelaide" - Crabbe - Full Band . . .
Leader - MR. WALLACE.
Leader of Amateur Brass Band - HERR HEUNERBEIN.
Pianist - HERR SINGER [sic, Herr Linger].
Conductor - MR. A. MOORE . . .

ASSOCIATIONS: Andrew Moore (violinist); Spencer Wellington Wallace (leader); August Christian Huenerbein (musician); Carl Linger (pianist); Exchange Rooms (Adelaide venue);
this is the sole record around this time of a musician named Crabbe; whether relevant or not, in the same month Adelaide publican James S. Crabb advertised a harmonic meeting with "singing, accompanied by and music" at his house, the Australian Arms, Hindley-street west; see
[Advertisement], Adelaide Times (2 November 1850), 4 


Amateur musician, pianist

Born Lincolnshire, England, 1815; baptised West Keal, Lincolnshire, 13 August 1815; daughter of Thomas Robert CRACROFT and Isabella FRANKLIN
Arrived Hobart Town, VDL (TAS), 6 January 1837 (per Fairlie)
Departed Hobart Town, VDL (TAS), 19 December 1843 (per Flying Fish, via Port Phillip)
Died London, England, 20 June 1892 (TROVE tagged by Australharmony) (shareable link to this entry)


Sophy Cracroft arrived in Tasmania with her uncle, John Franklin, the new governor, in 1837. She left Tasmania with the Franklins in 1843, and after John's death in 1847 she remained constant companion of his widow Jane Franklin.

William Henty (1808-1881), fellow passenger on the voyage out to Tasmania on the Fairlie, left a diary of the voyage in which he recorded:

. . . Tonight the party mustered pretty strong. Sir John's piano is brought from below, up on deck, and Miss Kracroft who plays beautifully, is chief musician. They marshal about 7 or 8 couples in country dances, Gaieties & Gravities etc. but Quadrilles are the chief, a Waltz now and then . . .


Baptisms solemnized in the parish of West Keal in the county of Lincoln in the year 1815; register, page 5; Lincolnshire parish registers (PAYWALL)

No. 38 / [1815] August 13th / Sophia D. of / Thomas Rob't [and] Isabella / Cracroft / W. Keal / Farmer . . .

Diary of the voyage to V.D.L. [1837]; William Henty Collection; University of Tasmania 

. . . Tonight the party mustered pretty strong. Sir John's piano is brought from below, up on deck, and Miss Kracroft who plays beautifully, is chief musician. They marshal about 7 or 8 couples in country dances, Gaieties & Gravities etc. but Quadrilles are the chief, a Waltz now and then. Matilda has joined in the Quadrille party once, but it is awkward to be up at that Time. Sir John and his Lady are great Encouragers, and the Captain, though secretly I imagine no friend to dancing, concurs very readily in the plan . . . He declines to dance himself being sure of a gale of Wind if he did such a thing. Since dancing has commenced, the games of leapfrog, French & English etc. have declined. Prayers too are postponed till past 8 . . .

Letters, Eleanor Franklin, Government House, Hobart, 20 June 1837, to Hannah Booth (her aunt); Australian Joint Copying Project (DIGITISED)

. . . We had a very pleasant voyage . . . Sometimes when it was not very windy, we used to get Papa's Piano up on deck & dance there, and it was considered good fun if anyone chanced to fall . . .

Bibliography and resources:

Marnie Bassett, The Hentys, an Australian colonial tapestry (Melbourne: Oxford University Press, 1954), 413 (edited extract from diary above) (DIGITISED)

CRAMER, Madame (Madame CRAMER; Madame KRAMER) = Margeritta HAIMBERGER

CRAMER BROTHERS (arrived 1855)

Musicians, theatre orchestra players

Arrived Melbourne, VIC, 1855 (shareable link to this entry)

CRAMER, Ferdinand (Ferdinand CRAMER; F. CRAMER)


Born Hannover (Germany), c. 1833
Arrived Melbourne, VIC, 26 September 1855 (per Champion of the Seas, from Liverpool, 5 July)
Married Margaret IRVINE (c. 1833-1909), QLD, 9 June 1863
Died Petrie Terrace, Brisbane, QLD, 21 April 1881, aged "48" (TROVE tagged by Australharmony) (shareable link to this entry)

CRAMER, George (George CRAMER; G. CRAMER; ? perhaps also Henry or Fritz CRAMER)

Musician, trombone player, barber, hairdresser

Born Hannover (Germany), ?
Arrived Melbourne, VIC, 26 September 1855 (per Champion of the Seas, from Liverpool, 5 July)
Died Toowoomba, QLD, 15 April 1862 (TROVE tagged by Australharmony) (shareable link to this entry)

CRAMER, Ernest August (Ernest August CRAMER; E. A. CRAMER; E. CRAMER; ? perhaps also Henry or Fritz CRAMER)


Born Hannover (Germany), 1836
Arrived England, c. 1849
Arrived Melbourne, VIC, 26 September 1855 (per Champion of the Seas, from Liverpool, 5 July)
Married Mary Ann STACEY, QLD, 31 January 1863
Died Rozelle, NSW, 10 December 1922, aged "86" (TROVE tagged by Australharmony) (shareable link to this entry)

CRAMER, Fritz (Fritz CRAMER; ? perhaps also George or Ernest CRAMER above)


Arrived Melbourne, VIC, 26 September 1855 (per Champion of the Seas, from Liverpool, 5 July) (TROVE tagged by Australharmony) (shareable link to this entry)

CRAMER, Henry (Henry CRAMER; or ? George CRAMER above)

Musician, ? carpenter, boarding house keeper

? Born Hannover (Germany), c. 1831/32 (? c. 1836-39)
Arrived Melbourne, VIC, 26 September 1855 (per Champion of the Seas, from Liverpool, 5 July)
? Married Margaret McNAMARA, Roman Catholic chapel, Mount Gambier, SA, 17 January 1867 (aged "29" [sic]; marriage certificate seen)
? Died Sydney, NSW, 6 April 1885, aged "54" [sic] (TROVE tagged by Australharmony) (shareable link to this entry)


According to Ernest's obituaries (1922), he was born in Hannover in 1836. His family emigrated permanently to England around 1849/50. He and at least two of his brothers were musicians with the British forces in the Mediterranean during the early stages of the Crimean War (1853-54), Ernest as a "bandsman" on the H.M.S. London; one brother was killed.

He and his (at least 3, perhaps 4) brothers next arrived in Melbourne in late September 1855 on the Champion of the Seas. Their names do not appear in the passenger lists, but they may well have come as hired ship's musicians as part of the crew.

Three brothers, Fritz, Ferdinand, and Henry, were first named in playbills in Sydney, as volunteering their services, in May 1856, for a charity benefit at the Royal Victoria Theatre in aid of one of the city's two volunteer fire brigades. Since the billing also includes regular actors at the Victoria, it probably indicates that the brothers were by then regular members of the theatre band. In December 3 brothers - H. Cramer, F. Cramer and Cramer - were listed in the band of Sydney's Lyceum Theatre.

Two brothers, Ferdinand and George (not Ernest as much later reported) next sailed for Brisbane in the second half of 1857, with the two Seal brothers, having been (as was only much later reported) informally engaged to perform as a town band by the local businessman and music lover Robert Ramsey Mackenzie.

In George Cramer's death record in 1862, his father's forename was given as Conrad, perhaps identifying the family as that of the Conrad Cramer/Kramer, musician, who crossed the Channel to England annually from 1844 and 1849 to work the summers there in "strolling" German bands.

Ferdinand Cramer was leader of the Volunteer Band at Ipswich from 1869 to 1873. Ferdinand Cramer, painter, of Brisbane, died on 21 April 1881, leaving his estate to his widow Margaret.

Ernest was only first certainly documented in Queensland at the time of his marriage in January 1863.

It is possible (though not necessarily likely) that Henry Cramer (died 1885) is a mis-identification; and that one or other brother later identified as George or Ernest was Henry or Fritz in 1856.

If there were 3 brothers, they were almost certainly Ferdinand, George, and Ernest above (in which case one or other of the latter two was first identified as Henry or Fritz).

If there were 4 brothers, they were Henry, Ferdinand, George, and Ernest (in which case the Fritz of 1856 was either George of 1857 or Ernest or 1863).


? Arrivals at the port of Dover, 1849; UK National Archives, HO2/178/1314 (PAYWALL)

23rd April '49 / Conrad Kramer / with Christian Zinkaut [?] / Musicians / Natives of Germany

NOTE: Conrad Kramer (whether or not related to the above) had come to England regularly to work as an itinerant musician over the summer; he had previously arrived with several other musicians in April 1848, and before that in March 1847, April 1845, and March 1844

? [Advertisement], The Argus [Melbourne, VIC] (14 December 1855), 8 

LETTERS for the following parties are lying at the Office of the Undersigned: . . .
Mr. George Cramer, 2 . . . B. AMSBERG. and CO., 110 Flinders-lane west.

[Advertisement], Empire [Sydney, NSW] (31 May 1856), 1 

Benefit to the Victoria Volunteer Fire Company, No. 1.
Mr. and Mrs. JAMES STARK, and the undermentioned Ladies and Gentlemen of the company, have, in the kindest manner . . .
offered their gratuitous services on the above evening: . . .
August Siegel, Andrew Siegel, Fritz Cramer, W. Davies, Henry Cramer, Ferdinand Cramer, F. Friedlander, M. Vaughan, A. Grebet . . .
The Australian Gas Company have kindly granted the free use of the Gas. Messrs, Paisey and Pryor have very liberally contributed the Printing.

. . . The Orchestra will play Jullien's celebrated Fireman's Quadrille, arranged by Mr. J. Gibbs, introducing various effects, - the alarm - the fire bell - men at the breaks - the whistle - the signal of return to the engine station . . .

ASSOCIATIONS: Andrew and August Siegel (musicians, alias Seal, see September 1857 below); William Friedlander (musician); Robert Vaughan (musician); Adolphe Grebet (musician); John Gibbs (leader); Royal Victoria Theatre (Sydney venue)

MUSIC: The fireman's quadrille (Jullien)

[Advertisement], The Sydney Morning Herald (18 December 1856), 1 

OUR LYCEUM, - Mr. W. H. STEPHENS, in announcing his first Complimentary Benefit, has much pride and pleasure in publishing the following document, placed in the Green-room of the theatre, and signed by the whole company:
OUR LYCEUM THEATRE - "The opening of the above mentioned theatre having furnished employment to a number of actors, actresses, artists, musicians, carpenters, and others, and
Mr. W. H STEPHENS having been principally instrumental in effecting this great good, it is proposed to give him a Complimentary Benefit, on
THURSDAY EVENING, December 18, 1856. All persons employed in 'Our Lyceum Theatre' disposed to tender their Gratuitous Services on the occasion will please affix their signatures to this paper immediately."
The following signatures are appended: . . . BAND: Messrs. Wheeler, Davis, Pearson, Friedlander, Wilkinson, Boans [sic], H. Cramer, F. Cramer, Hall, Cramer, &c., &c. . . .

ASSOCIATIONS: William Henry Stephens (actor, manager); Stephen Thomas Wheeler (musician); Isaac Henry Davis (musician); Joseph Pearson (musician); Theodore Scott Wilkinson (musician); Philip Barnett Boam (musician); John Thomson Hall (musician); Lyceum Theatre (Sydney venue)

[Advertisement], The Goulburn Herald and County of Argyle Advertiser [NSW] (7 March 1857), 5 

To Musicians. MESSRS. HENRI AND FERDINAND CRAMER, Clarionet and Sax Tuba players, are requested to forward their address to Mr. Frank Howson, Prince of Wales Theatre, immediately.
Any person communicating the above to them will be thanked.

ASSOCIATIONS: Frank Howson (manager, actor, vocalist); Prince of Wales Theatre (Sydney venue)

[Advertisement], The Sydney Morning Herald (11 March 1857), 8

NOTICE - If FRITZ CRAMER does not call and pay the amount due for board and lodging, within seven days from this date, the goods left in my possession will be sold to defray same.
CATHERINE NAUGHTON, William-street, 10th March.

[Advertisement], The Sydney Morning Herald (18 August 1857), 1 

ELECTORAL LISTS. SOUTH RIDING . . . of the County of Cumberland, in the Police District of Sydney . . . Ernest Cramer . . .

[Advertisement], The Moreton Bay Courier [Brisbane, QLD] (5 September 1857), 3 

BRISBANE BAND. THE Public are respectfully informed that (the Directors of the Brisbane Botanical Gardens having kindly granted their permission), the undersigned intend playing musical selections twice a week in the Gardens, should sufficient encouragement be given by the inhabitants of Brisbane and its vicinity.
The instruments consist of a Clarionet, Cornet, Sextuba, and Trombone.
Subscriptions will be invited by personal application during the ensuing week.
September 5, 1857.

[Advertisement], The Moreton Bay Courier (19 September 1857), 3 

BRISBANE BAND. THE public are respectfully informed that the arrangements for giving regular performances have now been completed, and that the
FIRST PERFORMANCE OF THE BRISBANE BAND will take place in the Botanic Gardens, on MONDAY AFTERNOON, at four o'clock, and terminate at six. The second performance will take place on
SATURDAY AFTERNOON, at the same hour. The performances will be repeated every MONDAY and SATURDAY, from 4 to 6 o'clock.
In announcing their programme they hope to have the attendance of all who can make it convenient to attend.
The Instruments consist of a Clarinet, Cornet, Saxtuba and Trombone.
1. Grand March - Annie Laurie - BOSSINI [Bosisio]
2. Aria from Romeo and Juliet - BELLINI.
3. Carlslust Polka - KESSLER.
4. Cavitina from Anna Bollena - DONIZETTIE.
5. Faust Waltz - D'ALBERT.
6. Cavitina from Attilla - VERDY.
7. Como Quadrille - D'ALBERT.
8 Cavitina from Robert Diavolo - MEYERBEER.
9. Victory Galop - TINNY.
10. French and English Alliance National Air - H. RUSSEL.
11. God Save the Queen.
September 19, 1857.

[Advertisement], The Moreton Bay Courier (26 September 1857), 3 

BRISBANE BAND. THE public are respectfully informed that the
SECOND PERFORMANCE of the BRISBANE BAND will take place THIS AFTERNOON, at four o'clock,
and will be continued on every MONDAY and SATURDAY AFTERNOON, at four o'clock, terminating at six o'clock.
1. Glasgow March - by BORK.
2. Duett Lucrezia Borgia - by DONIZETTI.
8. Essex Waltz - by LABITZKY.
4. Grand Selection of Scotch Airs - by LAUBACH.
5. Frances Polka - by KESSLER.
6. Duett from Norma - by BELLINI.
7. Edinburgh Quadrille - by D'ALBERT.
8. Grand Selection from William Tell - by ROSSINI.
9. Overland Mail Gallop.
God Save the Queen.

[2 advertisements], The Moreton Bay Courier (3 October 1857), 3 

BRISBANE BAND . . . in the Botanic Gardens, THIS AFTERNOON, commencing at four o'clock and terminating at six.
1. French and English Alliance National Airs - by H. RUSSELL.
2. Aria from Tancredi - by ROSSINI.
3. Carazener Waltz - by LABITZKY.
4. Grand Selection from Der Freyschutz - by WEBER.
5. Emerald Polka.
6. Grand Selection of Scotch Airs - by LAUBACH. 7. England Quadrille - by D'ALBERT.
8. Grand Selection from Fra Diavolo - by AUBER.
9. Pleasure of Matrimony Gallop - by GUNGL.
10. God Save the Queen . . .

THE Members of this Band, who have of late been performing twice a week in the Brisbane Botanic Garden, intend giving two performances at
IPSWICH during the ensuing week, on WEDNESDAY and THURSDAY, at 4 o'clock in the afternoon, in the old Police Yard.
Should they meet with sufficient encouragement, the performances will be continued weekly, during the summer.

[Advertisement], The Sydney Morning Herald (10 April 1858), 16

£2 REWARD. - Whereas HENRY CRAMER and LOUIS KOHL, my two hired servants, having absconded, I hereby offer a reward of One Pound each to any person who will apprehend and lodge in safe custody the above named persons - a warrant having been issued by the Sydney Bench for their apprehension.
JAMES CHAPMAN, Saint Leonard's, North Shore.
Description: Henry Cramer, aged 19 years, a native of Hanover, light and brown hair, and blue eyes, about 5 feet high.
Louis Kohl, about 30 years of age, black hair, dark eyes, about 5 feet 7 inches high, a stout built man.

[Advertisement], The Darling Downs Gazette and General Advertiser [Toowoomba, QLD] (14 April 1859), 2 

GEORGE CRAMER has made much pleasure in announcing to the inhabitants of the Darling Downs, and travellers, that the above luxuries, in addition to HOT, COLD, and SHOWER BATHS, can now be enjoyed in perfection at the "QUEEN'S ARMS," TOOWOOMBA.
N.B. - Surgical Instruments, Razors &c. repaired.

[Advertisement], The Darling Downs Gazette and General Advertiser (30 June 1859), 3 

Mr. George Cramer, FORMERLY principal Shaver to the Moulah of Oude, and perfumer to Rajah Roopabahd Ram Rey, begs respectfully to inform the Ladies and Gentlemen of Toowoomba, Drayton, Darling Downs, and the Northern Districts in general, that he Shaves, Powders, and Shampoos; Dresses Fronts, Wigs and False Teeth; sells Hair Powder, Scents, and Pomatum, &c. and is prepared, at a moment's notice, to turn-out Ladies or Gentlemen full dressed, Shampooed, and Powdered; Razors set, &c.
G. C. also attends parties with the Trombone.
Address: Capt. Witham's, Toowoomba.

[Advertisement], The Darling Downs Gazette and General Advertiser (31 May 1860), 3 

MR. GEORGE CRAMER hopes to announce to his patrons and the public in general, that he has returned to his headquarters at the Queen's Arms Hotel, Toowoomba, where he is determined to maintain his style as the recognisedly first frisseur of modern times.
Ladies' and Gentlemen's hair dressed according to any style in the English, French, Moldavian, Aztec, or prevalent Turkish fashion; Mr. Cramer's recent visits to the most exclusive harems of Constantinople, having rendered him au fait to all that enhances eastern beauty. Shampooing; after the Parisian mode, with extra scarifying and double joint cracking.
Hot baths always ready, Mr. Cramer being is attendance from 1 11.59 pm.
N.B. - Lessons given on the Ophicleide, Jew's Harp, Triangles. and Egyptian bagpipes.

"TOOWOOMBA POLICE COURT . . . MONDAY JULY 1st", The Darling Downs Gazette and General Advertiser (4 July 1861), 3 

George Cramer and Walter Homan, two local celebrities pleaded guilty to the charge of having broken into some goods belonging to Mr. Alford, that were in the Argyle Room on Saturday night last. It seems prisoners slept in a room contiguous to that in which the goods were stored, that they tapped some wine, and consumed about £1 worth, and that they were discovered in possession of two gin bottles full of sherry and port wine. Prisoners were sentenced to three months imprisonment with hard labour in Brisbane Gaol. This decision was rather a severe one under the circumstances. Had they broken into premises and stolen the liquor, the case would have been different. But to quarter two old topers in a bedroom opening out from another room in which wine and other liquors were stored, and then to give them three months hard labour for drinking some of the liquor, is about as hard lines as it would be to shut up a cat in a dairy, and then hang her for drinking the milk.

See also "DARLING DOWNS", The Courier [Brisbane, QLD] (6 July 1861), 3 

"THE DOWNS . . . 'GONE OVER TO THE MAJORITY' and 'RATTLE HIS BONES OVER STONES'", The Courier [Brisbane, QLD] (19 April 1862), 4 

We have this week to announce the demise of a local celebrity, viz., that of "George the Barber." He injured his leg somehow in a fall from his bed, mortification ensued, he was conveyed to the Hospital on Sunday last, and placed under the care of Dr. Sachse. One or two operations of amputation were performed, and the deceased died on Tuesday, and was buried yesterday. Death was in this case, no doubt, accelerated by the morbid state of deceased's constitution, induced by continued intemperate habits . . .

"Rattle his bones over the stones, for he's only a pauper (barber) whom nobody owns." This lyrical precept appears to be carried out most literally here. The custom of "Christian burial," of course, is only to be observed towards Christians, i.e., towards those whose life has been Christ-like . . . While the good people were in church yesterday, the remains of a fellow human being, George Cramer, were placed in a cart, driven off without a single follower, and, to use the conventional but expressive phrase - "buried like a dog" . . .

But see also "RATTLE HIS BONES VER THE STONES. [To the editor]", The Darling Downs Gazette and General Advertiser (24 April 1862), 3 

And see also "TOOWOOMBA DISTRICT HOSPITAL", The Toowoomba Chronicle and Queensland Advertiser (8 May 1862), 2 

[Advertisement], The Courier [Brisbane, QLD] (30 October 1863), 4

Notice of Musicians. ALL kinds of BRASS and STRING INSTRUMENTS For Sale, at the lowest possible prices, at WM. DACHSEL, care of F. Cramer, Adelaide-street, North Brisbane.

[Advertisement], The Courier (28 March 1864), 3

A full Band will be in attendance. Leader, Mr. F. Cramer . . .

[News], The Brisbane Courier (20 June 1864), 2 

We understand that a moonlight Concert will be given this evening in the Botanical Gardens by the Volunteer Band, should the weather be favorable. Several musicians, hitherto unconnected with the band, have recently joined it, and consequently the selections which have been made from various operas will be more efficiently performed. Some of the new members will perform solos, and, from what we have heard, the concert will be well worth attending. The following is the programme:
Quick Step, La Bohemian Girl, by Hood;
Aria, La Rosenberg (Solo, E. Cramer), by Rici; Valse, Kathleen Mavourneen, D'Albert; Polka Mazurka, Time, by Hilder;
Cavatina, Le Robert Diavolo, (Solo, F. Cramer,) by Meyerbeer;
Quadrille, Cavalcade, by Schubert; Galop Burlesque, by Cassidy.

[News], The Brisbane Courier (11 October 1864), 2 

A MOONLIGHT concert will be given this evening by the Volunteer Band in the Botanic Gardens, when the following programme will be played: . . . 6. Rossenberg [solo by G. Cramer] - Rici . . . [sic, probably Ernest, as see above]

"BRISBANE PHILHARMONIC SOCIETY", The Queenslander (25 May 1867), 7

THE third grand vocal and instrumental concert of the society was given on Thursday evening, at the North Brisbane School of Arts, to a large and fashionable audience . . . The chorus consisted of upwards of thirty voices, aided by an excellently arranged instrumental accompaniment, with Mr. Rosenstengel as conductor, and Madame Mallalieu and Mr. Diggles for the pianoforte and harmonium . . . a duett (pianoforte and flute) by Latour, consisting of variations on Hungarian and Tyrolese airs, was given by Madame Mallalieu and Herr Cramer, the chief merit of which, in our estimation, was the opportunities it afforded to exhibit the brilliant execution of Madame Mallalieu as a pianist and Herr Cramer as a flutist, and if this was so the object was achieved . . . A very well arranged grand march and chorus, by Mr. Rosenstengel, followed, which afforded Mr. Cramer an opportunity of displaying his abilities as a flutist . . .

ASSOCIATIONS: Ferdinand Rosenstengel (musician); Henrietta Mallalieu (pianist); Silvester Diggles (harmonium); Brisbane Philharmonic Society (association)

"POLICE COURT. Tuesday, 28th May, 1867 . . . ASSAULT", Border Watch [Mount Gambier, SA] (29 May 1867), 2 

Samuel Stone was brought up on a charge of assaulting one Henry Cramer, in his dwelling house, but there being no witnesses in attendance to substantiate the charge, the defendant was discharged.

[Advertisement], The Brisbane Courier (10 October 1867), 1 

5S. REWARD. - LOST, a rough-haired small TERRIER DOG . . . The finder will reccive 5s. reward upon bringing him to the undersigned.
E. CRAMER, Treasury.

[News], The Brisbane Courier (28 July 1868), 2 

The complimentary benefit tendered to Mr. A. Seal by the members of the Volunteer Brigade Band was not as well patronised last evening as the promoters could have desired, or as Mr. Seal had a reasonable right to expect . . . The best portion of the entertainment was that given by the Band. Several beautiful selections from popular operas were admirably executed. A solo from the "Bohemian Girl" was splendidly played on the clarionet by Mr. F. Cramer, and that gentleman and Mr. A. Seal, who played several solos during the evening, were loudly applauded on each occasion . . .

[News], The Brisbane Courier (22 August 1868), 4 

We are sorry to be unable to congratulate the Volunteer Brigade Band upon the amount of patronage bestowed upon them on the occasion of their benefit, at the School of Arts, last evening . . . Among the most successful and effective pieces may be mentioned the clarionet solos by Mr. F. Cramer, one of the cleverest instrumentalists in the band, a song from "Maritana," Madame Mallalieu's pianoforte solo, and a well-executed quartette from "Norma." Mr. E. Cramer's flute playing is also worthy of praise . . .

[News], The Brisbane Courier (30 January 1869), 4 

The members of the Volunteer Band attended at the drill-room, George-street, last evening, and delivered up their instruments and music, having been called upon by the Band Committee to do so. Captain Verney and Lieutenant Geary represented the committee. We have heard several unpleasant circumstances mentioned which have induced the committee to take this step. Captain Verney states that the real reason is a desire to inspect the instruments, and have such alterations made as they may require. Mr. E. Seal [sic, Andrew] has resigned the position of leader of the band, and Mr. E. Cramer has been appointed in his stead. The band has now been four years in existence, and it is a pity that any personal feeling should mar its efficiency. Those members who do not continue to act, and we are told there are several who will not, and who do not join another branch of the Volunteer Service, will be deprived of the land-orders the Land Act entitles them to.

[Advertisement], The Darling Downs Gazette and General Advertiser [Toowoomba, QLD] (6 March 1869), 2 

conducted by MR. F. CRAMER, Bandmaster, WILL give a GRAND VOCAL and INSTRUMENTAL CONCERT!
In Honor of the Opening of the Southern and Western Railway to Allora, on WEDNESDAY NEXT, MARCH 10TH . . .

"INSOLVENCY. SATURDAY, SEPTEMBER 20TH, 1873", The Newcastle Chronicle [NSW] (23 September 1873), 3 

Ernest Cramer, of Cooma, music master. Liabilities, £88; assets, £5.

"IPSWICH (FROM OUR OWN CORRESPONDENT) February 7", The Queenslander (8 February 1873), 10

On Saturday evening last a complimentary dinner was given to Mr. Ferdinand Cramer, the leader of the Volunteer Band in this town, who was also presented with a handsome solid gold ring as a token of the respect in which he was held by the members of the band, and the appreciation which they had of his abilities in conducting the band. The ring, which was made Mr. T. Given's, bore Mr. Cramer's initials in a shield, and inside was inscribed, "A present from the members of the Volunteer Band." A number of loyal and other toasts suitable to the occasion were given and responded to, and several songs were sung during the evening.

"IPSWICH", The Queenslander (10 November 1877), 29

AT the Land Court sitting before Mr. Commissioner Smith, on November 2, the following applications to select Crown lands were accepted:. . . Volunteer Selection. - Ferdinand Cramer, 60a., Fassifern . . .

Armidale Gaol, NSW, description and entrance book, 1880; State Records Authority of NSW 

1580 / August Ernest Kramer / [ship] Champion of the Seas / - / [born] Hanover / Professor of Music / 44 / 5 [ft] 9 1/2 [ins] / [complexion] dark / [hair] brown / [eyes] grey . . .

ARMIDALE POLICE COURT . . . MONDAY, JAN. 19", The Armidale Express and New England General Advertiser [NSW] (23 January 1880), 6 

August Earnest Kramer was further remanded for stealing a horse, saddle, and bridle, until the arrival of the warrant from Kempsey. Bail being still allowed in two sureties of £40 each, and one of £80.

"POLICE COURT - PORT PIRIE. Wednesday, August 18", The Express and Telegraph [Adelaide, SA] (20 August 1880), 3 

Henry Cramer was charged with attempting to commit wilful suicide on August 16. Margaret Cramer, daughter of prisoner, said - Remember last Monday, when I saw father coming home. When he came inside the house I said, "Who gained the day, father?" He said in reply, "Mother cannot make me pay more than a pound a week," and he also said he would soon settle that . . . The prisoner was brought up on a warrant the morning of the same day to answer an information of wife desertion, and was ordered to pay 20s. a-week . . . Prisoner, who said nothing, was committed for trial.

See also, "POLICE-COURT - PORT PIRIE", The Areas' Express [Booyoolee, SA] (21 August 1880), 2 

See also on the trial, "SUPREME COURT. CRIMINAL SITTINGS . . . THURSDAY, OCTOBER 7 . . . ATTEMPTED SUICIDE", Evening Journal (7 October 1880), 2 

[Advertisement], Warwick Examiner and Times [QLD] (9 June 1883), 3 

Lessons on Pianoforte. E. CRAMER, PIANOFORTE TUNER AND REPAIRER, (Late Instructor of the Tenterfield Band)
BEGS to inform the Inhabitants of Warwick, Allora, and surrounding districts, that having taking up his residence in Warwick, he will give LESSONS on the PIANO FORTE, and all other Instruments.
Pupils attended at their homes. TERMS on application to MR. CRAMER, at Mr. Moeser's, Palmerin-street.

Death certificate, Henry Cramer, 1885; BDM NSW

Death certificate, Henry Cramer, 1885; BDM NSW

1885 6th April / Henry Cramer / Boarding House Keeper / Male 54 years / [son of] Henry Cramer Publican [mother's name unknown]
[Born] Hanover Germany / About 5 years in NSW [sic] / [Married] Mount Gambier [at age of] 29 years [to] Margaret . . .

Registers of coroners' inquests, 1880-1886; State Records Authority of NSW 

[inquest] 8 [April 1885] / Henry Cramer / [age] 54 / [born] Hanover / [died] Wentworth / [cause of death] Gunshot wound inflicted by himself - not known whether accident or otherwise . . .

See also: [Notice], New South Wales Government Gazette [Sydney, NSW] (21 July 1885), 4664 

[Advertisement], The Brisbane Courier (15 December 1902), 12

TRANSMISSION BY DEATH. REAL PROPERTY . . . Name of Deceased Proprietor. - Ferdinand Cramer, late of Brisbane, painter.
Date of Death. - 21st April 1881. Name of Claimant. - Margaret Cramer, of the same place, widow of deceased . . .

"OBITUARY. MR. E. A. CRAMER", The Sydney Morning Herald (12 December 1922), 7 

The death occurred on Sunday of Mr. Ernest August Cramer, a veteran of the Crimean war, at the age of 86 years. Born at Hanover, the late Mr. Cramer went to England with his parents at the age of 13 years. On the out-break of the Crimean War be joined the British Navy, being drafted to the H.M.S. London. In 1853 the ship was ordered to Constantinople to refit. Mr. Cramer took part in the bombardment of Odessa, and saw the battles of Inkerman, Alma, and Balaclava fought. One of his brothers was killed in front of Sebastopol, and another took cholera and was sent to hospital in Scutari. While visiting his brother at Scutari he met Florence Nightingale. He was a member of the band on H.M.S. London, and when in action he was powder monkey. The late Mr. Cramer came to Australia with his brothers in 1855, at the age of 19 years, and arriving in Melbourne, went to the gold fields for a couple of years. Later he went to Brisbane, where he received an appointment in the Treasury. He afterwards became bandmaster at Government House, Brisbane, where he was conductor during the Duke of Edinburgh's visit. In 1863 be married Miss Mary Ann Stacey, at Brisbane. His wife survives him. There were 14 children of the marriage, of whom seven survive. Mr. Cramer also had 25 grandchildren, and nine great-grandchildren.

"CRIMEAN VETERAN", The Daily Telegraph [Sydney, NSW] (12 December 1922), 5 

With the death on Sunday of Ernest August Cramer (86) at his daughter's residence, No. 4 Harris Street, Rozelle, another of the fast-dwindling veterans of the Crimean campaign has moved off life's stage. The late Mr. Cramer was born at Hanover in 1836, and went to England at 13 years, and joined the English Navy. On the outbreak of the Crimean War he was drafted on to H.M.S. London (92 guns), then under the command of Captain Haydon, more popularly known as "Vinegar Jones." In 1853 they were ordered to Constantinople to refit. Deceased took part in the bombardment of Odessa, and saw Inkerman, Alma, and Balaclava fought. One of his brothers was killed in front of Sebastopol; another one took cholera, and was sent to hospital in Scutari. While visiting his brother there he met Florence Nightingale. He was a member of the band on the London, and while in action acted as powder-monkey. He sailed from Liverpool when 19 with his brothers, for Australia in the Champion of the Seas, in 1855. Arriving in Melbourne, he followed the goldfields of Victoria for a couple of years, and then went north to Brisbane, where he received an appointment in the Treasury. He later became bandmaster at Government House, Brisbane, where he was conductor during the Duke of Edinburgh's visit. He was married on January 31, 1863, in Brisbane, to Mary Ann, daughter of Henry Stacey, timber miller and hotelkeeper, of Brisbane, who survives him. They had a family of 14 children, 25 grandchildren, and nine great-grandchildren. One grand child was Mrs. T. F. Warbrick, Mayoress of Concord. 1918-1920. Mr. and Mrs. Cramer celebrated their golden wedding on January 31, 1913, and Mr. Cramer lived to within eight weeks of their diamond wedding, which would have been on January 31 next.

See also photo portrait of Cramer, "CRIMEAN VETERAN", The Daily Telegraph (14 December 1922), 5 

Bibliography and resources:

"Early Musicians on the Wallaby. Interesting Experiences (by PAULINE SEAL)", The Brisbane Courier (1 December 1823), 19 

It was between 1857 and 1858 that one of the small steamers plying between Brisbane and Ipswich landed a party of visiting musicians at Ipswich, en route for Warwick. There were many problems to be solved as to ways and means of getting to their destination. The musicians were strangers, and they did not know how to face the wilds of the Australian bush. One may picture them. There were no railways, or even stage coaches. There were only bridle tracks, which led to the various farms and stations, and horses were very scarce. The whole district was crowded with wild blacks, and it was found there were bushrangers in the ranges . . . Fred and Ernest Cramer, members of the party were fine specimens of manhood, standing 6ft high. They were from Germany. Fred, with his stately carriage and long Roman nose, was generally called the "Duke of Wellington." He married in the 60's, and was a well known resident of Ipswich for many years, working on the railway service. A busy day was spent at Ipswich. Posters were forwarded on to the various station holders announcing the coming concerts and asking for a reply. The reply came, "We all welcome you with open doors, and expect success. Provide yourself with good horses and we will keep a lookout for you on the way." With great difficulty Mr. Seal purchased four horses . . . The concerts proved most successful. High prices ruled, and people came in from all corners of the district and enjoyed the musical treat . . .

"SIXTY YEARS OF MUSIC IN BRISBANE", The Telegraph (26 November 1945), 4 

The first prominent settler in the Moreton Bay district entitled to the credit of having brought professional musicians to what shortly afterwards became the State of Queensland was Mr. R. R. Mackenzie, who, when Separation was actually granted, became Sir Robert Mackenzie, and the first Colonial Treasurer in the Herbert Ministry. This point was made by Mr. C. G. Austin, in a paper read to members of the Historical Society of Queensland . . . "R.R. Mac," as he was familiarly termed, who had settled on sheep country in the Brisbane River Valley in 1846, paid a visit to Sydney early in 1857 and attended some concerts which had been organised there by Mr. W. H. Paling, an accomplished violinist, of Dutch nationality, whose name afterwards became familiar through out Australia. Another musician who came to Australia with the same party was Professor W. A. Seal, who eventually settled in Brisbane and whose family became particularly well known. Through the enterprise of Mr. Mackenzie a concert party consisting of Professor Seal and his brother, with two performers named Cramer, were brought to Brisbane to play a season of high-class music in the Botanic Gardens. All of these were induced to settle in Brisbane . . .

ASSOCIATIONS: Robert Ramsey Mackenzie (musical amateur); William Henry Paling (musician); but, correctly, neither the Seals (whose German surname was Siegel) nor the Cramers arrived in Australia with Paling

C. G. Austin, "Early history of music in Queensland" [Read at a meeting of The Royal Historical Society of Queensland on 23 November 1961], Journal of the Royal Historical Society of Queensland 6/4 (1962), 1052-1067

. . . Mr. Mackenzie, who had taken up a pastoral holding in the Brisbane Valley district, paid a visit to Sydney early in 1857 and had attended an orchestral concert which had been organised by Mr. W. H. Paling, a violinist of Dutch nationality, who had come to Australia two years earlier. The famous tragedian, G. V. Brooke, induced musicians from England to accompany him on his first visit to Australia in 1855, one of these being Mr. Andrew Seal, later known as "Professor" Seal, a native of Wiesbaden, Germany, who had attracted the attention of G. V. Brooke in London. Others who accompanied "Professor" Seal to Australia were his brother and four brothers named Cramer. After having fulfilled certain theatrical engagements, "Professor" Seal, with his brother, and two of the Cramer brothers, through Mr. Mackenzie's influence, came to Brisbane in 1857, to give a series of performances in the Botanic Gardens. By securing employment locally for some of these musicians Mr. Mackenzie was able to keep them in Brisbane . . .

ASSOCIATIONS: It was correctly, Lewis Tobias Jones, who captained the London in the Mediterranean in 1854-55 who was known as "Vinegar Jones"


Comic singer, tailor

Born Nottingham, England, c. 1811
Arrived Melbourne, NSW (VIC), 21 January 1840 (per John Bull, from London, 22 September 1839, aged "28")
Died Ashby, VIC, 26 November 1852, aged "41" (TROVE tagged by Australharmony) (shareable link to this entry)


A list of immigrant British subjects . . . arrived at Port Phillip per Ship "John Bull", 21 January 1840; State Records Authority of NSW, 4/4813 (PAYWALL)

. . . Cramp/ Edie / 28 / Tailor / [born] Nottingham / [Protestant] / [Read and write]
[Cramp] Martha / 28 / Dressmaker / [Nottingham] / [Protestant] / [Read and write] . . .

[Advertisement], Port Phillip Gazette [Melbourne, NSW (VIC)] (16 May 1840), 2 

Vocal Concert. J. TICKELL, TEACHER of Singing according to the "Musurgia Vocalis,"
late Leader of the South Devon Club, having secured the assistance of MR. CRAMP, the celebrated Comic Singer,
has the honor to inform the Ladies and Gentlemen of Melbourne and its vicinity, that at the request of several, they will give an
Evening Vocal Concert, at the LAMB INN, on MONDAY EVENING next, the 18th instant, at Seven o'clock precisely.
Tickets Five Shillings, may he had at the Lamb Inn, and at the Office of the Patriot. For programme see hand bills.

ASSOCIATIONS: John Tickell (musician, also arrived on the John Bull); Musurgia vocalis (singing treatise) by Isaac Nathan (composer)

"CONCERT", Port Phillip Gazette (3 June 1840), 3 

Messrs. Tickell and Cramp gave a concert at William's Town, on Friday evening last. We learn that their efforts on this occasion were highly successful, and warmly applauded by their audience, which would have been more numerous but for the boisterous and inclement state of the weather.

"DIED", Geelong Advertiser and Intelligencer [VIC] (29 November 1852), 2 

At his residence in Ashby, on the 26th inst, Mr. Adie Cramp, after a short illness.

Grant of administration, Adie Cramp; Public Record Office Victoria 

CRAMP, Thomas (Thomas CRAMP; T. CRAMP; Mr. CRAMP)

Musician, professor of music, organist, music master, musicseller, musical instrument seller, piano tuner, convict

Born Garlinge Farm, Isle of Thanet, Kent, England, 1803; baptised Thanet, 21 August 1803; son of John CRAMP (1775-1849) and Sarah Bouchery TOMLIN (1772-1835)
Married ? Maria FEAKINS (d. 1852), Tenterden, Kent, England, 6 January 1827
Arrived VDL (TAS), 16 August 1839 (convict per Egyptian, from London, 9 April)
Died Hobart Town, VDL (TAS), 7 July 1849, aged "47" (TROVE tagged by Australharmony) (shareable link to this entry)

CRAMP, Richard James (Richard James CRAMP; R. J. CRAMP; Mr. CRAMP, junior)

Music and musical instrument seller

Born England, c. 1822; son of Thomas CRAMP
Arrived Hobart Town, VDL (TAS), 12 November 1840 (free per Derwent, from London, 26 July)
Married Eliza SADDLER, New Town, VDL (TAS), 27 January 1846
Died Hobart, TAS, 7 January 1877, aged "55/56" (TROVE tagged by Australharmony) (shareable link to this entry)


At London's Central Criminal Court on 26 November 1838, Cramp, aged 35, pleaded guilty to several counts of major embezzlement and was sentenced to transportation for 14 years. He arrived in Hobart as a convict on the Egyptian in August 1839. His wife Maria, son Richard, and daughter Sarah, followed him to Hobart in late 1840.

By mid 1841 Cramp had established himself as a music seller and piano tuner, although, due to his convict status, for the first few years his advertisements were run under the name of son Richard.

In December 1842, John Howson was rumoured to have objected to being musically associated with Cramp, who was playing the seraphine at St. George's Battery Point (probably in direct succession to Maria Logan, who had left for Sydney that year), probably because he was a prisoner, though this report was later denied. A character reference from the rector and wardens of the church recommended him for a remission of sentence. He received a ticket-of-leave in January 1844, and in December 1845 a conditional pardon.


Baptisms, Thanet, Kent, 1803; England, Select births and christenings (PAYWALL)

21 August 1803 / Thomas son of / John and Sarah / Cramp

ASSOCIATIONS: On his father's work as one of the principal farmers of Thanet, see The visitor's new guide . . . to the Isle of Thanet ( ), 32-33 (DIGITISED)

Marriages, Tenterden, Lent, 1827; Kent, Extracted parish records (PAYWALL)

Thos. Cramp of St. George's Canterbury bachelor, 23, & Maria Feakins of Tenterden spinster (23), at Tenterden, 6 January 1827

ASSOCIATION: Maria Feakins (later Mrs. William Barnett), died Huon, TAS, 19 August 1852, aged "51"

Register of births and baptisms, Sion Chapel (Countess of Huntingdon's Connexion), Margate, 1827; UK National Archives, RG4/1809 (PAYWALL)

Cramp / Sarah Tomlin Cramp, the daughter of Thomas Cramp (Son of Thomas & Margaret Cramp [sic]) & Mariah his wife, was born at Canterbury, June 21, 1827, and baptised Oct'r 7th of the same year . . .

ASSOCIATIONS: Sarah Tomlin Cramp (Mrs. James Kirby Manton), died Hobart, TAS, 29 January 1888, aged "50"; Thomas Cramp (1780-1864) was probably correctly his uncle (and perhaps his adopted father); his wife Margaret Rowe (1780-1857)

THOMAS CRAMP, Theft, embezzlement, 26th November 1838; Old Bailey Online

246. THOMAS CRAMP was indicted for embezzling the sums of 50l., 100l., and 50l., which he had received on account of Charles Fossett Burnett and others, his masters; also the sums of 200l., 108l., and 8l.; to both of which he pleaded GUILTY . Aged 35. -
Transported for Fourteen Years. (The prosecutor stated his loss to be between 2000l. and 3000l.)
Before Mr. Recorder.

Convict record, Thomas Cramp, Egyptian (1); Tasmanian names index; NAME_INDEXES:1384130$init=CON31-1-8p57 (DIGITISED)

2493 / Thomas Cramp / Egyptian 16 August 1839 / Central C'l Court 26 Nov'r 1838 / 14 [years] / . . . wife Maria in Sussex . . .$init=CON18-1-7p213 (DIGITISED)

Cramp Thomas / No. 2493 / [born] Kent / Music Master / 5 ft 9 1/2 / [age] 36 . . .$init=CON14-1-48P11 (DIGITISED)

. . . Master Musician . . . / M[arried] Maria in Sussex . . .

Report of the arrival at the port of Hobart Town of the Barque Derwent, 12 November 1840, from London, 26 July; Archives Office of Tasmania, SLTX/AO/MB/2/39/1/5 (PAYWALL)

. . . Mrs. & Miss Cramp . . . Messrs. . . . Cramp . . .

"SHIP NEWS", Tasmanian Weekly Dispatch [Hobart Town, VDL (TAS)] (13 November 1840), 4 

Nov. 12 Arrived the barque Derwent, 362 tons, J. McPherson master, from London 26th July, with a general cargo. Passengers . . . Mrs. and Miss Cramp . . . Messrs. . . . Cramp . . .

[Advertisement], Colonial Times [Hobart, VDL (TAS)] (27 July 1841), 2

PIANO-FORTES Tuned and regulated upon London Prices.
IT is an acknowledged fact, that PIANO-FORTES, when frequently tuned and regulated, preserve their tone a much longer period than those neglected.
The Advertiser, who has for upwards of ten years tuned for the first houses in London, begs to inform the musical families of Hobart Town and its vicinity, that he tunes and regulates Piano-Fortes upon London prices-namely, 3s. 6d. each; within thirty miles of Hobart Town, 10s. 6d. each.
Orders punctually attended to.
Address letters (post-paid) to Mr. R. J. Cramp, at this office; or Mr. Gardener, Confectioner, Macquarie-street. July 27, 1841.

[Advertisement], The Austral-Asiatic Review, Tasmanian and Australian Advertiser (17 December 1841), 1 

A Card. PIANOFORTES tuned and repaired
upon approved principles, and at London prices, viz. - s. d.
Square Pianos - 3 6
Cabinets and Grand - 5 0
New Wires for the treble - 0 6
Ditto ditto below the major key of C. - 1 0
Covered Wires for the bass - 1 6
The Advertiser, having received a large supply of the finest German Steel Wire by the Derwent, begs to inform the Musical Families of Hobart Town and its vicinity, that he can undertake thoroughly to rewire and renovate old instruments at an extremely moderate cost.
Pianofortes kept in perfect tone and action at one guinea per annum, with no extra charge for wires or other repairs.
All letters (post-paid) addressed to Mr. R. Cramp, Jun.,
Franklin's Distillery, Macquarie-street, Hobart Town, will meet with instant attention.
Hobart Town, Dec. 10, 1841.

[Editorial], Colonial Times (6 December 1842), 2

LAST week our attention was called to an unpleasant report connected with the Catholic Musical Festival. It appears that the name of a Mr. Cramp was mentioned to one of the committee as a vocalist, and that the committee man stated that he was much obliged by the offer, but that probably there might on the part of some of the performers be an objection, he therefore would not call upon him for his assistance: this conversation was magnified into a report that Mr. John Howson had stated that if Mr. Cramp sung he would not &c. Some friends of the latter gentleman attended the Theatre on Thursday, and received Mr. J. Howson with great disapprobation. This circumstance led us into an inquiry among the committee, and we find that so far from Mr. John Howson having made such a remark, he never even knew Mr. Cramp's name had been mentioned as an assistant, until after the performance of the Oratorio. We have likewise seen Mr. Cramp, who expresses his conviction that Mr. John Howson never said anything to his prejudice, and he had been imposed on by some mischief-making person. As we happen to know the Messrs. Howson, and to have admired their steady and decorous conduct, we are only doing an act of justice in giving this explanation. At the same time we wish it to be understood that we would be among the first to deprecate such conduct as Mr. J. Howson's is charged with, had it been true; but being false, it would be cruel to allow a report so much calculated to prejudice Mr. Howson to go abroad uncontradicted.

ASSOCIATIONS: John Howson (musician); Frank Howson (musician); Royal Victoria Theatre (Hobart venue); St. Joseph's church (Hobart)

"FALSE REPORTS", Colonial Times (13 December 1842), 3

In reference to what we said last week, as to the malicious reports in circulation, accusing Mr. John Howson of having uttered expressions which we are authorised to state, are directly opposed to his feelings and sentiments, we are happy at being enabled to lay before the public the additional evidence thereof which the following note supplies; -
"Mr. Fry presents his compliments to Mr. Howson, and regrets to hear that a report so injurious to him, respecting his refusal to play the seraphine at St. George's Church, accompanied by a prisoner, should have got into circulation. Mr. Fry has no recollection of Mr. Howson having ever made any such objection, and on the occasion to which Mr. Howson alludes, when Mr. Fry proposed his being accompanied by Mr. Crampe, Mr. Fry recollects that Mr. Howson assented to the proposal without making any objection.
- Dec. 7, 1842, 100, Macquarie-street.

ASSOCIATIONS: Henry Phibbs Fry (Anglican cleric), rector of St. George's (Battery Point, Hobart)

"The Bishop", The Austral-Asiatic Review, Tasmanian and Australian Advertiser (18 August 1843), 3 

On Sunday, the Bishop of Tasmania preached at St. George's Church. The congregation was as-usual, when that prelate discourses, extremely crowded. The Rev. Mr. Fry read the liturgy in his usual excellent manner. The Bishop's sermons are spoken of in all in the highest terms of admiration. The church music was prepared by that excellent musician, Mr. Cramp, the organist, with great taste and judgment.

ASSOCIATIONS: Francis Russell Nixon (bishop)

2nd set of Quadrilles de Punch, with Valse de Judy (London: Jefferys & Nelson, [1842]) cover

[Advertisement], The Courier [Hobart, VDL (TAS)] (29 December 1843), 1

NEW QUADRILLES. Just Published,
PUNCH & JUDY'S QUADRILLES, with the famous VALSE-DE-JUDY, price 3s.,
to be had at S. A. TEGG'S Book and Stationery Establishment, 30 1/2, Elizabeth-street,
and Mr. R. J. CRAMP, 14, Brisbane-street, corner of Argyle-street. Dec. 19.

ASSOCIATIONS: Samuel Augustus Tegg (bookseller); this was almost certainly not a locally printed sheet music publication; rather it was probably imported copies of 2nd set of Quadrilles de Punch, with Valse de Judy (London: Jefferys & Nelson, [1842]), cover pictured above

[Government notices], The Cornwall Chronicle [Launceston, VCL (TAS)] (6 January 1844), 4

Tickets-of-leave . . . Thomas Cramp, Egyptian . . .

[Advertisement], Colonial Times [Hobart, VDL (TAS)] (17 September 1844), 1

PIANOFORTES. THE Undersigned begs to state, that he has engaged a
first-rate PIANOFORTE MAKER from London, and will be most happy to receive orders to make new Instruments, or repair those which may be out of order, on the most reasonable terms.
He has now on hand two excellent Instruments, which he will either Sell or Exchange.
Pianofortes tuned at the London price, 5s.; within twenty miles of the city, 10s. and in any part of the colony, at 15s each.
THOMAS CRAMP, 14, Brisbane-street, Sept. 6, 1844.

"ST. GEORGE'S CHURCH", The Hobart Town Advertiser (28 December 1844), 3 

The festival of Christmas was celebrated at St. George's by a magnificent anthem, in which a great addition was made to the usual strength of the choir. Madame Gautrot's powerful voice was particularly prominent, while the fine Seraphine played by Mr. Cramp, did full justice as an accompaniment.

ASSOCIATIONS: Madame Gautrot (vocalist)

[Advertisement], The Cornwall Chronicle [Launceston, VDL (TAS)] (15 February 1845), 3 

MR. CRAMP, Professor of Music, and Organist of St. George's Church, Hobart Town,
begs leave to inform the inhabitants of Campbell Town and its vicinity, that he intends giving a
Concert and Ball, on THURSDAY, Feb. 27th, 1845, after the London style, and has engaged the services of
Mons. & Madame GAUTROT, AND Mr. NESBITT, (the celebrated Tragedian, from Sydney,) who will give some of his admired readings.
Programme - Part I.
1. AIR with variations, Violin, and Pianoforte Accompaniement - Mons. GAUTROT and Mr. CRAMP.
2. RECITATION - "Battle of Minden" - Mr. NESBITT.
3. SONG - "La Bion d'ina Gondolet" [La Blondina in gondoletta] (with the celebrated variations, as sung by Mad. Catalani, and Pianoforte Accompaniment) - Madame GAUTROT.
4. GLEE - "Blow, gentle Gales" (from the Opera of the Slave - Bishop) - Madame GAUTROT, Mr. NESBlT, & Mr. CRAMP.
5. RECITATION - "Rolla's Address to the Peruvian Army" - Mr. NESBITT.
6. DUET, Comic - Mons. & Mad. GAUTROT.
Part II.
1. AIR, with variations - Violin, on one string, a la Paganini - Gautrot - M. GAUTROT.
2. SONG - "Soft be thy Slumbers" - Nelson - Mr. CRAMP.
3. GLEE, Comic - Cherubini - Mad. GAUTROT, M. GAUTROT, & Mr. CRAMP.
4. RECITATION - "Othello's Apology before the Senate" - Mr. NESBITT.
5. SONG - "My Lodging" - Drouett - Mad. GAUTROT.
6. GLEE - "See our Oars with feather'd Spray" - Mad. GAUTROT, Mr. NESBITT, and Mr. CRAMP.
7. SOLO - Violin - Mons. GAUTROT.
8. "Rule Britannia" - Mad. GAUTROT, with full chorus.
The Concert will commence at two o'clock. Tickets 5s. each, to be had of Mr. Sutton, and at the Hotels, Campbell Town.

ASSOCIATIONS: Joseph Gautrot (violinist); Francis Nesbitt (actor)

[Government notices], The Cornwall Chronicle (6 December 1845), 402

The Queen has been pleased to grant to the under-mentioned persons pardons conditional on their not returning to Europe or to any of the British Colonies in America, during the residue of their respective sentences: - Alfred Baldock, Westmorland; Thomas Cramp, Egyptian.

[Advertisement], Colonial Times (16 December 1845), 2

MR. THOMAS CRAMP, PROFESSOR OF MUSIC, BRISBANE-STREET, Four doors from the Independent Chapel,
BEGS respectfully to acquaint his Friends and the Public generally, that he has received, per Auriga, an assortment of
Cabinet and Piccolo Pianofortes, together with a choice selection of New Music, Logier's Instructions for the Pianoforte.
PICCOLO PIANOFORTES. T. C. respectfully solicits an inspection at his residence of these elegant, fashionable, and much-admired Instruments.
They are particularly adapted for singing, from their convenient size, possessing a tone sweet and melodious, with power equal to instruments of much larger construction, very suitable for small rooms.
The backs being silked and French polished, from their neat and ornamental appearance, may be placed, if required, in the centre of a room.
*** Pianofortes Tuned and Repaired at London prices. December 9, 1845.

"St. George's Church", The Britannia and Trades' Advocate [Hobart Town, TAS] (22 January 1846), 3 

Mr. Cramp has been turned out (we cannot find a more suitable term) from his office as organist of St. George's Church, without, as we are informed, any sort of previous notice. The keys of the seraphine were sent for, and himself informed that his services were no longer required. On enquiry by him of the churchwardens as to the why and the wherefore, he was coolly told that they knew nothing about it, such matters being left entirely with the clergyman of the parish, the Rev. Mr. Fry. He, says he does not think psalm-singing proper any longer, it not being required by the form of common prayer. We recollect a few years back having occasion publicly to notice Mr. Fry's prayer for the "supreme" power of the Lieutenant-Governor and the obstinacy with which he adhered to the profanity, until, as we believe, he was ordered to desist. We recollect also his constantly-evinced inclination toward Puseyism, and, therefore, are not in the least surprised at this new light which has opened upon him relative to the singing, but we are nevertheless astonished that Mr. Cramp should have been treated in such a manner. Surely he might have had his three months' notice, or, if there was any cause why a change should have taken place, it would have been only consistent with the character of a well-regulated parish church that a cheque for his salary for the quarter should have been sent him with few words, civil or explanatory. Nothing of the sort was done - and, as the clergyman and the church wardens of that and every other church are public men, we hope they will give some explanation as to how it happens that this has occurred.

1846, marriages in the district of New Town; Tasmanian names index; NAME_INDEXES:829803; RGD37/1/5 no 170 (DIGITISED)

No. 83 / 170 / 27th January 1846 Mr. Saddler's house at New Town / Richard James Cramp / above 21 / Butcher / [and] Eliza Saddler / Above 21 / . . . [witnesses] James Saddler, Tho's Cranp . . .

"MARRIED", Colonial Times (30 January 1846), 2 

On Tuesday last, the 27th instant, by special license, at New Town, by the Rev. J. Lillie, Richard James, eldest son of Mr. Thomas Cramp, of Hobart Town, to Eliza, third daughter of Mr. J. Saddler, postmaster, New Town.

"THE CHURCHES", The Britannia and Trades' Advocate (5 February 1846), 2 

The abrupt dismissal of Mr. Cramp, the Organist, by the clergyman of St. George's Church, we noticed in a former No., and we regret to hear that, up to this hour, no sort of payment, or explanation, has been tendered him. Mr. Cramp has a right to fair and decent treatment, and we ask it for him again thus publicly, because we did hope that a sense of justice would have induced those concerned to render it immediately after the error, if it be one, was brought under their notice. The Church-wardens are, we are certain, unconscious of the treatment Mr. Cramp has received, but they ought not to be so, and, however unpleasant may be the tax, unless they do their duty in this matter, we shall most assuredly notice the subject more at length in a future number. We shall do so more unsparingly, because Mr. Leffler was treated in a precisely similar manner on a former occasion. If the Clergyman is above the controul or interference of the Churchwardens, neither one nor the other will, in the end, find themselves beyond the power of public opinion, as respects their acts as public servants. In the affairs of the Episcopalian establishment in this colony there appears to be a great laxity of discipline. The monetary concerns of each and every Church ought to be publish'd periodically, and why they are not we are at a loss to imagine. The day has pass'd when the Parson can with impunity take liberties of this kind with the laity. The latter require to know what becomes of their money . . .

ASSOCIATIONS: Edmund Leffler (musician)

[Advertisement], The Britannia and Trades' Advocate (4 March 1847), 1 

A CARD. THE Undersigned begs leave to notify that he is expecting, per Aden, from London, an invoice of
CHOICE MUSIC AND PIANOFORTES, complete, with every modern improvement.
The long practical experience of the Under-signed enables him to ensure the excellence of their tone, and endurance of the metallic plates, and his orders have been most carefully given with reference to that particular part of the instruments.
He avails himself of this opportunity of gratefully acknowledging the patronage with which he has been favoured during the last six years, and of stating that he has reduced his charges, for tuning to 3s. 6d. each instrument in Hobart Town, and 10s. 6d. elsewhere.
T. CRAMP. Brisbane-street, Feb. 20.
[manicule] Orders received at Mr. Walch's Stationery Warehouse and at Messrs. Hawley and Co., Murray-street.

ASSOCIATIONS: James Walch senior (stationer)

"INSOLVENT CASES", The Courier (8 September 1847), 2

Christopher Bonney, first meeting of creditors . . . Thomas Cramp, the same.

[Advertisement], The Cornwall Chronicle (18 September 1847), 3

IN the matter of the Insolvency of Thomas Cramp, of Hobart Town, Music Master . . .

[Advertisement], The Courier (16 September 1848), 2

NOTICE is hereby given, that the above-named Thomas Cramp did this day present his petition to Edward Macdowell, Esquire, Commissioner of Insolvent Estates for Hobart Town . . . alleging his insolvency, and praying for relief pursuant to the said Act; and the same having come on to be heard before the said commissioner the said Thomas Cramp was declared insolvent, and Robert Bennison, of Hobart Town, solicitor, was thereupon appointed provisional assignee of the estate and effects of the said insolvent . . .

"BOXING NIGHT", Colonial Times (29 December 1848), 2 

The summit of the greasy pole is gained, the pig is caught, the bags have been jumped in, the boat race is won, and the Teetotallers are returning from the Regatta Ground. Now comes the question - Where shall we go to-night? So we'll commence with the Mechanics' Institute: the hall was crowded with an assemblage of the highest respectability soon after seven o'clock, although the affair was not to come off until eight; many parties could not gain admission, which could be easily accounted for, as 512 tickets had been disposed of: the spirits of the juveniles were not raised to a very high pitch of hilarity by Mr. Cramp's non-spirited execution of dolefulness, on the organ: Mr. Cooper, the exhibitor at length made his appearance; he apologised for detaining the audience, and stated that he as but an amateur on the boards of oratory, whereupon being under the delusion that the inhabitants of Van Diemen's Land had never heard anything of the late French Revolution, he commenced reading the whole, true, and particular account of that stirring event from the first outbreak - but the rude audience would not let him proceed and remarked that they came to see the Views, and not to hear a lecture, the exhibition then commenced with some views, copied from the illustrated London News of the principal the Paris outbreak; some comic and rustic scenes followed; the gas became exhausted, as so did the exhibitor . . .

1849, deaths in the district of Hobart; Tasmanian names index; NAME_INDEXES:1188264; RGD35/1/2 no 2479 (DIGITISED)

No. 2479 / [1849] July 7th / Thomas Cramp / Male / 47 years / professor of Music / Disease of the heart / [informant] R. J. Cramp, Son, Elizabeth Street . . .

"DIED", Colonial Times (10 July 1849), 2

On the 7th instant, at his residence, in Argyle-street, Mr. Thomas Cramp, late music master, of this city. Friends are respectfully informed that the funeral will take place to-morrow (Wednesday), at half-past three p.m.

"DEATH", Tribune (12 January 1877), 1 

CRAMP - On the 7th instant, at his late residence, 107 Collins-street, Richard James Cramp, in his 56th year, after a long and painful illness.

Bibliography and resources:

Thomas Cramp, Convict records

CRANZ, August Friedrich (August Friedrich CRANZ; Augustus Frederick CRANZ; in Victoria as Alexis Fedor CRANZ)

Musician, music teacher, choral conductor, music retailer, composer

Born Hamburg (Germany), c. 1817
Married Mathilde Christiana HOGREFE, Hamburg (Germany), 25 November 1842
Arrived Adelaide, SA, 9 December 1849 (per Pauline from Bremen)
Arrived VIC, March 1852
Died Avoca, VIC, 11 February 1883, aged "66" (TROVE tagged by Australharmony) (shareable link to this entry)

CRANZ, Mathilde (Christiana Mathilde HOGREFE; Mrs. August Friedrich CRANZ; Madame CRANZ; Mrs. Carl LINGER)

Musician, vocalist, pianist, music teacher

Married [1] August Friedrich CRANZ, Hamburg (Germany), 25 November 1842
Arrived Adelaide, SA, 9 December 1849 (per Pauline from Bremen)
Married [2, common law] Carl LINGER, Adelaide, SA, c. 1861
Departed Adelaide, SA, 23 April 1862 (per Wandrahm, for London)
Active Leipzig (Germany), until 1866 or later (TROVE tagged by Australharmony) (shareable link to this entry)

CRANZ, August Georg (August Georg CRANZ)

Amateur musician, violinist, pianist, vocalist, music teacher

Born Bremen, Germany, 12 November 1844; son of August Friedrich CRANZ and Mathilde Christiane HOGREFE
Arrived Adelaide, SA, 9 December 1849 (per Pauline from Bremen)
Married Jane SIMPSON, Barossa, SA, 19 January 1868
Died Gawler, SA, 7 March 1882, aged "38" (TROVE tagged by Australharmony) (shareable link to this entry)

CRANZ, Jane (Jane SIMPSON; Jeannie; [1] Mrs. August Georg CRANZ; [2] Mrs. Nicholas Patrick LENEHAN)

Amateur musician, pianist, vocalist

Born Adelaide, SA, 25 September 1847; daughter of William SIMPSON (d. 1847) and Sarah Ann SAWLE (1824-1886)
Married (1) August Georg CRANZ, Barossa, SA, 19 January 1868
Married (2) Nicholas Patrick LENEHAN, Adelaide, SA, 29 May 1884
Died Christchurch, NZ, 1 March 1885 (TROVE tagged by Australharmony) (shareable link to this entry)


For two years after their arrival in Adelaide in December 1849, August and Mathilde Cranz figured prominently in the concert life of Adelaide, August as pianist, teacher, conductor of the "German Song Society" (Deutsche Liedertafel), musicseller, and composer, and Mathilde as a vocalist, pianist, and teacher.

According to legal testimony later tendered by Mathilde (1861), on 12 March 1852 August deserted his family and moved to Victoria, never to return. He had resettled at Avoca by 1862, where, styling himself as Alexis Fedor Cranz, he continued to practise as a pianist and teacher of music.

Back in Adelaide, Mathilde and her children were reportedly in straightened circumstances in 1855, when Carl Linger organised a concert in her benefit with the assistance of Maria Carandini and Emile Coulon. She continued to perform in public and teach in Adelaide into the early 1860s.

Linger's wife, Wilhelmine, died on 7 April 1860, and on 6 May 1861 a child, Carl Otto August, was born to Mathilde, the father registered as Carl Linger (SA Births 1842-1906 b. 20 p. 101). There is no record of a legal marriage between them, nor clear evidence even that they intended to give the impression of one, indeed Mathilde's petition for a legal separation from Cranz was not filed until 7 January 1861, four months before the child Otto's birth, and separation finally decreed three week's after. Nevertheless, as Mathilde Cranz she was the sole beneficiary of Linger's will, made on 13 October 1860.

Linger having died in February 1862, Mathilde returned to Germany before August 1862, taking with her their son Otto, her daughter (by Cranz), and Linger's daughter (by Wilhelmine) Marie Louise Feodora.

August and Mathilde's only other surviving child, August Georg Cranz stayed on in Adelaide. He and his wife Jane Simpson were active as amateur pianists and vocalists in Gawler in the 1870s and early 1880s, especially noted for the juvenile company they trained for productions of H.M.S. Pinafore.

DISAMBIGUATIONS: August Cranz (music publisher, Hamburg, perhaps a relative)

Mathilde Cranz, ? c. 1861 (State Library of South Australia)

Mathilde Cranz, ? c. 1861 (State Library of South Australia) (DIGITISED)


Births, Bremen, 1844; Germany, Select births and baptisms (PAYWALL)

Born 12 November 1844 / August Georg son of / August Friedrich Cranz / Mathilde Christiane Hogrefe

? "ADELAIDE SHIPPING: ARRIVED", South Australian Register [Adelaide, SA] (30 September 1846), 4

Sunday, September 27th - The ship Pauline, 500 tons, Steiljer, master, from Bremen. Passengers . . . F. Cranz . . .

"SHIPPING INTELLIGENCE", South Australian Register (12 December 1849), 4

Sunday, Dec. 9 - The ship Pauline, 320 tons, Stelljes, master, from Bremen. Passengers - . . . Mr. A. Cranz wife and three children . . . in the cabin; . . .

[Advertisement], South Australian (18 January 1850), 3

MR. AUGUSTUS F. CRANZ, Professor of Music, &c.,
BEGS to inform his friends and the public that he has commenced teaching the Pianoforte and Singing.
He also begs to announce that he has brought with him a Musical Circulating Library.
Terms - For the use of two vols, at a time, £1 per annum paid in advance, or £2 per annum paid in advance, with the choice of thirty shillings worth of Books at catalogue prices.
He has on sale two Grand Pianos, 6 3/4 octave; one of them can be seen at the office of Mr. Noltenius, Blyth's Buildings, and the other at the residence of
A. F. CRANZ, German Castle, East-terrace, Near the Stagg Inn. January 16, 1850.

[Advertisement], South Australian (22 January 1850), 3 

MR. G. FISCHER HAS the honor to inform the residents of Adelaide and its vicinity,
that his concert of vocal and instrumental music will take place on
Wednesday Evening, the 31st instant, in the Exchange, King William-street,
on which occasion he will be assisted by Miss Lazar,
Mr. Weber, Mr. Cranz, and several Gentlemen Amateurs, who will afford their services on this occasion.
Tickets. 5s each, to be had at Mr. Coppin's, Royal Exchange, Mr. Lee's, Hindley-street, Messrs. B. Arnsberg & Co., Mr. Wichman, Rundle-street, and at the Exchange

ASSOCIATIONS: George Fischer (vocalist); Emil Rudolph Weber (musician); John and Rachel Lazar (vocalists); Exchange Rooms (Adelaide venue)

[Advertisement], South Australian Register (28 January 1850), 2 

1st Part . . . 4. Adelaide, Beethoven, Cornopean and Piano - Gentleman Amateur and Herr Cranz . . .
2nd Part . . . 8. Caprice, Henry Herz, piano solo - Herr Cranz . . .
10. Grand March, "Oberon," C. M. von Weber, Cornopean and Piano Gentleman Amateur and Herr Cranz . . .
The quartettos will be executed by the "Deutsche Liedertafel" (German Song Society), who kindly promised their services . . .

ASSOCIATIONS: Deutsche Liedertafel (Adelaide association)

"LOCAL INTELLIGENCE", South Australian Register (31 January 1850), 3 

Notwithstanding the very unfavourable state of the weather, there was a most respectable attendance at Mr. G. Fischer's Concert in the New Exchange last evening. As might have been expected from the pieces selected, the company was principally German, but there was a considerable number of English gentleman, and some ladies, also present. There was a great paucity of instruments (only a cornopean and pianoforte), but the gentlemen who performed on them acquitted themselves admirably. We were much pleased with the manner in which Herr Cranz executed the opening piece, "Caprice," in the second part, and delighted with the "Grand March" from "Oberon." It is a beautiful composition, suggestive of
"Files arrayed / In helm and blade.
And plumes in the gay wind dancing" . . .

MUSIC: Caprice (Henri Herz)

"LOCAL INTELLIGENCE", South Australian Register (6 March 1850), 3 

The lovers of music amongst our numerous readers will doubtless be greatly pleased to learn that one of our German fellow-colonists, Mr. A. F. Cranz, already well-known as a pianist and the able leader of the German Liedertafel (Song Society), has opened a musical circulating library in Adelaide. The taste for music, and the great diffusion of the art amongst our Continental neighbours, is mostly to be ascribed to the great number of such musical libraries, by which means every lover of music may provide himself, at a trifling expense, with the newest and best musical compositions, otherwise often quite beyond his reach. The terms being very liberal, as our readers will observe by a perusal of Mr. Cranz's prospectus in our advertising columns, and the library, through constant transmissions from Europe, always complete, we are sure the spirited proprietor will find an equally liberal support from the lovers of the musical art in South Australia.

[Advertisement], South Australian Register (7 March 1850), 2 

Music Repository. MR. AUG. FRED. CRANZ
has the honour to announce to the public of Adelaide and its vicinity, that he has opened a Musical Repository.
As he has made it complete in every respect, and being able, through constant transmissions from Europe of the newest musical compositions, to supply every demand, he solicits a share of public patronage and support.
Roman and other Guitar and Violin-strings always on hand. East-terrace, near Rundle-street.

[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 evening's amusements will embrace Waltzes, Quadrilles, Gallopades, Polkas, and Overtures; also Solos both Vocal and Instrumental.
List of some of the principal Performers - Miss Lazar, Her Cranz, Her Fisher, Her Ridel, Her Ziegler, Her Matter, Her Huenerbiers,
Mr. Chapman, Mr. Lee, Mr. Cobbin, Mr. Cobbin, jun., Master Cobbin, Mr. Richards, Mr. Harwood, Mr. Bennett, Mr. Hewett.
Also a chorus of German Gentlemen Amateurs.
1. Overture (Il Italiana in Algierio) - Rossini - Orchestra
2. Quartett & Chorus (Integer Vitae) - Flemming - Ger. Amateurs
3. Song, from the Opera of Norma, (Sun of Freedom) - Bellini - Herr Fisher
4. Quadrilles, from Auber's Les lac de Fees - Julien - Full Orchestra
5. Song - Miss Lazar
6. Fantasia, pour le piano - Emil Weber
7. National Song (Abschied) - Ger. Amateurs
8. Solo Violin - Mr. Wallace
9. Le Courier (Polka) - Koenig - Orchestra
1. Overture (Le Nottze de Figaro) - Mozart - Orchestra
2. Chorus (National Song) - Bergmannslied - Ger. Amateurs
3. Souvenir pour le piano - Charles Poss [sic, ? Voss] - A. F. Cranz
4. Waltz (Les pensees D'Amour) - Lanner - Orchestra
5. Song - Miss Lazar
6. Solo piano (Lied ohne Worte) Mendelsohn - A. F. Cranz
7. Song (The Standard Bearer) Speiler - Herr Fischer
8. Serenade - Mozart - Ger. Amateurs
9. The Post Horn Galop (first time in this, colony) - Full Orchestra . . .

ASSOCIATIONS: Spencer Wellington Wallace (violinist); Charles Ziegler (musician); Charles Albert Frederic Mater (musician); August Christian Huenerbein (musician); William Chapman (violinist); Philip Lee (violinist); William Cobbin and sons (musicians); Henry Augustus Richards (musician); William Harward (musician); George Bennett (musician); Mr. Hewett (musician)

[Advertisement], South Australian Register (22 March 1850), 2

MR. AUG. CRANZ begs leave to invite the public to his concert, on the 28th instant.
He will be assisted by Mrs. Cranz, who will then make her first debut in this colony as a singer, and by the whole strength of the German Song Society.

NOTE: The concert was twice postponed, until 11 April

[Advertisement], South Australian Gazette and Mining Journal (23 March 1850), 2 

SIX GRAND PROMENADE CONCERTS, A LA JULIEN - At the Exchange King William-street.
Under the direction of MR. W. WALLACE. The SECOND CONCERT will take place on Tuesday evening, 25th instant.
PROGRAMME. PART I . . . Solo - pianoforte - Salon Polka - Herz - Herr Cranz . . .
German Chorus - Amateurs . . .

"MUSICAL INTELLIGENCE", Adelaide Times (6 April 1850), 5 

Mr. Wallace has postponed his fourth Promenade Concert for a week, fearing it might injure the attendance at that given by Mr. Crantz on Thursday. This is as it should be among brother-professors.

[Advertisement], Adelaide Times (10 April 1850), 2 

GRAND CONCERT. Under Distinguished Patronage.
HERR CRANZ, has the honour to inform the Residents of Adelaide and its vicinity, that
his first Concert of Vocal and Instrumental Music will take place in the
Exchange, King William street, on Thursday, the 11th inst.,
on which occasion he will he assisted by the principal musical talents in the colony.
SOLO PERFORMERS. VOCAL. Madame Cranz, Herr Fischer.
CHORUS. Deutsche Liedertafel.
INSTRUMENTAL. Violin - Mr. S. W. Wallace. Tuba Basso - Herr Huenerbein. Violin - Herr Mater. AND ORCHESTRA.
1. Grand Chorus, 'Rule Britannia' - Deutsche Liedertafel.
2. Piano-Forte Solo - A. F. Cranz.
3. Duetto, 'Figaro's Wedding' (Mozart) - Madame Cranz and Herr Fischer.
4. 'Souvenir de Bellini,' Solo Violin - Mr. S. W. Wallace.
5. "The Beautiful Maid of the Mill" ('Mein!') (Hartel) - Deutsche Liedertafel
6. Song, "Der Wandrer" (Proch) - Herr Fischer
7. Solo, Tuba Basso - Herr Huenerbein
8. By Desire, Walzer (Zollner) - Deutsche Liedertafel
1. "Oberlander" - Herr Mater and Orchestra
2. Solo, Quartetto - Amateurs
3. Solo, Piano-Forte - A. F. Cranz
4. Duetto, "Faust" (Spohr) - Madame Cranz and Herr Fischer
5. Grand Chorus - Deutsche Liedertafel
6. Aria, "Der Freischutz" (C. M. Von Weber) - Madame Cranz
7. "Des Deutchen Vaterland" (German National Song) - Deutsche Liedertafel
Tickets, 5s each, to be had at Mr. Platts, Coppin's Royal Exchange; Mr. Wichmann's, Rundle-street; Mr. Dehane's, King William-street, and at the doors. Concert to commence at eight o'clock.

"LOCAL INTELLIGENCE", South Australian Register (12 April 1850), 3 

The concert given by Herr A. F. Cranz at the Exchange last evening was very well attended, and not, as we were pleased to observe, exclusively by Germans. The entertainment gave great satisfaction, every piece being applauded, and two or three were encored. Madame Cranz was most favourably received, and by her brilliant execution of very difficult music, well won the plaudits liberally bestowed upon her. Herr Fischer as usual exerted himself successfully, and the instrumental performers acquitted themselves with equal felicity. The German Song Society increases its popularity every time it comes before the public. The opening 'Rule, Britannia,' and the closing 'Faderland,' were both beautiful proofs of what the human voice can achieve, when properly cultivated.
In varying cadence soft and strong
They poured the vocal tide along.
Indeed, we could not help regretting while the exquisite melody charmed us, that vocal music forms no recognised portion (as it should) of our common school education. The great number of German colonists now located in every direction would afford ample means to the conductors of schools to inform themselves of the system in operation on the Continent, with a view to its introduction with such modifications as the peculiar circumstances of our society might require. Herr Cranz, the gentleman who gave the concert last evening, is not only an accomplished musician, but he is the spirited projector of a musical circulating library, which, if supported as it deserves to be, cannot fail to spread, around us increased means of cultivating and gratifying one of the most innocent and elevating amusements of civilised life.

"HERR CRANTZ'S CONCERT", Adelaide Times (12 April 1850), 3 

This concert took place last evening, at the Exchange, and was more fully attended than any other of the season. The music and artistes were almost exclusively German, and the audience in a great part so, but those of our own country who were present appeared to enjoy the rich treat just as much as though they understood what was going on. The chief attraction of the evening was the debut of Madame Crantz, who sang two duets with Herr Fischer, and an air from Weber's "Der Freischutz." The lady was very well received, and will prove a great acquisition to the musical corps of the colony. Her voice is a pure soprano of medium quality, but possessing great flexibility, and her execution indicated high cultivation. The German chorusses were, given in first-rate style, two of them being encored, an honor which was also awarded to a vocal quartette very finely executed. Mr. Wallace's solo on the violin, and Herr Huenerbein on the trible basso were greatly applauded.

See also "LOCAL NEWS", South Australian (12 April 1850), 2 

"CONCERT", South Australian Gazette and Mining Journal (13 April 1850), 3 

The lovers of music had a rich treat on Thursday evening at the concert of Here Cranz. The performers, exclusive of Mr. Wallace, were all Germans, and most of them amateurs; yet, with one or two trifling exceptions, chiefly in the accompaniments, we have certainly had no good music go off here with the same spirit and precision. The Deutche Liedertafel have introduced to us an entirely different species of choral singing, by which we trust that our English vocalists will not disdain to profit. Their performance alone was sufficient to put the audience in good humour; for although the English portion of it might not be able to follow the words, the import of the music was not to be mistaken, and in most instances we felt far more satisfied than if we had translated every syllable. Madame Cranz promises to be a great acquisition to our musical force; her voice is extremely sweet and flexible, and her style, which is simple and unornamented, is much aided by her retiring and lady-like deportment. She sang the air from Der Freischutz, 'Kommt ein schlanker Bursch gegangen,' with so much taste as to elicit an encore, which was only just spared to the duet from Faust, with Herr Fischer. We must not to omit to notice a delightful quartette, which received the same tribute of approbation. Herr Mater did great justice to his instrument in the cull rich tones which he drew from it. Of Herr Heunerbein's performance on the Tuba Basso at is needless to repeat the encomiums which have been awarded to him. Mr. Wallace, stimulated by the musical atmosphere around him, surpassed himself; we never heard him play so much to our taste before. Herr Cranz, as conductor of the Liedertafel, brandished his baton with great spirit. His own instrumental performance was made quite subordinate; indeed a part of it was omitted altogether. We regretted much to notice the absence of so many of the English colonists, who, it is said, consider themselves, par excellence, the musical society of Adelaide. It did no great credit either to their taste or their liberality; and if no more serious result accrued from it than their own disappointment, their self-inflicted punishment would scarcely be worth notice; but surely, talent being confined to no country and to no language, encouragement is due to it wherever it exists. M. S.

"LOCAL INTELLIGENCE", South Australian Register (23 May 1850), 3 

We were unwillingly compelled to omit the following notice of the conversazione at the Pulteney-street School in yesterday's paper . . . A prolonged round of applause followed on the termination of the lecture. When it subsided, Dr. Wyatt led Mrs. Murray to the pianoforte, and that lady commenced the musical entertainment by executing in her most brilliant style the overture "Fra Diavolo." That was followed by a glee, principally sustained by Mr. Bancroft and Mrs. Murray, who presided at the piano. A song by Madame Cranz, accompanied by Herr Cranz on the pianoforte, was most deservedly applauded . . . Madame Cranz sang "The last Rose of Summer" very tastefully, and was loudly applauded . . .

ASSOCIATIONS: William Wyatt (musical amateur); Georgiana Murray (pianist, vocalist); Richard Bancroft (vocalist)

[News], South Australian Register (27 June 1850), 3

On Tuesday last, Mr. Wallace gave what he described as a concert, in the large room built by Mr. Barnett for the Jerusalem Coffee-house at the Port. There were about a hundred ladies and gentlemen present, including Capt. Young, Mr. Paxton, and several other gentlemen from town. Mr. Wallace had evidently taken no trouble whatever to please the Portonians; indeed, he seems to have held them in very low estimation; as the only instrument he provided was his violin, on which he played one scientific piece, and five German gentlemen sang a few songs beautifully, and performed a few brilliant pieces on the piano (a magnificent instrument lent by Mr. Laurie for the occasion), one of which was particularly applauded and encored, namely, the Barnett Galop, composed and played by Herr Cranz; and this was all the entertainment . . .

ASSOCIATIONS: Joseph Barnett (d. 1851, merchant); see also "DEATH OF MR. JOSEPH BARNETT", Adelaide Times (10 February 1851), 2 

[Advertisement], South Australian Gazette and Mining Journal (27 June 1850), 1 

THE Catalogue of Pianoforte Music, from A. F. Cranz's Circulating Library, is now published.
All admirers of music are invited to obtain the same. Apply to A. F. CRANZ, German Castle, East-terrace.

[Advertisement], South Australian Register (3 July 1850), 2 

New Musical Circulating Library, GERMAN CASTLE, EAST-TERRACE. AUGUST FRED. CRANZ begs to acquaint the public of South Australia that he has the largest, choicest, and most varied selection of Music ever imported into this colony, and which he offers at very low prices.
The collection contains pieces for the following instruments: -
I. Pianoforte. With accompaniments of one or two other instruments.
II. Solos for Violin or Flute. Favourite dances for violin. The newest Italian operas, arranged for violin. Selection of the best operas, arranged for flute.
III. Solos for Pianoforte. Sonates, rondos, fantasias, divertissements, variations, &c.,
from Beethoven, Beyer, Bertini, Brumer, Burgmuller, Clementi, Cranz, Czerny, Dussek, Gressler, Haydn, Herz, Huenten, Hummel, Kotzwara, Kuhlau, Luhrs, Marks, Meyer, Mendelsohn-Bartholdy, Mozart, Moscheles, Proch, Rausche, Rosellen, Voss, and Weber.
IV. Operas. Arranged for pianoforte solos, without words.
V. Selections of the best pieces of Operas.
VI. Potpourris.
VII. Overtures for Piano Solo.
VIII. Dances and Marches. Waltzes, galops, polkas, quadrilles, &c.
Exercises - Studies and instructions for pianoforte.
Duets for pianoforte.
Complete operas - For pianoforte for four hands.
Overtures - For pianoforte for four hands, &c., &c.
Adelaide, June 29th, 1850.

"THE GERMAN AND BRITISH HOSPITAL CONCERT", South Australian Gazette and Mining Journal (20 July 1850), 3 

The united forces of the Deutche Liedertafel and the Choral Society, joined with those of Madame Cranz, Mr. Ellard, and several other well known musicians, were in requisition last night, in a concert given on behalf of the German and British Hospital about to be erected. A large crowd were assembled round the Exchange before seven o'clock, when the doors were opened, and in a few minutes every available seat was occupied. A dense stream of people continued to pour up the middle of the room between the rows of seats on each side, and some time before the music began almost as great a crowd filled the Exchange, as we believe, were ever on one occasion assembled under one roof in Adelaide. Every available spot was occupied, and a large crowd of ticket holders outside found it impossible to obtain even any standing room whatever. The performance commenced with an overture from the 'Seige of Rochelle." A chorus 'Der Rhein,' from the Leidertafel, a Rondo of Herz's on the piano from Mr. Ellard, a song from 'Der Freischutz,' from Madame Cranz, one from Mrs. Jupp, and another from Miss Lazar, one from Miss Coglin, the Witches Chorus in Macbeth from the Choral Society, and one or two pieces of equal merit, together with a second chorus out of Spohr's 'Jessander,' from the Liedertafel, formed the first part. The second part was composed of similar element, the Leidertafel obtaining a double encore, and a strong disposition being shown to encore several of the other pieces. A solo on the Cornet a Piston from Mr. McCullagh being amongst others loudly applauded. In conclusion, the whole musical force assembled united in singing 'God save the Queen,' the entire audience standing up the while. Mr. Wallace was unfortunately absent, being confined to his bed by illness. His Excellency the Governor and Lady Young occupied places in the front row of seats. The whole performance went off admirably, and the number of tickets issued must have contributed largely to the funds of the institution for the benefit of which the concert was given.

ASSOCIATIONS: Frederick Ellard (vocalist, pianist); Catherine Jupp (vocalist); Helena Coglin (vocalist); Robert McCullagh (musician); Henry and Augusta Young (governor and wife); Adelaide Choral Society (association)

[Advertisement], Adelaide Times (30 August 1850), 2 

GRAND CONCERT (Under the Immediate Patronage of his Excellency the Governor and Lady Young)
OF MAD. MATIIILDE CRANZ, On Monday, the 2nd September, 1850, at the Exchange.
1. Overture . Orchestra
2. Grand Chorus - "Farewell to the Forest" (Mendelsohn) - Deutsche Liedertafel
3. Duetto - "Interrupted Sacrifice" (Winter) - Mad. Cranz and Herr Fischer
4. Solo, pianoforte - "Fantasie Dramatique" (Dreyschock) - Mr. Ellard
5. Recitative and Grand Aria of Agnes, from Der Freischutz (C. M. von Weber) - Mad. Cranz
6. Solo Violin - Huitieme Air Varie, dedie a son ami Jules Benedict par De Beriot - Mr. Wallace
7. The Three Students - Ballad - Translated from the German by William Harcourt (Speyer) - Herr Fischer
8. By general desire repeated - Grand Gipsy Chorus (Zoellner)
- Sung in the Monster Concert) - Deutsche Liedertafel
1. Grand March (Gung'l) - Orchestra
2. Duetto - Figaro's Wedding - Mrs. Murray and Mad. Cranz
3. Bachanal Chorus (Marschner) - Deutsche Liedertafel
4. Duo brilliant pour Violin et Piano, sur l'Opera 'I Puritani' de Bellini (Osborne and De Beriot) - Mrs. Murray and Mr. Wallace
5. Quartetto - Amateurs
6. Cavitana Enchantress (Balfe) - Mr. Ellard
7. Solo Tuba Basso - Herr Hunerbein
8. Duetto - Norma (by desire) - Mad. Cranz and Herr Fisher.
9. Grand Chorus - Des Deutschen Vaterland (Reichard) - Deutsche Liedertafel
Concert to commence at eight o'clock precisely.
Tickets, 5s each, to he had at the Exchange, Mr. Platts, Mr. Coppin, Mr. Wichmann, Mr. Amsberg, at the residence of Madame Cranz (East-terrace), and at the doors.

[News], South Australian Register (3 September 1850), 3 

There is probably no better secondary means of promoting that universal brotherhood of nations, which it is the highest boast of civilization and a primary object of Christianity to effect, than the appreciation by one people of the literature of another. And if this be true of letters, it is equally true of music. Maugre the complaints and grumblings of seventh-rate actors and extravagant managers respecting the decline of the drama in England, and bitter as are the invectives hinted against the so-called prime movers in that decline, those lyrical dramatists, whose productions are the delight of every European city, we fearlessly assert that the introduction of foreign music to our forefathers, and the avidity with which it was studied by them, contributed much more than is generally believed to break down that haughty reserve which was generated by their insular position and national character; and that when Goethe made Shakspeare known to continental Europe, he did more than counterbalance the treaty of Berlin, and the rigorously exclusive policy of Napoleon. We need hardly say that in South Australia, peopled as it is from two distinct European nations, although both derived from one common source, it is most important that each should be acquainted with the literature and music of the other, and there is nothing therefore that gives us greater pleasure than to behold our fellow countrymen listening with delight to the magic strains of the great German master-spirits. We have been induced to make these remarks from observing at the concert given by Madame Cranz last evening, in the Exchange-hall, a falling off in the attendance of the British portion of the music-loving citizens, a fact we regret for the general reason given above, and more particularly as the charming cantatrice who give the entertainment deserved better support. We confess that errors of arrangement occur so frequently as to account in some degree for the apathy evinced in musical matters by the great body of the people, and the altitude of the hall diminishes and dissipates the effect of the most powerful single voice. Could not that be remedied by some simple and inexpensive contrivance? Another cause of diminished attendance at German concerts is the dissatisfaction felt by real admirers of music who wish to enjoy the sense as well as the sound, but are debarred that gratification, as no translation of the vocal music, metrical or literal, is sold at the door. We trust this desideratum will be supplied on the next occasion. It was positively painful to some persons to listen to that beautiful composition by Weber, the recitative and air from "Der Freyschutz," so sweetly and so feelingly given by Madame Cranz, as its meaning was uncertain to those who were ignorant of the language. We shall probably return to this subject and notice in detail the performers and the pieces of the evening.

"MADAME CRANZ'S CONCERT", South Australian Gazette and Mining Journal (5 September 1850), 2 

On Monday evening Madame CRANZ gave her long-promised concert, which, to all genuine lovers of music was a treat of a high order. Perhaps the concert, on the whole, was a little too classical to be popular; and there is certainly, to many persons, more enjoyment in understanding the words of a piece of vocal music than when the meaning is left to be gathered almost entirely from the notes and the expression they convey. But we are quite certain that no one could have listened to the Scena from the Freischutz, so beautifully given in the original by Madame Cranz, and have been ignorant of the whole meaning of its immortal composer. On the other hand, the Three Students of Speyer, which Herr Fischer took pains to give in English, was made more distinct to the audience without suffering by the translation. Herr Fischer sang this song pleasingly and in exceedingly good taste. Mr. Ellard exerted himself on this occasion, and consequently did justice to his skill as a pianoforte player, combining great finish with first-rate power of hand. Of Mr. Wallace's violin performances we need scarcely say a word, except that he was also bent on overcoming all the difficulties of his instrument, and was altogether successful. We remarked, with pleasure, that Mrs. Murray's accompaniments were in exceedingly good taste, and displayed more delicacy of execution than on any previous occasion we have had the pleasure of listening to her. The Liedertafel mustered in force, and their chorusses were as usual received with unmixed delight. Perhaps the Gipsy Chorus was not quite so well given as on a former occasion; but all the others were admirable. Sir HENRY and Lady YOUNG and a considerable number of English ladies and gentlemen were present; but the room was not so crowded as such an occasion well deserved.

[2 advertisements], South Australian Gazette and Mining Journal (28 September 1850), 1 

begs to announce that he gives lessons in Singing and on the Pianoforte, either at his own house or at the houses of his pupils.
TERMS MODERATE. Further information can be obtained of Mr. Cranz, every afternoon after four o'clock, at his residence, German Castle, East-terrace.
September 27, 1850.

Wherever Music dwells, fear thou no wrongs
The wicked have no poetry or song.
"A beautiful song tends greatly to awaken young hearts to high and lofty feelings, a love of beauty, banishes what is ignoble from among mankind, and enlarges our view of human life. For this reason every, one should be taught while young to comprehend and appreciate the beauties of immortal music, partly for the sake of raising the general tone of society as well as of individual character, and also for the effect it would have in rendering the vocal portions of Divine service more worthy of their purpose. All those, therefore, who have the charge of children, should neglect no opportunity of cultivating and improving their musical faculties." - MOSEWINA [sic, ? Mosewius].
IN accordance with the above view, and with a request I that has been made to him by many persons, the undersigned respectfully begs leave to inform parents and others having the care of children in Adelaide and its environs, that he is about to open a singing-school for children, under the title of 'Conservatorium for Song.'
He earnestly hopes that he will be assisted and supported in this undertaking. The fees, which are payable in advance, will be 6s. per quarter for each child, and there will be two lessons given in each week.
Address to the undersigned at his residence, German Castle, East-terrace, where also he can be spoken with every day alter four o'clock.

ASSOCIATIONS: ? Johann Theodor Mosewius (German singing master)

"MR. WALLACE'S CONCERT", Adelaide Times (23 October 1850), 3 

This gentleman's concert took place last evening at the Exchange. The attendance was not so numerous as we expected, although the room was comfortably filled . . . Of the vocal music we must particularize the Tyrolean Quartett sung by Madame Cranz, and Messrs. Cranz, Rodemann, and Fischer, which was delightfully executed; and the delicious trio, "This magic wove scarf," from the "Mountain Sylph," which was perhaps the gem of the evening . . .

ASSOCIATIONS: Maximillian Louis Rodemann (vocalist)

"THEATRE", Adelaide Times (25 November 1850), 3 

Mr. Lazar takes his farewell benefit this evening, which will be the last night of the company's performances at the New Queen's Theatre. The programme promises a sufficiency of entertainment for one evening, and includes a Grand Musical Melange by Messrs. Wallace, Hunerbein, Lee, Mater, and other accomplished musicians. Herr Cranz was also engaged for the occasion, but cannot attend from a severe sprain of the wrist occasioned by a fall on Friday last . . .

ASSOCIATIONS: New Queen's Theatre (Adelaide venue)

"POLICE COURT. Monday, Dec. 2", Adelaide Times (4 December 1850), 3 

Roland B. Rodda & Joseph Darwent were charged with threatening and abusive conduct towards Cournad Wichman and his wife, calculated to provoke a breach of the peace. Mr. Gwynne for the plaintiff. Alexander Cumming, draper, stated that on Monday night last, he was returning from a musical party at Mr. Cranz, in Flinders-street, accompanied by Mr. and Mrs. Wichman, when at the corner of Acland-street and Pirie-street, they came up to the defendants, who were standing still, apparently engaged in conversation. On passing them one of the defendants made a noise with a stick on the pavement, and followed them at a few yards distance. They crossed over the road to avoid the defendants, who immediately followed them. Mrs. Wichman, being in a very delicate state of health, was greatly alarmed . . .

ASSOCIATIONS: Adolphe Daniel Conrad Wichmann (d. 1880, merchant, musical amateur)

[Advertisement], South Australian Register (21 May 1851), 2

ADELAIDE CHORAL SOCIETY. WE the undersigned Members . . . request that a
MEETING of the MEMBERS of the "ADELAIDE CHORAL SOCIETY" may be convened for the purpose of revising the following Resolution, passed on the 14th of April by the Committee of the above Society : -
"Resolved - That Mr. Thurlow's letter, not containing any satisfactory reason for his absence, this Committee consider him no longer a Member of this Society . . ."
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 . . .

ASSOCIATIONS: Charles Alston Thurlow (member); Ferdinand Osborne (member); Redford Clisby (member); John Snaith (member); Carl Linger (member); Robert Wiener (member); Emil Rudolph Weber (member)

"CONCERT BY MADAME MATHILDE CRANZ", South Australian Register (12 June 1851), 2

This Concert was largely and respectably attended. Another evening had originally been appointed, and the alteration prevented the attendance of His Excellency and Lady Young, who condescendingly apologised for their absence, being otherwise engaged. The performances were generally admired and much applauded.

"MR. ELLARD'S FAREWELL CONCERT", South Australian Register (1 November 1851), 2 

The attendance, certainly not 200, was anything but what we had hoped and expected. Instead of "Walzer Gesange," the famous song "Der Tag des Herrn," by Kreutzer, was performed by the German Liedertafel, under the direction of Herr Cranz. Of this song, as of all others performed by the Liedertafel, nothing less can be said than that it was admirably executed. The singers appeared more accustomed to each other than heretofore, and thus combined to bring forth their songs in greater perfection. Mr. Wiener, a member of the German Liedertafel appeared as an amateur to great advantage in Marcell's celebrated song from, the "Huguenots" . . .

ASSOCIATIONS: Robert Wiener (vocalist)

[Advertisement], The Argus [Melbourne, VIC] (20 July 1852), 3 

HERR Mater has the honour to announce, that his second Grand Concert of vocal and instrumental music, will take place at the
Mechanic's Institution, on Friday next, July 23rd, 1852, on which occasion
the great chorus of German singers, under the conductorship of Herr Cranz, have kindly volunteered their services, for this concert only.
Tickets can be had at all the principal musical repositories.

ASSOCIATIONS: Charles Mater was one of several Adelaide musicians who arrived in Melbourne late in 1851 or early in 1852; Mechanics' Institution (Melbourne venue)

"MADAME CRANZ'S CONCERT", South Australian Register (15 April 1853), 2

In our notice of the announcement, on Wednesday last, we ventured to predict a large attendance at Madame Cranz's concert, but we were scarcely prepared to find so very large an attendance of the elite of Adelaide as graced the spacious hall of the Exchange last evening. His Excellency and Lady Young honoured the concert with their attendance. We also observed the hon. Colonial Secretary and several other official members of the Government. Several members of the Legislative Council were present, as were also His Worship the Mayor of Adelaide, and many members of the legal and medical professions. Many of our eminent merchants and other leading men were there; and, what was more gratifying still, a large portion of the audience was composed of ladies, who seemed delighted with the musical entertainment. The performances opened with Webber's well-known jubilee overture, which was executed by Mrs. Young and Mr. Linger on the pianoforte with great precision. The recitative and air, "Before mine eyes beheld him," from Der Freischutz, followed, in which Madame Cranz was heard to great advantage, and manifested the great accuracy with which even so difficult a piece of composition may be performed after sufficient care and practice have been bestowed. Several chorusses were given during the evening by the members of the Liedertafel, but the harmony, though exceedingly pleasing, was too near to have a chance of being fully appreciated. There were some few instances of false intonation apparent to the dullest ear. There was a pleasing exception in the "Studentengruss," the "Guten Morgen" of which was taken up in the different parts with great accuracy, and elicited deserved and marked demonstrations of delight. Mr. Daniels sang several airs with his usual ability. This gentleman's voice is both deep and clear; his manner easy and unconstrained; and he is, consequently, a decided favourite with all who admire the delightful art in which he excels. Some slight alterations were made in the programme, in consequence of the unavoidable absence of Mrs. Murray from indisposition. The evening's amusements were concluded with a new version of the National Anthem, written expressly for this concert [by Linger]. We were not surprised to perceive that few Englishmen attempted to join in the parody. Those who have long learned to venerate the beautifully simple strains of "God Save the Queen," could only regard as a sort of profanation any attempt to embellish so bright a gem of our national genius with adornments foreign to the melody and the harmony of that spirit-stirring anthem. On the whole, however, the concert must be admitted to have been decidedly successful, notwithstanding that the paucity of instrumental music was much felt, and the subordinate arrangements were manifestly incomplete.

ASSOCIATIONS: Rebecca Young (pianist); Josiah Wyke Daniel (vocalist)

"MADAME CRANZ'S CONCERT", Adelaide Times (16 April 1853), 3 

. . . Madame Cranz, whose appearance upon the platform was hailed with loud applause, gave the difficult scene from the Freischutz with her accustomed ability, and was well accompanied by M. Linger. This lady subsequently sung a pretty little English triple [? trifle] with Mr. Daniel, and the piece narrowly escaped an encore . . . We are happy to state that since the Concert, we have learnt that more than five hundred tickets were sold, and that the fair beneficiare will have a surplus of at least £100.

[Advertisement], Geelong Advertiser and Intelligencer [VIC] (19 October 1854), 5 


"SOUTH AUSTRALIA (FROM OUR OWN CORRESPONDENT) Adelaide, 10th August, 1855", The Argus [Melbourne, VIC] (20 August 1855), 6

The concert at the Exchange last says the benefit of Madame Cranz, - a well and deserving Adelaide vocalist, who is in very straightened circumstances, - was very successful. The assistance which Madame Carandini and Mons. Coulon kindly gave was most effective, and they were received by the public with the warmest enthusiasm . . .

ASSOCIATIONS: Maria Carandini (vocalist); Emile Coulon (vocalist)

"SOUTH AUSTRALIA . . . MADAME CRANZ'S CONCERT", The Argus (13 September 1855), 5 

We are requested by the committee for conducting the late concert to inform the subscribers that, after paying all expenses, the sum of £150 been secured for Madame Cranz and her children. The committee further state that this result is mainly to be attributed to the exertions of Mr. Linger, who not only conducted the concert gratuitously, but transferred for the benefit of Madame Cranz the valuable assistance of Madame Carandini and Mons. Coulon, first offered to himself.

[Advertisement], Geelong Advertiser and Intelligencer (30 October 1855), 3 

NOTICE is hereby given to A. F. Cranz, that unless his luggage is removed from my house in three days, it will be sold by public auction to defray expenses thereon.
CHARLES PH. FASSERT. Terminus Hotel, Geelong, 30th Oct., 1855.

"ADELAIDE CHORAL SOCIETY", Adelaide Times (3 October 1856), 3 

The third season concert of this amateur society was given at Neales's Exchange, on Thursday evening, and notwithstanding the rival attractions of the Theatre, there was a very numerous and elite attendance . . . Madame Cranz, with her fine contralto voice, gave a descriptive song with rich effect, assisted by a skilful accompaniment on the violin by Mr. Chapman . . . The instrumental department evinced great care, and, under the influence of the ably wielded baton of Herr Linger, played with much unity of tone . . .

[Advertisement], South Australian Register (11 February 1858), 1 

MADAME CRANZ, TEACHER, on the PIANO and SINGING. - A SINGING CLASS for YOUNG LADIES will be commenced at her Residence, North-terrace east, three doors west of Mr. Hance's Garden.

"THE HANDEL COMMEMORATION FESTIVAL", The South Australian Advertiser (18 April 1859), 7

This grand concert, which we were only able briefly to notice in our issue of yesterday, was, without exception, the best ever given in the colony. White's spacious room was crowded in every part, and a large number of the audience were compelled to stand all the evening. The presentation of the sublime oratorio of the "Messiah" by means of the combined talent of the Choral and Sacred Harmonic Societies, under distinguished patronage, offered such an attraction to the lovers of fine music and intellectual enjoyment as has not been previously afforded in the colony, and the overflowing audience was a sufficient evidence of the appreciation entertained by the Adelaide public for the productions of the illustrious composer. Great praise is due to the Committee for all the arrangements, which appeared to be perfect . . . The pieces for which Madame Cranz was set down were not performed, in consequence of that lady suffering from a severe cold. She, however, took part in the choruses . . . The second performance . . . came off on Thursday evening, April 14, at White's Rooms . . . The performance consisted of "Alexander's Feast" . . . The opening recitative descriptive of the hero of the scene and his lovely Thais by his side, was given by Mr. Daniel very effectively. The aria immediately following was allotted to Madame Cranz, but, owing to a severe cold under which she was suffering, it was omitted by that lady and rendered by Mr. Daniel . . .

ASSOCIATIONS: Handel centenary (event); Adelaide Sacred Harmonic Society (association); White's Rooms (Adelaide venue)

Application, Mathilde Cranz, 14 December 1859, South Australian General Registry Office, Application 3203

Mathilde Christiane Cranz, music teacher, Adelaide, Supreme Court Order that her earnings since 14 December 1854 be protected from any claims of her husband, August Friedrich CRANZ and all creditors claiming under him

Petition, Mathilde Cranz, 7 January 1861; Public Record Office, SA, GRG 36/51 (transcr. Jan McInerney)

The seventh day of January One thousand eight hundred and Sixty-one. The Petition of Mathilde Christiane Cranz of Adelaide in the province of South Australia, Sheweth,
That your Petitioner was on the twenty-fifth day of November One thousand eight hundred and forty two lawfully married to August Frederick Cranz at the Free Hanseatic City of Hamburg.
That after her said marriage the said August Frederick Cranz lived and cohabited with your Petitioner at the Free Hanseatic City of Bremen and at Adelaide in the said province, and that your Petitioner and her said husband have had . . . of the said marriage four children to wit one boy and three girls of whom one son and one daughter are still living.
That your Petitioner's said husband deserted her without cause on the twelfth day of March 1 thousand eight hundred and fifty-two and is now in the Colony of Victoria, and that your Petitioner's said husband has not since lived with her or afforded her any means of support.
That your Petitioner's said Husband became a naturalised British subject in the said province on the second day of August one thousand eight hundred and fifty two.
Your Petitioner therefore humbly prays that your Honor will decree a judicial separation between your Petitioner and her said husband, and that Your Petitioner may have such further and other relief in the premises as to your Honors may seem meet.
And Your Petitioner will ever pray . . .
Mathilde Christiane Cranz.

"SUPREME COURT . . . MATRIMONIAL. CRANZ v. CRANZ", South Australian Weekly Chronicle (9 March 1861), 6 

Mr. Ingleby obtained leave to bring a petition in this case for a judicial separation before His Honor Mr. Justice Boothby in Chambers, and to examine witnesses viva voce.

"SUPREME COURT . . . MONDAY, MARCH 18 . . . MATRIMONIAL CAUSE. CRANZ v. CRANZ", South Australian Register (19 March 1861), 3

Suit for judicial separation. Mr. Justice Boothby read the evidence taken before him in support of the petition of Matilda Christina Cranz. It alleged the facts of the marriage of the petitioner with her husband in Germany, of their arrival in this colony, of her husband having gone to Victoria in 1852, and of her not having had any assistance for the support of herself or children from him since he left. The Court required some additional information, and the case was ordered to stand over.


Mr. Ingleby applied to-day with an affidavit of the service of the citation in this matter, upon the respondent, in Victoria, who it appears has put in no answer, and according to the affidavit, when it was explained to him that the suit was for a separation, simply said "never mind," and walked away. The Court decreed a judicial separation between the parties.

"PROBATES AND ADMINISTRATION", South Australian Register (23 April 1862), 3

The following probates and administrations have been registered on the Ecclesiastical side of the Supreme Court since the commencement of the year 1862: . . .
Carl August Ferdinand Linger, professor of music, Adelaide, died 10th February; probate granted 7th March; Wilhelm Attomar Gerke, sole executor; personal property sworn under £1,200. All real and personal estate to Matilda Cranz.

"SHIPPING INTELLIGENCE . . . CLEARED OUT. WEDNESDAY, APRIL 23", South Australian Register (24 April 1862), 2 

WANDRAHM, ship, 564 tons, Meyer, master, for London, via Cape of Good Hope. Passengers . . . Mrs. Linger and family . . . in the cabin . . .

"BY ELECTRIC TELEGRAPH", Maryborough and Dunolly Advertiser [VIC] (25 July 1862), 4 

In our notice of the Bazaar in last Wednesday's paper, an omission was made, not intended, and which, indeed, was purely accidental. In speaking of the musical attractions, which were excellent, the name of Mr. Alexis F. Cranz, from Avoca, should have appeared in recognition, not only of his great talent as a pianist and organist, but because he devoted several days, from the usual duties of his profession, to assist a praiseworthy object. The ladies, who originated the bazaar, have sent us a communication, to which we are happy to give a place in our local notices . . . They feel they cannot too carefully acknowledge the voluntary and indefatigable exertions of the orchestra (Messrs. A. F. Cranz, Boullimer, Walker, Frietey, Davis, Jones, and Binder). The singing of several of the children of the Church of England School, under Mr. and Mrs. Rosenblum, who assisted on one evening, reflecting much credit upon their instructors . . .

ASSOCIATIONS: Anthony Boullemier (musician)


. . . and here again the ladies mustered in great force, and to all appearance, thoroughly enjoyed themselves. Nothing happened to disturb the happiness that reigned. "Twinkling feet" danced to Mr. Cranz's excellent music all through a long and well-selected programme. Polkas, galops, and waltzes followed each other in quick succession, broken only by an interval devoted to the discussion of a capital supper. As usual, the ladies kept it up bravely, and even after the time-honored finale, Sir Roger de Coverley, the Argyle Galop was insisted upon, and accomplished, and the festivities of a day fraught with much that is eventful to Avoca came to a happy and genial conclusion . . .

"ANGASTON [From our own Correspondent] Angaston, March 18", Adelaide Observer (25 March 1865), 4 

The annual meeting of the Angaston Institute was held in the large room at the Angaston Hotel, on Friday evening last . . . The proceedings of the evening were agreeably interspersed with various pieces of music by Messrs. Cranz and Linly Norman, and our kind Tanunda friends, Messrs. Fischer and Weiner . . .

ASSOCIATIONS: Linly Norman (pianist); George Fischer and Robert Wiener (vocalists) as above

? [Advertisement], The Adelaide Express (22 August 1865), 4 

TO-MORROW (Wednesday), August 23.
To Musical Instrument Makers, Proprietors of Concert Rooms, and Others.
SOLOMON & CO. will sell by auction, at their Mart, To-morrow (Wednesday), August 23, at 11 o'clock.
A Handsome GRAND PIANOFORTE, 6 7/8 octaves, by August Cranz, of Hamburg.

"THE AMATEUR PERFORMANCE", The Avoca Mail [VIC] (27 October 1866), 2 

The performance of the Avoca Garrick Club, came as announced on the evening of Tuesday last, at Trevena's Victoria Theatre. The attendance was good, but not crowded . . . Mr. A. F. Cranz, Professor of Music, gave his gratuitous services as usual, and played with the best of skill on the piano forte . . .

"GAWLER [From our own Correspondent] . . . November 29", Adelaide Observer (1 December 1866), 8 

On Tuesday last (27th) the anniversary entertainment of the Gawler Reading and Debating Class was held at the Oddfellows' Hall. The room was well filled, though not crowded. Mr. Jas. Martin, M.P., took the chair a few minutes after 8 o'clock . . . The Gawler String Band then played an overture . . . A duet (violin) by Messrs. Cranz and Austin was well performed . . . Mrs. Wishart's song, "Lords of the Creation," was loudly encored. Mr. W. H. Hopkins recited "The Spanish Champion" in an admirable manner. This closed the first part of the entertainment, the band keeping up the harmony of the meeting during the interval. The second part was commenced by Mr. A. G. Cranz performing a solo on the violin - "Life let us cherish" - so well that he was warmly encored . . . Afterwards followed a German recitation - "Der Pass" - by Mr. Cranz . . .

ASSOCIATIONS: Susannah Wishart (vocalist)

"EASTER GATHERINGS . . . ENTERTAINMENT AT THE ODDFELLOWS' HALL, GAWLER", The Express and Telegraph [Adelaide, SA] (24 April 1867), 3 

As supplementing the particulars of the Gawler Oddfellows' and Foresters' Picnic . . . I may follow by saying that in addition to the out door sports, an entertainment of a very superior character took place in the Oddfellows' Hall, on behalf of the Oddfellows and Foresters. The Gawler people seemed determined for enjoyment, and to make a long day of it. The doors were opened for the entertainment at 7 p.m., and sometime before that hour there was a large number waiting for admission. The room filled speedily, every available space being taken advantage of, and a very large number of ladies and gentlemen could not gain standing space and had to leave. These entertainments of a local character have always been very popular in Gawler, and deservedly so . . . The Chairman . . . called upon the Gawler Band who performed an Overture. The "Song of Australia" was then given . . . followed with a dialogue. A duet - "What are the Wild Waves saying," was next given . . . Mr. Cranz followed with a solo on the violin, "Last Rose of Summer" . . . Mr. Cranz gave the bass solo "The Standard Bearer (Lindpainter) . . . An interval of several minutes took place, after which there was a chorus, to open the second part, "Swell High the Choral Song" (Speyer). Mozart's "Don Juan," a duet, was next rendered by Messrs. Cranz and Roediger . . . after which a roaring rollicking scene took place between Messrs. Cranz and Puttman, a la Christy Minstrels, entitled "Rise and fall of the money market" . . .

ASSOCIATIONS: Carl Gustav Roediger (amateur vocalist); Charles Puttmann (musician)

"THE POPULAR READINGS", The Avoca Mail [VIC] (27 July 1867), 2 

The fortnightly entertainment under the above heading was given on Thursday evening last, at the Shire Hall, Avoca . . . what we think was the gem of the evening (and in giving this opinion we are sure we shall be pardoned by the ladies and gentlemen who kindly lent their efforts on the occasion) . . . was a "part song," the music composed by Mr. A. F. Cranz, who happily was the accompanyist, entitled "Why do I love thee?" It was beautifully rendered by the ladies who had, at short notice, studied the music score. Unquestionably this part song will be seen published . . .

"MARRIAGE", South Australian Register (12 February 1868), 2

CRANZ - SIMPSON. - On the 19th January, by the Rev. Samuel Raymond, at the residence of Mr. S. Bickford, by special licence, August George Cranz, to Jane, only daughter of the late William Simpson, Esq., of Newcastle-on-Tyne.

[News], The Avoca Mail [VIC] (8 May 1869), 2 

The services of Mr. A. F. Cranz have, for a long time, been given to the public for a variety of useful and improving purposes, and scarcely has an entertainment taken place on Avoca without the valuable recommendation of his musical talent. It is high time that his gratuitous services should meet with a substantial recognition, and we are sure there is enough musical talent in Avoca and neighborhood to provide entertainment, the result of which should be presented as a complimentary acknowledgment of Mr. Cranz's continued services for many years. We hope the matter will be taken up with spirit, and have a firm conviction it will be well supported. If Mr. Cranz will, for once, assume the character of a beneficiare, he will but be acceding to the wishes of his numerous pupils and the public.

"THE PRESBYTERIAN TEA MEETING. A LITTLE EXPLANATION (To the Editor of the Avoca Mail)", The Avoca Mail [VIC] (23 September 1873), 2 

SIR, - From more than one side, but surely coming all from the same source, I heard to my greatest astonishment a rather severe and really unjust critique about the singing at the last Presbyterian tea-meeting. That this critique came from one and the same person is evident, as all the kind repeaters with a "they say" or "I have heard that" corroborate mirabile dictu, the same error in which the originator through ignorance fell. Certainly everybody has his own opinion, and has a right to give it birth to appear before the world, but it is also certain that many a birth is premature, and sometimes produces a monstrosity. To give an opinion and to criticise are however two quite different things. To utter an opinion stands free to everybody, but anybody criticising, especially "art," must be thoroughly acquainted with it, must have studied and understood it, to be a just judge. One may say: "I did not like the singing," that is an opinion, a matter of taste; if any one says: "the singing was bad," it becomes a critique on which responsibility rests.
How often are these questions made; "Are you musical? Can you sing? Can you play?"
Now, anybody who ever opened the lips to amuse (as it is called) the company with a "song," or any one who ever opened the piano to strum "Napoleon's March over the Alps," or the "Battle of Prague," or something like it, is considered to be musical; never mind in what shape or form the "amusement" is given. Generally it will be found that these amiable members of society criticise more than those who are really musical, and hide their own ignorance in the matter by explaining that "the old songs are after all the best," (fox and grapes), because their miniature bumps of musical intelligence will not allow them to understand anything else but that which was sung at their cradles.
The hymns and anthems as sung in the places of worship are most decidedly not only exceedingly beautiful, but hundreds of them are of classical value; we all know that and sing them in our respective churches, and never get tired of them. But are we not putting our lights under a bushel if we do not go on further and try to understand the great works of sacred music, written by the most inspired masters on earth?
How can we understand them?
Answer: One part by practising and performing these works and not to shrink from a little hard work; another part by encouraging those who willingly undergo the task with means to carry the project out.
Through regular practice and repeated performances of greater works of sacred music even the uneducated ear will by degrees find a delight in the wonderful tones with their admirable melodies and sublime combination of harmony. Even those who never heard or sang anything else but "My lodging is in the cold ground," "Love not," or "Willie we have miss'd you," &c., will gradually be elevated by listening to, or the performing of classical sacred music.
Concerning the last tea-meeting, I openly and freely confess that I consider myself a better judge about the performances that night than that criticising individual (without having the immense pleasure of knowing the creature) who so ignominiously judged about things it (I mean the individual) don't know anything at all. For my part I congratulate the ladies and gentlemen of the choir with all my heart on their success, and thank them for the great zeal and perseverance they showed during the practice, and hope they will not be intimidated by mean slander of envious ignoramuses.
Avoca, 16th September, 1873.
P.S. - The foregoing remarks were written instantly after hearing some very unkind remarks about the singing at the last-meeting. Had Mr. "Ted Jones" attacked me alone I would have laughed at the unbounded ignorance and malignity of that "genius," but as he tries to injure the whole body of amateurs striving to learn, and who prefer, instead of idling their spare evenings away, to increase their musical abilities by steadily practising some more difficult and interesting music than hitherto was exercised and performed in this township, and to add a little to the general enjoyment of the then forthcoming tea meeting by offering the fruits of their labour, I think that no honest thinking person will blame me for publishing the explanation above. That my anticipation was correct is shown by that production of the pseudonym "Ted Jones," (who by the bye is no outsider) shooting from behind the bush, stinging like the snake in the grass. Is he ashamed of his name or ashamed of his deed, or both?
- A. F. C.

"PRESENTATION TO MR. A. G. CRANZ", South Australian Chronicle and Weekly Mail (19 February 1881), 8

For many months Mr. Cranz, who has been residing at Gawler, for a long time as manager of one of the banks, has been engaged in giving musical instruction to a number of the children. So well did they progress, and such apt scholars were they, that at last it was decided to produce the juvenile "Pinafore," which took the town by storm. Mr. Cranz having noticed the inefficient instrument that stood in the noble ball of the institute, thought he could utilise the juveniles by giving public performances, and devote the proceeds to the purchase of a grand piano that should be a credit to the town. With this end in view the juvenile troupe came out, and on several occasions performed "Pinafore" to crowded and delighted houses. The success was complete, and Mr. Cranz had the pleasure of presenting a really splendid instrument to the institute. To mark their appreciation of his services the committee voted Mr. Cranz an address . . . the testimonial as follows:-
"To August George Cranz - Dear Sir - We are instructed by the committee of the Gawler Institute to convey to you a very hearty vote of thanks for your indefatigable exertions, which have resulted in placing a magnificent grand piano in our hall; and to inform you that the committee consider themselves, as representing an educational institution, deeply indebted for the very excellent musical instruction given to so many of the children of Gawler in connection with the juvenile musical society conducted by you. Wishing you the greatest success and happiness in your future career, we are, yours truly . . . Gawler, January 7, 1881 . . .

ASSOCIATIONS: Gawler Institute (association)

"DEATHS", The South Australian Advertiser (8 March 1882), 4

CRANZ. - On the 7th March, at his residence, August George Cranz, Manager of the Commercial Bank, Gawler, aged 38.

"DEATH OF MR. A. G. CRANZ, J.P.", Bunyip [Gawler, SA] (10 March 1882), 2

Death has been busy in our midst of late, and amongst its victims are some whom we can ill spare. We have the mournful duty this week to record the death, after a short illness, of Mr. A. G. Cranz, J.P. Deceased came out to this colony from Germany with his parents in the ship Pauline, in 1849, being then only five years old, and was a shipmate of our respected Postmaster, Mr. C. F. O. Michael. He received his education under Mr. F. Basedow, M.P., and Dr. Muecke. He was at one time employed by Messrs. Gierke and Rohdemann [sic, Rodemann], of Adelaide, and afterwards by Mr. Keynes, at Angaston. About 16 years ago he came to Gawler, to the Bank of South Australia, and step by step made his way. A little over three years since the Commercial Bank opened a branch here and Mr. Cranz was appointed manager, which position he held at the time of his death. His residence in Gawler has been very marked. His was a nature that could not be quiescent, and into what ever he embarked his whole energies were thrown, and success generally followed his undertakings. He was ever ready to assist in any philanthropic movement, and his disinterested exertions on behalf of the Institute (of which, he was Vice-President) will long be remembered. The Children's Singing Society, too, has lost a dear friend, as well as an able conductor. His manner with the juveniles was simple, free, and hearty, and the excitement attendant upon the Pinafore Concerts, together with the excellence of the performances are all matters that will live in the history of Gawler, and Mr. Cranz's name is indelibly associated with them. Through his exertions a new grand piano has been placed in the Institute free of any charges to the Committee, and we know had he been spared he would not have rested until some important improvements had been made to the Hall. He was of a very mechanical turn of mind, and was an inventive genius. In business he was shrewd and quick, and in the social scale was one of the most genial of men, and was the life and soul of a party. He did much to cultivate a love for music in Gawler, and it is acceded on all hands that through him, numbers of children have not only been taught a knowledge of singing and music, but their general deportment has considerably improved. It is not generally known, but had he lived he intended making some provisions whereby the larrikins should have had a free musical education, which he believed would have taken them off the streets.

Mr. Cranz had been unwell, suffering from a cold, for sometime, which settled upon his lungs, and on Friday last he was first confined to his house. His illness has been very severe, and he succumbed on Tuesday afternoon about 4 o'clock. The funeral took place on Thursday morning, under the supervision of Messrs. Taylor and Forgie, undertakers. A special train conveying a large number of Bank officials, members of the Liedertafel, Hon. R. A. Tarlton, F. Basedow, Esq., M.P., and other friends arrived from town at 10.45. The coffin (which was of French polished cedar) was borne from the house to the verandah by the Commercial Bank officials, when the Liedertafel under Mr. C. E. Mumme sang "Es ist bestimint in Gottes Rath," after which the coffin was placed in the hearse, and conveyed to the Church of England cemetery. Mr. Crooks, Manager of the Commercial Bank, walked immediately behind the hearse, then Bank officials, then the Liedertafel, then a coach containing Mr. Cranz's two sons and chief mourners, and afterwards thirty-five other vehicles. At the grave the service was conducted by the Rev. Canon Coombs. The Liedertafel sang two pieces "Da unten ist Friede," and "Schlaf wohl mein Kamerad," and members of the Church Choir and Musical Union sang the hymn - "Through the night of doubt and sorrow." The inscription on the coffin was simply "August Georg Cranz, died March 7, 1882. Aged 38 years." A large number of bouquets and wreaths were thrown into the grave by friends. We had almost omitted to mention that deceased was made a Justice of the Peace some months ago. By the death of Mr. Cranz we have lost one of our most active residents, the children especially having sustained a loss which it will be difficult to replace. He was a general favourite, and deep sympathy is felt for the bereaved widow and fatherless children. It is a remarkable coincidence that Mr. Cranz and Mr. Muecke both came into the colony in the same year, both were educated at the same school, both were Bank managers, they were the same age, had the same number of children, were insured for the same amount, and died within a few days of each other. Mr. Cranz attended Mr. Muecke's funeral on the 21st ult., and he then little thought he would so soon be called after his friend.

ASSOCIATIONS: Friedrich Basedow (teacher); Carl Muecke (Lutheran cleric, teacher); Charles Edmund Mumme (conductor); Adelaide Liedertafel (association); Eugen Victor Ottomar Muecke (former schoolmate, recently deceased);
see also, "IN MEMORIAM. E. V. O. MUEKE AND A. G. CRANZ", Bunyip (24 March 1882), 4

[News], The Express and Telegraph [Adelaide, SA] (10 March 1882), 2 

The remains of the late Mr. August George Cranz, manager of the Commercial Bank at Gawler and inspector of the country branches, were interred in the Church of England Cemetery, at Gawler, on Thursday, March 9. A special train had been engaged by Mr. Crooks, the general manager, for the purpose of enabling the bank officials to be present at the funeral. By this kindness about twelve members of the Adelaide Leidertafel [sic] were also accommodated in the train, Mr. Cranz having been a member of that body. At 11 a.m. the officers of the bank bore the coffin . . . from the house to the verandah. The members of the Leidertafel then sang Mendelssohn's solemn yet beautiful "Es ist bestimnit in Gottes Rath," after which the officers of the bank again lifted the coffin and bore it to the hearse, when the funeral procession moved to the cemetery. There were thirty-eight conveyances, besides a number of persons on foot, and there must have been quite 250 persons present at the interment. On arriving at the cemetery the funeral cortege was met by the Rev. Canon Coombs. As soon as the coffin was placed on the bearers over the grave the Leidertafel sang "Da unten ist frieden." The beautiful service of the Church of England was then read, and before the benediction was pronounced several ladies and gentlemen connected with the Musical Union, of which Mr. Cranz had been the director, sang most feelingly the 274th hymn from the church hymn-book. The benediction being pronounced, "Schlaf wohl kammerad" was sung by the Liedertafel, and the ceremony was over. During the day all the shops and business places in the town were half closed, and flags were hung at half-mast. Mr. Cranz was highly respected, and it will be difficult to fill his place, not only as a bank manager, but as one who energetically worked on behalf of the town of Gawler.

For another obituary, see "GAWLER [From our own Correspondent]", Kapunda Herald (10 March 1882), 3 

[News], The Avoca Mail [VIC] (28 April 1882), 2 

Our readers will be sorry to learn that Mr. Cranz of this town suffered a severe bereavement on the 11th of last month in the death of his son August Georg Cranz, aged 38 years. The sad event occurred at Gawler, South Australia, where Mr. Cranz junior has lived for about 16 years. The Gawler Bunyip gives a long account of Mr. Cranz's life, illness and funeral, and from this we learn that be had attained to a good position amongst his fellow residents, and was most highly respected . . .

[News], Avoca Mail [VIC] (13 February 1883), 2 

The many friends and acquaintances of Herr Cranz will very much regret to hear of his decease, which took place at the Maryborough Hospital yesterday morning at half-past one. The deceased had for some time past been in indifferent health, but nothing of a serious nature was entertained until about a fortnight ago, when a few gentlemen from Avoca had him removed to Maryborough in consequence of the fatal symptoms which were presented. Ever since his admittance into the institution the case was considered by the medical attendants as hopeless, despite the fact that the invalid on two or three occasions rallied, and showed signs of a recovery. The cause of death was we believe, general debility, consequent upon old age. Herr Cranz or "Professor" Cranz, as he was called, was one of the oldest residents of the township, having resided in Avoca for considerably over twenty years, and he was much respected and esteemed by all who were acquainted with him. For many years past the deceased earned a livelihood by teaching the pianoforte. He will be greatly missed by all sections of the community, as he was always ready and willing to five his services to any good cause, especially where music was to be provided. He presided at the organ of the local Presbyterian Church for a number of years. As soon as the news of his death became known in Avoca, the different shopkeepers put up two or three shutters out of respect. The funeral will take place this afternoon, and will leave the Avoca Hotel at four o'clock.

[Advertisement], The Avoca Mail (13 February 1883), 3 

Monday, 19th February. Sale by Auction of Furniture and Effects of the late Professor Cranz, at the Auction Rooms, Avoca.
JNO. F. PATEN has received instructions to Sell by Public Auction on the above date . . . the whole of the Effects of the lata Professor Cranz, comprising:-
Tables, Sheeting, Chairs, Pillars, Couch, Mattrasses, Armchair, Toilet Covers, Chiffoniers, Pictures, Carpets, Clock, Crockery, Tools, Chamber Sets.
And a Lot of miscellaneous Goods, also PIANO, BY ALLISON AND SONS. Guitar and other Musical Instruments, also a lot of Plants (choice.)
The Sale will commence at half-past 2 p.m. sharp.

"THE CRANZ MEMORIAL CONCERT", The Avoca Mail (11 March 1884), 2 

The entertainment given on Friday night for the simple but worthy purpose of raising sufficient funds to make provision for the suitable perpetuation of the memory of the late Professor Cranz, as a posthumous mark of respect, by the erection of an appropriate headstone over and ornamental enclosure around the grave of the deceased musician, was, all things considered, an unequivocal success . . .

"MARRIAGES", South Australian Register (30 May 1884), 4

LENEHAN - CRANZ. - On the 29th May, at St. John's Church, East-terrace, by the Rev. F. S. Poole, Nicholas P. Lenehan, third son of Edward Lenehan, Dublin, Ireland, to Jane Cranz, widow of the late Mr. A. G. Cranz, of the Commercial Bank, Gawler.

[News], The Avoca Mail (11 July 1884), 2 

The memorial stone designed to perpetuate the recollection of the late Professor Cranz has at length been put into position in the Avooa Cemetery, and may be seen in the Catholic division of the enclosure. The memorial stone has been neatly made and put up by Mr. J. Gwilym, of Maryborough for a trifle over £25, which, though insufficient, was all the money at the disposal of the Committee, the workmanship reflecting considerable skill, and doing Mr. Gwilym considerable credit. The stone bears the following inscription: -
"In memory of Alexis Fedor Cranz, who departed this life 11th February, 1883, aged 66.
A tribute of respect and love from the people of Avoca."

"DEATHS", South Australian Register (18 April 1885), 4

LENEHAN. - On the 1st March, at Christchurch, New Zealand, Jeannie, wife of N. P. Lenehan and relict of the late A. G. Cranz, of Gawler, South Australia.

"OLD-TIME MEMORIES. AMUSEMENTS. No. 1. By A Native", South Australian Register (24 July 1891), 6

. . . Early in the fifties, when many of our fathers and elder brothers were tempted or led away by enchantment to the Victorian goldfields, some of whom never returned, the pleasures of those remaining, and, in fact, of the whole colony, were few; but, thank Heaven, after all had suffered a severe recovery, we yet live to tell the tale, gathered partly from the old-time paper, the Register, and that of old-time friends and personal memories . . . [in 1853] Neales's Exchange room, King William-street, was a public resort for those who wished to enjoy music and other entertainments then provided. Many "old timers" may remember Madame Cranz, with Messrs. Daniel and Chapman (of old post-office memory), giving concerts there, some of which were under the patronage of the then Acting Governor, Mr. B. T. Finniss . . . I am only endeavouring to record others whose advent was hailed after the subsidence of the Victorian gold fever. In June, 1853, our German friends are noticed in your columns, and the then as now much admired musical institution, the Liedertafel, had been established four years previously. On the date under notice they gave "a most agreeable entertainment" at the Hamburg Hotel, Madame Cranz being the soloist and Herr Linger presided at the piano . . .

ASSOCIATIONS: Boyle Travers Finnis (musical amateur)

"A LIFETIME IN MUSIC . . . MR. CAWTHORNE'S INTERESTING CAREER", The Advertiser (17 November 1916), 9

Within the next four years Mr. Charles Cawthorne will celebrate the jubilee of his entry into the musical world. He is now in his 62nd year, and can look back upon an interesting and a varied musical career, which began at the early age of 14. He is a native of Adelaide and has spent his whole life in this city. From his mother he inherited a musical temperament, and it was she who directed his footsteps into the profession in which he has been so long and honorably known. His mother, who studied under Madame Cranz - a teacher of note 50 years ago - was an uncommonly good pianiste and a friend of Mr. Linger, the composer of the "Song of Australia" . . .

ASSOCIATIONS: Charles Cawthorne (musician); his mother, Mary Ann Georgina (Annie) Mower (1830-1884) married William Anderson Cawthorne in Adelaide in 1848

"UNVEILING A PORTRAIT", Bunyip [Gawler, SA] (29 April 1927), 9 

A pleasing recognition of a former resident's services' to the Gawler Institute was taken at the half-yearly meeting of subscribers on Tuesday evening, when a portrait of the late Mr. A. G. Cranz was added to the honour-roll of citizens in the subscribers room. The President (Mr. M. Lynch) said that during the past 45 years the experience of the Institute in its piano equipment was unique. By the enterprise and public spiritedness of Miss Flo. L. Barnet the best instrument that money could buy had been put into the hall free of cost to the Institute. What piano the Institute had before 1882 he could not say, but evidently it was not up to standard, for of the citizens of that day there was a young man named Cranz who took over the work of supplying a new instrument, regarding it as his duty to do more for the town than simply to reside in it. He raised the necessary money and purchased a Bechstein Grand piano which was handed over free to the Institute. He did not do it by the proverbial method of passing around the hat, but staged the opera H.M.S. Pinafore, the personnel being the vocal endowed boys and girls of the district. The scheme was an ambitious one, but the success was phenomenal, and subscribers would realize the stupendousness of the task when he said that those who participated were children less than 10 years of age. Mr. Cranz daughter was with them that evening, attending to witness the memory paid to her late respected father, which the Institute did through the thought of herself and her brother Will. He had pleasure in calling upon one of the principals of that opera of long ago, Mrs. Polden, a respected townswoman, who as Florence Veale sustained the character of Josephine, to unveil the portrait. (Applause). Mrs. Polden expressed her thanks and great appreciation of the privilege of performing the ceremony, as it was a pleasure to unveil a portrait of a citizen well worthy of the honor and one who should rank with those now hanging on the walls of the Institute. Mr. Cranz's work was colossal, for he taught 40 to 50 children the words and music of "Pinafore," one of Gilbert and Sullivan's opera, training the principals note by note on his violin. In those days the newspapers were not filled with portraits of endowed boys and girls, and pianos in the homes were as scarce as sovereigns are to-day, with musical training only among the children of the rich. Most of the children of that day who participated in the opera were those of working men. Mr. Cranz not only had musical ability, he had a magnetic personality, and to know him was to love him, for he was truly sympathetic. That he had met with huge success in the production was borne out by a visit from Mr. J. C. Williamson, who witnessed a performance and eulogised the performers on their achievement . . .

Bibliography and resources:

Meike Tiemeyer-Schütte, Das Deutsche Sängerwesen in Südaustralien vor Ausbruch des Ersten Weltkrieges zwischen Bewahrung von Deutschtum und Anglikanisierung (Münster: LIT Verlag, 2000), 26, 27, 28 (PREVIEW)

Jan McInerney, "Carl Linger and August and Matilde Cranz: early South Australian musicians", The South Australian genealogist (February 2020), 14-20

Many thanks to August and Matilde Cranz's great-great grand-daughter Jan McInerney of Adelaide for sharing her findings and transcriptions of documents added to this entry May 2013.

CRAVEN, Henry Thornton (Henry THORNTON [sic]; Henry Thornton CRAVEN; H. T. CRAVEN; Henry Craven THORNTON)

Actor, comedian, manager, playwright

Born London, England, 26 February 1818; son of Robert THORNTON and Mary SANDERSON
Married Eliza NELSON, Edinburgh, Scotland, 17 May 1852
Arrived Sydney, NSW, 29 September 1854 (per Lady Ann, from Plymouth, 26 June)
Departed Melbourne, VIC, 29 April 1857 (per Indomitable, for London)
Died Clapham, London, England, 13 April 1905, aged "88" (TROVE tagged) (Wikipedia) (shareable link to this entry)

CRAVEN, Eliza (Eliza NELSON; Mrs. H. T. CRAVEN)

Musician, vocalist, actor

Born England, c. 1827; daughter of Sidney NELSON and Sarah ?
Married Henry Thornton CRAVEN, Edinburgh, Scotland, 17 May 1852
Arrived Sydney, NSW, 29 September 1854 (per Lady Ann, from Plymouth, 26 June)
Departed Melbourne, VIC, 29 April 1857 (per Indomitable, for London)
Died Eastbourne, England, 20 March 1908, aged "81" (TROVE tagged by Australharmony) (shareable link to this entry)

Miss Eliza Nelson, as Our Nelly, by John Brandard, London, c. 1851

Miss Eliza Nelson (Mrs. H. T. Craven), as Our Nelly, by John Brandard, London, 1853

ASSOCIATIONS: John Brandard (English lithographic artist)


Register of Protestant dissenters' births, 1818; UK National Archives, RG4/73 (PAYWALL)

F. No. 1733 / . . . That Henry Thornton, Son of Robert Thornton, and Mary Thornton his Wife, who was Daughter of William & Mary Sanderson, was Born in 26 Poland Street in the Parish of Saint James Westminster in the County of Middlesex on the [26 February 1818] . . .

"MADEMOISELLE ROSALIE THEMAR", Morning Post [London, England] (26 March 1847), 5 (PAYWALL)

This lady, who is new to the London metropolis, is a very admirable pianiste, and has gained considerable reputation on the Continent. Mdlle. Themar gave a soiree musicale last night at the Queen's Concert Room, Hanover-square, under the immediate patronage of his Royal Highness the Duke of Cambridge . . . Madame and Signor F. Lablache and Miss Eliza Nelson were the vocalists, and contributed greatly to the success of the concert. Miss Eliza Nelson has a mezzo soprano of delicious quality - her intonation is unerring, and her style cultivated. She was loudly encored in a ballad, "Happy heart;" and in "Thou art gone from my gaze," a very nice ballad by Lindley, was rapturously applauded. When the timidity consequent upon a first appearance is conquered, we feel that she will become one of our most popular favourites. John Parry, without whose presence no concert can be deemed complete, gave some of his vocal and instrumental comedies with his accustomed success . . . The concert was conducted by Mr. Benedict with his usual excellence. The room was filled with a fashionable audience.

ASSOCIATIONS: Fanny and Frederick Lablache (vocalists); John Parry (vocalist); Julius Benedict (conductor)

"COVENT GARDEN THEATRE", Sun [London, England] (10 October 1848), 7 (PAYWALL)

This theatre opened last evening for the performance of English opera . . . last night we had the chef of Wallace, Maritana, in which the sister of the composer sustained the character of the heroine, and Miss Eliza Nelson, the daughter of Mr. S. Nelson, who has composed several popular songs, appeared as Lazarillo. It was the first appearance on any stage of each of these young ladies, and we can congratulate each of them on having achieved a complete and most legitimate success . . . Miss Eliza Nelson, who appeared as Lazarillo, is a young lady of petite but perfect figure, with pretty and expressive features, and in her boy's costume she looked perfectly charming. Her voice is a mezzo soprano of moderate power, and of much sweetness. She sung the celebrated melody which opens the second act very nicely, and was deservedly honoured with an encore. She was also encored in the second couplet of the trio - "Turn on old Time thine hour-glass" - an honour which she richly merited by the exquisite manner in which she gave the music. Her acting too, exhibited much archness and espieglerie. She will make a great hit in the role of pages. Harrison, Phillips, and Borrani sustained their old characters, and the orchestra, under the able direction of Schirra, was all that could be desired . . .

ASSOCIATIONS: Eliza Wallace Bushelle (vocalist)

England census, 30 March 1851, Middlesex, St. Pancras, Tottenham Court, 16, 822; UK National Arcives, HO107/1494/822/18 (PAYWALL)

65 Tottenham Court Road / 3 Crescent Place / Sidney Nelson / Head / 50 / Composer of Music / [born] City Aldgate
Sarah [Nelson] / Wife / 42 / Surry [sic] Southwell
Eliza [Nelson] / Daughter / 22 / Mddsx Bloomsbury
Maria [Nelson] / Daughter / 15 / Surry Lambeth
Caroline [Nelson] / Daughter / 13 / [Surry Lambeth]
Sarah [Nelson] / Daughter / 10 / [Surry Lambeth]
Alexander [Nelson] / Son / 6 / Mddsx St George's HS
Isaac [Nelson] / Son / 6 / Mddsx St George's HS
Lucy Haines / Servant / 40 / General Servant / Surry Southwell
Jane Samuel / Visitor / 22 / Dressmaker / Mddsx ? Hill

"DRURY LANE", The Musical World [London, England] (1 February 1851), 71 

A new Operetta was produced here on Monday. The action of the piece is a mere vehicle for some pretty music by Mr. S. Nelson. Two damsels, personated by Miss Eliza Nelson and Miss Morant, compel their lovers, two young tradesmen (Messrs. Rafter and M. J. Chester), to reverse an insolent inscription over their doors, which implies that women are but the born slaves of the other sex. The composer of the music is evidently familiar with the most popular forms of melody, and writes with fluency and correctness. The first two songs were deservedly encored. Miss Eliza Nelson has a mezzo soprano voice, sweet in quality, if not very powerful in the upper notes. Her lower notes want cultivation, being somewhat thin and reedy; for this reason we would caution her against singing songs of the florid or bravura class, to which her voice is at present scarcely equal. She is very young, and her abilities as an actress are of unusual promise. Her gestures are graceful, and her manner evinces thorough self-possession; she is full of archness and vivacity, and has as pretty a pair of laughing-eyes as a damsel need wish for, to pound and minister to her will.

Marriages, Edinburgh, 1852; Scotland, select marriages 

17 May 1852 / Henry Thornton Craven / Eliza Nelson

"Public Amusements", The Courier [Hobart, TAS] (19 September 1854), 2 

Mr. H. T. Craven and his wife (nee Miss Eliza Nelson) are en route for the colonies to join their relatives the popular Nelson Family. Mr. Craven is the author of several highly successful dramatic pieces, such as "Our Nelly," "The Village Nightingale," "My Daughter's Debut," &c.; and his talented lady has always been a great favourite in London and the provinces.

Australia (29 September 1854 to 29 April 1857):

"SHIPPING INTELLIGENCE. ARRIVALS", Empire [Sydney, NSW] (30 September 1854), 4 

September 29. - Lady Ann, ship, 745 tons, Captain W. Mayton, from Plymouth June 26. Passengers - Mr. and Mrs. Craven and child, and 290 government emigrants; Mr. Beal, Surgeon Superintendent. Agents, Ellsworth and Co.

"VICTORIA", South Australian Register [Adelaide, SA] (31 October 1854), 2 

In a Sydney journal there appears the following reference to these highly popular artistes, who may be expected to visit Melbourne at an early date: -
"Amongst other high professional talent visiting and about to visit the Australian shores, we cordially welcome Mr. and Mrs. H. T. Craven, whose names must be 'familiar as household words' to those who take an interest in English theatrical doings; and we congratulate our worthy manager on securing the services of artistes of such substantial repute. Those who require an introduction maybe informed that Mrs. Craven, is better known in England as Miss Eliza Nelson, who after achieving great success as a concert singer at Exeter Hall, the Hanover-square Rooms, and elsewhere, made her first appearance five years since at Covent Garden Theatre in Wallace's Opera of Maritana, in the character of Lazarillo - succeeding and rivalling the celebrated Miss Poole, whom she resembles in quality of voice. Her success led to an engagement for three seasons at Drury Lane, where she made a highly favourable impression as Polly in the Beggars' Opera, and other principal singing characters. Since, and latterly, this lady has taken a position as an eligible vocal star in the first provincial towns, identifying herself as the original representative of the musical heroines of several of Mr. Craven's most popular burlettas. Mr. Craven has for several years played the eccentric comedy at the Princess's, Lyceum, Strand, and other London Theatres, and holds rank as one of the best personators of Frenchmen of the day. His talent is most versatile, which may be verified by instancing that he was the representator for many nights of the celebrated character of Azael at Drury Lane, where he also appeared as Orlando, and other characters of that stamp. The press and public, however, appear always to have preferred his comic efforts. He is well known as a graceful, sparkling, and popular writer, and is a member of the London Dramatic Authors' Society. We make no doubt but that their merits will at once be acknowledged and rewarded in Sydney.

ASSOCIATIONS: Elizabeth Poole (English vocalist and actor)

"ROYAL VICTORIA THEATRE", The Sydney Morning Herald (3 March 1855), 5 

This evening, under the joint patronage of the gentlemen of the Yeomanry Cavalry, Volunteer Artillery, and Volunteer Rifle Corps, Mrs. H. T. Craven announces her first benefit, at this establishment. She has selected Gay's Beggar's Opera, and the farces of the Life of a Tar and Used up. The casts in these pieces include the whole strength of the company, both musical and dramatic.

ASSOCIATIONS: Royal Victoria Theatre (Sydney venue)

"M. BOULANGER'S CONCERT", The Sydney Morning Herald (17 March 1855), 4 

M. Boulanger's concert on Thursday night [15 March, Royal Hotel] was attended with a tolerably good number of the beauty and fashion of Sydney, and passed off with the utmost success . . . The lady singer, whom we have ungallantly left last for mention, contributed materially to the success of the entertainment, and surprised a greet many who were not prepared to find in Mrs. Craven so accomplished a songstress. She possesses an organ of remarkable sweetness and flexibility, and, what is still rarer, that good taste and correct feeling which distinguish a true singer from a mere vocal machine. Hitherto known only for her pretty and piquant style of ballad singing, a la Vestris, Mrs. Craven has now proved that she is capable of far higher efforts than those she has attempted on the Victoria boards. We would particularly notice her execution of Meyerbeer's beautiful, yet difficult air, Robert, toi que j'aime, which obtained the merited plaudits of the audience. In her duet Dunque Io son, from Il Barbiere, Mrs. Craven's performance was quite worthy of her companion [Emile Coulon], which is the highest praise we can give her. Mrs. Craven is destined to become as great a favourite in the concert room as she is in the theatre; and we question if there is at present any songstress in Sydney to equal her in sweetness, expression, and execution. On the whole, the concert was one of the best we ever remember in this city . . .

ASSOCIATIONS: Edward Boulanger (pianist); Emile Coulon (vocalist); Royal Hotel (Sydney venue)

"M. COULON'S OPERATIC ENTERTAINMENT", Bell's Life in Sydney and Sporting Reviewer (7 April 1855), 2 

This clever buffo, late in the suite of Catherine Hayes, will re-appear before the Sydney public on Thursday evening, at the Victoria. Arrangements are made for the production of different acts of several favourite Italian Operas, Mrs. Craven taking the role of prima donna; and the conclusion will be a Musical Vaudeville, written expressly by Mr. Craven, and founded on incidents in the Crimea. M. Coulon will take the character of a dashing Zouave.

ASSOCIATIONS: Catherine Hayes (vocalist)

"THE DRAMA. ROYAL VICTORIA", Bell's Life in Sydney and Sporting Reviewer (25 August 1855), 2 

On Monday and Wednesday evenings a clever burlesque on the romantic loves of Alonzo and Imogene, was produced; the M.S emanating from the prolific pen of Mr. Craven, and the music arranged, and partly composed, by Mr. Winterbottom. As a burlesque it is certainly good, many of the points being telling, and successfully making a travestie of the acting, singing, and tableaux in many well known pieces. The main fault is over-length, for towards the end it rather dragged; nor is it to be wondered at, when it plays continuously. A careful pruning would be a great improvement, and increase the interest of the plot. The mis-en-scene was excellent, as also the closing tableau in an illuminated fairy grotto. The characters were well sustained, Mrs. Craven, Mrs. Torning, Mr. Craven, and Messrs. Torning, Stephens, Lambert, and Crosby, being all very perfect and very amusing. The latter gentleman made his first appearance after many years absence from the stage, and proved himself a good melo-dramatist.

ASSOCIATIONS: John Winterbottom (conductor, composer); Eliza and Andrew Torning (actors, manager); William Henry Stephens (actor); Joseph Charles Lambert (actor); James Crosby (actor)

"Music; Fine Arts; The Drama . . . VICTORIA THEATRE", The People's Advocate and New South Wales Vindicator [Sydney, NSW] (8 December 1855), 2 

. . . The uncompensating attendances at the two houses during the last fortnight, stimulates these remarks; for the entertainment offered has been such as, under ordinary circumstances, would and should have commanded a large patronage. We will instance Donizetti's opera THE ELIXIR OF LOVE, in the production of which, industry has overcome some difficulties, and talent achieved the rest. That glorious quack - that mountebank, Falstaff Dulcamara was undertaken by Mr. Winterbottom; his first step over the footlights, from the orchestra which he has long adorned. His appearance literally and figuratively was great. Lablache-like from wig-top to boot; and what was of equal importance, his singing and acting were both humorous and correct; he rendered the music as a thorough musician should do, and infused a spirit into it, which every musician could not do. We heartily congratulate him on a success for which we need not remind him he was to some extent indebted to Mrs. Craven: their voices harmonized admirably, and their duetts were the gems of the opera. The lady was in excellent voice, and sang with her usual sweetness, and now well acknowledged [3] flexibility: acting with a most pleasing archness. Mr. Holloway as Belcore, and Mr. Bellair as Nemorino acquitted themselves creditably. The first of these gentlemen has a really valuable voice, which he would do well to cultivate diligently. To Mr. Bellair, we suspect the management is indebted for filling a gap, which, unfilled, would have been a serious obstacle to the production of the piece. The orchestra, led by Gibbs, deserves high commendation. The melody is so frequently given to the instruments, that much attention is naturally drawn to the band. This charming little opera deserves a frequent call for repetition . . .

ASSOCIATIONS: Edmund Holloway (actor, vocalist); Thomas Smith Bellair (actor)

"Sydney News", The Maitland Mercury and Hunter River General Advertiser [NSW] (22 December 1855), 2 

Frank Howson, Miss Young, Mr. Lambert. Mr. Stephens, Mr. and Mrs. Craven, in fact all the best actors, intend taking the Lyceum (formerly the Circus in York-street); they will expend a few hundred pounds towards fitting it up in a suitable manner, and being under a rental of only £10 a week, I have no doubt it will be a very paying speculation.

ASSOCIATIONS: Frank Howson (actor, vocalist); Lyceum Theatre (Sydney venue)

[Advertisement], Daily Southern Cross [Auckland, NZ] (5 February 1856), 2 

THEATRE ROYAL, AUCKLAND. MR. FOLEY begs to acquaint the patrons of rational amusements in Auckland, and its vicinity, that in deference to the general demand for a commodious building for dramatic representations, he has resolved to erect A Capacious New Theatre in which the appliances of Scenery, Dresses, and Appointments will be most complete, with the design of introducing A DRAMATIC COMPANY unequalled for excellence in their departments, in any of the Colonies, amongst whom he may instance . . . Mr. H. T. CRAVEN, (of Drury Lane Theatre,) (The celebrated Dramatic Author & Comedian,) . . .
Other important engagements are pending, and the opening is anticipated for Monday week.
Stage Manager, Mr. H. T. Craven. Sole Proprietor, Mr. W. H. Foley.

ASSOCIATIONS: William Henry Foley (manager); Craven appeared only for two nights, he sailed again for Sydney on 5 March, though it was reported that he was "likely again to return" (he did not);
see "THE NEW THEATRE ROYAL", Daily Southern Cross (11 March 1856), 3 

"Sydney News", The Maitland Mercury and Hunter River General Advertiser (26 March 1856), 2 

The Old City Theatre, recently occupied as a furniture mart, also opens this evening with a small but clever company, amongst which are Mr. and Mrs. Craven, Mr. Winterbottom and his band, Mr. Stephens, and some of the Nelson family. The entertainments are to be chiefly of a musical nature, and as there appears to be a greater taste in Sydney for music than for the drama, there is a probability of the undertaking proving successful.

"OUR LYCEUM", Empire [Sydney, NSW] (12 July 1856), 4 

Our Lyceum is announced to be opened on Monday next. The theatre, which is a commodious and elegant building, occupies the site of Malcolm's Circus, in York-street; but with the exception of the walls of the old place of amusement, every thing is new . . . The band will be under the able direction of Mr. Winterbottom; it is stated that it will be the most efficient in the colonies, and will include the following gentlemen: M. Charles Eigenschenck (leader), Messrs. W. Tranter, Boans, Wilkinson, Strong, Seymour, Volpi, Sharpe, Richardson, &c., &c. . . . The design of the managers (Messrs. Craven and Stephens) - who are great favourites, we believe, with the public - is to provide a first-class family theatre, to be conducted on the admirable plan of the London Lyceum . . .

ASSOCIATIONS: Charles Eigenschenck (leader, violin); William Tranter (musician); Philip Barnett Boam (musician); Theodore Scott Wilkinson (musician); George Strong (musician); Richard Seymour (musician); Francesco Volpi (musician); Frederick Sharp (musician); John James Mallcott Richardson (musician)

"THE DRAMA . . . OUR LYCEUM", The People's Advocate and New South Wales Vindicator [Sydney, NSW] (20 September 1856), 2 

. . . [in The slave] Mrs. Craven, that sweet actress, sang delightfully the "Mocking Bird," it being peculiarly within the register of her voice . . . ON DIT. - That Mr. H. T. Craven, the talented comedian is about seceding from the management of "Our Lyceum," and departing for England on urgent private business. We sincerely wish him a bon voyage, and a speedy return.

MUSIC: The celebrate mocking bird song (Henry R. Bishop, from The slave)

"THE THEATRE ROYAL", The Age [Melbourne, VIC] (21 October 1856), 5 

Mr. and Mrs. H. T, Craven made their first appearance on the Royal boards last evening, and with the most decided success. Mr. Craven is himself a dramatic author of some repute, and also an actor of very versatile powers; his especial line being what are called French characters, that is Frenchmen who speak broken English, in which he seems to be quite at home. Mrs. Craven is an exceedingly interesting actress, and sings ballads with great taste and sweetness. Having thus introduced the new actor and actress to the public, let us refer to the performance generally.
The performances commenced with an Operatta, written by Mr. H. T. Craven, and in which he sustains the part of Sam Copibrief, (a lawyer's clerk), and his accomplished wife the part of Jessy Carroll, (the village nightingale); being supported by the capital acting of Mr. Charles Young (Stephen Hedgeway), and Mr. Webster, (Tom Snare.) The piece is one of a very light character, but the excellent acting of the several performers, and the number of pretty ballads so tastefully sung by Mrs. Craven, kept up its interest, and the mirth and good humor of the audience up to its close, when a vociferous call was made for Mr. and Mrs. Craven, who bowed their acknowledgments before the curtain.
Next followed a pas seul by Madame Strebinger, - her first appearance under the present management, - which "took," as might be expected. The lady was rewarded by an encore.
The dance was succeeded by another of Mr. Craven's little pieces, a comedietta, entitled, "My Daughter's Debut; a Passage in Professional Life." The plot of the piece is briefly this: An old Frenchman named Pierre Enjouleur (Mr. Craven) who is struggling to maintain himself and daughter Blanche (Mrs. Craven) upon his scanty earnings as a music copyist, is induced, by the confidence he has in his powers of tuition and the earnest persuasion of his daughter, to make an effort to obtain for her an engagement at the theatre. He arrives on the stage at the very moment when Chizzle, the manager, (Mr. G. H. Rogers), and Claptrap, the author, (Mr. C. Young), are anxiously awaiting the arrival of Mademoiselle Julia Squeakini, the Prima Donna of a new piece (Miss C. Nelson). Enjouleur endeavors to make some terms with the manager in behalf of his Blanche, but is at present unsuccessful; he, however, obtains leave for them both to remain during a rehearsal. At last the prima donna arrives, and gives herself such airs that a rupture takes place between her, the author, and the manager, and the lady leaves the theatre in high dudgeon. The Frenchman again offers his daughter to the manager, and assures him of her ability to take the leading part, and she is at length allowed to give "a taste of her quality," which is so satisfactory that she is, as a dernier ressort, allowed to make her debut that evening. We are next supposed to be on the stage of the theatre, the audience past being off the stage, and we are treated to a view behind the scenes. Here we have the manager in full fig, the author and the dramatis persona awaiting their respective cues. The manager goes to the supposed front of the theatre, and announces to the audience the illness of the prima donna, and the substitute obtained in the person of the new actress; an announcement which is, as to the first part, met with expressions of disappointment, and as to the second, of satisfaction. The manager and author are in ecstacies, and Blanche is about to appear in the first scene, when another "scene" takes place in consequence of the arrival of the prima donna, who at first insists upon taking her part, but at length makes her exit. The actress is successful, and the piece is successful, and an actual call for the new found favorite, having been made, she is led on by the manager, and receives a shower of bouquets - from her father in the orchestra! A call is then made for the author, who makes a speech from one of the side boxes, in the course of which he informs the audience that owing to the success of the piece he purposes doing something truly gigantic, and he refers to an Australian tragedy in twelve acts called "The Squatter's Daughter," - the minor parts of which are to be sustained by aborigines, and in which will be introduced a real kangaroo, which is even there in training. He further promises that if there are any gentlemen of the press taking down his speech, he will, on reading it the following morning, take two copies of each of such papers! This was the finale to "My Daughter's Debut."
The performances concluded with "Cupid," the God of Love being, of course, Mr. George Coppin, the never despairing lessee of the theatre, who gratified the audience (one of the most numerous we have seen of late) with that irresistible "Spider Dance." A pretty full programme for one evening!

ASSOCIATIONS: George Herbert Rogers (actor); Charles Young (actor); Therese Ferdinand Strebinger (dancer); George Coppin (actor, manager); Theatre Royal (Melbourne venue)

"MUSIC AND THE DRAMA", The Age (18 November 1856), 5 

Maritana was given at the Royal on Saturday night to an average house. With the exception of the chorus, which seemed unusually thin and unsteady, the opera went off exceedingly well, and the principal vocalists were especially well up on their parts. Miss Julia Harland sang and acted very pleasingly; Mr. Sherwin was in excellent voice, sang with confidence, and made so decided an impression on the audience that he was repeatedly encored. Mr. Farquharson, ever a favorite, was triply encored in his master-piece, "Love and Victory." Mrs. Craven, on this occasion, assumed the character of Lazarillo, and was exceedingly successful in it. Her voice, a very pleasing contralto, was heard to good effect in the fine air, "Hark, those chimes," and in the concerted music of the piece. After the fall of the curtain the artistes were summoned forth to receive the final congratulations of the audience, who were evidently highly gratified with the evening's performance . . .

ASSOCIATIONS: Julia Harland (vocalist); Walter Sherwin (vocalist); Robert Farquharson (vocalist)

Names and descriptions of passengers, per Indomitable, from Melbourne, 29 April 1857, for London; Public Record Office Victoria (PAYWALL)

Saloon // Hy. Craven / 35 [sic] / Actor // Eliza Craven / 26 // Jessie Craven / 3 // Jo. Craven / 1 . . .

"DEATH OF MISS ELIZA NELSON", The stage [London, England] (26 March 1908), 19 (PAYWALL)

Misa Eliza Nelson , otherwise Mrs. Craven , widow of the late Henry Thornton Craven, the actor and playwright, and mother of Mr. Tom Craven, died at on Saturday [21 March]. The deceased, who was aged eighty-one, was well known to earlier generations of playgoers as Misa Eliza Nelson. For a number of years Mrs. Craven had retired from active work. She survived her husband by three years. Mr. Craven died in 1905, at the age of eighty-seven. Miss Nelson was a prominent actress half a century ago, especially in domestic drama. At Macready's farewell benefit, at Drury Lane, Miss Nelson played one of the principal parts in the operetta, The Cadi's daughter. The chief piece in the bill was Macbeth, with J. W. Ray as Duncan, Henry Howe as Banquo, Phelps as Macbeth, and Mrs. Warner as Lady Macbeth. Mr. Craven played Malcolm. Miss Nelson acted in her husband's musical pieces, The Village Nightingale and Our Nelly, and also played with Robson in The Chimney Corner, which Mr. Craven wrote for him.

Musical pieces (selected):

The village nightingale, a burletta in one act by H. T. Craven . . . the music composed by S. Nelson (London: Samuel French & Son, 1877)

[Advertisement], The People's Advocate and New South Wales Vindicator [Sydney, NSW] (21 October 1854), 14 

late Miss Eliza Nelson, the celebrated Ballad Vocalist, from Drury Lane and the Olympic Theatres.
On Saturday, October 21st, 1854 . . .
To conclude with Mr. H. T. Craven's celebrated Burletta the VILLAGE NIGHTINGALE.
Tom Snare in the Preventive Service, Mr. Howard; Sam Copibread, (a Lawyer's Clerk), Mr. H. T. Craven;
Stephen Hedgeway, Mr. F. Howson; Hodge Hobnell, Mr. King; Jessy Carrol (the Village Nightingale), Mrs. H. T. Craven.
In which she will sing the Ballads, composed expressly for the Piece, by S. NELSON, Esq.
'Happy the Maid whose Heart is free!' - 'Come, come to me!' - 'Little Kathleen was wooed by a Scone!' -
Finale, 'If our friends wish us well!' by the characters . . .
A. TORNING, Sole Lessee and Manager.

ASSOCIATIONS: Sam Howard (actor); Charles King (actor)

My daughter's debut, a musical comedy, in one act (London: Samuel French, 1855)

[Advertisement], The Sydney Morning Herald (18 August 1856), 1 

OUR LYCEUM THEATRE, under the management of Messrs. Craven and Stephens. -
THIS EVENING, 18th August, the performances will commence with Poole's celebrated Comedy, in three acts, of PAUL PRY; or, I Hope I Don't Intrude . . .
Phoebe, Mrs. H. T. Craven, in which she will sing the original song of "Cherry Ripe."
To conclude with (first time for 12 months) the highly popular and truly dramatic Extravaganza, of MY DAUGHTER'S DEBUT; or, A Peep behind the Scenes . . .
Blanche Enjoleur (her original character), Mrs. H. T. Craven, in which she will sing the following pieces:
Ballad, "Blame me, mother, if you will" - Nelson. Recitative, "I to this dell had wandered" - Balfe.
Scena, "But see I draw my dagger" - Balfe. Song, "The haunts of the Chamois" - A. Lee.
Grand Finale, "The heart relieved from every care" - Nelson. Second price at 9.

Bibliography and resources:

"Craven, Henry Thornton", Dictionary of national biography supplement 1 (1912),_1912_supplement/Craven,_Henry_Thornton (DIGITISED)

Katherine Newey, "Craven, Henry Thornton" [real name Henry Thornton], Oxford dictionary of national biography (2004) (PAYWALL)

Henry Thornton (Craven), Geneanet 

CRAVEN, Thomas Wilson (Thomas Wilson CRAVEN; T. C. WILSON; senior)

Amateur musician, pianist, organist, double-bass player, choral conductor

Born Gorton, near Manchester, England, 25 September 1841; baptised Wesleyan Chapel, Tiviot Dale, 28 November 1841; son of Benjamin CRAVEN (c. 1800-1869) and Lucy WILSON
Arrived Brisbane, QLD, 2 July 1863 (per Cairngorm, from Britain, aged "22")
Arrived Sydney, NSW, by 1864
Married Anna Lousia HOWE (c. 1849-1929), St. Andrew's Scots Church, Sydney, NSW, 5 March 1868
Died Rose Bay, NSW, 15 June 1913, aged "71/72" (TROVE tagged by Australharmony) (shareable link to this entry)



Baptisms solemnized in the Wesleyan Methodist Chapel, Tiviot Dale, Stockport, in the county of Lancester in the year 1842; register 1838-1912; Stockport Archives, D1866/NM/SC/2/1/1/1 (PAYWALL)

No. 156 / Nov. 28 [1841] / Thomas Wilson [son of] / Benjamin & Lucy / Craven / Gorton / Born Sep'r 25th / . . .

"CONCERT", Sydney Mail [NSW] (16 September 1865), 2 

A concert of sacred music took place on Tuesday, in the Wesleyan schoolroom, Francis-street, Glebe. The programme included Handel's Hallelujah chorus, and also a number of anthems composed by R. A. Smith. The music was rendered by the choirs of the Glebe and Chippendale Churches, and the concert was in aid of the fund for the purchase of a harmonium for the Wesleyan Church on the Glebe Road. The schoolroom was well filled, and the audience appeared to be very much gratified with the entertainment. Mr. McFarlane was the conductor, while Mr. T. W. Craven accompanied the singers on the harmonium.

ASSOCIATIONS: John McFarlane (conductor); Robert Archibald Smith (Scottish composer)

"CONCERT", The Sydney Morning Herald (25 November 1865), 7

A concert was held in aid of the harmonium, in the Wesleyan schoolroom, Francis street, on Wednesday evening last. The room was well filled, and the programme gone through excellently. Solos and choruses were given from Judas Maccabaeus, Elijah, and the Creation. "The Heavens are telling," from the Creation, was performed very well indeed, and much applauded. The second part was a miscellaneous selection. Mr. J. Metcalf sang "Nil Desperandum," and gained an encore. Mr. H. Gooch won an encore in the "Man of War," while Mr. J. Powys was enthusiastically applauded in the solo on the guitar, which he played very effectively. Some excellent recitations were