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A biographical register of Australian colonial musical personnel–C (Cu-Cz)

Dr GRAEME SKINNER (University of Sydney)


To cite this:

Graeme Skinner (University of Sydney), "A biographical register of Australian colonial musical personnel–C (Cu-Cz)", Australharmony (an online resource toward the early history of music in colonial Australia):; accessed 2 March 2024

- C - ( Cu - Cz ) -

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 November 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.

CULL, William (William CULL; Wm. CULL; Mr. CULL)

Actor, comedian, vocalist, comic vocalist, manager

Born London, England, c. 1827
Active Sydney, NSW, by March 1853
Married Elizabeth WELDON, St. Stephen's Presbyterian church, Bathurst, NSW, 6 May 1856
Died VIC, 1869, aged "42" (BDM VIC) (TROVE tagged by Australharmony) (shareable link to this entry)


[Advertisement], Empire [Sydney, NSW] (14 March 1853), 1 

The Evening's Entertainments will commence with a Drama of bewitching interest, in three Acts, from the pen of J. B. Buckstone, Esq., entitled
THE DREAM AT SEA; OR, THE CORNWALL WRECKERS . . . Richard Pendrell, Trevanion's nephew, Mr. Cull . . .

ASSOCIATIONS: Edward Raymond (actor, circus performer, manager); Malcom's Amphitheatre (Sydney venue)

[Advertisement], Empire (16 May 1853), 1 

Lyonet de Bournsville, under the assumed name of Captain Buridan, Mr. Raymond; Marigey, Mr. Cull . . .

[Advertisement], Bathurst Free Press and Mining Journal [NSW] (1 October 1853), 3 

Farce of DID YOU EVER SEND YOUR WIFE TO CAMBERWELL? Mr. Honeybun - Mr. Cull . . .

ASSOCIATIONS: William Henry Douglas (actor, manager); George Chittenden junior (musician); Royal Victoria Theatre (Bathurst venue)

"THE ROYAL VICTORIA THEATRE", Bathurst Free Press and Mining Journal [NSW] (22 October 1853), 2 

Crowded audiences have thronged to witness the amusements of this little temple of Thespis during the past week, and we can justly record a marked improvement in the style of the performances. Of the lessee Mr. Douglas it is unnecessary we should say much, as he is evidently "an old stager" and well up to his business . . . Mr. Cull has decided talent for comedy, possesses lots of tact and contrives to keep his audience in a perpetual titter which occasionally bursts into downright uproariousness . . .

"COUNTRY NEWS. BATHURST . . . THEATRICALS", The People's Advocate and New South Wales Vindicator [Sydney, NSW] (18 February 1854), 6 

Although miserably attended during the past week, the performances at the Royal Victoria have been highly creditable to the manager, Mr. Belfield, and his company . . . in "Cool as a Cucumber" . . . The particularly cool customer Mr. Plumper displayed lots of Alfred Jingleism and off-hand impertinence in Mr. Cull, who has a decided talent for comedy . . .

ASSOCIATIONS: Francis Belfield (actor, manager)

[Advertisement], Bathurst Free Press and Mining Journal (4 March 1854), 3 

Royal Victoria Theatre. MONDAY EVENING, MARCH 6TH, 1854.
For the benefit of MR. F. BELFIELD, Manager . . .
On the above evening will be presented for the first time a new and original Tragedy in Five Acts, written by Mr. F. Belfield . . . ZISCA, THE AVENGER . . .
To be followed by a Comic Song - Mr. Cull . . .
Old English and Irish Gentlemen - Messrs. Belfield and Cull . . .

[Advertisement], Bathurst Free Press and Mining Journal (25 March 1854), 3 

Royal Victoria Theatre . . .
THE BENEFIT OF MR. CULL. Monday Evening, March 27th.
Production of Dibden Pitt's celebrated Drama of SUSAN HOPLEY . . .

ASSOCIATIONS: John Thomson Hall (dancer); Eliza Chittenden (vocalist); Rose Millan (vocalist, actor)

[Advertisement], Bathurst Free Press and Mining Journal (2 December 1854), 3 

Royal Victoria. Theatre. TWO NEW PIECES IN ONE NIGHT.
First night of the GREEK SLAVE, with new scenery, dresses, and appointments, the whole under the direct management of MR. DOUGLAS.
After which, the following choice selection of entertainments . . .
Comic Duett, "Matrimonial Sweets": Mr. Cull and Miss Chittenden . . .

MUSIC: Matrimonial sweets (comic duet)

[Advertisement], Bathurst Free Press and Mining Journal (23 December 1854), 3 

the above Theatre will open on Tuesday Evening, December 26, 1854, with a new and efficient Company from Sydney,
embracing all the favorites of the Bathurst Company, consisting of the following ladies and gentlemen: - . . .
Miss Chittenden, the juvenile actress of undoubted promise.
Mr. Edward Raymond, from the Dublin and Sydney Theatre.
Mr. Cull, of the provincial and Sydney Theatres . . .
Signor Bachrach, from the Hamburgh Concerts.
Assisted by a numerous train of auxiliaries.
Leader of the Orchestra: Mr. E. G. CHITTENDEN, JUN.

ASSOCIATIONS: Edward Raymond (actor, manager); Martin Bachrach (vocalist, actor); Prince of Wales Theatre (Bathurst venue)

"ALI-BEN-SOU-ALLE", Bathurst Free Press and Mining Journal [NSW] (10 February 1855), 2 

The fame of this celebrated artiste having been uttered trumpet-tongued through the columns of the metropolitan press, and certainly with a stunning clarion in those of our Goulburn contemporary, the good people of Bathurst were prepared for a musical treat of no ordinary pretensions . . . he purposed giving two concerts at the Prince of Wales' Theatre on easier terms. For these and other reasons, his audience was so small on Monday night that he refused to perform. On Tuesday night, however, the theatre was crowded to excess, and the first appearance of Ali-Ben-Sou-Alle, with his turkophone, was awaited with eager expectation . . . Mr. Cull shone like a star of the fifteenth magnitude in his comic songs - the first of which was vociferously encored. We refrain, for the present, from dilating upon the beauties of his style; they are too well known, and must, for the present, be left to the imaginations of our readers.

ASSOCIATIONS: Ali-Ben Sou-Alle (musician)

[Advertisement], Bathurst Free Press and Mining Journal (24 February 1855), 2 

ROYAL PRINCE OF WALES THEATRE. For six nights next week.
IMMENSE ATTRACTION. First appearance of Miss A. M. QUINN and Mr. J. H. Vinson . . .
ON Monday Evening Feb. 26th . . . Comic Song - Mr. Cull . . . Manager - J. H. Vinson.

ASSOCIATIONS: Anna Maria Quinn (juvenile actor); James Hetters Vinson (actor, manager)

[Advertisement], Bathurst Free Press and Mining Journal (15 September 1855), 3 

Royal Prince of Wales Theatre.
Last Appearance of MRS. W. E. EVANS in her great character of EVADNE.
After which, Song, "Villikins and his Dinah" - Mr. Cull . . .
ROB ROY MACGREGOR is in active preparation, and will shortly be produced, with all the original music.
SOLE LESSEE: MR. WM. EVANS, Stage Manager: Mr. John Hall.

ASSOCIATIONS: William and Mrs. Evadne Evans (actors, manager); John Hall (actor, manager), father of John Thomson Hall (juvenile dancer, musician)

[Advertisement], Bathurst Free Press and Mining Journal (24 November 1855), 3 

Prince of Wales Theatre. FOR TWO NIGHTS ONLY. SATURDAY & MONDAY, NOV. 21 & 26.
MR. J. FAIRCHILD begs most respectfully to announce that he will give two of his inimitable entertainments in the above Theatre,
assisted by Miss Lorrette, Mrs. Fairchild, and Mr. Cull.
Song and Chorus - Our National Defences - Mr. Fairchild and Company
Irish Ballad - Mother, he's going away - Miss Lorette
Comic Song - Mr. Cull
Ballad - When I beheld the Anchor Weighed - (from the Siege of Rochelle) - Mr. Fairchild
Song - The Wishing Gate - Miss Lorette
Song - The Death of Nelson - Mr. Fairchild
Duett - Oft in the Stilly Night - Miss Lorette and Mr. Fairchild
Comic Song - Mr. Cull
Song - I'll be no Submissive Wife - Miss Lorette
Song - I'm leaving thee, Annie - Mr. Fairchild
Song - I should like to marry - Miss Lorette
Duet - Beautiful Venice - Miss Lorette and Mr. Fairchild
An interval of Fifteen Minutes.
Jumbo Squash - Tambourine - Mr. Cull
Stepen Olio - Banjo - Mr. Fairchild
Angelina Serephina - Piano de Forte - Miss Lorette
Juliana Phebiana - Triangle - Mrs. Fairchild
Opening Chorus - Sing ye Darkies Sing - Angelina and Company Song - Da Darkey's Courtship - Steben Olio
Song - De Broadway Swell - Jumbo Squash
Song - Nelly Bly - Angelina
Song - Row, Row, Row - Steben Olio
Song - Nancy Till - Angelina
Song - Picayune Butler - Jumbo Squash
Song - Hurrah, Hurrah, the Day has Come - Steben Olio
Entire change of programme on Monday Evening.
Doors open at half-past seven; to commence at eight. Prices of Admission: - Boxes, 5s.; Pit, 2s. 6d..

ASSOCIATIONS: Joseph Fairchild (vocalist); Miss Lorette (vocalist)

"To the Editor of the . . . ", Bathurst Free Press and Mining Journal (26 January 1856), 3 

SIR, - In your issue of the 12th inst. in an article headed "The Prince of Wales Theatre," occur the following words -
"Bathurst is at length favoured with a Dramatic Company of superior pretensions both as regards respectability of character and talent," and to this remark I beg to make a decided contradiction. I do not care to dispute the point as regards talent, though that might easily be done, seeing that we have had a gentleman here "who belonged to the Vandenhoff School," and a lady "whose sweet tonos reminded your editorial ear of Mrs. Honey." I do not allude to those critiques out of derision for the abilities of the gentleman in question I entertain a very high opinion, but to prove that (notwithstanding your sweeping assertion), we have had talent of a far higher order than any that is here at present. But their superior pretensions to respectability of character is a subject that more immediately concerns me, and with your permission I will briefly examine it. The majority of the old companies have been before the Bathurst public for a period extending over two years; they have nearly always been numerically stronger than that now playing at the Prince of Wales Theatre, constant changes too have taken place, members leaving, whose places had to be filled up, forming thereby a very great variety, both as regards private character and histrionic capacity. Some of those came with large pretensions to ability, and some with very moderate ones; the press seeming always to consider their opinions of themselves perfectly correct, and giving them credit accordingly.
The worst that can be said (and I believe the real cause of your annoyance) is that certain members got to a trifling extent in your debt, and if the present company stay here as long, and be as liberally recompensed, they will get in debt too or like Cameleons feed on air. Printing is one of the principal means by which an actor makes or hopes to make a benefit, and the debt so contracted is above all others a debt of honour, and no excuse can be entertained for its non-payment, but it is nothing more than fair that we should observe the course that the Press has adopted, whenever an opportunity has occurred that people have been subjected to caustic remarks, and the criticisms of the Bathurst Free Press so far from guiding or representing the public taste, were used as a means to lampoon those who had neglected to pay their printer's bills.
Your knowledge of the new Company extended over a period of four whole days; your information must therefore have been very great. Let me be distinctly understood that I do not deny the respectability of the new company. I can myself bear witness to the respectability of some of them with whom I am acquainted, but I also claim the same for myself, but apart from these considerations the comparison is inadmissable. Any one may sit in judgment on my capacity as an actor, but with my character I allow no one to interfere, journalist or otherwise. The comparison as it regards the female portion of the old companies becomes still more painful; there are those among them whose virtue and respectability have never been doubted. The public is at all times willing to believe the worst that can be said of the female portion of our profession, and in your article of the 12th inst., above alluded to, you have pandered to a popular prejudice, but I have every reason to believe the opinion was not your own, but came from those who have an interest in making such an assertion. Finally I maintain that it is false and unjust in every particular and as such I demand its retraction.
I trust you will give this a place in your next issue.
I am, Sir, Yours truly,
[The coolest piece of impudence we ever received in the shape of newspaper correspondence is the above effusion of Mr. Cull's - late low comedian, of the Royal Victoria, and we only publish it as an exemplification of the adage - "Give a fool rope enough and he will hang himself." Out of a couple of lines, most certainly written without any intention of reflecting either upon his character or talent or those of any other person, he has by the assistance of a brother chip or two, squeezed a most flagrant charge of immorality, incapacity, &c., against the Dramatis Personae of all former companies. As the hero of Don Quixotte dramatised, he conjures up all sorts of windmills, and belabours them so lustily with lumps of words, that we can easily fancy him looking pale though a huge pair of whiskers from sheer exhaustion. Rushing moreover to the protection of distressed damsels, he pathetically appeals to insulted chastity and squeezes out a few such tears as lapstones only weep. Verily Mr. Cull you are a sympathetic soul. Your heart appears to melt like wax at the injured virtue of your professional sisters, who must be moon-blind if they do not see you are humbugging them. Pray take care of yourself. - Constitutions such as yours, like sensitive plants, ever open to receive external impressions, require delicate treatment. Having strutted your little hour upon the stage, we would advise you to steer clear of printer's ink. There is great difference between writing your own sentiments and spouting other people's, and if the above be a specimen of your literary talent, pray keep to parrot rote, and exchew scribbling Verbum sap.
- Blockheads may cobble, make "brogues," and spout, but it does not necessarily follow that they can write.
Such is the only retraction we can offer.
Ed. B. F. P.]

ASSOCIATIONS: William Farrand (editor, d. Forbes, NSW, 1871)

"BATHURST THEATRICALS", The People's Advocate and New South Wales Vindicator [Sydney, NSW] (9 February 1856), 3 

Our attention has been called to some strictures passed upon the company of Thespians at Bathurst, under the management of Mr. Cull, by the Free Press. We are quite willing to give our contemporary credit for his general good intentions, but, upon this occasion, he certainly has been unnecessarily severe upon Mr. Cull, whose exertions to secure dramatic and musical talent for Bathurst are unceasing. This difference of opinion, however, we trust has terminated. "Shake hands and be friends" - it is far better than chucking lapstones at each other. Mr. Cull, in addition to his former company, engaged Mrs. Howard, Miss Morgan, and Messrs. Milne, Wright, Strong, Sharp, and George. The abilities of the sestette are too well known to require our eulogy. We are quite satisfied that our brother of "the Pen" will find this an additional reason for shaking hands with the enterprising Manager, who spares neither pains nor expence to provide Provincials with Metropolitan talent.

ASSOCIATIONS: Edward John Hawksley (editor); Fanny Morgan (actor); George Strong (musician); Frederick Sharp (musician)

"MARRIED", Bathurst Free Press and Mining Journal (14 May 1856), 3 

On Tuesday the 6th inst., by special license at St. Stephens Church, Bathurst, by the Rev. J. B. Laughton, Mr. William Cull, to Miss Elizabeth Weldon, both of this town.

"NEW INSOLVENT (Schedules filed in Geelong)", Geelong Advertiser (22 April 1861), 3 

William Cull, of Geelong, comedian. Debts, £78 17s 11; assets, £6 10s; balance deficiency, £70 7s 11d. Causes of insolvency - want of employment, expenses incurred through illness of family and pressure of creditors.

Deaths, 1869; VIC BDM 7289/1869

William Cull / born: London / Spouse at death: Elizabeth Weldon / Age: 42

CULLIMORE, Frederick William (Frederick William CULLIMORE; F. W. CULLIMORE)


Born ? Ireland, c. 1835/37
Active Melbourne, VIC, by January 1861
Married Mary Ann Seaman SKIPPER (1838-1879), Melbourne, VIC, 1861
Active VIC, until 1870
Died Wellington, NZ, 24/25 May 1903, aged "66" (TROVE tagged by Australharmony) (shareable link to this entry)


[Advertisement], The Argus (12 January 1861), 8 

Given by the musical profession of Melbourne Mr. W. TILKE,
(Late proprietor of Tilke's City Concert Hall,)
As a mark of their respect and approbation during the period of his being proprietor (and founder) of the grand City Concert Hall, Melbourne.
First Appearance of the GRAND UNITED SABLE OPERATIC TROUPE, Being the largest company of Ethiopian delineators ever witnessed on any stage in the colony.
Also, A GRAND MISCELLANEOUS CONCERT, Embracing all the best talent in Melbourne, consisting of 30 performers.
Mr. J. DEMEREST [sic], Late of the San Francisco Minstrels, In his Classical and Unique Trapeze Performance.
Several NEW SONGS and LOCAL DUETS, Written for the occasion by R. A. R. Owen, Esq., Will be sung during the evening.
The performances will commence at a quarter to 8 sharp with A MONSTER OPENING CHORUS, Embracing 40 performers, Musical Directors and Conductors - Messrs. Owen and Cullimore . . .

ASSOCIATIONS: William Tilke (proprietor); Richard Owen (pianist); George Washington Demerest (minstrel-serenader, late of the San Francisco Minstrels); Prince of Wales Theatre (Melbourne venue)

[Advertisement], Bell's Life in Victoria and Sporting Chronicle [Melbourne, VIC] (12 January 1861), 1 

The Best Company in the Colony are engaged at this Establishment and Popular Place of Amusement.
Appear Nightly In their Comic [REDACTED] Eccentric Comicalities; also
Miss CELIA, the Favourite Characteristic Singer and
Mr. E. F. MORRIS, the Emperor of Comic Vocalists,
Drinks, the Best in Melbourne, at Bar Prices. Change of Programme every night. Reserved Seats for Ladies.
Musical Director, Mr. F. W. Cullimore; Manager, Mr. E. F. Morris.
N.B. - Everything conducted in the most recherche style.

ASSOCIATIONS: Edgar F. Morris (vocalist, manager); Dorrel Fair Boley (musician, minstrel)

[Advertisement], The Star [Ballarat, VIC] (9 December 1862), 3 

WHEN MISS ANNIE HALL, The admired Balladist,
MR. E. F. MORRIS, The celebrated Comic and Descriptive Vocalist,
AND MR. F. W. CULLIMORE, The eminent Pianist and Harmoniumist
Will appear in their New and Novel Entertainment . . .
Musical Director - Mr. F. W. Cullimore. "VIVAT REGINA."

"BIRTHS", The Argus [Melbourne, VIC] (30 December 1863), 4 

CULLIMORE. -On the 27th inst., at Carlton, Mrs. F. W. Cullimore of a daughter.

[Advertisement], The Star (16 September 1864), 3 

Leader, Mr. Brock; cornet, Mr. Sims; flageolette, Mr. Quinn; pianist and conductor, F. W. Cullamore [sic] . . .

"ANOTHER EXODUS OF PROFESSIONALS", The Herald [Melbourne, VIC] (4 February 1870), 2 

N. Feuillade, late premier violinist at Weston's Opera House, has formed a travelling company of musical and dramatic artists, consisting of Miss Emma Weippert, Messrs. T. Buckley, F. W. Cullimore, J. C. Jackson, H. B. Wilton, N. Feuillade, and Professor Vaughan with his trained canary birds. They leave Melbourne for Ballarat by train this evening, and will open in the latter town at the Mechanics' Institute to-morrow evening.

ASSOCIATIONS: Nicholas La Feuillade (violinist); Emma Weippert (vocalist)

[Advertisement], The Age [Melbourne, VIC] (15 September 1870), 1 

MR. F. W. CULLIMORE, PROFESSOR of PIANOFORTE. Two lessons per week - one guinea per quarter. 188 Church-street, Richmond.

[Advertisement], Daily Southern Cross [Auckland, NZ] (2 May 1872), 1 

MR. F. W. CULLIMORE, Pianist, late of Weston's Opera House.
In their Dashing, Sparkling, Brilliant, Novel, and Surpassingly Excellent Entertainments . . .
WM. HORACE BENT, Secretary.

ASSOCIATIONS: Horace Bent (musician, minstrel, manager)

"TAUERU NOTES (From Our Own Correspondent)", Wairarapa Daily Times [NZ] (29 May 1903), 4 

The friends of the late Mr. F. W. Cullimore, well known about Taueru, will regret to hear of his death, in Wellington, on Sunday last.

CULLIS, William (William Eaton CULLIS; William CULLIS)

Amateur musician, bandmaster, publican

Born Shropshire, England, 1830; baptised Ashford Carbonell, 3 February 1830; son of John Watkin CULLIS (d. 1851) and Dorothy EATON (d. 1854)
Arrived Melbourne, VIC, 18 January 1853 (per Atalanta, from London, 29 September 1852)
Married Elizabeth ARMSWORTH, St. Paul's, Clunes, VIC, 23 February 1862
Active Clunes, VIC, to 1867 or later (TROVE tagged by Australharmony) (shareable link to this entry)


Baptisms, Ashford Carbonell, Shropshire, 1830; England, select births and christenings (PAYWALL)

3 February 1830 / William Eaton son of / John Watkin and Dorothy / Cullis

Names and descriptions of passengers per Atalanta, from London, 29 September 1852, for Port Phillip, 18 January 1853; Public Record Office Victoria (DIGITISED)

Cabin passengers . . . Cullis William / 28 [sic] . . .

[Advertisement], The Argus [Melbourne, VIC] (10 February 1853), 1 

IF this meets the eye of James Schott or W. Cullis, Charles Petley wishes to see them at Bastard's Eating-house, Sandridge.

ASSOCIATIONS: James Arthur Schott (musician)

"MARRIAGE", The Star [Ballarat, VIC] (26 February 1862), 2 

On 23rd instant, at St. Paul's Church, Clunes, by the Rev. J. Pollard, William Eaton Cullis, of Clun, Salop, England, to Elizabeth Armsworth, of London.

"CLUNES POLICE COURT. Monday, 15th June . . . LICENSING BENCH", The Star (19 June 1863), 4 

The following applications for publicans' licenses were granted: - . . . William Cullis, Nag's Head Hotel, Clunes . . .

"NEWS AND NOTES", The Ballarat Star (15 June 1865), 2 

The anniversary ball given on Monday evening at the Telegraph Hotel by the Clunes Volunteer Fire Brigade, was a very gay and successful affair, and the committee deserve great praise for the harmonious manner in which the whole of the arrangements were carried out. About thirty-five couples were present, inclusive of visitors from the Ballarat West and Talbot fire brigades. The music by Mr. Cullis' band was very superior, and the dancing was kept up with great spirit till about six o'clock on Tuesday morning.

"NEWS AND NOTES", The Ballarat Star (3 July 1865), 2

The members of Cullis' Recreation Band, Clunes, on Friday evening presented M. Cullis with a handsome silver goblet, bearing the following inscription: -
"Presented to E. W. Cullis, Esq., by the members of the Recreation Band, as a memento of personal respect and estimation of his perseverance and unassuming disposition. 30th June, 1865."

"BOXING DAY CELEBRATIONS", The Ballarat Star (28 December 1865), 3

On Boxing Day there wis held a pic-nic for the benefit of the Clunes Volunteer Fire Brigade. At about half-past ten o'clock in the forenoon the brigade mustered about forty strong at the fire station in Fraser-street, and was joined by Cullis' Recreation band, and the Clunes juvenile drum and fife band. By the time all was ready for a start for the pic-nic ground at McDonald's paddock, the two bands from Creswick arrived and took part in the procession, playing in their best style some "soul stirring airs." On reaching the ground the various games commenced, and notwithstanding the excessive heat, dancing was kept up during the day with spirit. The foot races passed off satisfactorily on the whole. Several disputes took place over the horse races, which made things unpleasant. Swings, aunt Sallies, quoits and various other amusements were provided by the committee. Mr. Charles Elliott, agent for the Imperial Fire Insurance Company, on the ground, presented the Clunes Volunteer Fire Brigade with a cheque for £10. Captain Weickhardt, on behalf of the brigade, returned thanks in an appropriate speech.

"NEWS AND NOTES", The Ballarat Star (9 July 1866), 2 

The amateur concert on the night of Tuesday, 3rd July, at the Lyceum Theatre, Clunes, in aid of the Creswick District Hospital, was a great success, the room being unusually crowded. The gross receipts were £22 13s 6d, which, after deducting £5 13s 6d for expenses, left a balance of £17, which has been forwarded by Mr. Cullis and received by the secretary of the hospital.

Bibliography and resources:

Claire Hinton, "Clunes's first band", Ancestor: quarterly journal of the Genealogical Society of Victoria (Autumn 1991), 2-4


Musician, vocalist, tenor vocalist, ballad singer, pianist (1 or more)

Active Melbourne, VIC, February to September 1853
Active Launceston, TAS, October 1853 to January 1854 or later
Active Bendigo, VIC, by October 1855 to January 1856 or later
Active Melbourne, VIC, until December 1856 or later (TROVE tagged by Australharmony) (shareable link to this entry)


[Advertisement], The Argus [Melbourne, VIC] (22 February 1853), 8 

MELBOURNE COAL HOLE, Manchester Hotel, Queen-street, opposite the Theatre,
REMOVED from the Royal Exchange, Collins-street.
Open every evening at Eight o'clock. Admission One Shilling.
Mr. Cumming (the celebrated Ballad Singer)
Mr. Laberne (the popular Comic Singer)
Mr. Hamilton
Mr. Moran
Mr. Stewart
Cornopean Player: Mr. Reid
Pianists: Hamilton and Jenkins.
Chops, Steaks, Kidneys, Sandwiches, &c. ready at all hours during performance at reasonable prices.

ASSOCIATIONS: George Laberne (vocalist); Frederick Dicker Hamilton (vocalist, pianist); Melbourne Coal Hole (venue)

[Advertisement], The Argus (1 March 1853), 8 

GOORE and BELLAMY's Melbourne Coal Hole, open every evening, at 8 o'clock, at the Manchester Hotel, Queen-street, opposite the Theatre; admission 1s. Vocalist, Mr. John Gregg, Mr. Cumming, Mr. Labern, Mr. Hamilton, Mr. Stewart. Mr. Morani [sic].
Mr. St. Albin will appear after Thursday next. Chops, steak, kidneys, &c.

ASSOCIATIONS: John Gregg (vocalist); Edmund St. Albin (vocalist)

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

MR. CUMMING, the favorite Tenor, will sing his popular Ballads nightly, at the Manchester Hotel, Queen-street, opposite the Theatre.

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

OPEN EVERY EVENING. COLLINGWOOD Harmonic Hall, Studley Arms, Wellington-street, Collingwood, open every evening.
Principal Singers: Mr. Cummings - Ballad Singer. Mr. Charles Hill - Alto.
Mr. Levison - Bass. Mr. F. N. Rosenstengel - do. Mr. Graham - Comic.
Mr. Trevor - Pianist. Concert to commence each evening at half-past 7 o'clock, Admission, one shilling.

ASSOCIATIONS: John Levenson (vocalist); Ferdinand Nicholas Rosenstengel (vocalist); Joseph Robinson Trevor (pianist)

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

OPEN EVERY EVENING. COLLINGWOOD HARMONIC HALL, Studley Arms, Wellington-street, Collingwood.
Principal Singers. Mr. Cumming, the favorite tenor of the Melbourne Concerts.
Mr. Levison, bass, will sing Henry Russell's admired songs.
Mr. Charles Hill, alto, from the Bristol Concerts.
Mr. Labern, comic, will give "advice gratis."
Mr. Wright, comic, will sing the Jolly Gold digger.
Mr. Graham, comic, from the Queen's Theatre.
Mr. Trevor, pianist, from the Bristol Concerts.
Concert to commence each evening at half-past 7 o'clock. Admission One Shilling.

ASSOCIATIONS: Charles Hill (vocalist, violinist); Mr. Wright (vocalist, musician)

[Advertisement], The Argus (2 May 1853), 12 

MR. J. E. JONES, (late of her Majesty's Theatre,) begs to infirm his friends and the public, that his
Benefit Concert will take place This Day, Monday, May 2nd, on which occasion one of the best Entertainments ever announced in Melbourne will be given.
The following artistes will appear: - Mr. Cumming (tenor), Mr. Walsh, (tenor), Mr. Moseley, (tenor),
Mr. De Courcy, (tenor), Mr. Gregg, (basso), Mr. Laberne, (comic), Mr. Dawson, (comic).
Instrumental - Mr. Moore, violin, (by the kind permission of Mr. Hydes),
Mr. Wilkie, concertina, Mr. Salomon, pianist and musical director.
PROGRAMME . . . Mr. Cumming, tenor - In this Old Chair. - The Low Back'd Car . . .
A selection will will be made from the following Glees and Rounds:
When the Wind Blows; Lo! Morn is breaking; The Laughing Trio; The Red Cross Knight; Hark! 'tis the Indian Drum; Turn on, Old Time; Mynheer Van Dunck; Cigars and Cognac . . .
Admission, two Shilling. Tickets to be had at the Bar of the Royal Hotel, or from Mr. Jones, at the Bar of the Cider Cellars.
Doors open at Half-past Seven; Concert to commence at a quarter to Eight o'clock.

ASSOCIATIONS: Charles Wilkie (proprietor, concertina); Charles Walsh (vocalist); Mr. Moseley (vocalist); David De Courcy (vocalist); Mr. Dawson (vocalist); Andrew Moore (violin); John Proctor Hydes (actor, manager); Edward Salamon (pianist)

MUSIC: In this old chair my father sat (Balfe); Low back'd car (Samuel Lover)

[Advertisement], The Argus (6 May 1853), 12 

COLLINGWOOD HARMONIC HALL. Studley Arms, Wellington-street, Collingwood.
GRAND CONCERT On Saturday May 7th instant.
Glee - See our Oars.
Mr. Hill - The Slave - Pell
Mr. Laberne (comic) - The Deluded Emigrant - Thatcher.
Mr. Levison - Man the Life Boat - Henry Russell.
Mr. Wright (comic) - Black Jack, the Digger - Wright.
Mr. Cumming - Let me like a Soldier fall - Wallace
Mr. Trevor - The Flying Dutchman - John Parry.
Mr. Hill - Little Nell - Linley.
Mr. Laberne (comic) - The Lively Flea - Ross.
Mr. Levison - Some love to roam - Henry Russell.
Mr. Wright (comic) - Kind Relations.
Mr. Cumming - Shells of Ocean - Calcott [sic]
Pianist and Musical Director, Mr. Trevor.
Violin - Mr. Hill.
Cornet - Mr. Wright
F. Jackson, Manager. Concert to commence at half past 7 o'clock. Admission 1s.

MUSIC: Yes! let me like a soldier fall (Wallace); Shells of ocean (J. W. Cherry)

[Advertisement], Geelong Advertiser and Intelligencer (17 May 1853), 2 supplement 

GREAT ATTRACTION! MR. T. GREEN, begs to inform the public of Geelong, that the
Royal Hotel Saloon, Malop Street, will be opened nightly, on and after Wednesday evening next, May 11th, with a
The Programme, which will be varied every evening, will comprise some of the best comic and sentimental Songs and Glees.
Mr. CUMMING, the favourite Tenor, from the Melbourne Concerts.
Mr. HAMILTON, the admired singer of Russell's songs.
Mr. MORAN, from the Melbourne Theatre, &c.
Mr. LABERNE, the celebrated comic singer, from the Melbourne Cider Cellars, &c.,
Mr. GREEN, &c., &c.
ADMISSION, ONLY ONE SHILLING. To Commence at Eight o'clock.
*.* Kidneys, Welch-rare-bits, Chops, and Steakes, reeking hot from the gridiron, all the evening, Liquors the best procureable.

[Advertisement], The Cornwall Chronicle [Launceston, TAS] (10 September 1853), 2 

Royal Olympic THEATRE. NO PUFF!! NO PUFF!! They are Come! They are Come!
MR. C. H. RIGNOLD, (From the Royal Pavilion Theatre, London)
Begs leave respectfully to inform the Ladies and Gentlemen, and inhabitants of Launceston and its vicinity,
that he has taken the above Theatre for the ensuing season, and also begs to state that the present company will retire as soon as the benefits are over,
and that Mr. C. H. R. intends enlarging the Stage and redecorating the whole of the House, and will
Re-open on MONDAY, SEPTEMBER 19th, With a new and talented Company, co-equal to any in the colony.
The Company will consist of the following Ladies and Gentlemen, from England and the Colonies: . . .
Mr. H. Cummings, from the Melbourne Theatre . . .

ASSOCIATIONS: Charles Henry Rignold (actor, vocalist, manager); Olympic Theatre (Launceston venue)

"Local Intelligence", The Cornwall Chronicle (1 October 1853), 3 

MR. RIGNOLD has relinquished his part of the lesseeship of the Theatre, and intends taking a tour through the colony, with those celebrated vocalists Messrs. Hamilton and Cummings, who have just arrived from Port Phillip. The first concert will be given at Carrick, on Thursday evening next, at Mr. Pascoe's, when the lovers of harmony had better be present. The vocal abilities of Messrs. Hamilton and Cummings are much spoken of. Mr. Hamilton is also a splendid pianist. For particulars see bills.

[Advertisement], The Courier [Hobart, TAS] (7 October 1853), 2 

N.B. - The unrivalled Tenor Singer, MR. CUMMING, and the celebrated Bass Singer, Mr. HAMILTON, from Melbourne and Geelong, are daily expected, and should they arrive in time they will have the honour of making their first appearance before the Public of this Colony on this occasion . . .

ASSOCIATIONS: Royal Victoria Theatre (Hobart venue)

"Local Intelligence . . . THE DOLPHIN CONCERT ROOM", The Cornwall Chronicle (12 October 1853), 2 

The first concert was given in the above room on Monday evening. The entertainment was excellent; Mr. and Mrs. Rignold singing with their usual ability. Mr. R's new version of Billy Barlow caused shouts of laughter. Mr. Cumming has a beautiful tenor voice, and sings with great taste and feeling; he quite delighted his audience. Mr. Hamilton's style of singing Russell's songs is first-rate - and as a pianist his talent is of no small order. These concerts will, no doubt, meet with the success they deserve - they take place nightly.

"PROMENADE CONCERTS AT THE CIRCUS", The Cornwall Chronicle (19 October 1853), 3 

The first of the series of these concerts took place on Monday evening last. The attendance was numerous, and the performances were received with unbounded applause. Mr. Cumming sang the "Low Back'd Car" and "Ben Bolt" with exquisite taste, and Mr. Hamilton gave "Come Brothers Arouse" and "Man the Life Boat," two difficult compositions, in a style which did him credit. Mr. Rignold's comic songs elicited much laughter and applause, and Mrs. Rignold's Scotch ballads elicited the approbation of the audience. The promenade concerts will take place each evening during the week.

MUSIC: Ben Bolt (song)

[Advertisement], The Cornwall Chronicle (10 December 1853), 5 

The St. Joseph's Band will commence playing at 7 o'clock.
THE CONCERT Will take place on the newly-erected Stage in the Pavilion.
Vocalists - Mr. G. HAMILTON; Mr. W. BLACK, the celebrated Buffo singer; and Mr. P. CUMMING.
Pianist: - Mr. HAMILTON, (by permission of Mr. Blake) . . .

[Advertisement], The Cornwall Chronicle (14 January 1854), 6 

NOTICE. - For the edification and amusement of the good people of Longford, Deloraine, Evandale, and Campbell Town,
Mr. and Mrs. Gardiner, Mr. T. W. Black, the celebrated Buffo singer, Mr. P. Cumming, and Mr. Turner, both late of Mr. Hand's talented company, intend shortly to give a series of entertainments, as soon as the necessary arrangements can be made - of when due notice will given.
T. J. TURNER, Musical Director.

ASSOCIATIONS: Joseph Gardiner (actor); Josiah Hand (manager); Thomas John Turner (musician)

[Advertisement], Bendigo Advertiser [VIC] (13 October 1855), 3 

ROYAL HOTEL Concert Hall.
Come This Evening and hear Billy Barlow's description of Jacobs the Wizard and his Pickwickian Boy Sprightly! Irrepressible laughter will be the result.
MISS ANNIE LEWIS Will also delight the audience with some of her most Popular Songs.
MR. CUMMING, The noted Tenor Singer, requires only to be heard to be admired . . .
MRS. GILL will preside at the Pianoforte. ADMISSION FREE . . . R. HEMINGWAY, Proprietor.

ASSOCIATIONS: Annie Lewis (Mrs. Salamon, vocalist); Mrs. Gill (pianist)

[Advertisement], Bendigo Advertiser (15 January 1856), 3 

Part I. Introductory Overture - Grand Pianoforte
The Chough and Crow - By the Company.
Song - The Golden Calf - Mr. Hancock.
Song - Little Nell - Mrs. Creed Royal
Comic Song - Mr. Baker
Cavatina - Bid me discourse - Mrs. Hancock
Solo, Cornet a' piston - All is lost, (From the Opera of Sonnambula) - Herr Kohler
Song - My Village Home - Mr. Cumming
Comic Song - The Unfortunate Man - Mr. Small
Duett - The Syren and Friar - Mr. and Mrs. Hancock.
Introduction to the Opera of Norma - By all the strength of the Company
Solo, Flageolet - Air and variations Herr Kohler
Comic Song - Mr. Baker
Ballad - He slumbers in the Old Arm Chair - Mrs. Creed Royal
Aria - My Fatherland - Mr. Leveson
Comic Song - The Fortunate Man - Mr. Small
Hail Smiling Morn, by the Amateur Glee Club - their first appearance.
Scena - Softly Sighs (from the Opera der Freischutz) - Mrs. Hancock
Solo - Concertina - Herr Kohler
Duett - I have wandered in dreams - Mr. & Mrs. Hancock.
Ballad - In this old, old chair - Mr. Cumming.
Finale - God Save the Queen - By all the strength of the Company
In the course of the evening Herr Kohler will play several selections of Irish and Scotch melodies; also the Champagne Galop, introducing novel effects.
Conductor - Mr. Linden
Commence at 8 o'clock. Reserved seats, 4s. Back do., 2s 6d.

ASSOCIATIONS: Edward and Mary Ellen Hancock (vocalists); Mary Sayer Royal (vocalist); Joe Small (vocalist); Richard Wildblood Kohler (musician); John Levenson (vocalist); Otto Linden (pianist)

MUSIC: My village home (J. W. Cherry)

"ROBBERY", The Argus (12 November 1856), 5

At the City Court yesterday, George Cumming, remanded a few days since on the chargo of stealing £16 in a brothel, was brought up for re-examination. James Jeffrey stated that he was a cab-proprietor, and that on Wednesday morning last, about half-past twelve o'clock, he went to sleep in the house of a person named Harper. Harper's wife and a girt were in the house. About two o'clock in the morning the prisoner came in. On getting up in the morning witness found that he had lost £16, and complained to the prisoner of having been robbed. Hearing from the man, Harper, where the prisoner lived, he went in search of him, but could not find him all that day. On Friday he saw him, and, referring to the robbery, said he supposed he would not have taken the money if he had known whose it was. Prisoner replied that he would not; and said that he had not spent it all; and that if he would give him two hours, he would pay him back £10 of it, with which witness said he would be satisfied. Prisoner took him to tho Clarendon Hotel where, he said, was a person who had £10 of the money. But no one was there, and the prisoner took him to another place with the same result. Witness then began to suspect that the prisoner was making a fool of him, and they happened to be walkingback towards the Watch house, when the prisoner made a bolt, but was caught by the witness's brother, and forthwith given in charge. The man Harper was next called and deposed to the fact of the prisoner's having admitted in his presence, and that of others that he would not have taken the money, if ho had known whose it was. Charles Madden, the barkeeper at the Athenaeum Saloon gave similar testimony, and the prisoner was committcd for trial. Mr. Tufton Smith was for the defence.

"MELBOURNE CRIMINAL SESSIONS. Tuesday, 2nd December, 1856 . . . THEFT", The Age [Melbourne, VIC] (3 December 1856), 3 

George Cumming pleaded Not Guilty to a charge of stealing £16 from the person of one Jeffrey on the 6th of November, in the house of a black person named Harper, who keeps a house of accommodation in a right of-way near the now well known Leinster Arms. On the day named in the indictment, prosecutor, a diminutive cabdriver or owner, was fascinated by a Cyprian. Harper's accommodating hostelry was near - to it they adjourned, and there in the still and small hours of the morning, prosecuting Jeffreys lost his money. His suspicion, after glancing at his companion and hovering over his host, finally rested upon a fellow-lodger named Cumming, a well known pianist and concert singer. The latter said he had taken the money, and drunk part of it - the rest was at a friend's. It was not there, it was at a sale yard in another part of the city. The man that had it could not be found. It was in North Melbourne. It was somewhere else, and then somewhere else, until by the wild goose chase, the patience of the little cabman was worn out and he gave the prisoner in charge. And now the trial came on. He was acquitted, and prosecutor went away to ruminate on the expensiveness of his folly.

CUNEO, John (John CUNEO; Mr. CUNEO; ? Giovanni Battista CUNEO; Giambattista CUNEO)


Born ? Italy, c. 1826
Arrived Melbourne, VIC, 13 December 1854 (per Constance, from Liverpool, 30 August, aged "28")
Active Melbourne, VIC, January 1855 (TROVE tagged by Australharmony) (shareable link to this entry)


Names and descriptions of passengers per Constance, from Liverpool, 30 August 1854, for Melbourne, 13 December 1854; Public Record Office Victoria (DIGITISED)

. . . John Cuneo / 28 / Musician / [all from] Other parts
Jo's Marlin [? Martin] / 16 / Musician
Jo's Paulins [? Pauline] / 18 / Musician
Rosa Cuneo / 24 / Musician
Tho's Tansey / 34 / Musician . . .

[Advertisement], The Argus (20 January 1855), 1 

WANTED Two-wheeled Barrow, light springs, flat top. Mr. Cuneo, musician, Little Church-street, Swanston-street.

CUNLIFFE, John (John CUNLIFFE; alias John KAYE)

Musician, organist, convict, clerk, schoolmaster

Born Bolton, Lancashire, England, c. 1798
Convicted Lancashire Assizes, Liverpool, England, 10 March 1824 (life transportation)
Arrived VDL, September 1825 (convict per Medina, age "27")
Active ? Launceston, VDL (TAS), by 1833 / before 1847 (TROVE tagged by Australharmony) (shareable link to this entry)


"Committed to our Castle since our last", Lancaster Gazette [England] (31 January 1824), 3 (PAYWALL)

John Cunliffe, charged with having stolen, at Great Bolton, a mare, the property of Matthew Butcher.

"LANCASTER ASSIZES", Manchester Mercury [England] (23 March 1824), 3 (PAYWALL)

. . . John Cunliffe, 25, for stealing, Bolton, mare the property of Matthew Butcher - Guilty Death recorded . . .

Convict record, John Cunliffe, Medina, 1825; Tasmanian names index; NAME_INDEXES:1384956; CON31/1/6 Page 231$init=CON31-1-6p236 (DIGITISED - 1)

691 / Cunliffe John / Medina Sep. 1825 / Lancaster As's 10 Mar 1824 - Life . . .
March 14 1829 / Clk pol'ce Office / Writing an improper letter to Dr. Brown / To be conf'd in the Penit'y one month (sent'ce remitted at the intercess'n of the Rev'd Dr. Brown) . . .$init=CON32-1-1P56 (DIGITISED - 2)$init=CON34-1-1P575 (DIGITISED - 3)

691 / Cunliffe John / Medina Arrived Sept'r 1825 alias Kaye / Tried Lancaster As's 10 Mar 1824 Life /
Trade: School master / Height 5ft 4 3/4 / Age: 27 / Native place: Bolton Lancashire . . .

"POLICE INTELLIGENCE", Launceston Advertiser [VDL (TAS)] (7 September 1829), 3 

Some time back one of the Clerks in the Police Office, named Cunliffe, was brought up for writing a letter to Dr. Browne, resigning the office of Organist. In his defence, he owned writing the letter, but denied meaning to give offence, and expressed his sorrow for having written it. Sentenced one month in the penitentiary, but forgiven at the solicitation of Dr. Browne.

ASSOCIATIONS: William Henry Browne (Anglican cleric, incumbent, St. John's, Launceston)

[Tickets-of-leave], Colonial Times (6 February 1844), 4

. . . John Kay Cunliffe, Medina . . .

[Notice], The Cornwall Chronicle (30 January 1847), 92 

Pardons being granted to the under-mentioned convicts, on condition that they shall not return to or be found within the United Kingdom of Great Britain and Ireland -
. . . John Haye alias Cunliffe, Medina . . .

[Advertisement], The Cornwall Chronicle (16 October 1847), 3

IF MR. JOHN RAY CUNLIFFE, who arrived in this Colony per "Medina," and once organist of St. John's Church, will send his address to the "Cornwall Chronicle" office, he will hear something to his advantage.

"REMINISCENCES [BY B.]", Launceston Examiner (12 November 1892), 2 

. . . About 59 years since (1833) my father arrived here from England, and on the first Sunday all or his arrival attended worship in St. John's Church. The singing, such as it was, was chiefly noticeable from the absence of instrumental aid, though an organ, resplendent in its polished oak case with gilt pipes, stood in the gallery. As he was leaving the church, my father enquired from the verger the reason of the organ's silence, and received for answer, "The organist in serving a sentence in the chain gang, so we can't have any music." Some years later than this Mrs. Nairn became organist . . .

ASSOCIATIONS: Thomas Button (father of writer, arrived 1833); Catherine Nairn (organist)


Musician, bandsman, Band of the 11th Regiment

Born Karnal, India, 1832
Enlisted Chatham, Kent, England, 26 June 1847
Arrived Hobart Town, VDL (TAS), 25 October 1845 (per Castle Eden, from Deptford, 19 July)Discharged Chatham, Kent, 28 December 1858
Departed Sydney, NSW, 23 October 1857 (per Orwell, for England) (TROVE tagged by Australharmony) (shareable link to this entry)


Musician, bandsman, Band of the 11th Regiment

Enlisted Chatham, Kent, England, 26 June 1847
Arrived Hobart Town, VDL (TAS), 25 October 1845 (per Castle Eden, from Deptford, 19 July)Discharged Chatham, Kent, 28 December 1858
Departed Sydney, NSW, 23 October 1857 (per Orwell, for England) (shareable link to this entry)


Paylist, 11th regiment, 1 April to 30 June 1851; Australian Joint Copying Project, from UK National Archives, WO12/2883 (DIGITISED)

2606 / Cunningham Henry / . . .
2607 / Cunningham Michael / . . .

"STREET ROBBERY", The Sydney Morning Herald [NSW] (19 September 1853), 5 

About midnight of Friday last Mr. Clarke, residing in Clyde-street, was assaulted and knocked down in Elizabeth-street, near Liverpool-street, and robbed of a gold watch, with chain attached, two sovereigns, and a half-crown piece. The thief, who had followed Mr. Clarke for some distance prior to the attack, looked like a regimental bandsman, wearing a white shell jacket.

"SYDNEY POLICE COURT . . . MONDAY [19 September]. . . STEALING", Empire (20 September 1853), 2

Henry Cunningham, one of the Band of the 11th Regiment, was charged with knocking down and robbing C. G. Clark, cabinet-maker, of Clyde-street, Miller's Point, of a gold watch and £2 1s. 6d. in money. From the statement of the prosecutor it appeared that on Friday night he was drinking with a friend who was going to Melbourne the next day, and his friend became intoxicated. While seeing his drunken friend home to his house on the Surry Hills, they were joined by the prisoner, who forced his company upon them. They, however, treated the soldier, and continued their walk until they came to Byrnes's public house, into which they went and had more liquor - they all stayed in this house until four o'clock in the morning. Then the prosecutor and the prisoner conveyed their friend home. The prosecutor then turned to walk home but was surprised to see the prisoner still follow him. They walked about a long time, and the prosecutor stated that he could not get rid of the prisoner, and became alarmed. He shouted police, when he immediately was knocked down, and the prisoner threatened his life and demanded his money. He gave it to him under fear. They then walked about for a long time, and knocked at several public houses for more drink. The prosecutor saw a lamplighter, putting out the gas lights, but he refused to assist him. At length they came to another public house, and the prisoner knocked him down again, and with threats took away his gold watch and chain. He then bid him good night, and the prisoner walked away - the prosecutor going home to wash himself. When he had made himself clean, he gave information to the police in Cumberland-street, and went up to the Barracks and reported the matter to the sergeant on duty. The Band was mustered, and the prisoner was identified by the prosecutor as the man who had robbed him. He was given into custody. Mr. Nichols, on behalf of the prisoner, subjected Mr. Clark to a lengthened cross-examination, which had the effect of enveloping the proceedings of the party, during the night, in still more mystery. On Mr. Nichols's application, the case was remanded till this day, to enable the lamplighter and the person who served them with liquor, to attend and give evidence as to the sobriety of the prosecutor.

"HIGHWAY ROBBERY", The Sydney Morning Herald (22 September 1853), 3

It was mentioned in Monday's Herald that one Charles Clarke had reported to the police that on Saturday morning he was knocked down and robbed by a bandsman of the 11th regiment. On Saturday afternoon Henry Cunningham, bandsman of the 11th, was given into custody by Clarke. On Monday and Tuesday Mr. Dowling took the evidence in the case. Mr. Nichols defended the prisoner. The prosecutor, Charles George Clarke, of Clyde street, cabinetmaker, deposed that on Friday night he was at the Theatre with a friend named Colman, who contemplated leaving Sydney for Port Phillip on Saturday by the Hellespont; after the play, his friend being the worse for liquor, he thought it was his duty to see him home to the Surry Hills; on the way, the prisoner introduced himself into their company; no intimation was broad enough to show Cunningham that his company was disagreeable, and therefore prosecutor made up his mind to bear it as quietly as he could; they proceeded as far as Byrne's public-house at Surry Hills, where Colman insisted upon having more drink; they went in, and there remained until perhaps 3 o'clock in the morning; Colman was then willing to go home, and was accompanied thither by witness, followed also by the prisoner; having left Colman at his own home, prosecutor intended to return home, but he could not shake off hls military companion, who endeavoured to prevail upon him to go to some other house further from Sydney, promising there to treat him handsomely; prosecutor's suspicions were aroused, and he offered every objection he could think of, offering however if the prisoner would accompany him that he would stand treat - intending, however, if he fell in with a policeman to give his companion into custody; prisoner acquiesced, and they walked together towards Sydney, knocking at every public-house they come to, prosecutor hoping to obtain admission and thereby protection against the evil designs of his companion; no one however paid any attention to their knocking; they had arrived nearly us far as Lyons'-terrace when they met a cart going in the contrary direction; prosecutor did not speak to the driver, but seized the reins of the horse, stopped him, and called out "Police" several times; no one answered, he loosed his hold of the horse, and the driver proceeded; the cart had not proceeded more than a few yards when prisoner knocked prosecutor down - he would teach him to call for the police - and demanded his money; he gave up 2s. 6d., but prisoner said he knew he had more, and would have it; while on the ground a lamplighter came up, to whom the prisoner said something, and he then passed on; he then gave the prisoner two sovereigns, which he had secreted in the skirt of his coat; they proceeded along Liverpool-street then as far as Elizabeth-street, when he proposed that they should go down to the Cheshire Cheese, near the Haymarket, to see if they could gain admittance; again no notice was taken of their knocking, and then and there the prisoner demanded of the prosecutor his watch, and then his guard, which under the influence of fear he delivered to him; they then retraced their steps as far as Liverpool-street, when prisoner turned off towards the Barracks, and the prosecutor pursued his journey homeward; before parting prisoner appointed to meet the prosecutor on the following evening at a public house opposite the Cheshire Cheese; prosecutor proceeded as far as the watch-house in Cumberland-street, where, for the first time since leaving the theatre he found a policeman; having washed himself, he from thence proceeded to the Barracks, and reported what had taken place; about 10 o'clock the band was mustered, and he pointed out the prisoner; he at first denied, but subsequently, on the watch having been found in his bed, he gave the chain, two sovereigns, and 1s. 6d. in silver-saying that the prosecutor was drunk, and had given them to him for safety, having appointed to meet him for the purpose of restoring possession. The case occupied a considerable time at the Police Office on Monday and yesterday. There were circumstances elicited in cross examination by Mr. Nichols which seemed rather to favour the prisoner's statement. The Sergeant-Major stated that prisoner had been five years in the Regiment, was now scarcely more than twenty-one years of age, and had always borne an unexceptionable character. Prisoner's defence was that prosecutor being drunk, had given him the watch and money to take care of. Committed for trial, but allowed bail for his appearance.

"SYDNEY QUARTER SESSIONS. THURSDAY [29 September]", Empire (30 September 1853), 2

Henry Cunninghame was indicted for assaulting and robbing from the person of Charles G. Clarke, a watch and five pounds, his property, on the 16th September instant. Verdict - Guilty. The prisoner was sentenced to be imprisoned in Sydney Gaol, with hard labour, for 2 years.

"SYDNEY QUARTER SESSIONS . . . THURSDAY", The Sydney Morning Herald (1 October 1853), 7

Henry Cunningham, a bandsman of the 11th regiment, was indicted for feloniously and violently robbing and stealing from the person of Charles George. Clarke one watch and £2. The Jury found the prisoner guilty, and he was sentenced to be imprisoned and kept to hard labour in Sydney Gaol for two years.

"CENTRAL POLICE COURT. TUESDAY [11 December]", Empire (12 December 1855), 2

. . . Henry Cunningham, a soldier, apprehended as a deserter, was remanded to be dealt with by the military authorities . . .

Paylist, 11th regiment, July to September 1857; Australian Joint Copying Project, from UK National Archives, (DIGITISED)

2606 / Cunningham Henry / . . . Band
2607 / Cunningham Michael / . . . [Band] . . .

Discharge, Henry Cunningham, ; UK National Archives, WO97/1420/188 (PAYWALL)

1st B'n 11th REG. of Infantry / Thorncliffe 15th November 1858 . . .
Discharge of No. 2606 Private Henry Cunningham . . . by Trade a None was Born in the Parish of Kernaul [Karnal] East Indies . . .
and was ATTESTED for the Eleventh Regiment of Infantry at Chatham in the County of Kent on the 26 June 1847 at the age of 15 years . . .
SERVICE up to this day . . . 3 years 49 days . . . during which period he served Abroad 2 4/12 years in The Australian Colonies . . .
his character is Bad and he is not in possession of any good conduct badges . . .
Private / 26 June 1847 / under age
Private / 26 June 1850 / 1 year 189 days
Private / 1st January 1852 to 17 Sep'r 1853 / 1 year 260 days
Deduct former service forfeited by connection of Felony / 3 years 84 days
Prisoner / 18 Sep'r 1853 to 27 Sep'r 1855 / Nil
Released Private / 28 Sep'r 1855 / to 30 June 1857 / 1 year 276 days
Private 1 July 1857 to 15th Nov. 1858 / 1 year 138 days Further service from the 16th Nov'r 1858 to the 28th Dec'r 1858 when finally discharged 43 days / [Total] 3 years 92 days . . .
MEDICAL REPORT .. . disability, Mental insanity first apparent in the year 1853 when he was stationed in Sydney, New South Wales, caused by constitutional predisposition, and not the result of vice or intemperance . . .
OPINION of the Principal Medical Office at Chatham, Dec'r 6th 1858 . . . he is unfit for further service being subject to intermittent mania . . .
FINAL DESCRIPTION . . . this 28th December 1858 / Age 26 4/12 years / 5 feet 11 inches . . .

NOTE: I found no corresponding discharge record for Michael Cunningham; however Michael's regimental number, 2607, almost certainly indicates that he enlisted with Henry at Chatham on the same day, 26 June 1847


Amateur musician, conductor, leader of psalmody, singing class leader, composer

Born Edinburgh, Scotland, 31 May 1828; son of Peter CUNNINGHAM and Mary Anne LIVINGSTON
Married Marion Scott CARRICK (1828-1893), Edinburgh, Scotland, 5 June 1849
Arrived Melbourne, VIC, 14 March 1853 (per Sir William Molesworth, from Glasgow, 12 October 1852)
Died Beechworth, VIC, 8 September 1902, aged "74" (TROVE tagged by Australharmony) (shareable link to this entry)


Births, Edinburgh, 1828; Scotland, Select births and baptisms (PAYWALL)

31 May 1828 / James son of / Peter Cunningham and Mary Ann Livingston

Marriages, Edinburgh, 1849; Scotland, select marriages (PAYWALL)

5 June 1849 / James Cunningham / Marion Scott Carrick

Passengers per Sir William Molesworth, from Glasgow, 12 October 1852 for Melbourne; Public Record Office Victoria (DIGITISED)

. . . James Cunningham / 24 / Clerk // Mary Ann Cunningham / 24 / Matron // [all Scotch]
Robert Cunningham / 9 // Janet Cunningham / 2 // Peter Cunningham / Infant

"PRESENTATION", Ovens and Murray Advertiser [Beechworth, VIC] (15 August 1863), 2 

On Thursday evening, the member of the Singing Class, and a few friends of the Independent Church, Beechworth, made a presentation to Mr. James Cunningham, of two very handsome bound volumes of poetry, with an address engrossed on vellum, as a recognition of his efforts as the leader of the choir. In presenting the gift Mr. Collier stated, that Mr. Cunningham had, for the past five years, conducted the Psalmody of the Church, during which time the choir had, chiefly through his exertions, been of great assistance during divine service on Sabbath days, and had also been able to present to the public, from time to time, some really good singing on sundry occasions. He trusted Mr. Cunningham would long be spared to lead them on to greater perfection. Mr. Cunningham feelingly replied at great length, and assured those present that he was most happy to receive this quite unexpected token of their esteem, when the meeting was concluded by singing an anthem by the choir.

ASSOCIATIONS: Music in Congregational churches (general)

"PRESBYTERIAN SOIREE, WANGRATTA", Ovens and Murray Advertiser (30 December 1865), 2 

The second annual soiree in connection with St. Paul's Church came off on Tuesday evening, last, and, notwithstanding the counter attraction of Burton's Circus, was attended by over 100 persons. Tea was served at 7 p.m. in an enclosure at the back of the Church. The Rev. J. Robertson presided. Fifteen members of the choir of the Beechworth Independent Church, under the leadership of Mr. James Cunningham, had very kindly come down to assist, and Mrs. Flower, of Beechworth, presided at the harmonium. Proceedings were opened by the congregation singing the 100th Psalm . . .
The choir sang "Rejoice in the Lord," 33rd Psalm . . .
The choir sang, "Hearken unto me," 51st chap. Isaiah . . .
the choir sang "Sing unto God" . . .
Mr. JAMES CUNNINGHAM, in acknowledging the vote of thanks to the choir, said they loved singing for itself. It was as much pleasure for the choir to sing as to listen to them, but they should form a local class for he could promise them that the choir might come to listen, but would not come again to sing. The choir then sang, "Holy, Holy, Lord." . . . - Federal Standard.

ASSOCIATIONS: Sarah Elizabeth Rebecca Flower (harmonium)

"THE CONGREGATIONALISTS' SOIREE. ST. GEORGE'S HALL", Ovens and Murray Advertiser (3 April 1866), 3 

Two events occurred simultaneously last evening in Beechworth, one being an innovation in the way of a fruit and musical soiree, instead of a tea meeting, by the Congregationalists, and the other the opening of St. George's Hall, nearly as it will in future appear to the public . . . Mr. Cunningham had a paper on music to read to them, and there were also singing and other matters to come. Mr. JAMES CUNNINGHAM on this read a very nicely written and interesting paper on music generally, but chiefly music of a sacred character. The address was illustrated by several appropriate pieces, very truthfully and nicely rendered by the children on the platform, assisted by Mrs. Flower, who most kindly assisted at the harmonium . . .
By the voluntary and united exertions of Mrs. Flower, at the harmonium, and Mr. James Cunningham, as conductor of the vocal part, our Singing Class has, and is, rendering most important aid to that part of our sanctuary service - its praise - long may there be a chorus of voices worthy of that high department of our public worship . . .

[Advertisement], Ovens and Murray Advertiser (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: Thomas Spencer Cope (president); Adolph Schluter (organist); Herr Schmidt (violin); Beechworth Philharmonic Society [sic] (association)

[Advertisement], Ovens and Murray Advertiser (17 August 1867), 3 

The Beechworth Philharmonic Society Will give their
Second CONCERT In aid of the Funds of the Ovens District Hospital and Benevolent Asylum,
Assisted by the Beechworth Band and the German Vocal Union.
President: His Honor Judge Cope.
Conductor: Mr. James Cunningham.
Organist: Herr Schluter.
CHORUS - "Worthy is the Lamb" - Messiah - Handel.
SOLO - "Rolling in Foaming Billows" - Creation - Haydn.
ANTHEM - "Blessed is he that considereth the Poor" - Dr. Nares.
SOLO AND CHORUS - "The Marvellous Work" - Creation - Haydn.
QUARTETTE - "Des feine Wilhelm" - Schaffer.
CHORUS - "Lift up Your Heads" - Messiah - Handel.
SOLO - "Eve's Lamentation."
CHORUS - (By desire) - "Hallelujah" - Messiah - Handel.
An interval of Fifteen Minutes.
GLEE - "Awake, AEolian Lyre" - Danby.
BALLAD - "Adamastor" - L'Africaine - Meyerbeer.
DUET - "The Roving Minstrels."
QUARTETTE -"March" - R. E. Baker.
VIOLIN FANTASIE - Massaniello - By Herr Schmidt.
GLEE - "The Gipsies" - Guy Mannering - Bishop.
SONG - "The Musical Wife."
GLEE - From Oberon in Fairy Land - Stevens.
FINALE - Verse and Chorus - "God Save the Queen."
Doors open at half-past Seven ; to commence at Eight o'clock precisely.
TICKETS, 2s. 6d. EACH.

"THE NEW INDEPENDENT CHURCH", Ovens and Murray Advertiser (7 December 1869), 3 

On Sunday, the new church erected by the Congregationalists in Beechworth was formally opened for public worship . . . the choir and congregation sang the following dedication hymn, composed by Air James Cunningham, leader of the psalmody: -
Holy, Holy, Holy Lord God of Hosts!
Heaven and earth are full of thy glory.
Glory be to Thee, O Lord Alost High. Amen.
Though Thou dwellest in thick darkness,
Shrouded far from mortal gaze.
We on earth have built a Temple,
For Thy worship and Thy praise . . .

"THE BEECHWORTH CARNIVAL RICHARDSON'S SHOW", Ovens and Murray Advertiser (19 November 1873), 2 

On Wednesday evening we dropt in again, and saw Messrs. James Cunningham, James Kyle, Robert Spiers and Master Duncan dance a capital Scotch reel, to the bagpipe accompaniment of Mr. Peter Bruce; this went well with the audience, and had it not been rather late in the afternoon, and every one anxious for the showmen to get as much money as possible, an encore would have been demanded. Mr. Cunningham took it quietly, but he danced very correctly; Mr. Kyle seemed rather stiff about the knee-joints; while Mr. Robert Spiers did the exciteable part of the reel, and showed his talent as the champion reel dancer of Australia . . .

ASSOCIATIONS: Peter Bruce (bagpiper)

"INDEPENDENT CHURCH TEA MEETING", Ovens and Murray Advertiser (24 November 1877), 8 

The tea-meeting and subsequent public meeting in connection with the anniversary services of the Congregational Church, Beechworth, were held in the Odd Fellows' Hall on Tuesday evening . . . the choir, which consisted of about thirty performers from the various choirs in the town, rendered the "Kyrie Eleison," from Mozart's twelfth mass, in a very creditable manner, under the leadership of that famous conductor Mr. James Cunningham, and to the accompaniment on the harmonium of his son, who appears to have inherited his father's talent for music, as well as his name, and is quite a credit to his teacher, Mrs. Flower . . .

"DEATH", Ovens and Murray Advertiser (13 September 1902), 3 

CUNNINGHAM. - On-Monday, 8th September, at Loch-street, Beechworth, James Cunningham, aged 74 years.

"OBITUARY. DEATH OF MR. JAMES CUNNINGHAM", Ovens and Murray Advertiser (13 September 1902), 3 

The roll-call of the old pioneers of Beechworth, who assisted at its foundation and loyally adhered to their adopted town, was still further decreased on Monday morning by the death of Mr. James Cunningham, one of its oldest residents, at the advanced age of 74 years, the immediate cause of death being erysipelas, supervening, on an illness of some month's duration, during which he was assiduously attended by Dr. Skinner, M.D. The deceased gentleman was a native of Scotland, being born at Edinburgh in the year 1828, and there learned the trade of a tinsmith. Soon after his marriage there the news of the marvellous gold discoveries in Victoria aroused the adventurous impulses which are instinctive in all natives of the land of the mountain and heather, and with his wife and two children, one of whom died on the voyage he embarked for Melbourne, arriving there in the year 1854. There he soon obtained employment in Mr. McEwan's ironmongery store in Elizabeth-street, and in 1856, with another young man named Scott, he came to Beechworth to take charge of a branch known as the Ovens Hardware Company. After a while he acquired the business, Mr. Scott opening a similar establishment at Chiltern, and carried it on until a few years ago, when he retired and lived privately until his death. He was the originator of the Beechworth Philharmonic Society, which did valuable service in fostering a love of music; he was treasurer of the Ovens District Hospital for about 25 years; District Corresponding Secretary of the M.U.I.O.O.F.; returning officer for the Bogong electorate, and subsequently for the Federal constituency of Indi; and licensed auditor and official assignee. Although a keen business man he was of a genial, companionable nature, and besides retaining his love for the old songs of his native land, had a fund of quaint reminiscences, and was an occasional contributor of poetry to the local journals. He was twice married, his second wife surviving him, and leaves two sons, Peter and James, the latter the eminent pianist, and four daughters, two of whom are married, namely, Mrs. John Lack and Mrs. Williams. Although he had been in bad health for some time, which necessitated his retirement from the office of treasurer to the Hospital, his illness was not deemed serious, and the news of his death was therefore received with general surprise and regret. The funeral is announced to take place at the Beechworth Cemetery to-morrow (Wednesday) afternoon, at 3 o'clock, under the. direction of Mr. W. H. Phillips, undertaker.


Music and general printer and lithographer, newspaper proprietor

Born Castleblayney, county Monaghan, Ireland, c. 1814; son of Michael CUNNINGHAME and Ann COLLINS
Married Helen (Ellen) McGUIRE (c. 1805-1887), Glasgow, Lanarkshire, Scotland, 5 September 1833
Arrived Sydney, NSW, 8 February 1840 (per Arkwright, from Liverpool, 8 October 1839, aged "26")
Died Glebe, NSW, 15 May 1884, aged "70" (TROVE tagged by Australharmony) (NLA persistent identifier) (shareable link to this entry)


Marriages, Glasgow, 1833; Scotland, select marriages (PAYWALL)

5 September 1833 / Francis Cunningham / Helen McGuire

Married male immigrant, Francis Cunningham, 1840; State Records Authority of NSW (PAYWALL)

Francis Cunningham / Arrived by the Arkwright / Brought out by A. B. Smith /
A native of Castle Blaney Co. Monaghan son [of] Michael Cunningham a tailor [??]; and Anne Collins his wife /
Calling: Printer / Age on Embarkation: 26 years //
Ellen Cunningham / 26 . . . Anne / 4 // Isabella / 3 // Francis / 8 months

[Advertisement], The People's Advocate and New South Wales Vindicator (1 November 1851), 16 

The undersigned . . . having lately purchased a LARGE QUANTITY OF TYPE of recent manufacture, and of every variety of style, they are now enabled to execute every description of PRINTING with such accuracy and expedition, combined with taste, as cannot fail to satisfy those who may honor them with their patronage.
THE PRINTING DEPARTMENT Will be under the management of Mr. CUNNINGHAME, whose practical experience of twenty-two years (twelve of which were passed in Glasgow) will, it is hoped, be a sufficient guarantee for the manner in which every description of work will be executed . . .

[Advertisement], The People's Advocate and New South Wales Vindicator (24 January 1852), 16 

NOTICE is hereby given that the Partnership, heretofore existing between Edward John Hawksley and Francis Cunninghame, Printers and Publishers, was on the 5th day of January instant, dissolved by mutual consent . . .

[Advertisement], Empire (20 October 1853), 3 

WANTED - A COMPOSITOR who understands general Job Printing. A good steady hand will obtain a permanent situation by applying to the undersigned.
F. CUNNINGHAME, 113, King street East. Also, a respectable youth as an Apprentice to the Printing business.

[Advertisement], Empire (11 December 1856), 1 

TO COMPOSITORS. - WANTED, by the undersigned, immediately, a Compositor who understands his business. F. CUNNINGHAME, 44, King-street East.

By special license, on Thursday, February 11th instant, at St. Mary's Cathedral, by the Rev. I. Gourbeillon, Mr. L. T. Mellin, late of Brunswick, Germany, Printer and Publisher, Goulburn, to Annie Mary, eldest daughter of Mr. F. Cunninghame, Printer, King-street, Sydney.

"Death of an Old Inhabitant", Evening News [Sydney, NSW] (15 May 1884), 3 

Mr. Francis Cunninghame, the well-known printer of this city, died last night at his residence, the Poplars, Glebe Point, aged 70. The deceased had been ailing for the past 18 months, and during the last few weeks confined to his bed. The cause of death was acute dysentery. Mr. Cunninghame came to Sydney in 1839, and was engaged in printing the HERALD by hand, that journal being then issued in a single sheet. He started a newspaper named the PEOPLE'S ADVOCATE, and afterwards went to the diggings, and returned to Sydney in 1848 [sic, ], when he started his well known business as a printer in King-street, which was afterwards removed to Pitt-street, where it has since remained. In 1883 Mr. Cunninghame took a trip to Europe for the benefit of his health, and on his way back visited an uncle of his in Nova Scotia, who is 90 years of age. The trip did not, however, benefit the deceased, and ever since he returned he has been gradually sinking. He was universally respected and esteemed for his private virtues and business abilities, and his decease will leave a marked blank in the list of Sydney's pioneers.

"DEATH OF MR. MELLIN", Freeman's Journal (11 May 1895), 15 

A FACE well known in the city for the past 40 years has vanished. Mr. Ludolph Theodore Mellin breathed his last on the 5th instant, at his residence, Kensington-road, Summer Hill. The deceased was a native of Brunswick, and he had reached his 69th year. Soon after his arrival in Sydney, 40 years ago, he started the first illustrated paper. He then went to Goulburn, established the CHRONICLE newspaper, sold it, and returned to Sydney and joined the late Mr. Cunninghame in the printing and publishing business which was conducted as Cunninghame and Co. . . . He married Annie Cunninghame, daughter of the late Francis Cunninghame . . .

Bibliography and resources:

Prue Neidorf, A guide to dating music published in Sydney and Melbourne, 1800-1899 (M.A. thesis, University of Wollongong, 1999), 150-53 (DIGITISED)

The People's Advocate and New South Wales Vindicator, Wikipedia's_Advocate_and_New_South_Wales_Vindicator 

CUNYNGHAME, Henry (Henry Sidney Myrton CUNYNGHAME; Monsieur Henri CUNYNGHAME)

Musician, professor of music ("Lessons given on the Violin"), professor of foreign languages

Born France, c. 1819; son of David CUNYNGHAME (1768-1854) and Gertrude KIMPTON (1796-1842)
Married Mary Ann BOSTOCK, St. Marylebone, London, 5 May 1852
Arrived Melbourne, VIC, 31 December 1863 (per Yorick, from London, 20 August)
Died North Fitzroy, VIC, 1900, aged "81/82" (TROVE tagged by Australharmony) (shareable link to this entry)


CUNYNGHAME, Mary Anne (Mary Ann BOSTOCK; Marian; Marion; Mrs. Henry CUNYNGHAME; Mrs. H. M. CUNYNGHAME; Mrs. CUNYNGHAME)

Musician, vocalist, teacher of foreign languages

Born Welshpool, Montgomeryshire, Wales, 12 January 1824; baptised Guilsfield, 15 February 1824; daughter of Pryce BOSTOCK and Margaret ?
Married Henry Sidney Myrton CUNYNGHAME, St. Marylebone, London, 5 May 1852
Arrived Melbourne, VIC, 31 December 1863 (per Yorick, from London, 20 August)
Died Fitzroy, VIC, 9 February 1916, aged "92" (TROVE tagged by Australharmony) (shareable link to this entry)



Baptisms solemnized in the parish of Guilsford in the county of Montgomery in the year 1824; register 1813-63, page 80; Archives Wales (PAYWALL)

No. 634 / [1824] Feb'y 15 / Mary Anne [daughter of] / Price [and] Margaret / Bostock / Garth / Joiner . . .

Supplement to the register book of births, formerly kept in the Vestry of the Baptist Meeting House, Cannon-street, Birmingham; UK National Archives, RG4/3116 (PAYWALL)

No. 146 / Born January 12 1824 Welsh-pool Montgomeryshire / Mary Anne Bostock / [daughter of] Pryce Bostock / Margaret . . . formerly Roberts / Carpenter / . . . 83 St. Martin Street Birmingham / registered 2 November 1840

1852, marriage solemnized at the parish church in the parish of St. Marylebone in the county of Middlesex; register 1850-54, paged 165; London Metropolitan Archives, P89/MRY1/224 (PAYWALL)

No. 329 / 5th May 1852 / Henry Sidney Myrton Cunynghame / of full age / Bachelor / Gent'n / District of Holy Trinity Brompton / [son of] David Myrton Cunynghame, Baronet
Mary Anne Bostok / of full age / Spinster / - / St. Marylebone / [daughter of] Pryce Bostock, Esquire . . .

England census, 7 April 1861, Tottenham Court, St. Pancras, Middlesex; UK National Archives, RG9/101/10/14 (PAYWALL)

27A Charlotte St. [flat within] / Henry S. M. Cunyngham / Head / Mar. / 41 / Professor Music / [born] France British Subject
Mary A. / Wife / 29 / [Professor Music] / [born] North Wales

Names and descriptions of passengers per Yorick, from London, 20 August 1863, for Melbourne; Public Record Office Victoria (DIGITISED)

Chief Cabin / Cunyngham Henry / 44 // Marian / 36 . . .

[Advertisement], The Argus [Melbourne, VIC] (16 March 1864), 8

LESSONS given on the VIOLIN. Mr. H. Cunyngham, professor of music, 45 Napier-street, Victoria-parade.

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

MR. H. CUNYNGHAME, Violinist, and Professor of Music, has a few hours DISENGAGED. For lessons apply at his residence, 45 Napier-street, Victoria-parade.

[Advertisement], The Argus (6 January 1865), 8

INSTRUCTION given on the VIOLIN by Mr. Cunynghame, teacher of music, 220 Swan-street, Richmond. References - Messrs. Wilkie, Webster, and Co., 16 Collins-street.

[Advertisement], The Argus (12 January 1865), 8 

THE VIOLIN TAUGHT. Terms, two guineas per quarter. H. Cunynghame, teacher of music, 81 1/2 Collins-street east.

[Advertisement], The Argus (14 July 1866), 8

GRAND CONCERT In aid of the Cathedral Organ Fund, by the united choirs of St. Francis's, St. Patrick's, and SS. Peter and Paul's.
Assisted by Mrs. J. C. ELLIS, Miss IDA HOWSON, And Mrs. H. M. CUNYNGHAME.
Leader of the Band - Mr. H. Thomas.
Pianoforte - Mr. Tracey, Organist of St. Patrick's.
Harmonium - Mr. O'Gorman, Organist, SS. Peter and Paul.
Conductor: PROFESSOR HUGHES, Organist St. Francis's Cathedral.
Reserved seats, 3s. 6d.; unreserved, 2s.; gallery, 1s.
Tickets to be had at all the music shops.

ASSOCIATIONS: Henry Hughes (conductor); Marie Kramer Ellis (vocalist); Ida Howson (vocalist); Herbert Thomas (violin, leader); Charles Austin Tracy (piano); Michael O'Gorman (harmonium); St. George's Hall (Melbourne venue)

[News], The Argus (20 April July 1867), 5

The Melbourne Philharmonic Society, to whom the public have long been accustomed to look for entertainment on Good Friday evening, gave a concert of sacred music at the Theatre Royal last night, consisting of the first two parts of "The Creation" and selections from "The Messiah." It is not to be wondered at, though the concert was very fairly attended, that the performance evoked no enthusiasm. Even musical devotees must of late have had somewhat of a surfeit of oratorio, and it was not to be expected that the performance of Handel and Haydn's masterpieces by a band and chorus of one hundred performers would satisfy the many who have so frequently heard the same music given under much more favourable circumstances. The public are not unfamiliar with the dissensions from which the Philharmonic Society has suffered, and it is to be regretted that society which has in times past done so much for the cause of music in Melbourne should have to appear under such disadvantageous circumstances. Mr. Lee officiated as conductor, Mr. H. J. King presided at the harmonium, and the principal vocalists were Mrs. Fox, Mrs. Cunynghame, Mr. Donaldson, Mr. Angus, and Mr. Williams . . .

ASSOCIATIONS: David Lee (conductor); Henry John King (harmonium); Sarah Hannah Fox (vocalist); Charles Alexander Donaldson (vocalist); Silvanus Angus (vocalist); William Henry Williams (vocalist); Melbourne Philharmonic Society (association); Theatre Royal (Melbourne venue)

"CURRENT TOPICS", Geelong Advertiser (2 May 1867), 2 

This evening Madame Fanny Simonsen will commence and engagement at the Mechanics' Institute, which will consist of grand operatic and serio-comic entertainments. The fame of Madame Simonsen, as prima donna of Lyster's Opera Company, has extended over the whole of the Australian colonies. She is undoubtedly one of the most talented vocalists that has ever visited Geelong. She is to be assisted by Mr. Martin Simonsen, whose exquisite performance on the violin so enchanted his hearers a year or two ago in this town; by Miss Marion Cunynghame, whose contralto singing is highly spoken of by the press; by Mr. W. F. Baker, well known as a tenor in the opera company and by Mr. Linley Norman, the accomplished pianist . . .

ASSOCIATIONS: Fanny and Martin Simonsen (vocalist and volinist); William Francis Baker (vocalist); Linly Norman (pianist); Lyster's Opera Company (troupe)

"THE NEWS OF THE DAY", The Age (30 July 1867), 5 

A Vocal and Instrumental Concert will be given in the Prahran Town Hall, to-morrow evening. Madame Fanny Simonsen, assisted by Mrs. Cunynghame, and Messrs. J. E. Kitts, Martin Simonsen, and Stockmeyer, will be the performers on the occasion.

ASSOCIATIONS: James Edward Kitts (vocalist); Adolphus Stockmeyer (vocalist); Prahran Town Hall (venue)

[Advertisement], The Argus (25 March 1870), 1

MRS. CUNYNGHAME, TEACHER of foreign languages, French and German, 18 Young-street, Victoria-parade.

[Advertisement], The Argus (10 July 1873), 1

MONSIEUR HENRI CUNYNGHAME, Professor of Foreign Languages. Highest testimonials from schools, &c. Mullen's Library, Collins-street east.

"DEATHS", The Age [Melbourne, VIC] (3 December 1900), 1 

FOVEAUX - On the 1st December, suddenly, at 8 C[---]n-street, North Fitzroy, Henry Sydney Cunynghame (Foveaux), fifth son of the late Sir David Cunynghame, Bart., aged 82.

"DEATHS", The Argus (11 February 1916), 1 

FOVEAUX (Cunninghame). - On the 9th February, at Fitzroy, Marion, relict of the late Henry Foveaux, professor of music, aunt of Thos. P. Obbinson, Lygon street, Carlton, and Mrs. Waghorn, Cottesloe, W.A., aged 92 years.

CUNYNGHAME, Robert Drybrough (Robert Drybrough CUNNINGHAM; Robert Drybrough CUNYNGHAME; R. D. CUNYNGHAME; "R. D. C.")

Amateur vocalist, songwriter, lyricist, ship builder, "ship smith"

Born Scotland, 5 May 1786; baptised Linlithgow, West Lothian, 12 May 1786; son of George CUNNINGHAM and Isabella DRYBROUGH (m. Linlithgow, 25 January 1784)
Married (1) Elisabeth OGILVY (d. 1815), Scotland, c. 1807
Arrived Sydney, NSW, 15 December 1822 (per Minerva, from England, via Hobart Town)
Married (2) Mary Matilda WHALAN (1804-1835), St. John's, Parramatta, NSW, 15 September 1823
Married (3) Emma CLARK (EVANS) (d. 1877), St. Andrew's Scots church, Sydney, NSW, 13 March 1844
Died Sydney, NSW, 19 March 1862, aged "77/78" (TROVE tagged by Australharmony) (People Australia) (shareable link to this entry)


Baptisms, Linlithgow, West Lothian, Scotland, 1786; Scotland, Select births and baptisms (PAYWALL)

12 May 1786 / Born 5 May 1786 / Robert son of / George Cunningham and Isabella Drybrough

Marriages, St. Cuthbert's, Edinburgh, 1807; Scotland, Select marriages (PAYWALL)

28 October 1807 / Robert Drybrough Cunningham / Elizabeth Ogelvie

"HOBART TOWN . . . SHIP NEWS", Hobart Town Gazette and Van Diemen's Land Advertiser [VDL (TAS)] (28 September 1822), 2 

On Sunday last arrived from Leith, and lastly from Falmouth, which she left the 1st May, the brig Minerva, Captain James Bell, with merchandize, and 40 passengers, among whom are . . . Mr. R. D. Cunningham . . .

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

Cunyngham, Rob't D / 42 / Came Free / Minerva Brig / 1823 / Protestant / Shipbuilder / George Street / Sydney
Mrs. / 25 / Born in the Colony // Charles / 4 // James / 2 // Infant

"SCOTTISH SOCIETY", The Australian [Sydney, NSW] (21 May 1840), 2 

On Friday evening last, a meeting of Scotsmen was held in the Theatre of the Mechanics' School of Arts for the purpose of uniting in a Society having for its object the erection of a Benevolent Fund for the relief of its members (being either Scotsmen themselves, or of Scottish descent), in time of sickness, age, infirmity, or death; in the latter case, for the disbursement of their funeral expenses, and support their widows and their orphans, if left unprovided for. Owing to the inclement state of the weather, the meeting was rather thinly attended, their members not exceeding sixty at any one time, but the paucity of numbers was counterbalanced by the zeal evinced by those present in the promotion of the desired object . . . Dr. Crook being then requested to leave the chair, Mr. Cunningham was called thereto, who (after thanks being voted to the chair) forthwith called upon Mr. Shearer for a tune upon the bagpipes, and the chanter resounded through the Theatre of the School of Arts, we believe, for the first time, to the tune of "Over the water to Charlie" while the meeting was breaking up.

ASSOCIATIONS: George Sherar (bagpiper); Mechanics' School of Arts (Sydney venue)

"SONG WRITTEN FOR MAY 24, 1841", Australasian Chronicle [Sydney, NSW] (22 May 1841), 2 

Tune - "Scots wha hae wi' Wallace bled."

O a' ye sons frae Caledon,
Hibernia, and Albion,
Come join wi' me a' in a song -
God save Victoria.
On this her happy natal day,
That she in peace and comfort may
Long reign, let a' her subjects pray -
God bless Victoria . . . [3 more verses]

MUSIC: Scots wha hae wi' Wallace bled (song, arr. Braham)

"FUNERAL", The Sydney Morning Herald (20 March 1862), 8 

The Friends of the late Mr. Robert D. CUNYNGHAME, ship smith, of George-street North, are respectfully invited to attend his funeral, which will proceed from his late residence, Stanley-street, near the Grammar School to the Presbyterian ground, at 9 o'clock on FRIDAY MORNING.
R. STEWART, undertaker, Pitt and Bathurst streets.

"DEATHS", The Sydney Morning Herald (21 March 1861), 1 

On the 19th instant, at his residence, 29, Stanley-street, Woolloomooloo, after a long and painful illness, Mr. Robert D. Cunynghame, in the 78th year of his age.


[Original pieces, by R. D. C.] (Sydney: Printed by T. Trood, King street, [c. 1842]) (DIGITISED)

ASSOCIATIONS: Thomas Trood (1797-1850, printer)

[22] SONG - Written for the 27th Jan. 1840, and sung that night at Burns's anniversary dinner, York-st. Sydney.
TUNE - Burns's Farewell.

YE brethren wha this night are met,
Mair social friends were never found,
To commemorate wi' masonic art
The anniversary of brother Burns . . .

MUSIC: Burns's farewell to the brethren ("Masonic adieu") (Tune archive)

See also "MASONIC DINNER IN COMMEMORATION OF THE BIRTH-DAY OF ROBERT BURNS", The Sydney Gazette and New South Wales Advertiser (23 January 1840), 2 

[27] SONG. Composed on the forming of the Scottish Society [15 May 1840, see above].
AIR - Over the hills and far awa.

FATHER Scotia, I've heard it said,
Pat on his trews and tartan plaid,
Ae day, and busked unco braw,
Whan he heard frae Sydney far awa . . .

MUSIC: Over the hills and far away (Tune archive)

[32] SONG. Written on the 6th January, 1841, being the 26th Anniversary of the death of my beloved Betsy Ogilvy.
TUNE - Robin Adair.

This has been a sair day to me,
As ever came;
This has been a sair day to me,
Wi' sorrow and pain . . .

MUSIC: Robin Adair (tune)

[38] SONG. ON THE SAME [March , 1841, on Judge Burton's arrival the second time in Sydney]
AIR - Whistle o'er the lave o't.

HAIL wi' joy the news, till tongues are tired,
The Susan she has noo arrived,
Wi' her an auld friend we've descried,
O Burton's come again O! . . .

MUSIC: Whistle o'er the lave o't (tune)

ASSOCIATIONS: William Burton (judge)

[41] SONG. For the 24th May, 1841.
AIR - Scots what ha'e wi' Wallace bled [as above] . . .

[44] SONG. Composed on the Brethren of the Vulcan Fraternity having agreed to dine on the 7th September 1841, (at the Hope tavern, York-street,) on Beans and Bacon.

WHEN Adam and Eve, I've heard it said,
Had Paradise to quit, Sir,
Old Vulcan then a needle made,
TO make clothes them to fit, Sir . . .

MUSIC: Tune not indicated

[44] SONG. Composed for an sung at Mr. John Scott's Marriage [Scots' Church, Sydney, 21 October 1841].
TUNE - John Borthwick has gone to a wedding.

HA'E you heard that John Scott has got married!
A bonny lassie has fa'en to his lot,
Her aff frae her mother he's carried
Ann Sinnett - our gude friend John Scott . . .

MUSIC: Unidentified tune

[48] SONG. For the same occasion [brother Henry Macdermott, Esq.'s Dinner, 21 October 1841]
TUNE - Jenny sits up in the loft.

COME, brethren, let's a' happy be
This night, whan will ye hae sic anither;
Our hearts are a' filled wi' glee
To Henry Macdermott our brither . . .

MUSIC: Jenny sits up i' the laft ["Brose and butter"] (Tune archive)

See also "Fashionables", The Omnibus and Sydney Spectator (23 October 1841), 26 

CURLE, Jemima Erskine Harvey (Jemima HARVEY; Mrs. Robert CURLE)

Musician, teacher of piano and singing

Born Alloa, Clackmannan, Scotland, 5 September 1811; baptised Alloa, 15 September 1811; daughter of John HARVEY and Charlotte ERSKINE
Married Robert CURLE (d. 1881), Glasgow, Scotland, by c. 1839
Arrived Melbourne, VIC, 19 December 1854 (per Earl of Eglinton, from Greenock, aged "40")
Active Castlemaine, VIC, by December 1856
Died Castlemaine, VIC, 17 February 1884 (TROVE tagged by Australharmony) (shareable link to this entry)


Baptisms, Alloa, Clackmannan, 1811; Scotland, Select births and baptisms (PAYWALL)

15 September 1811 / born 5 September 1811 / Jemima Erskine daughter of / John Harvey and Charlotte Erskine

Names and descriptions of passengers per Earl of Eglinton, from Greenock, 23 September 1854, for Melbourne, 19 December; Public Record Office Victoria (DIGITISED)

. . . Robert Curle / 56 / Auctioneer / Scotch // Jemima Curle / 40 //
Jemima E. Curle / 12 // Frances / 9 // James / 6 // Ann / 2

"SHIPPING INTELLIGENCE. ARRIVED", The Argus [Melbourne, VIC] (20 December 1854), 4 

December 19.- Earl of Eglinton, ship, 1274 tons, James Simpson Hutton, from Greenock 24th September. Passengers - cabin: . . . Misses . . . Curl . . . Mr. and Mrs. Curl and three children . . .

[Advertisement], The Argus (29 December 1855), 7 

MRS. CURLE'S Educational Seminary. Coventry-street, Emerald Hill.
Classes will be formed for the following branches on the termination of the vacation, Wednesday, 2nd January, 1856: . . .
Pianoforte, with theory of music and singing. Fashionable Dancing, and Calisthenics.

[Advertisement], Mount Alexander Mail [Castlemaine, VIC] (19 December 1856), 8 

CONDUCTED BY MR. AND MRS. CURLE Lyttleton St., opposite Mr. Day's chapel.
MRS. CURLE begs to intimate her intention of opening the above Establishment for Young Ladies, ON MONDAY, 5th January, 1857.
Mrs. C. his had much experience in teaching in the Home country, as well as in this, and can give unexceptional Colonial References;
amongst others, to the friends of pupils who have been under her charge during the last two years.
Cards of Terms may be had on application. Castlemaine, 15th Dec.

[Advertisement], Mount Alexander Mail (12 June 1857), 8 

MRS. CURLE, in returning thanks for the very liberal patronage conferred on her establishment,
begs to intimate that she has had large additions made to her premises, enabling her still further to secure the comfort of her pupils.
Several new classes are being formed, in which pupils can be enrolled on application.

[Advertisement], Mount Alexander Mail (14 October 1857), 1 

MUSICAL TUITION. MRS. CURLE intimates that she continues to give instruction in the Pianoforte and Singing at her residence, Campbell-street.

See also, [Advertisement], Mount Alexander Mail (24 January 1872), 3 

"DEATH", Mount Alexander Mail (18 February 1884), 2 

CURLE. - On the 17th February, at Doveton-street, Castlemaine, Mrs. Robert Curle, late of Glasgow, aged 72 years.

See also, on the death of her husband, Robert, in 1881, "ITEMS OF NEWS", Mount Alexander Mail (30 May 1881), 2 

CURRY, Mrs. (Mrs. CURRY; ? Mrs. CURRIE)


Active Hobart Town, VDL (TAS), 1834 (shareable link to this entry)


"The Oratorio . . .", Colonial Times (18 March 1834), 5

The Oratorio on Saturday last was most numerously and respectably attended, and as we anticipated, a greater treat of the kind was never afforded in Van Diemen's Land. The room was well adapted for the purpose, and the raised stage gave the whole a London appearance. We were happy to observe His Excellency was present, and under his immediate patronage a second oratorio would be equally as well supported. The evening's entertainment commenced with Mozart's grand symphony, which was correctly and remarkably well performed. The succeeding anthem was not well selected, and although correctly sung, did not seem to please the auditory . . . Mrs. Davis's best performance was "Let the bright Seraphim," and the trumpet obligato by Mr. Long, was correctly and tastefully performed . . . Kent's anthem of "Hear my prayer," is a difficult performance for ladies, and so it proved on Saturday - it was pretty correctly sung, and nothing more. The finale was excellent. The celebrated chorus, "Hallelujah," was thoroughly well supported. On the whole we say, never did a musical performance in Van Diemen's Land go off better . . .

Great fears were last week entertained that the Oratorio could not possibly take place, some offence it appears having been given to Mrs. Davis. On enquiring, the reason of all the hub-bub, we found it to be on account of Mrs. Davis's name having been placed after Mrs. Inkersole's, in the bills of the day. The Courier, makes an apology for this inadvertency, and moreover, adds, that it is at the request of Mr. Deane. With Mr. Deane or the Editor, we wish not to interfere, but we should vastly like to know what are Mrs. Davis's pretensions to be first on the list. Mrs. Davis, cannot compare her vocal knowledge, or her vocal powers to Mrs. Inkersole's, and in the opinion of many, Mrs. Henson's performance is far preferable to hers. If therefore, Mrs. Davis cannot claim precedence, on account of her superior talent; she cannot most certainly do so, on account of seniority (without it be in years) for Mrs. Curry, should, thus reckoning, have appeared first, Mrs. Henson second, and Mrs. Davis, third (about her proper station.) We are sick and tired of all these musical and theatrical squabbles, and not meaning any slight or disparagement to Mrs. Davis, we cannot help remarking, that Mrs. Davis's name too frequently occurs, mixed up in these misunderstandings and squabbles. The Courier will perhaps take a different view of Mrs. Davis's importance and rank, in the musical world: we therefore recommend our subscribers to read the Courier's next puff that lady.

ASSOCIATIONS: George Arthur (lieutenant governor); Sophia Letitia Davis (vocalist); Hannah Inkersole (vocalist, actor); Mrs. Henson (vocalist, actor); Mr. Long (trumpet); John Philip Deane (conductor); for the program, see
[Advertisement], The Hobart Town Courier (7 March 1834), 3 

CURTIS FAMILY (descendents of Harry Parsons) (shareable link to this entry)


Amateur musician, vocalist

Born Sydney, NSW, 28 May 1811; baptism St. Philip's, Sydney, 6 October 1811; daughter of Harry PARSONS and Mary SWAIN (d. 1839)
Married James CURTIS (1804-1882), Catholic chapel, Sydney, NSW, 28 August 1828
Died Sydney, NSW, 15 December 1848, aged "37" (TROVE tagged by Australharmony) (shareable link to this entry)

DISAMBIGUATION: Emma Irving Curtis (musician, harpist, also active as "Mrs. Curtis" in Sydney from March 1839 to c. 1841)

CURTIS, John Henry (John Henry CURTIS; John Henry Benedict CURTIS; Rev. Mr. J. H. A. CURTIS; Henry Anselm CURTIS, O.S.B.; Fr. Anselm CURTIS; J. H. B. CURTIS)

Amateur musician, vocalist, precentor, "leader of Gregorian chanting", singing master, Catholic cleric, Benedictine monk, composer

Born Sydney, NSW, 16 June 1829; baptised Catholic chapel, 28 June 1829; son of James CURTIS and Mary PARSONS
Married Maria Elizabeth MONAGHAN (1837-1919), Fitzroy, VIC, 24 June 1867
Died Carlton, VIC, 5 July 1909 (TROVE tagged by Australharmony) (TROVE tagged by Australharmony) (shareable link to this entry)

Go to Documentation (John Henry Curtis)

CURTIS, Peter Campbell (Peter Campbell CURTIS; Peter CURTIS; P. C. CURTIS)

Amateur musician, musical amateur, choir singer and conductor

Born Sydney, NSW, 22 January 1836; son of James CURTIS and Mary PARSONS
Married (1) Emma COLESON (1843-1876), Sydney, NSW, 1864
Married (2) Mary Elizabeth DOLMAN (1858-1936), St. Joseph's, Newtown, NSW, 2 February 1878
Died Glebe, NSW, 14 January 1885, aged "49" (TROVE tagged by Australharmony) (shareable link to this entry)

ASSOCIATIONS: Mary Elizabeth Dolman (second wife), daughter of William Dolman (bookseller), later Mrs. Raymond Pechotsch

CURTIS, George Thomas (Thomas CURTIS; George Thomas CURTIS)

Amateur musician, organist, vocalist, choral singer

Born Sydney, NSW, 1837; son of James CURTIS and Mary PARSONS
Married Margaret GAHAN, Sydney, NSW, 1884
Died Sydney, NSW, 2 April 1885 (TROVE tagged by Australharmony) (shareable link to this entry)

CURTIS, Teresa (Teresa CURTIS; Mrs. John MEILLON; Mrs. Theo BOESEN; Madame MEILLON-BOESEN)

Musician, pianist, teacher of music, composer

Born Sydney, NSW, 20 May 1843; daughter of James CURTIS and Mary PARSONS
Married (1) John MEILLON, St. Mary's Cathedral, Sydney, NSW, 23 May 1864
Married (2) Theodor August BOESEN, Sydney, NSW, 2 June 1877
Died Sydney, NSW, 4 October 1910, aged "66" (TROVE tagged by Australharmony) (shareable link to this entry)

ASSOCIATIONS: Pupil of Edward Boulanger (pianist, composer)

Go to Documentation (Teresa Curtis Meillon Boesen)

CURTIS, Ambrose

Amateur musician, pianist, choir director

Born Sydney, NSW, 1848; son of James CURTIS and Mary PARSONS
Married Susan JOHNSTON (c. 1850-1945), Sydney, NSW, 11 June 1873
Died Mossman, NSW, 11 June 1924 (TROVE tagged by Australharmony) (shareable link to this entry)

Documentation (Mary and family general to c. 1848)

Baptisms, St. Philip's, Sydney, 1811; Australia, births and baptisms; Biographical database of Australia (BDA) (PAYWALL) (PAYWALL)

6 October 1811 / born 28 May 1811 / Mary daughter of / Harry and Mary / Parsons

ASSOCIATIONS: In the September 1822 census, Mary Parsons, aged 10, was servant to T. Sylvester; and in May 1825 employed by Mr. McVitie

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

. . . Curtis / Joseph [sic] / 21 / Born in Colony / - / Catholic / Cabinet Maker / [residence] John Earls, Phillip Street, Sydney
Curtis Mary / 17 / Born in Colony / - / Protestant . . .

"Births", The Sydney Herald (25 January 1836), 2 

On Saturday last [23 January], Mrs. Curtis, of Castlereagh-street, of a son.

"ORATORIO", The Sydney Herald (30 June 1836), 2

A performance of sacred music, on a grand scale, is shortly to be given at St. Mary's Church Hyde Park, the objects of which, are said to be the advancement of the science of music and musical talent, and to assist in raising funds for an organ. The Oratorio is to be under the direction of Mr. Wallace. Mrs. Rust, Mrs. Chester, Miss Wallace, Mrs. Curtis, Messrs. Cavendish, Clarke, Deane, Stubbs, Spencer, Gordonovitch, Martin, the Choir of the Church, and many Amateurs, have already consented to perform. The two Military Bands are also engaged. The Oratorio is expected to take place on the 26th of next month.

ASSOCIATIONS: William Vincent Wallace (conductor); Margaret Rust (vocalist); Marian Maria Chester (vocalist); Eliza Wallace (vocalist); William Joseph Cavendish (musician); ? Francis Clarke (amateur); John Philip Deane (musician); John Benedict Spencer (cleric); George Gordonovitch (amateur); Conrad Martens (amateur); Band of the 4th Regiment (military); Band of the 50th Regiment (military); St. Mary's cathedral (Sydney); in the event, the oratorio came off on 21 September 1836

"ORATORIO", The Sydney Monitor (5 February 1838), 2

WE have already noticed the Oratorio at St. Mary's Chapel, or, as it rather deserves to be called, Cathedral, in Hyde Park. We now proceed to describe it . . . We could distinguish the beautiful strains of Mr. Wallace . . . Of Mrs. Curtis, Mrs. Clancy, and an amateur Lady we do not know which to prefer. They do not affect execution, but their voices being soft and musical, they gratified the audience by their exertions . . . Miss - , and Mrs. Curtis then sang "Gloria in excelsis Deo," and elicited due applause. They have sweet voices.
SECOND PART. After three quarters of an hour's rest, a beautiful Overture was executed, which gratified all amateurs present, but which not being so popular as vocal singing among the great body, the applause was not so great as this piece merited. "Ave verum corpus natum" followed by Mrs. Curtis and amateurs, and gave much satisfaction . . . The company . . . however, departed highly gratified with the evening's performances. Owing to the badness of the times, this Oratorio was not so numerously attended as last years', and the numbers deficient included many principal families . . .

ASSOCIATIONS: Elizabeth Clancy (vocalist)

[News], The Australian (6 February 1838), 2 

At the Musical Festival, last Wednesday evening, which took place at St. Mary's Church, which we briefly noticed in our last . . . Mrs. Curtis also exerted her vocal powers to the utmost, and added much to the effect of the performance by her talent; but want of space prevents us entering into more particulars. To the other performers the greatest praise is due for their prompt co-operation in the cause of charity . . .

"DEATHS", The Australian (19 March 1839), 3 

On the 18th instant, at her daughter's (Mrs. Curtis, of Hunter-street), Mrs. Mary Wright, aged sixty-nine years, formerly widow of the respected Barrack Sergeant (Parsons), who was followed to his grave by Colonel Erskine, and the Officers of the 48th Regiment, and an old inhabitant of the Colony and much respected.

"OPENING OF ST. MATTHEW'S CHURCH, WINDSOR", Australasian Chronicle (27 October 1840), 2

Wednesday last having been the day appointed for the performance of this solemn function . . . The right rev. the bishop officiated . . . The choir of St. Mary's Cathedral, conducted by Mr. Bushelle, occupied the right transept, and the military band the left. The sacred music of the great Italian and German masters, to which the seraphine formed the accompaniment, was executed in a style of grace and power worthy of its high character. We never heard the choir, including Mr. and Mrs. Bushelle, Madame Gautrot, Mrs. Curtis, &c. &c., to greater advantage. The opening and closing pieces of the full band, were also fine specimens of instrumentation, and gave a frame of fulness and a richness of effect to the whole . . . An excellent lunch had been prepared . . . during which time the excellent band of the 80th played appropriate airs. At seven P.M. vespers were solemnly chaunted by the choir and the clergy alternately . . .

ASSOCIATIONS: John Bede Polding (bishop); John and Eliza Bushelle (vocalists); Madame Gautrot (vocalist); Band of the 80th Regiment (military); Music in Catholic churches (general)

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

THIS EVENING, the 31st of August,
HANDEL'S GRAND ORATORIO of the MESSIAH will be performed
in aid of the Funds of the Benevolent Society, in the Royal Victoria Theatre, Pitt-street . . .
PRINCIPAL VOCAL PERFORMERS - Mrs. Bushelle, Mrs. S. W. Wallace, Mrs. Curtis,
Mr. Bushelle, Mr. Waller, Mr. Griffiths, Mr. Allen, and Master Weavers . . .
Conductor - Mr. Leggatt. Leader - Mr. S. W. Wallace.
Chorus Master - Mr. Johnson . . .

ASSOCIATIONS: Caroline Wallace (vocalist); James Waller (vocalist); William Griffiths (vocalist); Edward Allen senior (vocalist); Charles Weavers (vocalist); Thomas Leggatt (conductor); Spencer Wellington Wallace (leader, violin); James Johnson (chorus master); Royal Victoria Theatre (Sydney venue)

"THE ORATORIO", Australasian Chronicle (1 September 1842), 3 

At last the immortal "Messiah" has been performed in Sydney. We are so rejoiced at this revival of our finest recollections of "harmony divine," that we are much inclined to forget our duty of critic and praise every thing in the performance. Glad we are to say, there was much to praise. Of the recitatives and arias, it is true, we can say but little, with the exception of "How beautiful are the feet," by Mr. Allen, and another by an amateur, both of which displayed taste and feeling. We could have said the same of "I know that my Redeemer liveth," by Mrs. Curtis, which was not devoid of proper feeling, but that, despite her most visible efforts, it was beyond her powers of execution. Neither of the Bushelles were in voice; Griffiths was drowned by the accompaniment, and Mrs. Wallace, feeling herself at home, said "He shall" and not "HE shall feed his flock, &c." Of the chorusses, which after all are every thing in this work, we can speak in terms of general commendation. A few of them were truly admirable, such as that very difficult one, "Great was the company of the preachers," the "Hallelujah," &c., and, the only one that could be said to be murdered was "Glory to God" . . .

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

A grand oratorio was performed on Wednesday last at the Victoria Theatre, in aid of the funds of the Benevolent Asylum. Handel's "Messiah" was for the first time, we believe, attempted in our Colonial metropolis; and attempted with admirable success . . . Of the recitativos and arias our praise must be more qualified. "How beautiful are the feet," by Mr. Allen, and "I know that my redeemer liveth," by Mrs. Curtis, were performed with genuine taste and feeling, although the latter evidently cost a severe effort. The choruses were truly admirable, far beyond the most sanguine expectations of the audience. The attendance was numerous, and although the entertainment must have been attended with considerable expense, it is believed that the Benevolent Asylum will receive from the proceeds a considerable contribution to its funds. This combination of amusement with utility is peculiarly gratifying. The same party of musicians and amateurs, are about to get up Haydn's Creation.

"THE LATE DUKE OF ORLEANS", Australasian Chronicle (13 December 1842), 2

YESTERDAY a solemn High Mass, pro defunctis, was celebrated in the Cathedral of Sydney, at the request of the French Consul and the Captain of the French corvette L'Embuscade, for his Royal Highness the late Duke of Orleans. The intelligence of the Prince's death was first communicated to the officers of the Embuscade on their arrival in this port, and naturally caused a strong sensation . . . The sacred music of the great Italian and German In the choir the solemn Gregorian Missa pro defunctis was beautifully chaunted by the Very Rev. Vicar General Murphy, as cantor, assisted by the Rev. Mr. Magennis, Mr. Duncan, and Mrs. Curtis, and a select choir, and accompanied on the organ by Mr. Worgan . . .

ASSOCIATIONS: Ferdinand Philippe (duke of Orleans, died France, 13 July 1842); Francis Murphy (cleric, cantor); Patrick Magennis (cleric, vocalist); William Augustine Duncan (vocalist); George William Worgan (organist)

"THE LATE DUKE OF ORLEANS", The Colonial Observer (14 December 1842), 5 

. . . The Gregorian Missa pro defunctis was chaunted by the Rev. V. G. Murphy, assisted by the Rev. Mr. Mageanis, Mr. Duncan, Mrs. Curtis, and a select choir, and accompanied on the organ by Mr. Worgan. The "Requiem," "Kyrie eleison," "Dies irae," Sanctus," "O Salutaris," "Agnus Dei;" together with the preface, pater noster, and the versicles and responses followed in succession. The choir, at the conclusion, chaunted the psalm "De, profundis," the clergy, accompanied by the officers of the Embuscade, again proceeded from the high altar to the catafalque to perform the ablutions, with which the ceremony concluded . . .

"ST. PATRICK'S DAY. ST. PATRICK'S TOTAL ABSTINENCE SOCIETY", Australasian Chronicle (21 March 1843), 2 

Friday last being the anniversary of Ireland's tutelar saint, the festival was celebrated by the St. Patrick's Total Abstinence Society with great eclat and taste . . . For their great tea party of the evening, the old court house, Castlereagh street - the meeting hall of the society - was fitted up in a most convenient and tasteful manner by Mr. Lenehan, and lighted by Mr. Cummins . . . The Secretary next read the following report: . . . .
Your committee in bringing before the public this, the first report of the society, have reason to rejoice at the great progress of temperance. The society is not more than ten months in existence, and it reckons nearly 2,000 registered members . . . Your committee also contemplates the introducing into the society of the German method of teaching music, known as "Maenzer's' Music for the Million." The Apostle of Temperance has introduced this system into the societies in Ireland with the happiest results. Your committee think it quite practicable to introduce the same system here, and hope ere long to hear some of the sublime pieces of Handel and Mozart sung at the tea parties of St. Patrick's Total Abstinence Society . . . The glee singers, for whose attendance the committee had made arrangements, sang a variety of glees and serio-comic songs; the band in the intervals played several, popular airs, and several members of the society were also agreeable enough to sing. Mrs. Curtis sang Kathleen Mavourneen, one of the home heart ballads of Green Erin, with an effect that held the hearers breathless . . .

ASSOCIATIONS: Joseph Mainzer (German singing master); Theobald Mathew ("Apostle of Temperance", Irish cleric); St. Patrick's Band (Sydney)

MUSIC: Kathleen Mavourneen (Crouch)

[Advertisement], Morning Chronicle (14 October 1843), 3 

a GRAND AND AMUSING FESTIVAL will be held at the Old Court House, Castlereagh-street,
For the Benefit of St. Patrick's Band . . .
Upon which occasion, the Band will use every exertion to render the evening's entertainment worthy the public patronage. In the course of the evening several Popular Airs, got up expressly for this occasion, will be performed by the Instrumental Department; together with a great variety of GLEES, DUETTS, SOLOS, &c., &c.
VOCAL PERFORMERS. - Mrs. Bushelle, Miss Hinckesman, Mrs. Clancy, and Mrs. Curtis;
Mr. Griffiths, Messrs. Allen, Worgan, Beattie, Callaghan, Commins, Caughlan, and Jibby [sic] . . .

ASSOCIATIONS: Maria Hinckesman (pianist); Elizabeth Clancy (vocalist); Charles James Tibby ? junior (vocalist); Old Court House (Sydney venue)

"GRAND TEMPERANCE FESTIVAL", Morning Chronicle (18 October 1843), 2 

This brilliant affair came off on Monday evening last, in the Catholic school room, Castlereagh-street, which had been elegantly and appropriately fitted up for the occasion. As early as seven o'clock the room prevented a galaxy of beauty and fashion, such as we have seldom seen come together in public demonstration of the principles of Temperance . . . At seven o'clock the fine band of St. Patrick's Society struck up "Patrick's Day"; and shortly afterwards the Rev. John McEncroe, the President of the Society, arrived and took his seat as Chairman . . . The musical entertainments then commenced with a glee by Messrs. Allen, Griffiths, and Beattie "Pretty warblers of the grove," which was executed with good taste and expression.
Solo, "Oh blame not the Bard," by Mrs. Bushelle, was sang with bewitching sweetness, and elicited the most rapturous applause.
Glee, by Messrs. Commins, Callaghan, and Caughlan.
Solo, "The Old House at Home," Mrs. Curtis.
The St. Patrick's band . . . performed several national airs with much spirit and execution . . .

ASSOCIATIONS: John McEncroe (cleric); Edward Allen (vocalist); William Griffiths (vocalist); St. Patrick's Band (association)

"Original Correspondence. TEETOTAL FESTIVAL", Morning Chronicle (21 October 1843), 1

MR. EDITOR, I am one of those persons who sometimes experience a fit of what is called "musical madness"; so when I saw it announced last week that there would be great "musical attractions!" at the tea party given by the "Teetotallers", I was placed for a time in a state of most glorious uncertainty what to do; for I assure you I never had a relish for "Teetotalism", or for cold-water either. Besides, I hitherto looked on these Teetotallers as a demure, cold-hearted set of people. At last my love of music prevailed over my antipathy to water, and I determined to go and hear the soothing notes of my favourite music, and I am very well pleased that I came to that resolution. I was both surprised and delighted surprised for instead of finding a number of persons as dull and demure as Quakers in a meeting house, as I expected, I found them as cheerful and as lively a company as my heart could wish. Every one there seemed to be, in the words of one of your Irish songs, "As brisk as a bee, and as light as a fairy"; and, withal, the best order, and the utmost decorum prevailed throughout. So my notions of "Teetotalism" are considerably changed, though I have not yet made up my mind to take the "Pledge". And as to my prevailing fault, this "musical madness", I was very much delighted. The Band exceeded my expectations; the glees were good; and Mrs. Bushelle exceeded, if possible, the favourable impressions left on my mind by hearing her on former occasions. I was much pleased with the sweet, unaffected, and pathetic tone of Mrs. Curtis's voice. I never heard that lady before, but would wish to hear her again. Does she sing at any of the concerts, or other musical parties? By letting me know, as I presume you must know, something about her, you will oblige one who seeks every opportunity of "drowning dull care," not in the "bowl," but in the enchanting strains of bewitching
Sydney, October 19th, 1843.

[We can inform our "music-mad" correspondent; and "half" convert to Teetotalism, that Mrs. Curtis, never sings at Concerts - that the only place our correspondent may have an opportunity of hearing her sweet voice is at St. Mary's Cathedral, where she has frequently, for the last ten years, given her gratuitous services. Being duly alive to the blessings of temperance, she consented to sing at the late "Teetotal Festival", and we believe she used her influence to induce the attendance of Mrs. Bushelle, and some of the vocalists, with whose performance the party was so well pleased. ED.]

"OPENING OF ST. PATRICK'S CHURCH", The Guardian (23 March 1844), 12 

On Monday last, the masonry of this place of Worship being completed, it was for the first time opened for the celebration of the usual rites of the Catholic Religion. Of the building itself; we can only speak in praise - the style of architecture is Gothic, and the design is particularly chaste. The interior of the edifice is capacious and the arrangement commodious. The opening of the Church, created an almost unparalleled sensation throughout our good city, all its inhabitants seemed on foot, as if anxious of bearing a part in the solemn dedication of the building to the worship of the Creator. The Charity School Children, the St. Patrick's Church, and Total Abstinence Societies with their band, escorted the Archbishop to the new place of worship. After the arraying of his Grace in the Archiepiscopal robes, &c., High Mass was celebrated; the orchestra being composed of the band of the 80th regiment, assisted by amateurs, who executed some of the beautiful music of Mozart in the most efficient manner. Amongst the vocalists, Mrs. Bushelle's beautifully clear notes were the most predominant, and she was most ably supported by Mrs. Curtis . . . Service was again celebrated in the evening . . .

ASSOCIATIONS: St. Patrick's church (Sydney)

"CONSECRATION OF ST. PATRICK'S CHURCH", Colonial Times [Hobart, TAS] (9 April 1844), 3 

. . . The ceremony was assisted by a powerful concentration of musical talent, the united efforts of the Military, Theatrical, and one of the Temperance Society's Bands, being brought into action, under the direction of Messrs. Leggatt and Wallace. The female vocal parts were sustained by Mrs. Bushelle and Mrs. Curtis, supported by a host of male voices, and the whole of the arrangements went off with much effect, and obviously to the gratification of the crowded auditory. - Australian.

Original Correspondence. HOLY WEEK AT ST. MARY'S", Morning Chronicle (17 April 1844), 2 

MR. EDITOR. . . . The first day of the Holy week is known by the name of Palm Sunday from the rite observed in the Catholic Church of blessing and distributing palms . . . Another part of the Ofice performed this day, and, repeated on Good Friday, is the chaunting of the Passion by three interlocutors. It goes beyond anything in dramatic power, and is worthy of ancient tragedy. The narrative given in a strong tenor voice; the words of our Saviour chaunted in a deep solemn bass; and whatever is spoken by any other person, is given by the third in a high contralto. This recitation, performed by the Vicar General, the Rev. Messrs. Sumner and Bourgeois, with voices most accurately entoned, and scientifically trained, reminded us of the same portions of service carried on in our largest cathedrals on the Continent, and of what we had heard or read of in the Sistine Chapel in Rome, where it is performed by choruses, and acted on principles of deep dramatic design, calculated to produce the most solemn and devout impression on the soul; the music being of the composition of Lewis de Victoria, and of the immortal Palestrina.
The office until Wednesday and Thursday, continues all sorrowful, but without any public demonstrations of moment. Hence the Tenebrae shows the church in mourning, in the solemn chaunt of the office, the Lamentations and the Miserere . . . The service of Friday was, throughout, lugubrious and sad . . . The Passion, according to St. John, was sung . . . the Improperia or "Reproaches" as they are called, were sung to the most pathetic music . . . The music throughout [the week] was most interesting, and far surpassed what might have been expected to be met with in Sydney. The alternate chaunting, the Lamentations, the Passion, the responsories sung by the choir, the manner of singing them, produced a splendid result. In some of the most exciting passages, we recognised the voice exquisitely louder and rich, and that most delicately and most pathetically modulated of Mrs. Curtis and of Mrs. Bushelle, which but for the gratification to be derived being of a character more deeply mystical, must have worked on the mind that abandonment of feelings to the tide of other impressions of curiosity and admiration . . .
I am, Mr. Editor, your

ASSOCIATIONS: Vicar general = Francis Murphy above; Joseph Charles Sumner (cleric, vocalist)

"TEA FESTIVAL AT ST. BENEDICT'S SCHOOL", Morning Chronicle (10 January 1846), 2 

On Wednesday evening last, a Tea Festival was held in St. Benedict's School-room, Abercrombie Place. The Festival was given by his Grace the Archbishop to the collectors of subscriptions for St. Benedict's Church, each of whom was allowed to invite one friend . . . When tea was over, singing was commenced, and a number of songs were sung in excellent style, by Master Peter Curtis, Mr. Turner, Misses Byrnes and Dooley, and Mrs. Curtis. In the intervals, the company was enlivened by the sprightly tones of a violin, and every one, particularly the younger portion of the company, enjoyed themselves right well . . . the singing and music kept up until ten; when the company separated to their own homes, it having been previously announced that a similar party would be held in the same place in about two months.

ASSOCIATIONS: John Turner (vocalist); St. Benedict's church (Sydney)

"DIED", The Sydney Morning Herald (16 December 1848), 3

Yesterday, after severe illness, aged 36, Mrs. Curtis, the beloved wife of Mr. James Curtis, of Hunter-street, Sydney, undertaker.
The funeral procession will move from St. Mary's Cathedral this afternoon at half-past three o'clock.

"THE ORATORIO. ST. BENEDICT'S CHURCH", Freeman's Journal (2 September 1854), 10 

Our country readers will be gratified to learn that the grand Oratorio given in St. Benedict's Church, on Wednesday, the 30th ult., came off with decided success . . . The "Artistes" who won the greatest applause, and of whose success fame still speaketh were Mesdames Flower and Gautrot, Madamoiselle Flora Harris, the Messrs. Howson, and Mr. P. Curtis, (an amateur.) Much praise has been awarded, and most deservedly, to the conductor (the Rev. H. A. Curtis) . . .

ASSOCIATIONS: Sara Flower (vocalist); Flora Harris (vocalist); Frank Howson (vocalist); John Howson (vocalist)

"GRAND ORATORIO. ST. BENEDICT'S CHURCH", The People's Advocate and New South Wales Vindicator (2 September 1854), 3

. . . From the overture to the finale - from the first burst of Haydn's enrapturing Gloria in excelsis' (Mass No. 1) to the last thrilling prolonged note of Handel's "Hallelujah" chorus, our enjoyment never for a moment ceased; - so varied, so exqusite, so wonderful was the music itself, so. effective, so inspired were the performers . . . Of the amateurs, Mr. Peter Curtis was favourably noticed. . . . The Precentor of St. Mary's Choir (the Rev. H. A. Curtis) held the baton of conductor; to his excellent taste we are indebted for the admirable selection of pieces, and to his unwearied zeal, for the great success of the night.

"THE JUBILEE AT ST. BENEDICT'S", Freeman's Journal (Sydney, NSW : 1850 - 1932), 9 May 1857), 2 

. . . The first High Mass was celebrated on Tuesday . . . Mozart's No. 12 was sung by the Cathedral choir, conducted by the talented and Rev. Mr. Curtis. We very much admired the middle movement of the Gloria. We never hear that majestic Quoniam Tu solus Sanctus, but we fancy that we have a faint glimpse of the All Holy. The Benedictus is one of the most charming morceaux that ever was written. The Soprani were Miss Stewart, Mrs. Bridson, and Mr. Peter Curtis; the Alta, Madame Lamont; the Tenor, Mr. Howson; and the Bass, Mr. Banks. The Dona nobis pacem, introducing the grand chorus after the Agnus Dei, was charmingly rendered by Madame Lamont, who has an exceedingly sweet mezzo-soprano voice. In a word, the music was all that could be desired . . .

ASSOCIATIONS: Sarah Bridson (vocalist); Maria Augusta Lamont (vocalist); Thomas Banks (vocalist)

"COMPLIMENTARY CONCERT TO MRS. MEILLON", The Sydney Morning Herald (3 May 1871), 5 

The benficiare closed the concert with a splendid display of instrumentation - the Polonaise Brillante from "La Gaieté," opera 3, Chopin. Mr. A. Curtis (a pupil of Mrs. Meillon's) acted as accompanist throughout the evening, and in a very creditable manner.

"Dramatic and Musical Review", Australian Town and Country Journal (30 December 1871), 20

. . . Mrs. John Meillon, whose position in Sydney as a most thorough and most painstaking teacher stands unrivalled, possessing as she does the true soul for music in its most beautiful forms - invited the friends of her pupils to hear their performances. With the exception of the well known brothers of Mrs. Meillon who aided in some of the concerted pieces, the execution of the programme was in the hands of about twenty-three young ladies, between the ages of eight and eighteen . . .

ASSOCIATIONS: Ambrose (above) and their half-brother Charles Henry Curtis (1854-1931, son of James Curtis and his second wife Ellen Mary Sweeney)

"CHRISTMAS SERVICES", Freeman's Journal (28 December 1872), 10 

. . . At St. Benedict's the music of the Mass was by Monti, and we understand had never been previously performed in Sydney. It was procured from New York by Mr. Peter Curtis who has devoted so much time and attention to the improvement of St. Benedict's choir . . . Novello's arrangement of the Adeste Fideles was sung at all the churches . . .

"ST. BENEDICT"S", Freeman's Journal (19 July 1873), 10 

Last Sunday being the anniversary of the consecration of the church dedicated to St. Benedict, the Patriarch of the Western Monks, a solemn High Mass was celebrated on the occasion, in the presence of a large congregation . . . The choir was under the able direction of Mr. P. C. Curtis, who had as tutor that accomplished musician, the late Right Rev. Dr. Davis, O.S.B. Mrs. Meillon presided at the organ. The singing was all that could be desired. It brought to mind to many in the congregation the finished performances in the old Cathedral of St. Mary's. The Gaudeamus at the Introit and the Jubilate at the Offertory were specially well rendered . . .

"SACRED HEART CHURCH", Freeman's Journal (29 December 1877), 14 

. . . at the 11 o'clock Mass on Christmas Day . . . An orchestra had been engaged by Mr. Curtis, and as the celebrant (Father Collins) entered the Sanctuary, the band commenced Mozart's sweet pastoral Symphony. Mount's Twelfth Kyrie and grand Gloria were then rendered magnificently; the final fugue being given with spirit and precision. The remaining portions of the Mass were Abbe Lambellotte's and the beauty of the music was fully brought out both by vocalists and instrumentalists. We must not omit to mention that the time-honoured "Adestes" was sung with expression and feeling . . . Mr. Peter Curtis acted as conductor of the choir and orchestra, and deserves credit for the successful rendition of the music. It may not be out of place to say that sometimes the fortissimo passages, were given rather too loudly for the size of the building, and the effect was not so good as might be otherwise attained . . .

"SACRED HEART CHURCH", Freeman's Journal (25 November 1882), 8

In all our Catholic choirs no two gentlemen have performed their duties in so perfectly satisfactory a manner during the past eight or nine years as Mr. Ambrose Curtis and Mr. Charles Curtis, conductor and organist respectively of the church of the Sacred Heart, Darlinghurst, and it is with a feeling of genuine regret that we now record the retirement of the Messrs. Curtis from their positions. Both gentlemen have not only done their own individual work well and efficiently but they have at all times evinced a commendable interest in the progress of the choir, and have endeavoured to bring the music to a high standard and to maintain excellence at a uniform rate . . .

"THE CATHEDRAL", Freeman's Journal (16 June 1883), 14

... At the offertory Mrs. P. C. Curtis, whose style of singing is wonderfully like Miss St. Clair's - graceful, earnest, and elegant - and who, too, has a voice of sympathy and agreeable qualities, sang the "Salve Regina, by Paolo Pergetti, of Rome. The composition has for us the merit of novelty; but it has rarer qualities - it is in its beauty classic; and although it is profoundly devotional, it is not lacking in dramatic colour and energy - in fine, it is a sweetly plaintive prayer, lofty in sentiment. Voice and music were admirably suited, and Mrs. Curtis sang with expression; and using this term in its full and true meaning, we can offer no higher compliment to the singer.

"DEATHS", The Daily Telegraph (15 January 1885), 1 

CURTIS. - At his residence, Toongabbee, Pyrmont, Bridge-road, Glebe, Peter C. Curtis, aged 49 years.

Critically ill with Bright's disease, Peter's death had been falsely reported several days earlier, see "NEWS OF THE DAY", The Sydney Morning Herald (8 January 1885), 7 

"Death of Mr. Peter Curtis", Evening News (15 January 1885), 3 

The many friends of Mr. Peter Curtis, chief clerk in the equity department, who was seized on Monday week last with a violent attack of Bright's disease of the kidneys, will regret to learn that he succumbed to his illness yesterday afternoon, at the age of 49. For 28 years the deceased occupied a prominent position in the equity department, and for 15 years he held the important post of chief clerk. During the recent illness of the Master in Equity, Mr. Curtis discharged the duties in a very efficient manner. Had the Government carried out the original intention of abolishing the office of Master in Equity, there is no doubt that Mr. Curtis would have been selected for the premier position. Like his father, Mr. Curtis was a great enthusiast in cricket. For many years he was the managing secretary and guiding spirit of the Albert Ground, and it was only quite recently that his health prevented him from any longer taking an active part in cricketing circles. The funeral of the deceased will leave St. James's Church, Forest Lodge, at 10 o'clock for the Catholic Cemetery in Petersham.

"THE LATE MR. PETER CURTIS", Freeman's Journal (17 January 1885), 16 

. . . Mr. Curtis, who was a son of the venerable and lamented Mr. James Curtis, was born in Sydney on January 22, 1836. Educated, in St. Joseph's monastery, attached to old St. Mary's Cathedral, under the care of Archbishop Polding of holy memory, Mr. Curtis commenced life as a teacher in St. Mary's Seminary, which was at that time under the direction of the Venerable Archpriest Sheehy. Cultivating a natural taste, he devoted much of his time to Church music, and for several years he was one of the principal singers in the old Cathedral. Being an enthusiast in music, he took an active part in St. Mary's Choral Society, and his energies were not confined at the time to St. Mary's, for he was one of the gentlemen who organized and conducted the grand musical festivals on the occasion of the opening of the University, and which are doubtless remembered by many of our readers. In 1857 Mr. Curtis gave up his position as teacher, and entered the Public Service, receiving an appointment in the Equity Department of the Supreme Court . . . Mr. Curtis was twice married, and he leaves four sons. Some few years ago he married Miss Dolman, an accomplished lady, who with her late husband, has given cheerful assistance from time to time in the various Catholic church choirs of the city and suburbs. In public and in private life, Mr. Curtis bore an honourable character, and his death will be regretted as the loss of a genial, talented, and estimable Catholic gentleman. Requiescat in pace.

ASSOCIATIONS: St. Mary's Choral Society (association); Sydney University Musical Festival (event 1859)

"DEATH OF MR. GEORGE CURTIS", Freeman's Journal (11 April 1885), 15 

The death of the best known, and perhaps the most popular member of the Curtis family, following so quickly that of poor Peter Curtis, has caused that sincere feeling of regret in metropolitan circles which the demise of a good-natured and genial-hearted gentleman invariably inspires. George Curtis was, to use a Shakesperian expression, "native here and to the manner born," and in his death we lose one who was throughout his life a typical "cornstalk," thoroughly colonial in everything, and one who inherited all the characteristics of the now little-heard-of native party. He was every inch of him a sportsman, and took a warm interest in all manner of athletics and field sports, displaying a penchant for the turf, in connection with which, being a recognized authority, he became something of a celebrity. There was no face more pleasantly familiar at the Randwick meetings than his, and he frequently acted as time-keeper and filled other offices with satisfaction to the sporting public. Like all the rest of the family, George Curtis was a musical enthusiast, and his favourite occupation in old St. Mary's choir and in the pro-cathedral was assisting the organist during Mass or Vespers. For many years the deceased gentleman successfully carried on business as a share broker under the well-known firm of Melhado and Curtis. A comparatively short illness led to his death, and it will be consoling to his many friends to know that the Rev. Father Le Rennetel, S.M., was sedulous and devoted in his ministrations. The funeral was on Saturday, the remains being interred in the Catholic portion of the Waverley cemetery. Mr. Curtis was in his 47th year.

"DEATH", The Sun (12 June 1924), 10 

CURTIS. - June 11th, 1924, at his residence, 34 Gouldsbury-street, Mosman, Ambrose Curtis, late of City Bank, Bathurst, in his 76th year.

Bibliography and resources (Mary and family general, to c. 1848):

Claire C. Evans, "Harry Parsons - early Sydney musician", Descent 4 (1967), 109-11

Keith A. Johnson and Malcolm R. Sainty (comp.), Gravestone inscriptions, N.S.W. volume 1, Sydney burial ground, Elizabeth and Devonshire Streets "The Sandhills" (Monuments relocated at Bunnerong) ([Sydney]: The compilers, 1973), 82 (no. 1475)

Mrs. Mary CURTIS died 15th December 1848 aged 37 years. She was for 20 years a member of the choirs of St. Joseph Chapel and St. Mary's Cathedral. Leaving a large family.

Errol Lea-Scarlett, "Music-making in early Sydney", Miscellanea musicologica: Adelaide Studies in Musicology 5 (1970), (26-57), 37

. . . Mrs. Curtis was Mary, daughter of Bandmaster Harry Parsons . . . Her marriage to James Curtis of Hunter Street produced a musical family including Mrs. Theo Boesen, a concert pianist and great-grandmother of the well-known Australian actor John Meillon. According to the inscription on her tombstone, Mrs. Curtis's association with St. Mary's Cathedral choir reached back to 1828 [sic] when, at the age of seventeen, she became a member [. . . Records in possession of Mrs. C. Curtis Evans, Sydney].

James Curtis, Sydney aldermen, City of Sydney

Documentation (John Henry Benedict Curtis):

By 1853, John Henry Curtis was by 1853 a Benedictine monk under archbishop Polding, and "was known as a splendid leader of Gregorian chanting, such was the quality of his voice". At the consecration of St. Benedict's, Sydney, in February 1862, "The choir was conducted throughout with great efficiency by the Rev. Father Curtis, O.S.B." He was singing master at Lyndhurst College in 1860. Later as headmaster, in 1863 he formed an intimate relationship with the college housekeeper, Maria Monaghan, that ended with him renouncing his vows and eloping with her to Melbourne as reported in February 1864. There, as J. H. B. Curtis, he became a father and a highly respected citizen, a prominent freemason and secretary of the Athenaeum Club.

Baptisms, St. Mary's chapel, Sydney, 1829; Biographical database of Australia (BDA) (PAYWALL)

Baptised 28 June 1829 / John Henry son of / James Curtis and Mary Parsons / sponsors: Alexander and Ann Hunter

"ST. MARY'S SEMINARY", Morning Chronicle (23 December 1843), 3

The Examination of the Students of the above institution took place on the 20th and 21st inst., before the Most Rev. Dr. Polding . . . A Premium presented by His Grace, as a reward for superior good conduct, to Master William Sheehy. A silver medal, for superior general answering in all his classes, to Master Samuel Sheehy; next in merit, Masters Henry Curtis, John Mellion [Meillon], F. Gerard, and Peter Tuohey . . . [goes on to list several specific prizes to Curtis] . . .

ASSOCIATIONS: John Bede Polding (archbishop)

"ST. MARY'S SEMINARY", Morning Chronicle (21 December 1844), 2

The annual examination of the students of the above establishment took place on the 18th and 19th inst, before the Most Rev. Dr. Polding . . . IN LATIN. First Class - Henry Curtis . . . IN FRENCH. First Class - H. Curtis . . .
IN RHETORIC. First Class - H. Curtis . . . ENGLISH COMPOSITION. H. Curtis . . . IN HISTORY. First Class - J. Mellion, H. Curtis . . .
IN MATHEMATICS. First Class -H. Curtis . . . IN ALGEBRA. H. Curtis . . .
The premiums were adjudged as follows:
1. - For general proficiency in classics and the Christian Doctrine -Master H. Curtis . . .
9. - For Elocution, first debate - Master H. Curtis . . .

"ORDINATION", Freeman's Journal (27 June 1850), 5 

On Monday morning, at the seven o'clock mass, a numerous congregation in the Cathedral Church of St. Mary had the gratification of witnessing the beautiful and sacred rite of ordination. The Right Reverend Bishop coadjutor was the officiating prelate. The Rev. J. H. Curtis was promoted to the order of subdeacon . . .

ASSOCIATIONS: Charles Henry Davis (bishop); St. Mary's cathedral (Sydney)

"ORDINATION", Freeman's Journal (11 March 1852), 3 

On Saturday, the 6th inst., being the Saturday in the Lenten "Ember week," one of the Four Seasons of the year set apart by the Church, from the earliest ages of Christianity, for conferring the sacrament of Holy Orders, the Right Rev. Dr. Davis, Bishop Coadjutor, held an ordination in St. Mary's Cathedral, when the Rev. Henry Anselm Curtis, Sub-deacon, was promoted to the order of Deacon . . .


. . . At ten o'clock a.m. on Friday, the solemn Mass De Requiem was offered . . . The Cathedral was again filled, with persons of all religious persuasions. The Gregorian Missa de Requiem (harmonised by the late Bishop) was sung by the choir, which consisted of an affectionate band, whose musical education had been almost entirely received at the hands of his Lordship, led by the Precentor the Rev. Brother Anselm Curtis, O.S.B., and was executed with consummate taste. The sequence was sung before the removal of the book to the Gospel side of the Altar, the Priest, Deacon, and Sub-Deacon, occupying the seats on the Epistle side till its conclusion. At the Offertory, the De Profundis so peculiar to the Anglo Benedictine Communities was sung in an admirable manner . . .

ASSOCIATIONS: Charles Henry Davis as above (bishop, deceased)

"GRAND ORATORIO. ST. BENEDICT'S CHURCH", Freeman's Journal (19 August 1854), 10 

Most of our readers are already aware, that on Wednesday night, August 31st., a Grand Oratorio will be given in St. Benedict's Church; which, to quote the words of the Advertisement, will, consist of brilliant selections from the productions, of the immortal Handel, Hayden, and Cherubini, &c., &c. . . . It will be gratifying to many of our readers to learn that the selection of pieces has been made by a highly-gifted son of Australia, the Rev. Henry Anselm Curtis, who has also promised his valuable assistance to the corps musical.

ASSOCIATIONS: St. Benedict's church (Sydney)

"THE ORATORIO. ST. BENEDICT'S CHURCH", Freeman's Journal (2 September 1854), 10 

Our country readers will be gratified to learn that the grand Oratorio given in St. Benedict's Church, on Wednesday, the 30th ult., came off with decided success . . . The "Artistes" who won the greatest applause, and of whose success fame still speaketh were Mesdames Flower and Gautrot, Madamoiselle Flora Harris, the Messrs. Howson, and Mr. P. Curtis, (an amateur.) Much praise has been awarded, and most deservedly, to the conductor (the Rev. H. A. Curtis) . . .

ASSOCIATIONS: Madame Gautrot (vocalist); Sara Flower (vocalist); Flora Harris (vocalist); Frank Howson (vocalist); John Howson (vocalist)

"GRAND ORATORIO. ST. BENEDICT'S CHURCH", The People's Advocate and New South Wales Vindicator (2 September 1854), 3

. . . From the overture to the finale - from the first burst of Haydn's enrapturing Gloria in excelsis' (Mass No. 1) to the last thrilling prolonged note of Handel's "Hallelujah" chorus, our enjoyment never for a moment ceased; - so varied, so exqusite, so wonderful was the music itself, so. effective, so inspired were the performers . . . Of the amateurs, Mr. Peter Curtis was favourably noticed. . . . The Precentor of St. Mary's Choir (the Rev. H. A. Curtis) held the baton of conductor; to his excellent taste we are indebted for the admirable selection of pieces, and to his unwearied zeal, for the great success of the night.

[Advertisement], The Sydney Morning Herald (22 September 1854), 1 

THE REV. MESSRS. CORISH AND CURTIS. These Reverend gentlemen, who left Sydney yesterday per steamship Madras, previously to their departure addressed the following hurried letter to their dear and generous friends in Sydney:
. . . Some rumours have reached us which demand contradiction. It has, we believe, been said that we are going to Rome, in opposition to his Grace the Archbishop. No assertion could be more untrue or unjust than this; we love our dear and venerable Archbishop most sincerely, and it is our most consoling hope to return to this lovely land in company with his Grace . . .
M. A. CORISH, J. H. B. CURTIS. Sydney, September 20th.

"THE JUBILEE AT ST. BENEDICT'S", Freeman's Journal (9 May 1857), 2 

. . . The first High Mass was celebrated on Tuesday . . . Mozart's No. 12 was sung by the Cathedral choir, conducted by the talented and Rev. Mr. Curtis. We very much admired the middle movement of the Gloria. We never hear that majestic Quoniam Tu solus Sanctus, but we fancy that we have a faint glimpse of the All Holy. The Benedictus is one of the most charming morceaux that ever was written. The Soprani were Miss Stewart, Mrs. Bridson, and Mr. Peter Curtis; the Alta, Madame Lamont; the Tenor, Mr. Howson; and the Bass, Mr. Banks. The Dona nobis pacem, introducing the grand chorus after the Agnus Dei, was charmingly rendered by Madame Lamont, who has an exceedingly sweet mezzo-soprano voice. In a word, the music was all that could be desired . . .

ASSOCIATIONS: Sarah Bridson (vocalist); Maria Augusta Lamont (vocalist); Thomas Banks (vocalist)


Yesterday being the feast of the holy Apostles Peter and Paul, was observed as a holiday by the more devout members of the Catholic community. Among the other circumstances which rendered the day one of peculiar interest to the Catholics, was that of the ordination of two young gentlemen - natives of the colony - to the sacerdotal office . . . Rev. Mr. Dwyer, O.S.B . . . [and] . . . The Rev. Mr. Curtis, O.S.B., was next called and the ceremony of his ordination to the priesthood was proceeded with . . . The singing [of the] cathedral choir on the occasion of the ordination of its precentor (Mr. Curtis) added greatly to the solemnity . . . The Rev. Mr. Curtis is a native of the colony, and is considered by the members of the Church to be a young man of great promise.

"ST. PETER AND ST. PAUL'S DAY IN SYDNEY AND ROME", Freeman's Journal (4 July 1857), 2 

The Festival of these glorious Apostles to both Jews and Gentiles was celebrated with all due solemnity on last Monday in St. Mary's Cathedral . . . During the High Mass the Rev. John Dwyer was ordained Deacon, and the Rev. Henry Anselm Curtis received the Holy Order of Priesthood. This is the first son of Australia who has been promoted in his native city to the responsible and sacred office of the Priesthood. Both the parents also of this promising son of the soil were natives of Sydney.
This may be a fitting occasion for republishing an excellent description of "The Solemnities of the Festival of Saints Peter and Paul at Rome," which appeared a few years ago in the columns of the Freeman, from the classic pen of the Rev. Mr. CURTIS, who was then sojourning in the Eternal City: -

I should wish to give you something like a faint idea of the glorious scene I had the happiness of witnessing, a few days ago in the celebration of the feast of the Holy Apostles Saints Peter and Paul . . . The singing of the second Vespers in the afternoon was enchanting. There were two choirs and two Organs and about twenty violones. The singers numbered about a hundred and twenty, selected from the best choirs of Rome. One of the Psalms was written in sixteen parts, that is for four choirs, each singing quartett. The Laudate was for two choirs by Zingarelli. But the most glorious thing of all was the Hymn "O Roma felix;" it will thrill in my ears till my last day, even if I die a centenarian. Vespers lasted about two hours and a half . . .

"ST. MARY'S CATHEDRAL", Empire (7 July 1858), 4 

A large concourse of people assembled yesterday, in that portion of Hyde Park which fronts the Roman Catholic Cathedral, to witness the adjustment of the cross on the pinnacle of the building. The bells commenced ringing at 10 o'clock, and added to the general feeling of interest exhibited in the works, by calling attention to the ceremony about to take place. There could scarcely have been less than 3000 persons on the ground, the interior of the Cathedral being quite full. At half past ten the visitors entered the sanctuary where the "missa-cantata" was celebrated . . . The organ played during the performance of mass, and several motettes were sung by the choir . . . The procession then formed and passed through the nave of the Cathedral, the choristers headed by the Reverend Precentor Father Curtis, singing the hymns "Vexilla Regis" and "The Faith of our Fathers." At the western door they waited, and the masons under the direction of the architect, Mr. Munro, proceeded to the erection of the cross, which was soon accomplished, the cross being firmly fixed in its proper position by a few minutes past one o'clock, in the presence of a number of admiring spectators. The Archbishop and clergy then re-entered the sanctuary, where the hymn "Te Deum laudamus" was sung, and the ceremony was over . . .

"FEAST OF ST. PATRICK AT ST. PATRICK'S CHURCH", Freeman's Journal (19 March 1859), 2 

On Thursday, the feast of the National Saint of Ireland, Solemn High Mass was celebrated in St. Patrick's Church . . . There were present also - the Archbishop, the Vicar-General . . . and in the choir Father Anselm (Curtis) . . .

ASSOCIATIONS: St. Patrick's church (Sydney)

Waugh's Australian almanac for the year 1860 (Sydney: Ames William Waugh, 1860), 186-87 (DIGITISED)

Mathematics - Rev. J. H. A. Curtis, O.S.B. . . . Modern Languages: - . . . Rev. J. H. A. Curtis, O.S.B. . . .
Singing - Rev. J. H. A. Curtis, O.S.B. Pianoforte - Mr. Anderson.
Violin - Mr. Friedlander . . .

ASSOCIATIONS: James Henri Anderson (piano); William Friedlander (violin)

"LAYING OF THE FOUNDATION STONE OF ST. JOHN'S COLLEGE", The Sydney Morning Herald (13 January 1860), 7

On Tuesday, 3rd January, the ceremony of laying the foundation stone of the Roman Catholic College of St. John the Evangelist was performed, according to the Latin ritual, by the Most Reverend Archbishop Polding, assisted by a very large body of his clergy, in the presence of a great concourse of people . . . (which at least numbered from 1500 to 2000 persons) . . . The choir, which was composed chiefly of the monks and ecclesiastical students of Lyndhurst College, was led by the precentor the Rev. H. A. Curtis, O.S.B., and the Rev. N. Quirk, second cantor (who wore richly embroidered copes to distinguish their office), then chanted an antiphon and Psalm 83, the alternate verses being taken up by the Archbishop, the Right Rev. Abbot Gregory, the Very Rev. Dean Sumner, the Very Rev. Dean O'Connell, and some others of the superior clergy. To their voices was added those of the acolytes, standard bearers, clergymen in surplices and the assistant priests. The Gregorian chants were used on this occasion, and the effect of all these voices now swelling, and now falling with the harmony of these grand melodies, was calculated to excite devotional feelings, and to lift the soul to Heaven . . .

ASSOCIATIONS: Norbert Quirk (cleric, vocalist, cantor); Joseph Sumner (cleric); Henry Gregory (cleric)

"THE CHURCH", Freeman's Journal (3 April 1861), 5 

. . . PALM SUNDAY. . . The choir chanted the usual anthems. The "Gloria, laus" - was sung by the Students of Lyndhurst College under the direction of Rev. Norbert Quirk. After the procession Mass begun. The only peculiarity in it was the chaunting of the Passion of our Blessed Lord. The words of the narrative were sung by Father Curtis, those of Dur Redeemer by Father Sheehy, those of Pilate &c., by Rev. Norbert Quirk, and those of the multitude by the full choir . . .
HOLY THURSDAY . . . Mass began at a little after nine . . . Rev. Curtis and Quirk as Cantors . . .
GOOD FRIDAY . . . The Passion was chaunted by Fathers Sheehy, Kenyon, and Curtis . . .
HOLY SATURDAY . . . Then the deacon (Father Curtis), clothed in white dalmatic, took the rod with the triple candle fastened to the top. The procession was then formed down the nave of the noble basilica, the Acolyte lighting, at three different stages, one of the three candles (emblematical of the gradual revelation of the adorable mystery of the Blessed Trinity) each time the deacon chanted "Lumen Christi," the choir responding "Deo Gratias." As soon as they had reached the sanctuary, his Grace went to his throne, and the Deacon received his blessing, and then sang the "Exultet." Afterwards the Prophecies were sung by the Ecclesiastical students of Lyndurst College, and the junior clergy. The twelfth prophecy was sung by Father Curtis . . .

"CONSECRATION OF ST. BENEDICT'S CHURCH", The Sydney Morning Herald (25 February 1862), 5

THE Solemn Consecration of the Roman Catholic Church of St. Benedict, in Parramatta-street in this city, took place yesterday-being the Feast of St. Matthias the Apostle . . . The choir was conducted throughout with great efficiency by the Rev. Father Curtis, O.S.B. . . .

"THE CONSECRATION OF ST. BENEDICT'S CHURCH", Empire (25 February 1862), 5 

. . . The choir, which was composed of those of St. Mary's and St. Benedict's united with some others, under the direction of the Rev. Mr. Curtis, performed, in the most delightful manner, Mozart's 12th mass, without the credo, the credo from Haydn's 3rd mass being substituted. The offertory was Pergolesi's "sanctum et terribile." Mr. and Mrs. Cordner, the Messrs. Howson, and Mrs. Bridson took part in the performance; and a more delightful combination of vocal and instrumental music can scarcely be conceived. The church is well adapted to the sound, which enabled the performers, without the difficulties which harass them in some buildings, to show what music is . . .

ASSOCIATIONS: William and Ellen Cordner (organist and vocalist); Frank Howson (vocalist); John Howson (vocalist); Sarah Anne Bridson (vocalist)

"ST. MARY'S CHORAL SOCIETY", Freeman's Journal (25 October 1862), 6 

A meeting of gentlemen favourable to the formation of of St. Mary's Choral Society was held at St. Mary's on Thursday afternoon, Rev. J. H. A. Curtis, O.S.B. in the chair . . . the objects of the society would be to assist in improving the choral services of St. Mary's and the other Catholic churches in Sydney, and assembled on certain evenings for the practice of music both sacred and secular, and to give concerts at stated periods throughout the year . . .
The following resolutions were then put and carried unanimously: . . .
2. That Mr. Cordner be invited to take the conduct of the society . . .
4. That the Rev. A. Curtis, Rev. J. Dwyer, Mr. Delaney, Mr. Mullins, Mr. Dolman, Mr. Hart, Mr. Hurley, form a committee to carry out the above resolutions . . .

ASSOCIATIONS: William Dolman (member); St. Mary's Choral Society (association)

"THE LATE FATHER MURPHY", Freeman's Journal (28 October 1863), 6 

On Tuesday (yesterday) morning at nine o'clock a solemn dirge (the "Month's Mind") was chanted in St. Mary's Cathedral for the repose of the soul of Father Murphy . . . The cantors were Rev. J. H. A. Curtis and Rev. N. Quirk. The students of Lyndhurst were present at the altar. At the conclusion of the dirge a solemn requiem Mass was sung . . . The usual plain chant Mass for the dead was sung from the end of the Cathedral by Fathers Curtis and Quirk, cantors . . .

"SUMMARY BY THE MAIL" [For Europe], Freeman's Journal (20 January 1864), 3 

The annual distribution of prizes at St. Mary's College, Lyndhurst, by his Grace the Archbishop, took place on Monday, the 21st of December, and was attended by a large number of the clergy, many of the leading inhabitants of Sydney, and the friends of the students. The annual report on the result of the examinations, which was read by the Rev. J. H. A. Curtis, principal of the establishment, showed that the progress made during the scholastic year just closed, had been the most satisfactory since the college had been founded. His Grace showed the greatest satisfaction at the progress of the pupils and especially complimented Father Curtis on the results of the examinations, as to his assiduity and zeal it was to be ascribed . . .

"LOCAL INTELLIGENCE. CLERICAL ESCAPADE", Bell's Life in Sydney and Sporting Chronicle (13 February 1864), 2 

A very painful rumour has prevailed throughout the city during the week to the effect that a reverend gentleman of that persuasion which necessitates a vow of celibacy, had disappeared in company with a fair widow [sic], with whom he had been carrying on an intrigue. Enquiry led to the discovery of the pair having sailed for Melbourne, and on Tuesday last a high ecclesiastic proceeded to that city for the purpose of taking such steps as the circumstances may require. A telegram was received yesterday from our Melbourne correspondent, intimating that full particulars would be forwarded by the next mail, pending arrival of which we withhold the names of the guilty parties.

"SACRED CONCERT", Daily Telegraph [Launceston, TAS] (22 April 1886), 2 

We once more remind our readers of the grand sacred concert to be held at the Academy of Music to-morrow evening . . . Mr. E. Walsh, well known in the musical circles of Launceston, and who has just returned from Melbourne, will sing that ever beautiful air "When Sorrow Sleepeth," and a grand solo, "Beatus Vir," composed specially for him by Mr. J. H. B. Curtis, the talented violinist of Melbourne . . .

ASSOCIATIONS: Curtis was the composer; but he was not the violinist alluded to, who was, correctly, another Henry Curtis of Melbourne

"THE MELBOURNE STAGE IN THE FORTIES. To the Editor", The Argus (2 June 1890), 6

SIR, In the last number of the interesting articles by "J. S." on "The Melbourne Stage in the Forties" reference is made to a Mrs. Wallace. I think the lady alluded to must have been Miss Wallace, sister of William Vincent Wallace. She was for many years the leading soprano in Sydney, and possessed a voice of marvellous compass and power. She could run up and down from E flat below middle C to E flat in alto without any perceptible break. She was married to Mr. Bushelle, who was a great basso, having a voice which in the opinion of many musicians was equal to that of Lablache. Wallace's brother, Wellington Wallace, was a great flautist. I do not think he was married, but if he was his wife did not appear as a public singer. The father of the Wallaces was living in Sydney. He had been a celebrated bandmaster and organist in Dublin. He was an Irishman of Scotch descent. The Wallaces were frequent visitors at my father's house, and as a boy I knew them all well. William Vincent Wallace was a great violinist as well as composer. I was present at his farewell performance in Sydney, when he played one of Paganini's solos on one string -
Yours, &c., J. H. B. CURTIS. May 31.

The article to which he was responding, "THE MELBOURNE STAGE IN THE FORTIES. By J. S. No. III.", The Argus [Melbourne, VIC] (31 May 1890), 4 

ASSOCIATIONS: James Smith (memoirist); on the identity of Mrs. Wallace, Smith was correct, and Curtis incorrect; the Mrs. Wallace referred to originally by Smith was Caroline Wallace, who was indeed the wife of Eliza Wallace's brother, Spencer Wellington Wallace, active in the theatres at Melbourne and Geelong in the late 1840s; there is no record of Eliza (Mrs. John Bushelle) ever having sung in Melbourne; William Vincent Wallace (violinist, composer), elder brother of Spencer and Eliza, was in Sydney 1836-38


Sir, - Perhaps the following may help Professor Morris in his attempt to fix the date of the coining of the word "larrikin" . . . I came to Melbourne in 1864. The word was not then in existence, and I remember well that it was at least some two or three years after that date that it was first used. -
Yours, &c., J. H. B. CURTIS. August 2.

ASSOCIATIONS: Edward Ellis Morris (correspondent); see "THE FIRST USE OF THE WORD LARRIKIN. TO THE EDITOR", The Argus (1 August 1896), 4 

"DEATHS", The Argus (6 July 1909), 1

CURTIS. - On the 5th July, at his late residence, "Aglaia," Canning-street, Carlton, John Henry Benedict Curtis, beloved husband of Maria Elizabeth Curtis, aged 80 years. R.I.P.

"DISTINGUISHED CITIZEN", The Herald [Melbourne, VIC] (6 July 1909), 5 (with photograph) 

The late Mr. John Henry Benedict Curtis, who died at his residence, Canning-street, Carlton, yesterday, in his eighty-first year, was one of the best-known men in Melbourne literary circles. He was born In Sydney, and when a young man was principal of the Lyndhurst College. Thirty years ago he became secretary of the Melbourne Athenaeum, a position which he held till his death. He was also secretary of the original Early Closing Association, and for some years Grand Secretary of the Independent Order of Oddfellows. Mr. Curtis was a man of great culture, and wrote and spoke several languages. He leaves a widow and grown-up family of three daughters and one son. A brother-in-law is Mr. T. E. Monaghan, a well-known Melbourne Journalist. The funeral took place this afternoon, the remains being interred in the Roman Catholic portion of the Boroondara Cemetery. There was a large attendance of relatives and friends of the deceased gentleman. The funeral arrangements were in the hands of Mr. E. T. Apps.

"OBITUARY", Advocate (10 July 1909), 21 

It is with regret we have to record the death of Mr. J. H. B. Curtis, the accomplished secretary for 30 years of the Melbourne Athenaeum. Mr. Curtis was born in Sydney, and had the unique distinction of having parents native Australians. He was fortunate in having obtained a first-class English education [sic], which was finished by a residence in Europe. He spoke French and Italian fluently, and translated several works from the latter language in an admirable manner. The home of Mr. Curtis' father in Hunter-street, Sydney, was the centre of musical parties, which the composer of "Maritana," Wallace, adorned by his presence and charmed by his compositions. To those who had the privilege of Mr. Curtis' friendship he was a delightful and entertaining companion, having a fund of anecdote of early colonial days and persons. About three weeks ago he was stricken with paralysis, and died at his residence, Carlton, on the 5th inst. Fr. Cremin, of St. George's, was unremitting in his attention, and gave his all the consolation of religion. His Grace the Archbishop and Dean Phelan also visited him. The funeral took place at the Boroondara Cemetery on the 6th inst., and was attended by a large circle of relatives and friends. Fr. Donoghue, of Kew, read the burial service. Mr. Curtis leaves a widow and grown-up family, and many relatives in N.S.W., amongst whom is Mrs. Boesen, widow of the late Swedish consul. R.I.P.

"Personal Items", The bulletin (15 July 1909), 18 (DIGITISED)

This week's obituary includes J. H. B. Curtis, aged 80, secretary of the Melbourne Athenaeum. A worthy gentleman, universally esteemed, and profoundly learned in Greek, Latin, French and Italian. He was one of Cape's boys in Sydney, and kept a school himself afterwards. There is a general impression that J. H. B. was once a Catholic priest. Anyhow, he studied for it, and was intimately acquainted with Rome. The Athenaeum was founded over 60 years ago as the Mechanics' Institute. Early secretaries were Paterson and Gilbert, succeeded by W. Thompson, father of the City Treasurer. When W. Thompson passed out there were 150 candidates, Garnet Walch got the billet, and he caused the mildewed place to hum with new members. Whose fault it was that Garnet left I don't know. Curtis followed, and held on for a whole generation - 30 years. He was even too old in 1879 - a square peg in a round hole. You don't want the learned pundit as secretary of an Athenaeum! Curtis had won his spurs by showing some energy as secretary of the Early Closing Association; but he never energised as Athenaeum secretary. The place steadily waned, and three years ago it really seemed that there was nothing for it but burial . . .

ASSOCIATIONS: William Cape (Sydney schoolmaster); Garnet Walch (predecessor); Mechanics' Institution (Melbourne association and venue)

Literary works:

"SOME QUEER OLD FOLKS OF OLD SYDNEY", Freeman's Journal (4 July ), 2 

. . . One of the most frequent attendants at St. Mary's was Charley Kelly. He used frequently go thrice a day, and never less than twice, and went to Communion three or four times a week. No character was better known in the city. He earned his living by collecting debts. He was a member of the choir of St. Joseph's Chapel, before the Cathedral was built. Some of the music sung there was taken down from Charley's voice, and when they had a good choir in the Cathedral, Charley would always turn up on Christmas Day to take the counter-tenor part in the "Cantet Nunc Io" of the "Adeste Fideles." If poor old Charley has not gone to heaven, few of us will have a chance . . .
- J. H. B. CURTIS, Melb.

ASSOCIATIONS: Charles Kelly (choir singer)

Bibliography and resources (John Henry Benedict Curtis):

Claire C. Evans, "Harry Parsons-Early Sydney Musician", Descent 4 (1967), 109-11

Kevin Livingston, "Anselm Curtis", Tjurunga: an Australasian Benedictine review 8 (December 1974), 195

Christopher Dowd, Rome in Australia: the papacy and conflict in the Australian Catholic missions, 1834-1884 (Leiden: Brill, 2008), 330 (PREVIEW)

Margaret Bowman, "From abbey to Athenaeum: John Henry Benedict Curtis, 1829-1909", Victorian historical journal 82/2 (November 2011), 236-45

Colin Fowler, "'Like Waterloo survivors': ex-priests and the ninteenth-century press", The Australiasian Catholic record 92/2 (April 2019), (153-165), 153-54 (PAYWALL) (DIGITISED)

Teresa Curtis Boesen

Teresa Curtis Boesen (photo courtesy of her descendents)

Documentation (Teresa Curtis Meillon Boesen)

"BIRTH", Australasian Chronicle [Sydney, NSW] (23 May 1843), 3 

On Saturday last, Mrs. James Curtis, Hunter-street, of a daughter.

"Original Poetry", Freeman's Journal [Sydney, NSW] (21 October 1852), 4 

Dedicated to Miss T. Curtis, Hunter- street.


With faith, a glad tidings charged Teresa flies
Her country and her parent's fond abode.
Eager she seeks barbarian realms, and sighs
To give them or her Jesus, or her blood.

But thee, O Virgin, softer torments claim;
A sweeter death awaits thy parting hour:
Love, love Divine, at thee his shaft shall aim,
And thou shalt fall a victim to his power.

Oh! happy Holocaust of chaste desire!
With love's sweet flame may our cold bosoms glow!
And oh ! defend thv clients from that fire,
Which burns eternal in the shades below.

J. O.
Lissennelly Cottage, Feast of St. Teresa.

ASSOCIATIONS: The author, who went by the pseudonym Johnny Olcove, contributed to the Freeman's Journal from 1850 to 1854/55

"MARRIAGES", Empire (24 May 1864), 1 

MEILLON - CURTIS - On Monday, 23rd instant, at St. Mary's Cathedral, by the Rev. M. J. Dwyer, O.S.B., Mr. John Meillon, to Miss Teresa Curtis.

[Advertisement], The Sydney Morning Herald (5 December 1867), 8 

143, Macleay-street, Darlinghurst Road, Sydney, (Lately the residence of Mrs. Edward Salamon,)
Directress: Mrs. HENRY N. MONTAGU. Principal Tutor: Mr. H. N. MONTAGU.
Assisted by Competent Governesses and the following Professional Staff:
MUSIC - HERR CARL SCHMIDT, and Mrs. JOHN MEILLON (pupil of Boulanger)
SINGING - M. DEL-SARTE (of the Academie Imperiale, Paris), and Miss JULIA SIMMONS (pupil of Arditi)
DRAWING (in Pencil and Water Colours) - Mr. F. C. TERRY.
FRENCH (Conversation and Literature) - Mademoiselle DELONCLE.
GERMAN - Mrs. HENRY N. MONTAGU (of Brunswick).
Special instruction in Music, by other professors if required . . .

ASSOCIATIONS: Henry and Theodora Montagu (proprietors); Carl Schmitt (musician); Camille Del Sarte (vocalist); Julia Simmons (vocalist); Frederick Charles Terry (artist); Frank Hillier Needs (dancing master)

"MUSIC", The Sydney Morning Herald (7 March 1868), 4 

A number ladies and gentlemen having suggested the idea of devoting an evening, during the visit of his Royal Highness the Duke of Edinburgh, to such music as would afford an indication of the extent to which this branch of the fine arts is cultivated in the colony by amateurs, a committee was formed for carrying out the suggestion, and their efforts resulted in a grand soiree musical, given in the Exchange last night. Owing to a somewhat indiscreet liberality in the issue of invitations, the great hall was somewhat inconveniently crowded. The company, which was a highly fashionable one, including most of the families of distinction in the city, began to assemble a considerable time before the programme was opened. His Royal Highness had telegraphed from Newcastle a message stating his intention to be present, and he arrived, attended by Viscount Newry, just as the first piece was concluded. The programme contained but four items in each part; but all were gems, and the instrumental pieces were lengthy. Osborne and De Beriot's duo (violin and piano) "William Tell," was first brought forward, Mrs. John Meillon, daughter of Mr. James Curtis, of Hunter-street, appearing at the piano, and Mr. Rawack with the violin. This finely executed piece, displaying great talent on the part of both executants, was followed by a vocal quintetto (double parts) "Die Betende," by Diabelli, and was given by members of the German Concordia, who subsequently sang another quartette, Kreutzer'ss "Am Rhein." Both were rendered with that harmony, rhythm, and preciseness of time, in which qualities the Concordia so eminently excel. The only vocal music was a song set down for a lady amateur, and owing to indisposition she could not appear. Mrs. Cordner, however, being present, favoured the audience with an operatic morceau, exquisitely sung but prejudiced to some degree by want of taste in the pianoforte accompaniment. Mr. Rawack joined with the violin in another duo, Mrs. Meillon being again at the piano. The subject was Beethoven's "Kreuzer Sonata" (2nd and 3rd parts), and he next played a violin solo on airs from "Lucia di Lammermuir," a brilliant composition rendered with fine taste and executive power, and faultless except in one of the more rapid passages. By Mrs. Meillon's pianoforte playing, many who had not heard it previously were taken by surprise, and even those who knew her youth and her talent must have felt, when they heard her Thalberg's fantaisie "Mose," that her ability far transcended any estimate they had formed of it. Scrupulously true to the composer's music, she associates with her fidelity a neat and finished execution, the style chaste yet not tame, for there is frequent evidence of fine taste such as is inspired with a thorough appreciation of her subjects, and in brilliant and rapid passages she shows grout power, freedom, and sparkling effect. Her playing was the grand feature of the soiree, and it is understood that this will be her last appearance as an amateur.

ASSOCIATIONS: Alfred (duke of Edinburgh); Leopold Rawack (violin); Ellen Cordner (vocalist); Exchange Hall (Sydney venue)

MUSIC: Fantaisie sur Mose (Thalberg)

"MUSICAL DEBUTANTE", The Sydney Morning Herald (21 March 1868), 6 

Our readers will remember that a few evenings ago an invitation concert was given in the hall of the Exchange, at which his Royal Highness the Duke of Edinburgh was present, and remained during the whole of the performance. This concert was organised with the intention of introducing to the public a young Australian pianiste, Mrs. John Meillon (late Miss Curtis), who has now entered upon a professional career as a teacher of the pianoforte. As an amateur Mrs. Meillon was considered by the best critics a very fine executant, but very few of the large audience present at the concert were prepared for such excellence as this lady displayed, and they expressed their delight by applause that must have been very gratifying to her. The performance of the "Kreutzer sonato" and Thalberg's "Mose in Egitto," were a sufficient test of Mrs. Meillon's ability, and the colony may well be proud that so accomplished a musician has entered the field of musical instruction.

[Advertisement], The Sydney Morning Herald (31 March 1868), 1 

MRS. JOHN MEILLON, Teacher of the Pianoforte, 167, Premier-terrace, William-st., Woolloomooloo.

[Advertisement], The Sydney Morning Herald (8 May 1868), 8 

Under the Patronage and in the presence of His Excellency THE EARL OF BELMORE and THE COUNTESS OF BELMORE.
in which she will he assisted by MRS. W. J. CORDNER,
and also, (by kind permission of William Lyster, Esq.),
MR. JOHN HALL, Conductor of Lyster's Royal Italian and English Opera Company.
PROGRAMME. To commence at 8 o'clock precisely.
1. Sonata Pianoforte and Violin, "Op. 23" - Beethoven - Mrs. JOHN MEILLON and Mr. JOHN HALL.
2. Song, "Flying Dutchman" Parry - Mr. ANDREW FAIRFAX (Amateur).
3. Solo Piano, "Melodie Hongroise" - F. Lizst - Mrs. JOHN MEILLON.
4. Ballad, "I cannot sing the old songs" - Claribel - Mrs. W. J. CORDNER.
5. Solo Piano, "Fantasia Gounod's Faust" arranged by Mrs. John Meillon) - Mrs. JOHN MEILLON.
1. Solo, Violin. Mr. JOHN HALL.
2. Song, "The tempest of the Heart" - Verdi - Mr. ANDREW FAIRFAX (amateur).
3. Solo, Piano, "La Gaite," Op. 3 - Chopin - Mrs. JOHN MEILLON.
4. Song, "Love's Request" - Reichardt - Mr. W. J. CORDNER.
6. Solo, Piano (by particular request), "Fantasie Mose," Thalberg - Mrs. JOHN MEILLON.
Accompanyist - Mr. W. J. Cordner.
N.B. Carriages may be ordered for 9.45. Entrance in Clarence-street.
Tickets - Hall, 5s.; gallery, 2s. 6d. may be had at the various Music Warehouses, at Messrs. Parrot, Brothers, Hunter-street; McMahon's, George-street and Boesen's and Sloper's, William-street.

ASSOCIATIONS: Andrew Fairfax (vocalist); William John Cordner (pianist, accompanist); John Thomson Hall (violinist); Lyster Opera Company (troupe); Freemasons' Hall (Sydney venue)

MUSIC: La gaite = Introduction et poloniase brillant, op. 3 (Chopin); version for piano only, without cello

"GRAND EVENING CONCERT", The Sydney Morning Herald (11 May 1868), 4 

The first public concert given by our young pianiste Mrs. Meillon, on entering upon a professional practice, took place last evening, at the Masonic Hall, and was well attended by the general public; and the company included many residents of the city known to have taste and discrimination in musical matters. His Excellency the Earl of Belmore and the Countess of Belmore, Commodore Lambert, and their parties, honoured the concert with their patronage and presence. Mrs. Meillon was assisted by Mr. J. Hall (the orchestra leader of Lyster's Royal Italian and English Opera Company), Mrs. W. Cordner, and Mr. Andrew Fairfax, on amateur baritone, who with an excellent voice and correct singing has earned considerable distinction. The programme was composed of judicious selections, the instrumental portion, whilst of a high class, involving not only great executive ability but being capable of fine effects; at the same time there was an infusion of the more popular music in the vocal pieces. Mrs. Meillon played a sonata (pianoforte and violin, Beethoven, op. 23) with Mr. Hall, Lizst's "Melodie Hongroise," the "fantasia Gounod's Faust," Chopin's "La Gaité" (op. 3), and, by particular request, Thalberg's "Fantasie Mose." The duet, which is almost too classical for a mixed audience, was a fine piece of instrumentation on the part of both players, and must have been much admired, by those who appreciate the skill it demands and its exquisite harmonies when the requisite skill is applied. In the "Melodie Hongroise" she exhibited great power and facility. The "Fantasia Gounod's Faust," having been arranged by herself, was, no doubt, rendered so as to give opportunity for a fair judgment on the production, and in this advanced department of her art it was evident she had displayed considerable talent. "La Gaité" is well suited to gratify general taste, and, being pleasing expressed, elicited an encore, when she substituted a valse mazurka, that had been introduced to favourable notice here by Herr Sipp. Mrs. Meillon concluded the last of her performances with the "Fantasie Mose," this brilliant composition, being given with the same felicitous effects as when she produced it at the Exchange Hall. Mr. Fairfax sang two songs, Parry's "Flying Dutchman," and Verdi's "Tempest of the Heart;" he was in excellent voice, and, as usual, received a fair meed of applause. Claribel's ballad, "I cannot sing the old songs, and Reichardt's "Love's Request," were given by Mrs. Cordner; and her well known ability in ballad music, and the pleasing manner in which her fine vocal powers enable her to give them, were apparent in both these charming songs. Besides joining in the duet, with Mrs. Meillon, Mr. Hall played a violin solo, in which he showed a freedom and boldness indicating great mastery over his instrument. After this appearance Mrs. Meillon may be considered fairly embarked in a professional career, and having as a private lady previously achieved a high reputation as a pianiste, now proved to have been so well founded as to justify a public endorsement, there is reason to expect that her accomplishments will stimulate the study and improve the taste of those to whom she may have to impart them.

ASSOCIATIONS: Rudolf Sipp (musician)

"MRS. MEILLON'S CONCERT", Empire (11 May 1868), 2 

A concert of a very superior kind took place, on Saturday evening last, at the Masonic Hall, the performers being Mesdames Meillon and Cordner, and Messrs. Hall and Fairfax; Mr. J. Cordner being the accompanyist. Mrs. Meillon's excellence as a pianiste, is scarcely so universally known as it deserves. We have few who possess such a brilliant, firm, and what may be justly termed, elastic touch, as Mrs. Meillon. Her execution may be likened to the enunciation of a fluent speaker. Every note is brought out sharp and clear, yet without harshness; while in the illustration of the softer phases of instrumental music, she exhibits a tasto and delicacy of manipulation that are rare. The audience, on Saturday, was one from which any great demonstrations of applause was hardly likely to be expected; but the excellence of Mrs. Meillon's performances elicited from it many marked expressions of admiration. In the execution of a piano solo, by Lizst (Melodie Hongroise), Mrs. Meillon was especially successful Ono of Chopin's brilliant compositions, "La Gaite," was also rendered with a brilliancy and finish, that displayed to the fullest extent, how thorough a mistress of her art the lady is. She was well supported by Mrs. Cordner and Messrs. Hall and Fairfax, the former of whom sang two songs in her best style. Claribel's beautiful ballad, "I cannot sing the old songs" was one of these. It is a composition well calculated to display not alone the powers of vocalisation which Mrs. Cordner possesses, but the taste and feeling, which she always exhibits in her illustrations. Mr. Faitfax sung the "Flying Dutchman" splendidly. He has a magnificent voice, and knows how to use it. Mr. John Hall, an accomplished violinist, gained great applause for his brilliant performances. The concert was a complete success and was, we trust, the first of a series. We cannot have too much of such excellence as was displayed by all who took part in it. His Excellency Earl Belmore and Lady Belmore and suite were present, together with many of the leading families of Sydney.


The successful manner in which the opening concert was given on Tuesday at the Exchange, augurs well for the prospects of the forthcoming season. The hall was crowded in every part by a fashionable audience, amongst whom were many of our most liberal patrons of musical performances . . . perhaps the gem of the evening - was Mendelssohn's grand concerto for pianoforte in G minor with full orchestral accompaniment, in which Mrs. J. Meillon fully sustained her reputation as one of the best lady pianists in this city. It is a composition which will tax the powers of any performer, and to a lady must have proved extremely fatiguing. The andante passages were rendered with great taste, and as a whole, both for rapidity of execution and nicety of expression, commanded a full meed of praise. One if not two instruments in the orchestra were scarcely in accord, though not sufficiently so to call for special mention . . . a ballad by Mr. Wilkie preluded another of Mrs. Meillon's displays of admirable pianoforte instrumentation, consisting of Shuloff's fantasie on Bohemian airs . . .

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

MUSIC: Caprice sur des airs bohémiens (Julius Schulhoff, op. 10)

"Music and the Drama", Australian Town and Country Journal (26 March 1870), 11 

. . . The best part of the performance I have left to the last. Mendelssohn's Grand Concerto in G minor finds at home but rarely an executant; here it has had, as I mentioned last week, but one, Mr. Horsley. A piece of this kind is considered venturesome for any but an artist of the very first rank: its success depends not only on the skill and knowledge of the pianist, but on the capability of the orchestra to follow the executant's ideas of the conception. Mrs. Meillon's rendition of this beautiful work showed that in her conception, she had evidently grasped it with the poetical spirit of its great and gifted composer. The deep silence which accompanied the performance, and the spontaneous applause that followed the termination, were convincing proofs that this king of music only requires to be known and to be heard properly rendered, to be thoroughly appreciated. Mrs. Meillon's execution was everything but mechanical; a slight nervousness as she attacked the subject at once gave place to animated intelligence as she warmed with the work, and the success was due less to power and skill in execution than to deep feeling and intelligent reading. The piece is divided into three parts, opening with a rich full air of sighing aspiration, its succeeding jubilant tones being brought out with crisp expression, taken up by the clarionet; following this is a few bars of solo for trumpet, pursued by the piano, succeeded by the stringed instruments, and then the full orchestra, the band being in excellent time. The opening of the second movement - the andante - is an introduction by the piano for an exquisite melody by the stringed instruments, then resumed by the piano; this is truly Mendelssohnian, melancholy and joy answering and alternating with each other, leading into a short duet for the piano and cello, the double bass joining in the trio. This was most expressively played, as delicious a bit of music as has been heard for some time. A brilliant, gushing, joyous allegro - an air that recurs again and is easily retained in the memory, (but the band were a little out of tune, and the bass viol wanted screwing up,) brings the piece to a brilliant termination. In the second part Mrs. Meillon played a fantaisie by Schulhoff on some national Bohemian airs, elegant and brilliant both as to arrangement and execution. There was a disposition to encore this but for the lateness of the hour . . . - BIRON.

ASSOCIATIONS: Charles Edward Horsley (pianistr); "Biron" = Henry Montagu above

"MARRIAGES", The Sydney Morning Herald (19 June 1877), 1

BOESEN - CURTIS. - June 2, by the Rev. George Leeming, T. A. Boesen, Esq., to Teresa Meillon, only daughter of James Curtis, Esq., Sydney.

"DEATHS", The Argus [Melbourne, VIC] (5 October 1910), 9

BOESEN. - On the 4th October, at Bonn, Rockwall-crescent, Potts Point, Sydney, Mrs. Teresa Boesen (suddenly).

"PERSONAL", The Sydney Morning Herald (6 October 1910), 8

Both in social and in musical circles the death of Mrs. Boesen will be deeply regretted, for, although she had very long retired from her professional eminence as a pianist, and more especially as an exponent of Chopin, in which her sentiment and fine touch were always impressive, she remained interested in the art to the last, and was actively forward in every movement for the welfare of musical students of talent. The maiden name of this lady was Teresa Curtis. Her brother, Mr. Charles Curtis, is principal teller at the head office of the Bank of New South Wales; her niece, Miss Dorothy Curtis, is a clever violinist; one of her nephews is Mr. W. J. Curtis, barrister and author; and she leaves two sons, Mr. John Meillon, barrister (son of her first husband), and Mr. Arthur Boesen. The late Theodor Boesen, of the importing firm of Petersen, Boesen, and Co., York-street, predeceased her by only a few years. He was for a long period here Consul for Denmark, and being himself a cultivated amateur of music and tenor singer his home was the scene of many musical gatherings presided over by his wife. Mrs. Boesen in this way was on the executive committee of the eisteddfod promoted by Lady Mary Lygon in Earl Beauchamp's day, and was to the last a frequent visitor at the Garcia School of Music, whose head (Madame Christian) was her close friend. Mrs. Boesen, who was a regular worshipper at St. Mary's Cathedral, last touched the piano in public at the opening of St. Mary's fair last week, when she was hurriedly called upon to play the National Anthem upon the arrival of his Excellency Lord Chelmsford. The deceased was, indeed, first taken ill whilst dressing to visit the fair on Monday, and passed away at her home in Rockwall-crescent on Tuesday morning, in the presence of her sons, at the age of 66 years.

ASSOCIATIONS: Mary Ellen Christian (vocalist, teacher)

"DEATH OF MRS. BOESEN" [with photograph], The Catholic Press (6 October 1910), 31 

Mrs. Teresa Boesen died at her residence at Rockwall-crescent, Potts Point, on Tuesday, at mid-day. She was present at the opening of St. Mary's Fair on Wednesday week, being president of the Garcia School Stall, and that was her last outing. Subsequently she was attacked by bronchitis, but, though she was ill during the following days, no serious results were apprehended. On Tuesday, however, heart failure became apparent, and, in the presence of her two sons, Monsignor O'Haran, one of the Sisters of Charity, and her medical attendant, she passed away, the end coming very suddenly.

The late Mrs. Boeson was 66 years of age, and a daughter of the late James Curtis, a business man, who lived in Hunter-street for half a century, and a prominent parishioner of St. Mary's Cathedral. She was married twice: First to the late Mr. John Meillon, and then to the late Mr. Theodor Boesen, Consul-General for Denmark, whose death took place six years ago, and whom she converted from the Lutheran to the Catholic Church. The children who survive her are Mr. John Meillon, barrister; Mr. Arthur Boesen, head of the firm of Peterson, Boesen and Co., Ltd., and Mrs. Robert Gibson, Melbourne.

Mrs. Boesen was very prominent in musical circles, being herself a most accomplished musician. Indeed, when on one of her numerous trips to England with the late Mr. Boeson she gave a pianoforte recital before Queen Alexandra by special request. The performance was private. Mrs. Boesen's home was dear to artists, and among the celebrities she numbered amongst her personal friends are Melba, Paderewski and Dolores, only to mention two or three. Her afternoons were famous, and always well-attended, especially by those moving in cultured circles. Of young musicians Mrs. Boeson was a generous patron, and in all matters musical in Sydney she was recognised as a leading authority. She acted as adjudicator at many of the big musical competitions, notably those in connection with St. Patrick's Day. Her decisions were always just and equitable, and, notwithstanding the number of performers that competed before her, we have never heard a complaint against her judgements.

As a charity worker, Mrs. Boeson was equally notable. Benevolence was an outstanding feature of her character, and she was ever actuated by a desire to do good wherever she could. She gave much, and helped many quietly. Her name was to be found as well in almost every committee having in hand the promotion of some work of mercy, but particularly on Catholic committees. She was foremost among the members of St. Mary's and St. Patrick's Sewing Guilds, being president of the latter, and one of the most ardent supporters of St. Joseph's Poor School, William-street. She was nearly always on the committee of St. Vincent's Ball, and generally a vice-president or treasurer of the annual effort on behalf of the Hospice for the Dying. She was also vice-president of the Catholic Ladies' Committee in connection with the Third Australasian Catholic Congress, held 12 months ago. In fact in every movement, connected with St. Mary's Cathedral and St. Canice's, Darlinghurst, she was conspicuous.

A Requiem Mass for the repose of Mrs. Boesen's soul will be celebrated at St. Mary's Cathedral this morning, immediately after which the funeral will leave for Waverley Cemetery. The members of St. Patrick's Sewing Guild have arranged for the celebration of a Requiem Mass for their late president on Thursday next. - R.I.P.

"All About People: Tittle Tattle", The Catholic Press (25 September 1919), 24

Mr. John Meillon, a well-known and highly-esteemed barrister, died at his residence [at] Mosman, on Saturday evening . . . The deceased was an accomplished musician, a gift inherited from his mother, the late Mrs. Teresa Boesen, a member of the musical Curtis family, and one of Sydney's leading pianistes for nearly half a century . . .

ASSOCIATIONS: John Meillon (son, born Sydney, NSW, 1865; died Mosman, NSW, 20 September 1819

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

The Bazan waltzes (1870)


"THE BAZAN WALTZES", The Sydney Morning Herald (2 April 1870), 6

Mrs. John Meillon, the talented pianiste, has composed a set of waltzes from airs selected from the opera of "Maritana," the principal theme being that in the duet between Don Caesar de Bazan and the King in the last act, commencing with the words, "Don Caesar, I do remember well." The waltzes are exceedingly pretty and well arranged. They are dedicated to Miss J. Macdermott.

[Advertisement], The Sydney Morning Herald (2 April 1870), 3

. . . BAZAN WALTZES, by Mrs. John Meillon, 2s 6d. . . . W. H. PALING, Pianoforte Warehouse, 83, Wynyard-square.

"PUBLIC ENTERTAINMENTS", Empire (4 April 1870), 3

By a very charming composition, entitled "The Bazan Waltzes," Mrs. John Meillon has given unmistakeable evidence that she is not only an executive artist, but that the germs of creative art are thoroughly incorporated with the musical elements that seem to be part and parcel of her nature. The set consists of three waltzes, the subject of each being a portion of the well-known duet between the King of Spain and Don Caesar de Bazan (the latter giving the name to the composition), in Wallace's opera of "Maritana." The waltzes are very gracefully and correctly handled, the rhythm being well preserved. In No. 2 the melody has a very pretty separate accompaniment of another melodious phrase. Mrs. Meillon has purposely refrained from giving too many ornamental variations, in order that the piece may be eligible for the majority of young players, especially of her pupils, to one of whom, Miss Jeannie Macdermott, the "Bazan Waltzes" are dedicated. The piece is neatly and carefully printed by Engel, and is published, for the composer, by Elvy and others.

ASSOCIATIONS: William Vincent Wallace (composer); John Alexander Engel (printer, lithographer); Robert Hammond Elvy (musicseller, publisher)

[Advertisement], The Sydney Morning Herald (20 April 1870), 10

. . .JUST PUBLISHED . . . The BAZAAR WALTZES [sic], by Mrs. John Meillon, price 2s 6d. . . . ELVY and CO., 321, George-street.

Ave Maria, by Teresa Boesen

Ave Maria (1879)

Ave Maria composed by Teresa Boesen (Sydney: Printed by J. A. Engel, October 1st, 1879) (DIGITISED)

Copy at National Library of Australia; cover inscribed by owner: "J. H. B. Curtis", the composer's brother

Bound albums of sheet music (Australian publications in red bold; imported publications in black bold):

A pair of albums now at the University of Sydney Library, Rare Books, Sydney Conservatorium of Music collection, RB CON 860 9080 and 860 9282.

They were bound in originally matching format for "Miss Curtis" (Teresa Curtis) by the Sydney bookbinder James Conyber (c. 1799-1874). RB CON 860 9080 is now lacking its front cover, but the surviving back cover is crafted identically with that of the other volume, which is half-bound in dark red leather, with gold trim, over cloth covered boards. The endpapers are yellow and Conyber's label is pasted at the top left of the inside cover of 860 9282.

Also in the collection is another album, RB CON 890 3029, similar though not identical in design, also with Conyber's label and yellow endpapers, that was probably bound for Margaret Anne Knowles.

On both surviving labels, Conyber's street number is "304", as it appears in his advertisements from February 1856 until February 1860; in March 1860, the street address of his premises was altered to "395".

Given the contents of the Curtis volumes all pre-date 1860, a binding date for them of the later 1850s is anyway likely.

LABEL: "[J.] CONYBER, Bookbinder, 304, GEORGE ST., Sydney, Opposite the Royal Hotel."

ALBUM 1 - RB CON 860 9080

University of Sydney, Library, Rare Books, Sydney Conservatorium of Music collection (private bequest 1986), RB CON 86 9080 

Lacks front cover; CONTENTS as follows:

[Items 1]-[6] Boulanger's musical keepsake for 1856 ( Boulanger / Mader / 1856 )

Copies of items 2-6 survive complete, and a single final page (11) from item 1 survive; also missing is the original series titlepage or cover page, not known to survive elsewhere

ASSOCIATIONS: Edward Boulanger (composer); Frederick Mader (publisher); Abraham Western Chapman (engraver)

[1] Serenade from Don Pasquale ( Boulanger / Mader / 1856 )

Boulanger keepsake no 1 page 11

["Serenade to [? from] Don Pasquale (Dedicated to Lady Denison)"]

NO OTHER COPY IDENTIFIED; Originally ? 11 pages of music, of which only page 11 survives; pictured above

ASSOCIATIONS: Caroline Denison) (dedicatee)

[2] Nocturne de concert ( Boulanger / Mader / 1856)

Boulanger keepsake no 2 page 1

Nocturne de concert, composed for the pianoforte, respectfully dedicated to Lady Stephen by E. D. Boulanger [no separate publication details]

5 pages of music (1-5), at foot of 5: "Engd. by A. W. Chapman"; page 1 pictured above; another copy at the National Library of Australia, as later sold (c. 1857) under a new cover by J. R. Clarke (DIGITISED)

ASSOCIATIONS: Eleanor Stephen (dedicatee)

[3] Caprice sur Norma ( Boulanger / Mader / 1856 )

Boulanger keepsake no 3 page 1

Caprice sur Norma, arranged for the pianoforte, respectfully dedicated to Mrs. John H. Plunkett, by E. D. Boulanger [no separate publication details]

13 pages of music (1-13), at foot of 13: "Engd. by A. W. Chapman"; page 1 pictured above; also later advertised for sale (c. 1857) under a new cover by J. R. Clarke


ASSOCIATIONS: Maria Plunkett (dedicatee)

[4] Concert waltz ( Boulanger / Mader / 1856 )

Boulanger keepsake no 4 page 1

Concert waltz composed for the piano-forte, respectfully dedicated to Mrs. W. M. Manning, by E. D. Boulanger [no separate publication details]

12 pages of music (1-12), at foot of 12: "Engd. by A. W. Chapman"; page 1 pictured above; also later advertised for sale (c. 1857) under a new cover by J. R. Clarke


Eliza Anne Manning (dedicatee)

[5] Caprice nocturne ( Boulanger / Mader / 1856 )

Boulanger keepsake no 5 page 1

Caprice nocturne, composed for the pianoforte, respectfully dedicated to Miss Eliza Icely [no separate publication details]

7 pages of music (1-7), at foot of 7: "Engd. by A. W. Chapman"; page 1 pictured above; also later advertised for sale (c. 1857) under a new cover by J. R. Clarke


ASSOCIATIONS: Eliza Icely (dedicatee)

[6] Souvenir d'Amerique ( Boulanger / Mader / 1856 )

Boulanger keepsake no 6 page 1

Souvenir d'Amerique, polka pour piano, composed on American & original airs, respectfully dedicated to Mademoiselle Marie Sentis by E. D. Boulanger [no separate publication details]

5 pages of music (1-5); page 1 pictured above


ASSOCIATIONS: Marie Sentis (dedicatee)

[7] Deux airs russes variés ( Thalberg / D'Almaine / ? c. 1850s )

[Titlepage missing: Deux airs russes varies pour le pianoforte par Sigismond Thalberg, op. 17 (Londres: D'Almaine & Cie, Soho Square, n.d.)

Deux airs russes variés, S. Thalberg [page 1]; 17 pages music (1-17); publisher's number: "6453"

For original French edition, Paris: J. Meissonnier, n.d. [1836], see: (DIGITISED)

[8] Fantaisie de salon no. 2 Der Freyschutz ( Thalberg / Cramer, Beale / c. 1850s )

Fantaisie de salon, no. 2, Der Freyschutz, composed for the piano forte by S. Thalberg, op. 57 (London: Cramer, Beale & Co., n.d.); publisher's number: "3711"

Titlepage; 11 pages music (1-11)

[9] Home, sweet home, air anglais, varie ( Thalberg / Cramer, Beale & Chappell / c. 1850s )

Home, sweet home, air anglais, varié pour le piano par S. Thalberg, op. 72 (London: Cramer, Beale & Chappell, n.d.); publisher's number: "6477"

Titlepage; 8 pages music (1-8); for another edition: New York: C. Breusing, 1857, see: (DIGITISED)

[10] Fantasia on Irish airs ( Thalberg / Cramer, Beale, and Co. / )

Fantasia, on Irish airs, for the piano forte, by S. Thalberg, à W. Kuhe (London: Cramer, Beale & Co., n.d. [ ]); publisher's number: "5179"

Titlepage (1), inscribed at top right: "Miss Curtis"; 14 pages music (2-15)

[11] Introduction and variations on "We're a'noddin" ( Thalberg / Chappell / c. 1850s )

Introduction & variations on the favorite air We're a' noddin', arranged for the piano forte by S. Thalberg, new edition (London: Chappell, n.d.); publisher's number: "2121"

Titlepage; 10 pages music (2-11); for another edition (London: Mori & Lavenu, n.d. [c. 1840s]) (DIGITISED)

[12] Caprice sur Le prophète ( Thalberg / Cramer, Beale, and Co. / c. 1850s )

Caprice, pour le piano, sur Le prophète, par S. Thalberg (London: Cramer, Beale & Co.; Chappell, n.d.); publisher's number: "5146"

Titlepage; 14 pages music (2-15)

[13] Six romances sans paroles ( Thalberg / Schlesinger / ?)

Six romances sans paroles pour le piano composèes par S. Thalberg (Paris: Maurice Schlesinger, n.d.); publisher's number: "M.S. 2910"

Titlepage; 12 pages music (2-13); for another copy of the same edition: (DIGITISED)

[14] Pro peccatis ( Rossini, arr. Richards / Chappell / c. 1850s )

Pro peccatis (from the Stabat mater) arranged for the piano forte by Brinley Richards, dedicated to his brother the Rev'd J. B. Richards, op. 56 (London: Chappell & Co., n.d.); publisher's number: "9684"

Titlepage; 6 pages music (2-7)

[15] Annie Laurie ( arr. Richards / Chappell / c. early 1850s )

Annie Laurie, for the piano forte, by Brinley Richards (London: Chappell, n.d.); publisher's number: "8662"

Titlepage, inscribed: "Theresa Curtis, September 1856"; 6 pages music (2-7)

[16] Octave studies ( Richards / Chappell / c. 1850s )

Octave studies, for the piano forte, by Brinley Richards, dedicated to Cipriani Potter, esq. (London: Chappell & Co., n.d.); publisher's number: "9885"

Titlepage; 17 pages music (1-17); for a later Australian edition (Sydney: D. Davis & Co., n.d.): (DIGITISED)

[17] Il balen del suo sorriso ( Verdi, arr. Richards / Chappell / c. 1850s )

Verdi's popular air, "Il balen del suo sorriso", from Il trovatore, arranged for the piano forte, by Brinley Richards, inscribed to Mrs. Baron (London: Chappell, n.d.); publisher's number: "9252"

Titlepage; 7 pages music (1-7

[18] La mia letizia ( Verdi, arr. Richards / Hammond / ? )

La mia letizia, air from I Lombardi, arranged and dedicated to Mrs. Robert Raikes (Trwberfydd, Brecon) by Brinley Richards (London: A. W. Hammond, n.d.); publisher's number: "H 234"

Titlepage; 7 pages music (1-7)

[19] Eva, romance ( arr. Richards / Chappell / ? )

Eva, romance, arranged for the piano forte, and dedicated to Miss Binfield, by Brinley Richards (London: Chappell, n.d.); publisher's number: "8784"

Titlepage; 5 pages music (1-5)

[20] Non più mesta, fantaisia brillante ( Herz / Musical Bouquet / 1856 )

Non più mesta, op. 60, fantasia brillante, with variations for the piano-forte, by Henri Herz (London: Musical Bouquet Office, n.d. [1856]); Musical bouquet no. 1063-66

Titlepage (1); 11 pages music (2-12)

[21] La Parisienne with variations ( Herz / Williams / c. 1850s )

Trois morceaux brillante, no. 3, La Parisienne (national march) with variations for the piano forte, by Henri Herz (London: Joseph Williams, n.d.)

Titlepage (1); 14 pages music (2-15); another edition (London: Harry May, n.d.): (DIGITISED)

[22] Cujus animam ( Rossini, arr. Herz / Williams / c. 1850s)

Cujus animam, from Rossini's Stabat mater, for the piano forte, by Henri Herz (London: Joseph Williams, n.d.)

Titlepage (1); 6 pages music (2-7)

[23] Favorite airs from L'etoile du nord ( Meyerbeer, arr. Callcott / Chappell / ? )

Favorite airs, from Meyerbeer's admired opera, L'etoile du nord, arranged for the piano forte, with ad lib. acct. for the flute, by William Hutchins Callcott (London: Chappell, n.d.); publisher's number: "9123"

Titlepage; 17 pages music (1-17)

[24] La fontaine ( Mayer / Musical Bouquet / 1855 )

La fontaine, for the piano forte (op. 51, no. 3) composed by C. Mayer (London: Musical Bouquet Office, n.d. [1855]); Musical bouquet no. 780-81

Titlepage (1); 6 pages music (2-7)

[25] Water-spray, rondoletto ( Sloper / Chappell / c. 1853 )

Water-spray, rondoletto, for the piano forte, dedicated to Miss Ella Chapman, by Lindsay Sloper, op. 21 (London: Chappell, n.d. [c. 1853]); publisher's number: "8844"

Titlepage, inscribed: Theresa Curtis, Sep. 1855; 8 pages music (1-8)

Album 2 - RB CON 860 9282

University of Sydney, Library, Rare Books, Sydney Conservatorium of Music collection (private bequest 1986), RB CON 860 9282 

[1] Echo du Mont Blanc polka ( Jullien / Jullien / c. 1852 )

L'echo du Mont Blanc polka, dedicated to his friend Albert Smith by Jullien (London: Jullien & Co., n.d. [c. 1852]); publisher's number: "1626"

Titlepage missing (as above); 8 pages music (2-9); other copies of this edition, with titlepage, at Museums of History NSW (DIGITISED)

ASSOCIATIONS: The mountaineer Albert Smith (1816-1860) climbed Mont Blanc in 1851, and published his book The story of Mont Blanc in 1852; print editions of Jullien's title also first appeared in 1852

[2] Overture to Semiramide (Rossini / Musical bouquet no. 169-70 / 1848)

Overture to Semiramide (London: Musical Bouquet Office, n.d. [1848]); Musical bouquet no. 169-70

Titlepage (1); 7 pages music (2-8); inscription on titlepage: "Theresa Curtis Sep. 1835" [recte 1855, she was 12 years old at the time, and here also her forename is spelt with an "h"]; note that the right margin of the page has been repaired possibly by the binder

[3] Overture to Guillaume Tell (Rossini / Musical bouquet no. 551-52 / 1854)

Overture to Guillaume Tell composed by Rossini ([London: Musical Bouquet, [1854]); Musical bouquet no. 551-52

8 pages music (1-8)

[4] Ange si pur (Donizetti-Wallace / Chappell / c. 1858])

Ange si pur (Spirito gentil), romance de La favorite, de Donizetti, transcrite pour piano et dediée a son ami G. F. Kiallmark par W. V. Wallace (London: Chappell, 50, New Bond Street, n.d. [c. 1858]); publisher's number: "7860"

Titlepage; 5 pages music (1-5)

[5] Robert toi que j'aime (Meyerbeer-Osborne / Jullien / 1857 )

Robert toi que j'aime, arranged for the piano forte by G. A. Osborne (London: Jullien & Co., n.d. [1857]); publisher's number: "2540"

Titlepage (0); 6 pages music (2-7)

[6] Ah che la morte (Verdi-Osborne / Cramer, Beale & Chappell / ? )

Ah che la morte, and the celebrated Miserere from "Il trovatore", arranged for the piano forte by G. A. Osborne, a madame la princesse Helene de Podenas (London: Cramer, Beale, & Chappell, n.d. [1857]); publisher's number: "6766"

Titlepage (1); 7 pages music (2-8)

[7] German songs (Callcott / Jullien / ? c. 1850)

Book no. 1 of Deutsche Lieder, being a selection of the most admired German songs by the most celebrated composers, arranged for the piano forte as solos & duets, with ad. lb. acct. for flute, violin, & violoncello, by William Hutchins Callcott (London: Jullien & Co., n.d. [? c. 1850]); publisher's number: "1287"

Titlepage; 15 pages music (1-15); 1 The herdsman's mountain song, sung by Madlle. Jenny Lind; 2 The swallows, Kücken; 3 ? ; 4 The standard bearer, Lindpaintner

[8] Souvenir of Catherine Hayes ( Marsh / Marsh / 1855)

Souvenir of Catherine Hayes, brilliant fantasia, composed by S. H. Marsh, dedicated to Miss Johnson ([Sydney: Henry Marsh, 1855)

16 pages music (1-16); a few pencilled fingerings on several pages; originally issued in three parts, part 1 (pages 1-5) as no. 10 (4 August 1855), part 2 (pages 6-10) as no. 11 (11 August 1855), and part 3 (pages 11-16) as no. 12 (18 August 1855) of Henry Marsh's The Australian cadeau; complete, except original series covers missing; another copy of parts 1-3, with original cover, at State Library of New South Wales (1 DIGITISED) (2 DIGITISED) (3 DIGITISED)

[9] A frenarti o cor nel petto (Verdi-Nordmann / T. Boosey / ? c. 1855 )

A frenati [sic] o cor nel petto, aria from Verdi's opera La battaglia de Legnano, for the piano forte, by Rudolph Nordmann (London: T. Boosey & Co., n.d. [? c. 1855])

Titlepage (1) "A frenati . . ." [sic]; page 2 heading: "A frenarti . . ."; 6 pages music (2-7); copy inscribed: "Theresa Curtis, Sep. 1836" [recte 1856]

[10] Study for the left hand ( Döhler / Cramer, Addison & Beale / ? c. 1850s )

Study for the left hand on the piano forte by Theodor Döhler (London: Cramer, Addison & Beale, n.d. [? c. 1850s])

Titlepage; 5 pages music (32-36)

[11] Six fantaisies sur Rossini (Czerny / Cocks / c. 1850s)

Six fantaisies brillantes, "Mosè" "Barbiere" "Gazza Ladra" "Tancredi" et "Cenerentola" sur les motifs de ces operas de Rossini, fantasia 1, C. Czerny, op. 679 ([London: Cocks and Co., c. 1850s]; publisher's number: "8783"

No titlepage; 13 pages music (1-13)

[12] Ach wenn du wärst mein eigen (Küken-Beyer / ? / c. 1850s)

Six morceaux elegants pour le piano sur des airs allemands favoris composés par Ferd. Beyer, op. 80 ([ ? : ? , ? c. 1850s]), no. 3

? missing titlepage; 9 pages music (1-9); Ach wenn du wärst mein eigen, F. Küken, no. 3, Ferd. Beyer, op. 80 [page 1]

[13] Fantaisie sur Belisario ( Donizetti ) ( Hünten / Chappell / c. 1850s)

[14] Souvenir du Prophète ( Meyerbeer ) ( Benedict / [? Chappell] / c. 1850s )

[15] Selection from La prophète ( Meyerbeer / Davidson / c. 1850s )

[16] Selections from L'elisir d'amore ( Donizetti / Davidson / c. 1850s)

[17] Simla galop ( Boulanger / Clarke / 1857 )

Boulanger simla galop 1857 page 1

The Simla galop by Boulanger, dedicated to the commander and officers of the S. S. Simla (Sydney: Published by J. R. Clarke, George Street, n.d. [1857])

NO OTHER COPY YET IDENTIFIED; titlepage (0), and 6 pages music (1-6); first advertised 12 January 1857; cover inscribed: Teresa Curt[is] / Hunter St. / May [? 1857] (see below)


ASSOCIATIONS: Edward Boulanger (composer); Jacob Richard Clarke (publisher)

[18] Heliotrope mazurka ( Stanley / Clarke / 1857 )

The Heliotrope mazurka by William Stanley (Sydney: J. R. Clarke, n.d. [1857])

Titlepage; 3 pages music (1-3); The Heliotrope mazurka, dedicated to Miss C. Joseph, by W. Stanley [1]; 1 is a verso, and so on; titlepage inscribed: "May 20th 1858" at bottom left; "With love from L. M [?]" at top right (see below)

Another copy at the National Library of Australia (DIGITISED)

ASSOCIATIONS: William Stanley (composer); Jacob Richard Clarke (publisher); Caroline Joseph (dedicatee)

[19] Australian polka mazurka ( Roeckel / Clarke / 1858 )

The Australian polka mazurka by Roeckel (Sydney: Published by J. R. Clarke, music seller, George Street, n.d. [1858])

Titlepage; 3 pages music (1-3); previously published in London, as Souvenir de Cork, copy at British Library, Music Collections h.975.h.(26.); another copy of the Sydney edition at the National Library of Australia (DIGITISED)

ASSOCIATIONS: Armand Roeckel (composer); Jacob Richard Clarke (publisher)

[20] Prince Carouso's march and reel ( Parry / D'Almaine / 1836 )

Prince Carouso's march and reel, performed with great applause at the St. James' Theatre, in the burletta of The sham prince, composed & adapted for the piano forte by John Parry (London: D'Almaine & Co. Soho Square, n.d. [1836])

Titlepage (1), 3 pages music (2-4); titlepage inscribed: "Mrs. Curtis", i.e. Mary Curtis (above)

ASSOCIATIONS: On composer, singer and illustrator John Parry's The sham prince, see the bill for the production, centre, in Parry's own watercolour: 

[21] Ida ( Linley / Woolcott & Clarke / 1852)

Ida, sung by Miss Sara Flower, composed by George Linley (Sydney: Published by Woolcott & Clarke, music sellers, print seller, etc., George Street, n.d. [1852])

Titlepage missing; supplied from NLA copy below; 5 pages music (1-5); at foot of (1): "ENGRAVED BY F. ELLARD SYDNEY"; another copy of the same edition (with titlepage), at the National Library of Australia (DIGITISED)

[Advertisement], The Sydney Morning Herald (30 November 1852), 3 

Preparing for Publication, A NEW SONG, entitled "IDA," sung at the Victoria Theatre by Madame Sara Flower, under the title of "Can I forget thee, No" . . .
WOOLCOTT AND CLARKE, Music Warehouse, 555, George-street, Sydney, Next the Bank of Australasia.

ASSOCIATIONS: Sara Flower (vocalist); Woolcott and Clarke (publishers); Francis Ellard (engraver

[22] Little Nell (Packer / W. J. Johnson / 1857 )

Little Nell, a ballad, founded on an incident in "Master Humphrey's Clock," the poetry by Charlotte Young, sung with enthusiastic applause by Madame Anna Bishop, to whom it is dedicated by her friend and fellow student, the composer Charles S. Packer (Sydney: Published by W. J. Johnson & Co., Pitt Street, n.d. [1857])

Titlepage missing; supplied from NLA copy below; 3 pages music [un-numbered]; another copy of the same edition (with titlepage), at the National Library of Australia (DIGITISED)

ASSOCIATIONS: Charles Sandys Packer (composer); Anna Bishop (vocalist); William Jonathan Johnson (publisher)

[23] Rouse, brothers, rouse! ( Russell / Musical Bouquet no. 560-61 / 1854 )

Rouse, brothers, rouse! the popular song with chorus, the poetry by Charles Mackay, L.L.D., music composed and sung by Henry Russell (London: Musical Bouquet Office, n.d. [1854]); "Nos. 560 & 561"

[24] The traveller's return (Marsh / T. Boosey [London] / 1848 )

The traveller's return, song, with an accompaniment for the harp or piano-forte, composed on the occasion of Dr. Leichhardt's return to Sydney, and dedicated to the members of the Royal Geographical Society, by S. H. Marsh (London: T. Boosey & Co., n.d. [1848])

Titlepage (0), 9 pages music (1-9); another copy at the National Library of Australia (DIGITISED)

ASSOCIATIONS: Stephen Hale Marsh (composer); Edward Kennedy Silvester (words); Ludwig Leichhardt (subject)

[25] Sleep lady mine ( Howe / Duff & Hodgson / ? 1850 )

Sleep lady mine; or, The world of dreams, serenade, sung by Mr. Lockey, written by E. L. Blanchard esqr., composed by James Howe (London: Published by Duff & Hodgson, 65, Oxford Street, n.d. [? 1850])

Titlepage; 6 pages music (1-6); titlepage inscribed (see below): "[Teresa Curtis,] from her Brother Peter" = Peter Curtis (above)

[26] ;Smile on me ( Mackinlay / D'Almaine / 185- )

Smile on me, song sung by Miss Birch, written and arranged by Mrs. Mackinlay, fourth edition (London: D'Almaine & Co, 20, Soho Square, n.d. [185-])

Titlepage; 4 pages music (1-4); titlepage inscribed: "Teresa Curtis, from her Brother Peter" (see below)

[27] The mountain rover ( Lee / Wray / ? 1830s)

Titlepage missing; 6 pages of music (1-6); no composer or lyricist indicated, but the composer is almost certainly Alexander Lee; only identifying feature is stamp on last page: "Engraved by W. S. Joselin"; another copy in British Library (Music Collections H.1650.n.(19.) [004474582]: catalogue record also has "the Poetry by C. Mackay", "London: H. Wray, [1840?]", but gives the composer, almost certainly incorrectly, as "H. Lee" [sic]; this indeed appears to be a slightly older print than many others in the volume, and the last leaf has been expertly repaired in several places (? by the binder); it is, perhaps, another survival of Teresa's mother's music collection; the only other reference to a print engraved by "W. S. Joselin" that I have found is: The soldier's tear, ballad, sung by Mr. Wood, in the new Interlude Sold for a song, the poetry by Thos. Haynes Bayly esqr., the music composed by Alexander Lee (London: Lee & Lee, 86, Regent's Quadrant, n.d. [c. 1829-30])

[28] Hear me Norma ( Bellini / ? Woolcott & Clarke / 185- )

Titlepage missing; 8 pages music (1-8; page 1 is a verso, blank on reverse, 2 a recto, and so on); on page 1: "Hear me Norma, music by Bellini, words by Jeffreys" [sic] [Charles Jefferys 1807-1865]; some pencilled markings mainly on vocal line; considering the unusual pagination, the engraving, and the incorrect spelling of the translator's name, this may well be a colonial print, perhaps the "new edition" advertised by Woolcott and Clarke in October 1853:

[Advertisement], Illustrated Sydney News (15 October 1853), 8 

Copy of titlepage of Jeffery's (? original) edition at Victoria and Albert Museum 

[29] In memory of Jane Elizabeth Balcombe ( Meymott / Allan & Wigley / 1858-59 )

In memory of Jane Elizabeth Balcombe who died in the eighteenth year of her age on the morning of the 26th day of December, A.D. 1858, lines written by William Cornelius Uhr esqre. and set to music by Frederic William Meymott esqre. ([Sydney]: Allan & Wigley, Lith., George St., [1858-59])

Titlepage ([1]), 2 pages music ([2-3]); another copy at the State Library of New South Wales (DIGITISED)

ASSOCIATIONS: Frederick William Meymott (composer); William Cornelius Uhr (words); Jane Elizabeth Balcombe (subject)

CURTIS, Alfred Perkins (Alfred Perkins CURTIS; A. P. CURTIS; Mr. CURTIS)

Musician, pianist, organist, singing class instructor, choirmaster, conductor, composer, photographer

Born Claverham, Somerset, England, 1829; baptised Yatton, 28 July 1829; son of James CURTIS and Henrietta Matilda ?
Arrived Fremantle, WA, September 1852 (per Eglinton from London)
Married Martha Hannah OUGDEN, St. George's church, Perth, WA, 16 August 1856
Died Perth, WA, 25 February 1902, aged "72" (TROVE tagged by Australharmony) (NLA persistent identifier) (shareable link to this entry)

CURTIS, Martha Hannah = Miss Martha OUGDEN

Musician, pianist, vocalist

Born Perth, WA, 11 October 1838; baptised Perth, 29 November 1840; daughter of James OUGDEN (d. 1865) and Ellen THOMPSON (d. 1857)
Married Alfred Perkins CURTIS, St. George's church, Perth, WA, 16 August 1856
Died Perth, WA, 20 February 1923, aged "84/85" (TROVE tagged by Australharmony) (shareable link to this entry)


Baptisms solemnized in the parish of Yatton in the county of Somerset in the year 1829; register 1828-82, page 14; Somerset Heritage Service, D\P\yat/2/1/17 (PAYWALL)

No. 105 / 1829 July 28th / Alfred Perkins son of / James and Henrietta Matilda / Curtis / Claverham / Blacksmith

Baptisms, Perth, 1840; Australia, births and baptisms (PAYWALL)

29 November 1840 / born 11 October 1838 / Martha Hannah daughter of / James and Ellen / Ougden

England census, 30 March 1851, St. Vedast, Middlesex; UK National Archives, HO107/1529/154/10 (PAYWALL)

30 & 40 Old Change / . . . Alfred P. Curtis / Unm. / 21 / Silk Warehouseman / [born] Somersetshire Bristol . . .

ASSOCIATIONS: Curtis was resident at a large works dormitory whose residents included over 60 young warehousemen, as well as servants

"THE AMATEUR CONCERT", The Perth Gazette and Independent Journal of Politics and News [WA] (25 June 1852), 3 

THE concert in aid of funds for promoting a Musical Class for the Mechanics' Institute, took place at the Court House in Perth last Friday evening . . . The two Misses Ougden performed the Overture to La Dame Blanche very pleasingly on the piano; and Mr. E. Hamersley played an excellent accompaniment to the Rosita Waltz on the Cornet a Piston; Mr. A. H. Stone ably conducted the whole performance. The vocal parts were undertaken by Messrs. William Clifton, Bell and Parry . . . We had almost forgotten to mention that the musical bell-ringers played several popular airs between the parts, with which the audience seemed much pleased.

ASSOCIATIONS: Edward Hamersley (cornet); Alfred Hawes Stone (conductor); William John Clifton (vocalist); Swan River Mechanics' Institute (association)

"WRECK OF THE EGLINTON", The Perth Gazette (10 September 1852), 3

ON Monday morning last, an express from Fremantle, which arrived about 10 o'clock, brought intelligence of the total wreck of the long expected barque Eglinton, from London and the Cape, on the coast abreast of lake Nowergoop, about 28 miles north of Perth . . . The following is a list of the Passengers and copy of the manifest of the barque Eglinton, Bennett, master: - Cabin: . . . and Mr. Curtis . . .

"Local and Domestic Intelligence", Inquirer [Perth, WA] (20 October 1852), 3 

In the dearth of Amusements among us, we hail with satisfaction any attempt to provide an innocent and agreeable recreation for the people. It seems that a late arrival per Eglinton (Mr. Curtis) has proposed the establishment of singing-classes on the Hullah system, which he has, should opportunity permit, kindly offered to superintend. Mr. Curtis has been accustomed to teach singing on this principle, and has been universally successful. It is contemplated to hold musical meetings, at stated periods, to which all classes should be admitted upon payment of a trifling subscription. We sincerely hope that the proposal may be carried out in practice.

ASSOCIATIONS: John Hullah (English singing master)

"Domestic Sayings and Doings", The Perth Gazette and Independent Journal of Politics and News (1 April 1853), 2 

We are glad to notice that St. George's Church, Perth, is nearly complete in its improvements internally and externally, at least as far as the funds will allow . . . Since the retirement of Mrs. Simmons from playing the organ in Church during Morning Service, a very creditable choir is springing up under the management of Mr. Curtis, who for some time past has managed the music during Evening Service.

ASSOCIATIONS: Joanna Symmons (organist); St. George's church (Perth)

"Domestic Sayings and Doings", The Perth Gazette and Independent Journal of Politics and News (5 August 1853), 2 

The subject of forming a singing class in Perth upon the principle adopted by Hullah in England, has again been brought to our notice. There can be no doubt that such a thing would be highly amusing and instructive to all who were musically inclined. We are particularly fortunate in having a gentleman amongst us who is fully capable of conducting such a class, and the sooner we see Mr. Curtis at work in so good a cause the better, in our estimation, would it be for many who literally know not what to do with [their] evenings. One or even two evenings in a week might be agreeably and profitably passed under Mr. Curtis's tuition, and we would suggest that the apartment where the class meet should be a public one, and that any charges for instruction should be as moderate as possible.

[Advertisement], Inquirer (24 August 1853), 2 

A LECTURE will be delivered by Mr. A. P. Curtis on Wednesday evening, 31st August, 1853, at 8 o'clock.
Subject - MUSIC, with the object of forming an elementary class for singing.
Also a Choral Society for the practice of Choruses, Glees, &c.
A gratuity would be received by the Mechanics' Institute to defray expenses of lights, &c. Admission Gratis.
By order of the Committee,
T. ALLMOND, Secretary.

"Domestic Sayings and Doings", The Perth Gazette and Independent Journal of Politics and News (26 August 1853), 2 

We call attention to a Lecture on Music which is to be given gratuitously by Mr. Curtis on Wednesday next, in the Hull of the Mechanics' Institute in Perth. This Lecture is a preparatory one before the final establishment of a regular singing class, to whom musical instruction will be given by Mr. Curtis for a small quarterly payment. It will be necessary that a Piano should be procured for this purpose, and it is contemplated to give a certain number of concerts, in order to raise a sufficient sum to purchase one.

"Domestic Sayings and Doings", The Perth Gazette and Independent Journal of Politics and News (2 September 1853), 2 

Mr. Curtis's gratuitous Lecture upon Music was given on Wednesday Evening last, in the Hall of the Mechanics' Institute, Perth, and attended by a very fair proportion of our musical community as well as many others who were attracted by the interest of the subject lectured upon. Mr. Durlacher, as one of the Vice Presidents of the Mechanics' Institute, introduced Mr. Curtis to his audience. Mrs. Leake very kindly officiated at the Piano, and played a short piece, when the Lecturer began. Mr. Curtis made a few observations upon the origin and progress of Music, and afterwards illustrated upon a board, by means of a piece of chalk, his method of teaching the reading of music, which he certainly must have made perfectly clear to the youngest of his hearers. At the end of about half an hour Mr. Curtis concluded, and mentioned that his object was to form musical classes open to all persons, in which Glees, Choruses, &c., and Sacred Music would be taught. The charge for suoh instruction was to be five shillings per quarter. At the end of the Lecture, Mr. Durlacher again, in a neat and appropriate address, thanked Mr. Curtis for the amusement and instruction he had imparted, and wished him success in his undertaking. The National Anthem was sung by the whole audience, and they then separated. His Excellency and Mrs. FitzGerald were present.

ASSOCIATIONS: Mary Ann Leake (pianist); Charles Fitzgerald (governor)

[Advertisement], Inquirer (7 September 1853), 2 

MR. CURTIS hereby gives notice, that the SINGING CLASS will be held this evening,
and every succeeding Wednesday and Friday evening, at the Mechanics' Institute, at 8 o'clock.
Parties desirous of becoming members are requested to apply to Mr. Curtis.
Terms - 5s. per quarter, payable in advance.

"Local and Domestic Intelligence", Inquirer (14 September 1853), 2 

Mr. Curtis' lecture on music was well attended and we are glad to learn he has formed a class of thirty or forty members . . .

"Domestic Sayings and Doings", The Perth Gazette and Independent Journal of Politics and News (30 September 1853), 2 

We hear from many parties that the Singing Class is progressing very satisfactorily under Mr. Curtis's tuition. Many fresh pupils have joined since its formation, and we have no doubt that in a little time, this course of musical instruction will become generally popular. We are of opinion that, when the Class can accomplish any pieces to the satisfaction of the Instructor, it would be advisable that some public exhibition should take place, in order that the success of Mr. Curtis's system may be fully made known.

"Local", Inquirer (26 October 1853), 1 supplement 

Mr. Curtis has succeeded in collecting a tolerably large music class, and in drilling his pupils into fair working order. We were much gratified the other evening, upon paying a visit to the class, to find that so much had been done. The perseverance of the instructor, and the diligence of the instructed, reflect credit upon both. The extreme gravity with which the latter make all sorts of noises, and the earnestness with which they continually repeated in varied tones "White Sand and Grey Sand," was amusing to a looker-on. The class sang God save the Queen in a very creditable manner, with the assistance, however, of some practised singers, who attended, and appeared to take their part in the proceedings with as much zest as the beginners. We hope soon to hear that the members of the class are doubled. The terms of instruction are very reasonable, and Mr. Curtis deserves success.

MUSIC: White sand and grey sand (round)

"Local and Domestic Intelligence", Inquirer (30 November 1853), 3 

In order to enable Church-goers to have the benefit of Mr. Curtis's services, the Trustees have engaged him for a further term of six mouths, at the rate of £40 per annum, and propose to defray this salary, partly out of the lighting-fund, and partly from pew-rents. The lighting-fund has, however, from some accident, fallen off of late, but we trust that the monthly collections will soon arrive at their former standard, the more especially as a portion of it will be devoted towards maintaining the musical services of the church.

[Advertisement], Inquirer (30 November 1853), 3 

THE Members of the Choral Society are respectfully informed that the second term commences on the 1st of December, 1853.
A class for beginners is in course of formation. Terms 5s per quarter in advance. Tickets to be had of
Perth, November 29, 1853.


THE ANNIVERSARY MEETING of the above Institute took place on Friday evening last, in that portion of their intended building in Howick-street, already erected . . . Mr. H. Gray, the Secretary . . . read the report: . . . [3] . . .
With reference to the formation of classes, your Committee have anxiously endeavoured to form some for musical instruction. The one now carried on under the superintendence of Mr. Curtis, had every assistance afforded which it was in the power of the Institute to supply, but in consequence of want of suitable apartments, Mr. Curtis was compelled to remove his class to a room more convenient . . .

"LOCAL AND DOMESTIC INTELLIGENCE", Inquirer (29 March 1854), 2 supplement 

A slight check bus been given to the singing class under Mr. Curtis, in consequence of the inability of that gentleman, from some affection of the throat, to continue his valuable and interesting instruction for a short time. The sooner this interruption is at an end, the better for Mr. Curtis and his pupils, who are progressing so rapidly under his able assistance.

"Opening of the Hall of the Total Abstinence Society", The Perth Gazette and Independent Journal of Politics and News (9 June 1854), 3 

On Monday evening last the new Hall of the Total Abstinence Society was opened by a Tea Meeting, attended by about 250 persons, who filled the room to suffocation, Mrs. FitzGerald and several of the upper class of society were present . . . The pleasure of the evening was greatly enhanced by the performance at intervals, of some Amateurs of what had been promised - a real musical treat, such perhaps as has rarely been afforded in this colony, and which gave the great satisfaction. The [music] played consisted of overtures . . . [On] Wednesday evening Mr. Lowe gave a Lecture [in the] Hall on the nature of Alcohol and its effects on human system . . . [The] great attraction however of the evening, was [the repet]ition by the orchestra of the concert given on [Mon]day with the addition of some vocal music by Clifton, Parry, and Curtis, who very kindly [offered] their assistance . . .

"LOCAL AND DOMESTIC INTELLIGENCE", Inquirer (1 November 1854), 3 

We have been much struck with the change which has taken place in the vocal music at St. George's Church in Perth for the last two or three Sundays. We have missed the more powerful voices, but the very simple and appropriate mode of singing the church music has made ample amends for any deficiencies in other respects. We have no doubt that the present choir under the able management of Mr. Curtis, would fully answer any purpose, in the absence of anything more attractive.

"Funeral of the late Colonial Chaplain", Inquirer (31 January 1855), 2 

On Wednesday last the mortal remains of the Rev. J. B. Wittenoom, late Colonial Chaplain, were consigned to the tomb . . . About half-past four o'clock in the afternoon, the procession left the late Rev. gentleman's residence for St. George's Church. The organist, Mr. Curtis, played some appropriate music, and that portion of the service appointed to be read in the church was given out by the Rev. Mr. Mitchell . . .

ASSOCIATIONS: John Burdett Wittenoom (Anglican cleric)

[News], Inquirer (11 April 1855), 2 

On Sunday last, being Easter-day, St. George's Church, Perth, ceased to wear any mourning for our late Colonial Chaplain . . . Since the retirement of Mr. Curtis from the choir, there have been one or two changes in the management of the organ, and no definite system appears at present to be adopted for arranging our church music. We understand that the Rev. Mr. Pownall is on the point of publishing a Book of Hymns for use, with a view to establishing a simplicity in this portion of the singing, which will be likely to suit, and be joined in by all the congregation . . .

ASSOCIATIONS: George Purvis Pownall (Anglican cleric)

"MARRIED", The Inquirer and Commercial News (27 August 1856), 2 

At St. George's Church, on the 16th instant, by the Rev. G. P. Pownall, Mr. A. P. CURTIS, to MARTHA, second daughter of Mr. J. Ougden, Perth.

"Domestic Sayings and Doings", The Perth Gazette (9 January 1857), 2

. . . We hear the Venite and Gloria chaunts sung the last two or three Sundays at St. George's Church, are the composition of the organist, Mr. Curtis . . .

"Domestic Sayings and Doings", The Perth Gazette (10 April 1857), 2

. . . We understand that Easter Sunday will be celebrated at St. George's Church with a fine selection of music, among which is a new Te Deum by Mr. Curtis, the Organist, which is highly spoken of . . .

"Local and Domestic Intelligence", The Inquirer and Commercial News (14 October 1857), 2 

A public Tea-Meeting - the proceeds of which are to be devoted to the enlargement and improvement of the Congregational Chapel, Fremantle - took place in the Boy's School-room there on the evening of Tuesday, 6th inst., on which occasion the lovers of sacred music enjoyed a treat unprecedented in this colony. Mr. Curtis, organist of St. George's Church, Perth, presided at the piano, accompanied by the choirs of Perth and Fremantle. The anthem "Awake, awake," was given with excellent time and tone, followed by another and chorus "Soon shall the trumpet sound," in which the fine tenor voice of Mr. Crowther was heard to perfection. A trio "The Vesper Song at Sea," sung by Mrs. C. Duffield, Mr. H. Birch, and Corporal Scott, R.E., was much admired, and displayed good taste; followed by "Sound the loud timbrel," by Mr. and Mrs. Curtis and Mrs. Maycock, which was also much praised; other pieces being sung by Misses Oakley, Ougden, Pearse, and Paterson . . . The profits of the tea-meeting amount to about £20. This arises from the kindness of ladies in giving a part of the provisions, and also of a number of Sappers and Miners, who undertook to carry a heavy piano from the residence of Mrs. Wellard to the Boy's school-room. - From a Fremantle Correspondent.

MUSIC: Awake, awake (Burgiss)

"Horticultural Show", The Inquirer and Commercial News (23 February 1859), 2 

The Horticultural show of Wednesday last took every one by surprise . . . The government school room, in which the exhibition took place, was tastefully ornamented for the occasion, and during the show the visitors were treated with some pianoforte music by Mrs. Curtis, who kindly consented to preside at the instrument. His Excellency the Governor was not present, being absent from town . . .

[Advertisement], The Perth Gazette and Independent Journal of Politics and News (20 December 1861), 2 

A CONCERT of Sacred music selected from the works of Mozart, Naumann &c., and a portion of Handel's Messiah, will be given at the
MUSEUM of the Mechanics' Institute, Perth, on Monday 30th December.
Tickets 2s. 6d, and ls. 6d. children half price.
A. P. CURTIS, Leader.

"AMATEUR THEATRICALS", The Inquirer and Commercial News (15 April 1863), 3 

The first public representations of the pieces chosen by the amateur dramatic corps took place in the Hall of the Mechanics' Institute, on Tuesday evening, before a large audience . . . The band of the Metropolitan Volunteers was in attendance, and played between the pieces . . . on Saturday the theatre was again opened, but was not filled, as on the previous nights. On this occasion there was a change for the better as regards the orchestra, Mr. and Mrs. Curtis having kindly consented to preside at the piano, and Mr. Caldwell to accompany them on the clarionet. The pieces played were warmly and deservedly applauded by the audience, and it was generally admitted the instruments were more suitable for the room than the brass band.

ASSOCIATIONS: James Caldwell (clarinet, bandmaster); Perth Metropolitan Volunteers Band (volunteer forces)

"EVENTS OF THE MONTH", The Inquirer and Commercial News (21 September 1864), 4 

EVERY Monday evening from eighty to a hundred young people, mostly children, meet in the girls' schoolroom, Perth, for the purpose of receiving lessons in singing. On Monday there were about eighty present, some of them very young, who performed the allotted lessons very well - so well indeed as to reflect much credit on their instructor, Mr. A. P. Curtis. The young people thus in course of training will become admirable auxiliaries to our cathedral choir; indeed already the effect of some of their voices has been noticed, and the foundation laid for effective congregational singing, without which, to our mind, no church service is complete. Mr. Curtis' singing class has not been in existence for more than six weeks or two months, and the progress made by the scholars, with an hour and a half's tuition once a week, during that period, has been, very satisfactory. Several of the townspeople are regular attendants on practice-nights, and on Monday evening last we observed the Bishop of Perth, the Archdeacon, D.C.G. Bovell, and others, of either sex, in the room. Occasional visits from older members of the community seem to stimulate the young performers, and may not be unproductive of pleasure to themselves.

"DEATH OF MR. A. P. CURTIS", The West Australian (27 February 1902), 3

By the death of Mr. A. P. Curtis, which took place at his residence, Beaufort-street, Perth, another gap has been created in the band of old colonists. To the younger generation and those who have arrived in the State of late years, the deceased gentleman was not so well known, as he was of a remarkably retiring disposition, at all times content to keep his own personality in the background. The record of his life up till the time of his retirement, a few years ago, was one of long and faithful service to the State. Entering the Government service as a young man, he became employed in the General Post Office, and by degrees rose until he was appointed to take charge of the registered letter and money order branch, and, after the increase of business necessitated the separation of the two, he remained at the head of the Registered Letter Department up till the time of his retirement. Apart from his official duties, Mr. Curtis was best known for his musical abilities, which were of no mean order. He was an accomplished performer on the pianoforte and organ, and a flautist of considerable talent. For many years he acted as organist and choirmaster of St. George's Cathedral - the old Cathedral, which occupied a position of the site whereon St. George's Chambers and the Church Offices now stand. He was also one of the foremost members of the "Minstrels of the West," and conducted many of the concerts of that society, which contributed so largely to educating the musical tastes of the community. In those days it was not so easy as it is now to obtain the full orchestral scores of all the pieces played, and frequently Mr. Curtis himself supplied what was wanting. His position in the public service, of course, precluded him as much as his retiring habits from taking any practical interest in public matters, but as a member of the Cathedral Vestry and Anglican Synod, he was at all times ready to give his aid in advancing the interests of his Church. His widow and daughter and his son, Mr. Aubrey Curtis, the chief clerk of the Government Printing Office and for some time Acting Government Printer, survive him, and much sympathy has been expressed for them in their bereavement. The funeral of the deceased gentleman took place yesterday afternoon, and was very largely attended. The body was enclosed in a massive jarrah coffin, with heavy black mountings, and was conveyed to the Church of England Cemetery, East Perth, and there interred in the family grave . . .

"DEATHS", The West Australian (1 March 1902), 6

CURTIS. - On February 25, at Beaufort-street, Perth, W.A., Alfred Perkins Curtis, aged 72 years.

"BACK BEYOND 1850. Recollections of a Pioneer. SIR EDWARD STONE . . .", The Daily News (28 April 1916), 7

. . . St. George's Church was commenced in 1841, and completed In 1846, but was not consecrated till 1848, probably owing to the fact that the debt on the building was not paid off till then. Sir Edward gave a description of special interest of the Anglican church services under the Rev. J. B. Wittenoom, whom he described as a man of charming personality. The music was all that could be desired, and they had some of the finest singers one could hear anywhere - all trained voices. The organist was the late Mr. Curtis, who was a most enthusiastic musician. Amongst others in the choir were Mrs. Curtis, Mrs. Symons, Mrs. Travers, Miss Oakley (soprano, and the possessor of a most beautiful voice), Mrs. Maycock (contralto), Mrs. Evans, Mrs. Knight, and Mrs. Galbraith, Mr. Graves (tenor, who also possessed a voice of rare sweetness), Mr. W. Clifton, and Mr. Fred. Caporn (bass). There was also an orchestra composed of the late Mr. Henry Pether, Mr. Henry Saw (father of Dr. Saw), Mr. Trigg, Mr. Symons, and Sir Edward's uncle, Mr. A. H. Stone, and Mrs. Devenish. In 1836, when services were held in the Old Courthouse, the choir consisted of Mrs. Symmons, Miss Symmons, Mrs. Wittenoom, Mrs. Leake, Mrs. R. Nash, Miss Nairn, Miss Trigg, Miss A. Trigg, Mrs. Maycock, Mr. Symmons, Mr. Schoals, Mr. Nash, Mr. Webb, Mr. Macfaull, Mr. J. Habgood. The orchestra consisted of a pianoforte, bass (Mr. F. Wittenoom), violins (Mr. C. Wittenoom, Mrs. Torrens, and Miss Nairn) and cello (Miss A. Trigg, and afterwards Miss Devenish). The violin played by Miss Nairn was now in the possession of Mr. R. C. Clifton . . .

ASSOCIATIONS: Edward Albert Stone (memoirist, amateur musician); John Schoales (vocalist); Alfred Hawes Stone (musician); Amelia Trigg (vocalist); Mrs. Maycock (vocalist); Jane Nairn (vocalist, violinist)

"DIED", The Daily News (22 February 1923), 9 

CURTIS. - On February 20, 1923, at her late residence, 30 Beaufort-street, Perth, Martha Hannah, widow of the late Alfred P. Curtis, in her 85th year. Privately interred.

Bibliography and resources:

"Alfred Perkins Curtis", Design & Art Australia Online (DAAO)

ASSOCIATIONS: Samuel Scriven Evans married Martha's elder sister, Ellen Caroline Ougden (1837-1874), in 1855; both Evans and Curtis worked as professional photographers

Alfred Perkins Curtis and Martha Hannah Ougden, WikiTree 


Musician, violinist ("The Australian Paganini"), composer

Born Camberwell, London, England, 1852; baptised Camberwell, 9 January 1853; son of Henry CURTIS (d. 1899) and Amelia BANKS (d. 1895)
Arrived Melbourne, VIC, 14 January 1857 (per Sussex, from London, 10 October 1856)
Died Brighton, VIC, 27 March 1940, aged "88" (TROVE tagged by Australharmony) (shareable link to this entry)

NOTE: This entry only attempts to document Curtis's early career, until his first return from England in 1876


England census, 30 March 1851, Emanuel, Camberwell; UK National Archives, HO107/1580 (PAYWALL)

18 George St. / Henry Curtis / Head / Mar. /29 / Painter & Glazier four [men] / [born] Yorkshire Bingley
Amelia [Curtis] / Wife / Mar. / 38 / - / [born] Surrey Camberwell
Alfred [Curtis] / Son / 4 mo. / - / [born Surrey Camberwell]

Register of baptisms, parish of Camberwell, county of Surrey, 1853; London Metropolitan Archives (PAYWALL)

954 [sic] / Born Dec. 12 1850 / Bapt. Jan'y 9 / Alfred Son of / Henry & Amelia / Curtis / Painter / George St. Camb. Green / . . .
956 / [sic] Born Dec. 12 1850 [sic] / Bapt. Jan'y 9 / Henry Son of / Henry & Amelia / Curtis / Painter / George St. Camb. Green / . . .

According to this baptism record, Alfred and Henry Curtis were both born on the same day, 12 December 1850; however, in respect of Henry, this was probably clerical error, as in the March 1851 census, only the 4-month-old Alfred is listed. A date of birth for Henry late in 1852 is therefore most likely, as indeed reported at his death, aged 88, in March 1940.

Names and descriptions of passengers per Sussex, from London, 10 October 1856, for Melbourne [14 January 1857]; Public Record Office Victoria (DIGITISED)

Third Class . . . / Curtis Henry / 34 / Painter // [Amelia / 34 / Wife // Martha / Spinster / 28 //
William / 10 // Alfred / 6 // Henry / 3 // Martha / 1

[Advertisement], The Argus [Melbourne, VIC] (25 November 1865), 8

ROYAL HAYMARKET THEATRE. Solo Lessee, Mr. Hoskins.
The FAREWELL BENEFIT, And most positively LAST APPEARANCE In Melbourne, of the distinguished and accomplished artiste
LADY DON, Previous to her departure for California.
THIS EVENING . . . After which,
MASTER FREDERICK TOWERS, Aged 15 years (Pianist),
And MASTER HENRY CURTIS, Aged 11 years (Violinist),
Pupils of Mr. Gover, Will make their first appearance in public, and perform
It would be worthy of notice to remark that Masters Towers and Curtis are natives of Victoria,
and the instruments on which they perform are of colonial manufacture -
the piano being from the workshops of Messrs. Wilkie, Kilner, and Co., and the violin from that of Devereaux . . .

ASSOCIATIONS: William Hoskins (manager); Emily Sanders Don (actor, vocalist); Frederick Wilson Towers (pianist); Henry Barman Gover (musician, teacher); John Devereux (violin maker); Wilkie, Kilner and Co. (pianoforte makers); Haymarket Theatre (Melbourne venue)

[News], The Argus (27 November 1865), 5 

Lady Don's farewell benefit at the Haymarket Theatre on Saturday attracted one of the best houses of the season . . . A feature of the entertainment was the debut of Master Frederick Towers, pianist, and Master Henry Curtis, violinist, pupils of Mr. Gover, who performed, it was announced, on colonial instruments, and whose essay to entertain the public was favourably received . . .

[News], The Argus (4 December 1865), 5 

. . . To-night H. J. Byron's new comedy, "War to the Knife," is to be produced at the Haymarket; and the two juvenile musicians, described respectively as the "Australian Paganini" and the "Australian Thalberg," will make an appearance.

[Advertisement], The Argus (5 December 1865), 8

ROYAL HAYMARKET THEATRE . . . Engagement for Six Nights of Master HENRY CURTIS and Master FREDERICK TOWERS . . .

"ENTERTAINMENTS", The Australasian (9 December 1865), 9 

. . . I have already said that I do not greatly admire dangerous acrobatism, but I am none the less sensible of the difficulties connected with the acquirement of the art. So, too, in the case of too two young gentlemen whose performances on the violin and the pianoforte have this week supplemented the already varied attractions at the Haymarket, though, in describing Master Curtis as Paganini, and Master Towers as Thalberg, the bills only provoke comment which neither of these very modest and talented boys deserves . . . - JACQUES.

ASSOCIATIONS: "Jacques" = James Edward Neild (reviewer)

"ENTERTAINMENTS", The Australasian (21 July 1866), 17 

. . . There have been several concerts this week. The Philharmonic Society have performed "Judas Maccabeus," and Mr. Gover, a most meritorious teacher of music, has demonstrated what good entertainment can be got out of the colonial article, by giving a concert in which all the instruments and the performers were of Victorian production. Mr. Gover has done himself an injustice by not applying to the board appointed to distribute the rewards for new industries. But why, oh! ye caterers for public delectation, did you determine to have both concerts on the same - Tuesday - evening? For I am not ubiquitous. Nevertheless, I went, to both concerts, and heard the first part of "Judas Maccabaeus," and the second of Mr. Gover's miscellany . . . At the Gover concert I selected Master H. Curtis as pre-eminently meritorious among much that was also meritorious, but I hoped fervently that the next time Mr. Gover gave a concert he would tell the audience he would see them hanged before he would allow every piece - almost without exception - to be encored. - JACQUES.

ASSOCIATIONS: Melbourne Philharmonic Society (association)

"THE SECOND CONCERT OF THE ORPHEUS UNION . . .", The Age (1 February 1867), 5 

. . . in the Exhibition, took place yesterday evening, and, notwithstanding that it was a half-crown day, the hall was crowded . . . Mr. C. E. Horsley officiated as conductor, and Mr. David Lee presided at the organ. Mr. Gover's talented pupils also appeared during the evening . . . The overture to "Zampa," arranged for one violin and three pianofortes, was performed by six of Mr. Gover's pupils in a very superior manner. Later in the evening two of them, Masters Curtis and Towers, executed a difficult sonata (No. 6 in F) from Beethoven, and showed themselves fully equal to the requirements of the piece . . .

ASSOCIATIONS: Charles Edward Horsley (conductor); David Lee (organist); Orpheus Union (association); Exhibition Building (Melbourne venue)

"THE NEWS OF THE DAY", The Age (21 May 1869), 2 

The Fine Arts Exhibition was well patronised yesterday. In the afternoon the band of the 14th Regiment performed selections of operatic and dance music. Nearly 900 visitors were present, amongst whom were the vice-regal party and the usual fashionable loungers who congregate there on Thursday afternoons. In the evening the attendance was quite as large, when Mr. Henry B. Gover gave a grand instrumental entertainment, assisted by his pupils and orchestra. Master Curtis played one of De Beriot's fantasias with variations on the violin. His delicacy of touch and his bowing were particularly conspicuous, and Master Curtis bids fair to be an accomplished violinist. Mr. Gover repeats his entertainment to-morrow afternoon.

ASSOCIATIONS: Band of the 14th Regiment (military)


The Philharmonic Society will reproduce to-morrow evening, at the Town Hall, that great work of Bach, the Passion according to St. Matthew. Everyone will remember the extraordinary impression produced by this work on its first performance in Melbourne on last Good Friday, to the largest audience ever attracted to the Town Hall . . . The society had engaged Mr. John Hill for the violin obligato, lately sustained by Mdlle. Claus, but that gentleman left for New Zealand yesterday. They were, however, fortunate enough to secure the services of Mr. Henry Curtis, a late arrival in the colony, and a pupil of M. Carrodus, whose proficiency as a violinist is well known in English and Continental musical circles. The orchestra will com prise all the musical talent in Melbourne, including the bands of the Opera House and Theatre Royal . . . Mr. Summers, the conductor . . .

ASSOCIATIONS: John Hill (violin); Jenny Claus (violin); John Carrodus (English violinist); Joseph Summers (conductor); see also in a history of "THE MELBOURNE PHILHARMONIC SOCIETY. IV", The Argus (17 January 1876), 6 

Again, on Good Friday, 1876, the society essayed "The Passion" . . . Mr. Henry Curtis an old friend as a boy member of the Philharmonic band, had since studied in London, and played a violin solo at this concert in place of Mr. John Hill, who sailed for New Zealand . . .

[Advertisement], The Argus (5 June 1876), 8

MR. HENRY CURTIS, Teacher of the VIOLIN. Terms, &c., at Lee and Kaye's, Collins-street.

ASSOCIATIONS: Lee and Kaye (musicsellers)

"VIVID ACCOUNT BY MRS. NEVETT", Barrier Miner (3 January 1938), 4

. . . During the time I was in Melbourne it was my great privilege to be received by my old revered master, Mr. Henry Curtis, and to be initiated anew in the secrets of violin playing. I owe a debt of gratitude to Mrs. Woodward and Mr. Curtis. The former for preparing me by practising with me on Monday afternoons between 2.30 and 5.30 during my last year in Broken Hill, to receive these lessons from Melbourne's greatest teacher of the violin. Never can I forget his interpretation of excerpts from Bach's Chaconne as he played them from memory, making his violin sound like an orchestra of violins by the perfection of his double-stopping. When I tell you Mr. Curtis is over 80 years of age I feel you will agree with me that the age of miracles is not past. In fact I am not too sure that you do not owe this letter to his inspiration . . .

"DEATHS", The Argus (28 March 1940), 6

CURTIS. - On the 27th March, at private hospital, Brighton, Henry Curtis, of 77 South-road, Brighton Beach, in his 88th year.

"DEATHS", The Argus (29 March 1940), 10

CURTIS. - In remembrance of our friend, Mr. Henry Curtis, who passed away at Brighton on Wednesday March 27, 1940. (Mrs. S. W. Male and family, Kew.)
CURTIS. - A loving tribute to Henry Curtis, violinist and teacher, a fine musician and a life long friend. (Mary and Gertrude Peake, Sandringham.)

ASSOCIATIONS: Mary and Gertrude Peake, widow and daughter of George Peake (musician)

CURTIS, Richard (Richard Gill CURTIS; Mr. R. CURTIS; Mr. CURTIS)

Musician, violoncellist, cello player, choral conductor, musicseller, publican, plumber and glazier

Born Bingley, Yorkshire, England, 28 July 1792; baptised All Saints, Bingley, 21 October 1792; son of Joseph CURTIS
Married (1) Jane BEANLANDS (1788-1831), All Saints, Bingley, Yorkshire, England, 31 December 1818
Married (2) Emma IRVING, Collegiate Church of St. Mary, Manchester, England, 19 August 1838
Arrived Sydney, NSW, 10 March 1839 (per Statesman, from Liverpool, 22 September 1838, via Hobart Town)
Active Hobart Town, VDL (TAS), c. 1841-50
Married (3) Mary VILE (1826-1910), Dungog, NSW, 11 May 1855
Died Melbourne, VIC, 7 July 1871, aged "79" (TROVE tagged by Australharmony) (shareable link to this entry)

CURTIS, Emma (Emma IRVING; Mrs. Richard CURTIS)

Musician, harpist, pianist, teacher of music, actor (occasional)

Born England, c. 1813; daughter of John IRVING
Married Richard CURTIS, Collegiate Church of St. Mary, Manchester, England, 19 August 1838
Arrived Sydney, NSW, 10 March 1839 (per Statesman, from Liverpool, 22 September 1838, via Hobart Town)
Active Hobart Town, VDL (TAS), c. 1841-50
Died Dungog, NSW, 27 January 1855, aged "42" (TROVE tagged by Australharmony) (shareable link to this entry)

Family background (Irving):

Emma Irving was a daughter of John Irving, a professor of music, and younger sister of John Crockford Irving (c. 1804-1867), professor of music, and also a harpist.

REFERENCES: "CONCERT AT DERBY", Derbyshire Courier [England] (21 April 1838), 3 (PAYWALL)

On Friday evening the 5th of April, Mr. Irving gave a concert at the Music Hall, Derby, to a full audience . . . The band, though not numerous, was very effective, Mozart's symphony, "Jupiter," was executed with spirit . . . Messrs. Irving and Norton, in a duet for violin and harp, and Messrs, F. Fritche & Irving, in a duet for pianoforte and harp, were loudly applauded. Mr. Irving performed a fantasia on a magnificent harp recently presented to him by his Grace the Duke of Devonshire, and was most justly and deservedly encored . . . The first part was led by Mr. Gover with his usual spirit . . .

ASSOCIATIONS: William Cavendish (6th duke of Devonshire); William Gover (musician), father of Henry Barman Gover (later of Melbourne, VIC)

"Deaths", Sheffield Independent (6 May 1867), 3 (PAYWALL)

IRVING - April 30, Mr. John Irving, professor of music, Derby, aged 63. Deceased was for many years harpist to the late Duke of Devonshire, and a member of his grace's private band. More recently he conducted the Duke's Crescent Band at Buxton.


Baptisms, Bigley All Saints, 1792; register 1792; West Yorkshire Archive Service (PAYWALL)

[1792 October] 21 / Richard Gill son of Joseph Curtis of Bingley Born the 28th of July

Marriages solemnized in the parish of Bingley in the county of York in the year 1819; register 1819, page 97; West Yorkshire Archive Service (PAYWALL)

No. 290 / Richard Gill Curtis of this parish Plumber & Glazier / and Jane Beanlands of this parish Spinster / were married in this church by License this [31 December 1818]

"PARTNERSHIPS DISSOLVED", Sheffield Independent [Yorkshire, England] (4 October 1834) (PAYWALL)

. . . Richard Gill Curtis and Joseph Harrison, of Tankersly, Yorkshire, Glaziers . . .

ASSOCIATIONS: Joseph Harrison (horticulturalist and editor of horticultural journals); head gardener at Wortley Hall, Yorkshire; in 1830, he and Curtis filed a patent for "Certain improvements in glazing horticultural buildings"; see "New Patents Sealed", The London Journal of Arts and Sciences (1831), 117-18 (DIGITISED)

To Joseph Harrison, of Wortley Hall, in the parish of Tankersley, in the county of York, gardener, and Richard Gill Curtis, of the same place, glazier, for their having invented certain improvements in glazing horticultural [118] and other buildings, and in sash bars and rafters. - 6th Oct. 2 months.

1838, marriage solemnized in the Coll. & Parish Church in the parish of Manchester in the county of Lancaster; register 1838, page 137; Greater Manchester County Record Office, Manchester Cathedral registers (PAYWALL)

No. 373 / [1838] August 19th / Richard Curtis / full [age] / Widower / Plumber & Glazier / Brazennose Street / [son of] Joeph Curtis / Wool Stapler
Emma Irving / full [age] / Spinster / - / Buxton, Co. Derby / [daughter of] John Irving / Professor of Music . . . In the presence of John Crockford Irving . . .

"SHIP NEWS. ARRIVALS", The Austral-Asiatic Review, Tasmanian and Australian Advertiser [Hobart Town, VDL (TAS)] (29 January 1839), 3 

Jan. 28 - the barque Statesman, 345 tons, Quillen, master, from Liverpool 22nd September, cargo general, passengers . . . Mr. Curtis, Mrs. Curtis, C. Curtis . . .

ASSOCIATIONS: Charles Curtis (c. 1824-1909, a son of Richard by his first marriage)

Sydney, NSW (10 March 1839 to mid 1841):

"ARRIVALS", The Sydney Gazette and New South Wales Advertiser (12 March 1839), 2

[10] From Liverpool via Hobart Town, having left the former port the 22nd September, and the latter 3rd instant, the barque Statesman, 315 tons, Captain Quiller, with merchandise. Passengers, from Liverpool, cabin - Mr. and Mrs. Curtis . . . Mr. Curtis

"IMPORTS", The Colonist [Sydney, NSW] (20 March 1839), 4

11. Statesman, barque, 345 tons, Quiller, master; from Liverpool via Hobart Town . . . 5 cases musical instruments, 4 cases tools, R. Curtis . . .

[Advertisement], The Australian (26 March 1839), 3 

Musical Instrument Warehouse, No. 4, HUNTER-STREET, SYDNEY.
MR. CURTIS BEGS respectfully to inform the Public, that he has opened the above Establishment for the Sale of every article in this business, and trusts from the superiority of his Stock (selected by himself, in London), and his knowledge of the profession, to obtain a share of public patronage.
Among other Instruments, are a number of Harps of high finish and splendid tone;
Piano-fortes, by Collard, (late Clementi and Co.);
also, very superior Flutes, by Nicholson; Violins, by Steiner, Foster, Betts, &c.;
Violas, by Duke, and Violincellos, by Smith and other celebrated makers.
R. C. having been, accustomed to supply many of the Festivals in England with full Orchestral Parts, has compete Sets of Oratorios, Masses and Operas, together, with the most recent Songs, Glees, and Instrumental Music.
N. B. - Mrs. Curtis purposes giving Instruction on the Harp and Pianoforte. For a Card of Terms, apply as above.

"NEW MUSICAL REPOSITORY", The Colonist (30 March 1839), 3

A Mr. Curtis has recently arrived from England, and has opened a Musical Repository at No. 4, Hunter Street, where a splendid assortment of Musical Instruments by the best makers, and an extensive collection of Music by the most eminent Composers, will no doubt ensure for him a share of Public patronage. Mrs. Curtis purposes giving lessons on the Harp and Pianoforte.

[Advertisement], The Sydney Gazette and New South Wales Advertiser (25 June 1839), 3 

A CARD. MRS. CURTIS respectfully acquaints the Ladies of Sydney and its vicinity that she continues to give instruction on the Harp and Pianoforte.
To those who have favoured her with their patronage she begs to return her sincere thanks.
N.B. - For terms apply at their Musical Repository, Regents Terrace, Hunter street.
Sydney, June 22nd.

"CECILIAN SOCIETY", The Colonist (27 July 1839), 3 

The next evening concert takes place on Wednesday evening next. There are now about one hundred members in the society, and the funds are in a flourishing condition. The performers are becoming more proficient, and improvements have been made in the room to give effect to the performances. The members, we are requested to state, may obtain their admission tickets at Mr. Curtis's, Music Saloon, Hunter-street.

ASSOCIATIONS: Cecilian Society (association)

"CECILIAN SOCIETY", The Colonist (31 July 1839), 2 

This evening the Ceciliian Society will give a musical soiree, at which we expect a treat. Mrs. Curtis is to perform on the harp. There will be several new pieces performed both in the vocal and instrumental department; and we understand that considerable study and practice has been bestowed on the different parts of the performances . . .

"CECILIAN SOCIETY", The Sydney Monitor and Commercial Advertiser (2 August 1839), 2 

On Wednesday evening, the members of the Cecilian Society, prepared a melange of vocal and instrumental music, for the entertainment of their visitors . . . but we regret to say, that the performances of the evening were not so effective as they might have been, had they been better practised. The performance of Mrs. Curtis on the harp, which is pronounced by judges to have been very superior, compensated, however, for all other defects. - Correspondent.

"THE CECILIAN SOCIETY", The Australian (6 August 1839), 3 

A Concert was given by this body on Wednesday evening last, and it afforded us great pleasure to see the encouragement it received by the presence of a numerous and highly respectable auditory. The instrumental performers who assisted on this occasion, comprised almost all the leading professional men, and some talented amateurs. Among the last, we must especially notice Mrs. Curtis's harp performance, although this lady has made her first appearance under circumstances by no means favorable. The instrument was so inferior that it would be unjust to Mrs. Curtis to de[ter]rmine her attainments in this particular, by her exertions at Wednesday evening's concert. She has, however, given sufficient evidence of her capabilities to induce a desire to hear her again on a more suitable instrument . . .

[Advertisement], Australasian Chronicle (16 August 1839), 4 

CONCERT For the Benefit of the Distressed Poor.
DR. REID RESPECTFULLY informs the Public, that he will give a
CONCERT of Vocal and Instrumental Music, in the Old Court-House, Castlereagh-street, on Wednesday, 21st August,
the proceeds to be handed over to the Committee of the Association for the Relief of the Poor.
Programme. PART I . . . 3. Solo on the Harp - Mrs. Curtis - Labarre . . .
Mr. Deane and family, Mr. Curtis and several, other gentlemen have kindly offered their services in the Orchestra . . .

ASSOCIATIONS: James Aquinas Reid (musician); John Philip Deane (musician); Old Court House (Sydney venue)

"Concert", Australasian Chronicle (23 August 1839), 1 

Dr. Reid's Concert took place according to announcement on Wednesday, on which occasion a most numerous and brilliant assemblage was present . . . Mrs. Curtis's Solo was well performed. Her instrument is a little repaired since we heard it last. We sincerely wish, both for her sake and our own, that she would burn it. There are surely a good harp or two in the colony, and any lady would be proud to lend her instrument to such a performer as Mrs. Curtis . . .

ASSOCIATIONS: William Augustine Duncan (editor of the Chronicle, reviewer)

"DR. REID'S CONCERT", The Colonist (28 August 1839), 4 

Contrary to anticipation, the weather was fine, and the Old School room was crowded. His Excellency Sir George Gipps and Lady Gipps . . . and a number of other distinguished members of our community were present . . . Mrs. Curtis' performance on the harp was more successful than when we last heard her, but we must still complain of the instrument . . .

ASSOCIATIONS: George and Elizabeth Gipps (governor and wife)

"MUSICAL WORLD", The Colonist (4 September 1839), 3 

This portion of our community appears to be increasing in magnitude every day. We have now the Busheles, the Gautrots, the Reids, the Ellards, the Deanes, the Curtises, and others whose names we do not remember all singing and playing and teaching others to sing and to play . . .

ASSOCIATIONS: John and Eliza Bushelle (vocalists); Joseph and Madame Gautrot (violinist and vocalist); Francis Ellard and Andrew Ellard (musicsellers)

[Advertisement], The Sydney Herald (11 September 1839), 1 

ROYAL VICTORIA THEATRE. MRS. BUSHELLE, (late Miss Wallace), begs to inform her Friends and the Public, that her
CONCERT of Vocal and Instrumental Music, will take place at the Theatre Royal,
THIS EVENING, the 11th instant; she will be assisted by Monsieur and Madame Gautrot, and Mr. Bushelle;
Mr. W. Stanley, Pianist; Mr. S. W. Wallace; Mr. Peck; Mr. Leggatt; Mr. Wallace, Senior; Mr. Sippe;
Mr. Curtis; and all the Theatrical Band, and by kind permission of Colonel Wodehouse, the Band of the 50th Regiment . . .

ASSOCIATIONS: William Stanley (pianist); George Peck (violin); Thomas Leggatt (musician); Spencer Wallace (musician); George Sippe (musician); Band of the 50th Regiment (military); Royal Victoria Theatre (Sydney venue)

"MR. PECK'S CONCERT", The Australian (5 October 1839), 2 

The programme of this concert led us to expect a rich and varied evening's entertainment, and the performance fully justified our anticipations; Mr. Peck is entitled to the highest praise as well for the selection of the pieces, as in having secured the assistance of nearly all the musical talent of the colony. Monsieur Gautrot is a truly elegant violinist, and performed the business of leader to perfection. And when we add the names of Mr. Leggatt, Mr. S. W. Wallace, Mr. Peck, Mr. Curtis, and Mr. Deane, we need scarcely add that the instrumental portion of the performance was executed in superior style . . . The duet on the harp and violin (by Mrs. Curtis and Mr. Peck), was an agreeable novelty, being we believe, the first time that the former instrument has been introduced at any of our public concerts [sic]; but the playing of Mrs. Curtis has much stronger claims to applause than novelty; in fact, it was one of the most pleasing and best executed pieces of the evening . . .

ASSOCIATIONS: Spencer Wellington Wallace (musician)

"MR. PECK'S CONCERT", The Sydney Herald (7 October 1839), 1 supplement 

We derived great pleasure from our attendance at this concert. Being familiar with such performances "at home," we may venture an opinion, and state that the arrangement, (especially of the orchestra), of Mr. Peck's concert surpassed any thing of the kind which has hitherto been seen in the Colony . . . It is not our purpose to catalogue the performances - but it would be unjust in making mention at all of the concert to omit special notice of the duet "harp and violin," by Mrs. Curtis and Mr. Peck. It was the most elegant - the most drawing-room-like of any performance we have ever heard in the Colony. There was no particular display about it - but there was an immensity of refinement. It was elegant - it was (yes we will use the word) it was classical. Hearing it, you forgot that you were in a public concert-room, to which all might obtain admittance who paid at the door, - you felt as if carried back upon the wings of memory - while memory called up the "light of other days," to your home! It was, certainly, the most elegant performance of the evening . . .

[Advertisement], The Sydney Herald (2 October 1839), 2 

GRAND CONCERT.- Under distinguished Patronage. -
MR. PECK begs to inform his Friends and the Public that he will give a
Grand Miscellaneous CONCERT of Vocal and Instrumental Music, at the Royal Victoria, Theatre, Pitt-street,
on WEDNESDAY EVENING, October 2nd, when he will be assisted by the entire musical talent of Sydney, being his Farewell Benefit Concert prior to his departure for England.
The Instrumental and Vocal Departments will be upon the most extensive scale, comprising upwards of seventy performers . . .
Principal Instrumental Performers . . . Mr. and Mrs. Curtis, and (by the kind permission of Colonel Wodehouse) the Band of the 50th Regiment.
Leader, Monsieur Gautrot; Conductor, Dr. Reid; Violin Obligato, Mr. Peck; Flute Obligato, Mrs. S. W. Wallace;
Harp, Mrs. Curtis; Pianoforte, Miss Fernandez.
PROGRAMME. PART I. Overture - "Les Aveugles de Toledo" - Mehul.
Song - "King Death," accompaniments full orchestra - Neukomm - Mr. Bushelle
Duet - Harp and Violin - Labarre and De Beriot - Mrs. Curtis and Mr. Peck . . .

ASSOCIATIONS: Lucy Fernandez (pianist)

"Cecilian Anniversary Concert", The Australian (30 November 1839), 3 

Mrs. Curtis and Miss Fernandez have very handsomely proffered their valuable assistance at the Anniversary Concert of the Cecilian Society, which takes place on Wednesday, the 11th proximo.

[Advertisement], The Sydney Herald (25 March 1840), 2

R. CURTIS has just received a large assortment of New Music and Musical Instruments of every description, ex Competitor.
RICHARD CURTIS. Regent-terrace, Hunter-street, March 23, 1840.

[News], The Australian (28 March 1840), 2 

The attention of amateurs and others in the musical world, is well worthy of being directed to the Musical Repository of Mr. R. Curtis, situate in Hunter-street, where may be seen two splendid concert kettle drums, upon a new construction, and recently imported. We believe this is the first importation of the kind in the colony. The necessity of screws round the drum-head, to vary the key, is superseded by one large central screw. They are fine-toned, and in high order, and are well adapted for the Cecilian Concert, or any other musical assembly.

"MUSIC", Australasian Chronicle (31 March 1840), 2 

We have had the pleasure of inspecting a very excellent selection of new music and instruments, imported by Mr. Curtis, of Hunter-street, which we would recommend to the attention of amateurs and professors.

[Advertisement], The Sydney Herald (29 May 1840), 2 

PHIS-HARMONICAS. - The undersigned has just received a few of the celebrated Phis-harmonicas,
the quality of tone of which is unequalled by any other instrument of the size,
and may be viewed at his Musical Repository, Regent-terrace, Hunter-street.
R. CURTIS. May 28th, 1840.

ASSOCIATIONS: See on the Phisharmonicon (reed organ) by Andrew Ellard, Dublin

[Advertisement], The Australian (28 July 1840), 3 

R. CURTIS being compelled from other engagements shortly to decline business in the above line, most respectfully calls the attention of the Musical World to the following list of goods he has lately received to order, per the Charles Jones, and other late arrivals, which he is enabled to dispose of on the most reasonable terms, and the circumstances of their having been expressly selected from the Market at home, by Vincent Novello, will it is presumed merit their superiority. Such portion of his Stock as may remain unsold, R. G. has determined to ship for the Indian Market.
Erat's [Erard's] double movement, full sized Patent Harps.
Old Violins, by Italian and other makers
Old Violincellos, by Smith, Wainwright, and others.
Old Violas, by Duke and others
Guitars, Clarionetts, Flutes, double and single Flageolettes, Accordions, and every other description of Musical Instrument
Complete sets of the Musical Library
Ditto of the Musical World
Twenty two Oratorios by Handel, Haydn, Mozart, Beethoven, Felix Mendelssohn Bartholdy, and Romberg
Overtures, Waltzes, and Quadrilles, for a full band
A few sets also arranged for a Brass Band
(The whole of the above have complete Orchestral accompaniments).
Overtures, Select Airs, Rondos, Fantasias, Waltzes, and Gallopades
Also, Airs for the Flute, Violin, and Violoncello,
An extensive assortment of Songs, English and Italian - Glees und Duetts.
A Collection of Psalm and Hymn Tunes, Chaunts, &c., Instruction Books.
Complete Sets of Italian Strings for the Harp
Sets of Silver Strings
A few sets of Bochsa's patent metallic Strings
Guitar Strings, Violin ditto, and Violincello ditto
Fancy and Common, in great variety.
27th July 1840.

[Advertisement], Australasian Chronicle (29 October 1840), 3

CONCERT . . . MONS. and MAD. GAUTROT have the honour to announce that their LAST CONCERT will take place at the Old Court House, Castlereagh-street, Tomorrow (Friday), the 30th October, 1840. Programme . . . Part 2 . . . Fantasia for harp and violin, from "Moise in Egetto," Labarre and De Beriot, Mrs. Curtis and Monsieur Gautrot . . .

MUSIC: Fantaisie sur des motifs de Moise (Labarre and De Beriot)

[Government notice], The Sydney Herald (3 December 1840), 4 

THE undermentioned Prisoners having absconded from the individuals and employments set against their respective names . . .
Shaw Mary Ann, Surry (9), 16, Lancashire, kitchen maid, 4 feet 7 1/2 inches, sallow comp., brown hair, hazel eyes, nose short and broad large scar back of left thumb, and hand, from Richard Curtis, Sydney, since November 22 . . .

[Advertisement], The Australian (23 March 1841), 3

GRAND CONCERT . . . Mrs. J. S. PROUT, Pianist,
begs to announce that her Concert, of Vocal and Instrumental Music will take place at the Royal Victoria Theatre,
TO-MORROW EVENING, March 24. She will be assisted by . . .
Mr. S. W. Wallace, Mr. T. Leggatt, Mr. Wallace, Mr. Deane, Mr. E. Deane, Mr. Sippe, Mr. Walton, Mr. O'Flaherty,
Mr. Curtis, Mr. Portbury, Mr. Pappin, Mr. Downes, and the other members of the Theatrical Orchestra.
Colonel French his also kindly allowed the use of the excellent Band of the 28th Regiment.
Leader, Mr. S. W. Wallace; Conductor, Mr. Leggatt . . .
PROGRAMME. PART I. Overture to "Don Giovanni" - Mozart - Full Orchestra . . .
PART II. Overture to Ludovic - Herold - Full Orchestra

ASSOCIATIONS: Maria Prout (musician); Edward Smith Deane (musician); Humphrey Walton (musician); Henry Charles O'Flaherty (musician); Benjamin Portbury (musician); Stephen Pappin (musician); Mr. Downes (musician); Band of the 28th Regiment (military)

"THE CECILIAN SOCIETY", The Sydney Herald (25 March 1841), 2 

Yesterday Mr. W. Ward appeared at the Police office before Mr. Windeyer, for having in his possession books belonging to the Cecilian Society, alleged to have been stolen from the Society's press. Mr. Deane appeared for the prosecution and identified about ten volumes of music as being his property which he had lent to the Cecilian Society, and which had been to his knowledge kept with the property of the society in a press in the old Court House, and had been abstracted from that place of safety about the 17th instant. In consequence of information a search warrant was issued for the house of Mr. Curtis, but the property was ultimately found in the house of Mr. Ward, who immediately gave up the property, and also gave every information as to how the property claimed came into his possession.
Mr. Rogers the secretary of the society also identified some of the property as belonging to the society and said that about twenty pounds worth of the same had been purchased from Mr. Curtis. Mr. James Johnson proved that on Tuesday evening the 16th instant the books in question were lodged in the society's press in the old Court House, Mr. Allen proved that he had locked the press in which the society's music was contained, and also that when he locked the press on last Tuesday night there was a wide space vacant from the lock having been forced. Mr. Josephson proved that on Friday, morning Mr. Cosgrove called him in for the purpose of seeing the press in which the society's books were contained, as it had fallen down, and he was afraid some of the books were missing, and when he examined the press he immediately discovered that the lock had been wrenched off, which was subsequently found on one of the shelves of the press; and also, that a great portion of the music books were missing.
Sergeant Brodie of the Sydney police produced the lock and a nail, which in his opinion had been employed in wrenching off the lock; and said, that he having got some information, procured a warrant and proceeded to Mr. Curtis' house, and not finding him at home, he went to a person of the name of Roach, a bird-stuffer, residing in Hunter-street, and asked for him repeatedly but it was denied that Mr. Curtis was at home; that he afterwards obtained assistance, and was prepared to force an entrance, when a female avowed herself as being Mrs. Curtis, and told him he was welcome to make a search of the house, which he did, but found none of the property; he afterwards saw the defendant speaking to a person, and from his seeing his portrait in Mr. Curtis' house, he thought he might in some way be connected with the family of the latter, and asked him if he knew when Mr. Curtis would be at home, when he told him that he did not know as he had just seen Mr. Curtis at Canterbury gate going out. He also told Mr. Ward that he had information of some books being left at a certain house (which referred to Mr. Cunningham's) when Mr. Ward said he knew nothing about the matter; he also deposed that a man named Anderson, a servant of Mr. Cunningham told him that a parcel of books of the description he was in search of, had been left at his master's house on the Wednesday, and had been removed on the following day, and that Mr. Cunningham told him that Mr. Curtis was the party who had left the books in question.
W. Anderson, servant to Mr. Cunningham, proved that Mr. Curtis left the books at his master's on the forenoon of St. Patrick's Day, and that on the following day the defendant's servant was brought by Curtis and removed the books which had been, by Curtis' request securely placed in a room, and covered up until they were removed on the following day.
In cross-examination this witness proved that the defendant called on Mr. Cunningham and asked him about a paragraph which had appeared in the Herald newspaper, respecting some books which had been stolen, and said that he should immediately see Mr. Curtis and go to the Herald Office; this he said openly, Mr. Nichols said he had two other witnesses to examine, but perhaps the defendant might give such an explanation as would render their examination unnecessary.
Mr. Ward after being cautioned, made a statement to the following purport: -
On the 17th instant, he saw Mr. Curtis, a friend of his, who visited his house whenever he came to Sydney, when he told him he had been in the room looking at the preparations making for St. Patrick's dinner, when he saw the press open and thought it was a rare chance to getting music, and took it and left it at Mr. Cunningham's house, as the Society was indebted to him £5 18s. and he should stick to it till he got his money: that on the following day, he (Mr. Ward) went to the races, and on the day after he saw the paragraph in the Herald of the music being stolen. He then went to Cunningham and spoke to him about the matter and told him to look out about the music, as it was represented in the Herald as being stolen, it being then in his (Ward's) house. After going to his own residence he spoke to Mrs. Ward on the subject, as to how the music came to his house, and told her that as he suspected that the paragraph referred to the music which had been left at his house, if any of the police, or any of the Committee of the Society called, that whatever they claimed they were to take; and on Monday last he saw Mr. Curtis and spoke to him on the matter, when the latter told him not to give up the books as the Society was indebted to him £5 18s.
He also stated that Mrs. Ward had informed him that the music had been brought into the house by his own servant for Mr. Curtis, he said it was a common thing for his servant to be employed in going with and for music for Mr. Curtis, which was generally either left at, or taken from, his (Ward's) house. Mr. Ward called his servant, William Rea, who proved that Mr. Curtis had employed him to remove the books.
Mr. Windeyer said, after the straight forward statement which had been made by the defendant, coupled with the evidence he had heard in support of its truth, he had only one course to pursue, and that was to dismiss the case, at the same time he considered it but fair to say, that there was not a tittle of evidence in all that he had heard, which went to implicate Mr. Ward, and he very much doubted whether there was any evidence at all of a felony having been committed; it was possible that Mr. Curtis, having a claim, in his own opinion, on the society, might, however wrongfully, have removed the books in order to secure payment of his legal demand, and, besides, Mr. Deane had not supplied him with any evidence, that his books were marked in any way so as to be distinguished from those of the society, and therefore, until that was made out, he had no evidence that even, in his case, a felony had been committed, and therefore, until he had an information from Mr. Deane, or from some member of the committee of the Cicilian Society, he should forebear issuing a warrant against Mr. Curtis.
The case occupied the Court for nearly three hours, and from the great number of musical gentlemen that were present it evidently excited great interest among the profession.

ASSOCATIONS: Charles Windeyer (magistrate); James Johnson (musician, member); Joshua Frey Josephson (amateur, member); see also "THE CECILIAN SOCIETY'S MUSIC", Australasian Chronicle (25 March 1841), 2 

See also "News of the Day", The Sydney Monitor and Commercial Advertiser (26 March 1841), 2 

See also "CHARGE OF THEFT", The Sydney Gazette and New South Wales Advertiser (27 March 1841), 2 

"THE CECILIAN SOCIETY'S BOOKS", Free Press and Commercial Journal (27 March 1841), 3 

Considerable unpleasantness has lately existed, relative to some music books, which were missing from the Cecilian Society's case in the Old Court House, and which were supposed to have been stolen. The books were traced to the residence of Mr. J. Ward, who appeared at the Police Office, a summons having been issued in consequence. Mr. Ward accounted for his having the books in his possession by stating that they had been left at his house by Mr. Curtis, who retained them in his possession until he could obtain payment of an account due to him by the Cecilian Society. Mr. Ward had not attempted to conceal the fact of the books having been left at his house, but had given orders, that any thing which the Cecilian Society claimed should be delivered to them. The Bench dismissed the case against Mr. Ward, expressing their opinion that no charge could possibly be brought against him under the circumstances of the case, and declined proceeding against Mr. Curtis until further evidence should be brought before them.

[Advertisement], The Australian (1 April 1841), 3 

GENTLEMEN: Having learnt subsequently to my removing certain Books in the possession of your Society that I had no legal right so to do, I beg to express my regret for having so done, and beg that you will accept this as an apology for my indiscreet conduct.
Sydney. March 31st, 1841.

See also, [Advertisement], The Sydney Herald (27 April 1841), 1 

Village of Commons and Town of Carcoar. TO BE SOLD BY PRIVATE CONTRACT. Fourteen eligible Allotments of Land, comprising half an acre each, in the rapidly improving Village of Gunning. Also, Two Allotments of a quarter of an acre each, in the most preferable part of the Town of Carcoar . . . Particulars may be known, and a plan of the property seen by applying to R. C., Mr. Pegler No. 16, Hunter-street.

Hobart, VDL (TAS) (by October 1841 until August 1849 or slightly later):

[Advertisement], The Courier (1 October 1841), 3

respectfully announce to the Ladies and Gentlemen of Hobart Town and its vicinity, that they will give a
CONCERT of VOCAL and INSTRUMENTAL MUSIC at the Theatre on TUESDAY EVENING, the 5th October next,
assisted by all the available professional talent and several amateurs.
The Orchestra of stringed and wind instruments will comprise upwards of twenty performers, the whole under the superintendence of Mr. Reichenberg.
PROGRAMME. PART 1ST. Overture to Zampa, (by full Orchestra) - Herold . . .
PART 2ND. Overture, "L'Italiana in Algeri," (by full Orchestra) - Rossini . . .
Trio, (piano, violin, and violoncello,) - Messrs. Russell, Leffler, and Curtis - Rossini . . .

ASSOCIATIONS: Caroline Elliot (musician); Joseph Reichenberg (musician); William Wilkins Russell (musician); Edmund Leffler (musician); Royal Victoria Theatre (Hobart venue)

"THE CONCERT", The Courier (8 October 1841), 3 

On Tuesday evening Mrs. Elliot and Mr. Reichenberg's Concert took place before one of the most respectable audiences we have ever seen in the Theatre . . . The trio from Rossini by Messrs. Leffler, Russell, and Curtis, was really admirably played, and did those performers great credit; there was a correctness of expression, and combined decision of tone and feeling, which rendered it in our opinion the most meritorious piece of the evening . . .

[Advertisement], Colonial Times (8 February 1842), 1 

MRS. CLARKE BEGS to inform her friends and the public that she intends to give a Concert . . .
in which she purposes to introduce some of the most popular music, as now performed at the London Concerts . . .
PROGRAMME. PART I . . . Concertante - Mrs. Curtis, harp; and Mr. Duly, flute. - BOCHSA . . .
PART II . . . Quartetto - Mrs. Curtis, harp; Mr. Duly, flute; Mr. Curtis, violoncello; and Mr. John Howson, pianoforte. - BOCHSA . . .
The whole under the direction of Messrs. Leffler and Russell . . .

ASSOCIATIONS: Anne Remens Clarke (manager, actor, vocalist); George Frederick Duly (jun.) (flute); John Howson (piano); Argyle Rooms (Hobart venue)

"MRS. CLARKE'S CONCERT", The Courier (18 February 1842), 2 

On Friday evening last a first opportunity was afforded to the inhabitants of this town of judging of the selection which Mrs. Clarke had made of the assistance for which she returned to England, and we feel assured that no one can hesitate to say that much credit is due to her for the judgment exercised in the matter . . . Bochsa's Concertante, arranged for harp and flute, was played with effect, on the former instrument by Mrs. Curtis, and on the latter by Mr. Duly, junior. There is a grace in the mere attitude required for the harp (we mean when properly handled,) which cannot fail to predispose and assisted, as was Mrs. Curtis, by the efficiency of Mr. Duly's flute, the performance, though not eliciting any remarkable degree of fingering, afforded pleasure . . .

[Advertisement], The Austral-Asiatic Review, Tasmanian and Australian Advertiser (6 May 1842), 1 

A Card. MRS. CURTIS begs to inform the Ladies of Hobart Town and its vicinity, that she intends giving lessons on the Harp and Pianoforte, and hopes, by strict attention, to merit a share of public patronage.
For terms, apply to Mr. Tegg, Stationer, Elizabeth-street.
Residence, 31, Brisbane-st. May 6, 1842.

ASSOCIATIONS: Samuel Augustus Tegg (stationer, bookseller)

[Advertisement], The Courier (23 September 1842), 1 

BLUE BEARD; OR, FEMALE CURIOSITY. With the whole of the Original Music . . .
After which, a MUSICAL MELANGE . . .
Song - "Scenes of my childhood" - (Gypsey's Warning) Mrs. Stirling, accompanied by the Harp, by Mrs. Curtis, and the Trombone, by Mr. J. Howson . . .

ASSOCIATIONS: Theodosia Stirling (vocalist, actor)

[Advertisement], The True Colonist Van Diemen's Land Political Despatch (7 October 1842), 3 

MR. J. HOWSON'S BENEFIT. MONDAY OCT. 10, 1842 . . . for the first time in the colony, the Romantic OPERA of

ASSOCIATIONS: Emma Young (actor, dancer, vocalist)

[Advertisement], The Courier (26 May 1843), 1 

being in possession of the whole of the original Music of Guy Mannering,
she is induced to revive that celebrated Opera. MONDAY, MAY 29, 1843 . . .
Julia Mannering - Miss Young; Lucy Bertram - Mrs. Clarke;
Mrs. McCandlish - Mrs. Curtis; Meg Merrilies - Mrs. Stirling . . .

[Advertisement], The Courier (16 June 1843), 1

The lovers of Music are respectfully informed, that the above Society has now been definitively established.
Individuals desirous of having their names enrolled on the subscription list, will be pleased to communicate their wish to the Secretary, No. 12, Patrick-street, where the rules may be had.
RICHARD CURTIS, Secretary. Committee Room, June 13.

ASSOCIATIONS: Hobart Town Choral Society (association)

"MR. GATTEY HOPKINS'S BALL", Colonial Times (30 April 1844), 3 

On Tuesday evening last, Mr. Hopkins gave his usual quarterly Ball to his pupils and their friends, at Mr. Mezger's large room, in Argyle-street: it was extremely well attended, being if anything, rather too much crowded, but the utmost harmony and hilarity prevailed, the dancing beginning exactly at nine o'clock, and being continued till very nearly daybreak - even in these dark coming mornings . . . The music was very superior, the orchestra consisting of Messrs. Duly, Gautrot, Curtis, and Singer.

ASSOCIATIONS: Gattey Hopkins (dancing master); Abraham Philip Duly (musician); John Macdonald Singer (musician)

"HOBART TOWN CHORAL SOCIETY", The Courier (22 October 1844), 3 

The second public performance of this highly useful society took place on Tuesday evening last, in the Hall of the Mechanics' Institute, which had been obligingly lent for the occasion. The platform was fitted up as an orchestra, and the number of the performers, vocal and instrumental, were about forty. With the exception of Madame Gautrot (who lent her powerful assistance) the whole of the vocalists were amateurs, as were also many of the instrumental performers; this branch received considerable aid from the exquisite playing of Mrs. Elliott on the piano, Mr. Duly, Monsieur Gautrot, and Mr. Russell on violins, and Mr. W. H. Howson at the double bass, together with several of the excellent band of the 51st regiment, which, by the kindness of Colonel Elliott, were placed at the disposal of the Committee. The first part was Romberg's delightful ode, "The Transient and the Eternal," which was played and sung in a manner that called forth the repeated plaudits of a crowded audience. The second part was of a mixed character, comprising detached pieces from the works of Mozart, Handel, Haydn, and other esteemed composers, forming a selection well calculated to enable the admirers of those celebrated men to compare their relative styles. The various parts of some exceedingly difficult pieces were sung and played in a style far superior to anything of the kind we have ever heard before here. The choruses were given with great precision and effect, and, though the number of performers was so great, the sounds were but as one "loud voice." Mr. Curtis, the conductor (a perfect musical enthusiast,) is entitled to the warmest thanks of the society and the public for his untiring exertions in maturing so useful an institution. We wish him and the members generally all the success that efforts so praiseworthy must merit. Our attention was particularly called to the beautiful manner in which some of the solos were sung; but as the vocalists, with the exception we have named, are all amateurs, we fear to offend by making particular mention of names. We must, however, break through this rule in favour of Masters Allen and Phillips, whose singing, considering their ages, was really delightful. We anticipate much good and a great amount of pleasurable feeling from the future meetings of the society.

ASSOCIATIONS: Edward Allen junior (vocalist); William Edwin Howson (double bass); Band of the 51st Regiment (military); Mechanics' Institute (Hobart venue)

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

. . . We must confess that, in attending the third Oratorio of the Society, given on Tuesday evening, we could not but feel some apprehension lest, in so young an institution, little justice would be done to the exquisite beauties and elevated character of this matchless production [Handel's Messiah] . . . With a vivid recollection, however, of the splendid performances in York Minster and Westminster Abbey, we were more than gratified with "Handel" in Tasmania. It is true we were called upon, in one or two instances, for the exercise of a little charity; but we trust we were fully prepared to make allowances for the great difficulties with which the Society have had to contend, and to remember how much they have already achieved in their laudable efforts to overcome them. Under the spirited leadership of Mr. Russell, and with the zealous and indefatigable Mr. Curtis as conductor, the overture was admirably performed . . . The "Hallelujah Chorus" would have done credit to associations claiming a prouder name. We must not conclude this notice without observing that the fine introductory overture to the second part [sic] was performed with a delicacy, closeness, and precision that we have seldom heard surpassed. Go on thus, we say to our Choral Society, and prosper.

"BALL AND SUPPER", Colonial Times (5 April 1845), 3 

On Wednesday Evening last, the Chief Police Magistrate and his lady gave a very elegant Ball and Supper to about a hundred of our elite, at his residence in Macquarie-street: the rooms were splendidly illuminated, and a fine Quadrille Band, under the direction of Messrs. Gautrot and Curtis, and stationed in the entrance hall - the rooms right and left being thrown pen for the dancers, - administered a tasteful pabulum to the votaries of Terpsichore. Dancing commenced about 9 o'clock, and was gaily continued till 4 in the morning, - the pastime being pleasantly interrupted by a very elegant supper about midnight. Beauty, indeed, was there, and youth and loveliness, while the gallant officers of the 51st and 96th regiments, added by their uniforms very greatly to the brilliancy of the scene. It is an evening which will be long remembered as one of those bright spots, which occasionally illumine the dull and beaten path of life.

ASSOCIATIONS: Francis and Emma Burgess (hosts)

"THE ORATORIO", The Courier (17 April 1845), 2 

We cannot sufficiently commend the judgment with which the Choral Society continues to give these attractive public performances, and to introduce to popular acquaintance the best productions of the great masters of sacred melody. In the sublimity of Handel, the massive grandeur of Haydn, the plaintive tenderness of Mozart, and the varied splendour of Romberg, there is an inexhaustible source of pleasure and of profit. Throughout the performances on Tuesday evening, there were abundant manifestations of great and improving excellence. The instrumental department was ably sustained under the accomplished leadership of Mons. Gautrot and the indefatigable exertions of Mr. Curtis, not forgetting Mrs. Curtis at the piano. The choruses selected for the occasion were admirably given . . .


THE beautiful little building in Argyle-street devoted to religious service by the scattered remnant of Israel in this town, was opened according to announcement, on Friday last [4 July] . . . At the conclusion of the consecration office . . . The afternoon and evening services then proceeded, in which latter the choir sang two pieces without the aid of the instrumental band. The reader was Mr. H. Jones; the leader of the choir, Mr. M. Simeon; the band was led most ably by Mr. Reichenberg, and included Messrs. Duly, Curtis, Gautrot, Singer, &c. . . .

ASSOCIATIONS: Henry Jones (reader); Michael Simeon (choir leader); Synagogue music (general)

"THE CHORAL SOCIETY", The Courier (30 August 1845), 2 

Let no one say that musical taste and science are not progressing in Hobart Town. If other evidence were wanting, the Choral Society's ORATORIO, on Tuesday Evening, unequivocally established the gratifying fact. We have ever regarded Handel and Haydn as taking their place, in the scale of intellectual dignity, with Raphael, Michael Angelo, and Titian, with Milton, Dryden and Pope - with all the great name rendered illustrious by elevation of thought, sublimity of conception, power of expression, and splendour of genius. With these sentiments, we feel justified in the conviction that neither individuals nor communities can form a familiar and intelligent acquaintance with the magnificent productions of these great masters, without a corresponding advancement in refinement of taste, correctness of judgment, and expansion of mind - without a collateral improvement in all the noblest attributes of humanity. Alive, then, as we are, to the mental and mural interests of the community to which we belong, we cannot but express our unqualified approbation of the judicious and zealous labours of the Choral Society of Hobart Town, and rejoice at its success. The presence of a densely-crowded audience, on Tuesday evening, afforded ample and pleasing testimony, on the part of the public, of similar satisfaction and approval which, we feel assured, the arrangements, selections, and performances of the evening would strengthen and confirm. We will not particularize individual superiority where all was excellent, from the veteran leader, Mons. Gautrot, and the indefatigable conductor, Mr. Curtis, down to the striplings trained under the auspices of the society. The songs and choruses are too firmly established in popular favour to require comment or the expression of admiration. It will be sufficient to add that the fine "Te Deum" by Paisiello, though presenting peculiar difficulties, was executed in a style worthy of societies with higher pretensions, and boasting a prouder name. But, admirable as were the performances, their full effect was yet somewhat impaired by one or two unavoidable circumstances. The first of these was the fact that the recent alterations in the Mechanics' Institution, however convenient for lectures and addresses, have not improved its adaptation for musical purposes. This was painfully obvious in the burst of the opening chorus. The next, which, we trust, will ere long be remedied, is the deficiency of solo voices, which prevents the society from introducing some of the finest songs of our great composers, and forbids the relief which would thus be afforded to the overpowering pressure of a succession of choruses.

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

THE introduction of Judas Maccabaeus to the acquaintance of the musical amateurs of Hobart Town, furnishes another pleasing proof of the characteristic spirit and zeal of this excellent society. Their sixth public performance, on Tuesday evening, consisted entirely of selections from this fine Oratorio . . . The exquisitely beautiful songs with which this Oratorio abounds, were given in a style that . . . we should have considered it unreasonable to expect, by Messrs. McGregor, Allen, Cresswell, and Williams . . . "O lovely peace," sung by Mrs. Elliott and Master Allen, was one of the "gems" of the evening. Madame Gautrot, who came forward but once, fell short, we thought, of her accustomed excellence. We regretted that she did not attempt the splendid though difficult air, "From mighty kings." Of the instrumental performers, the veteran leader, Mons. Gautrot, fully sustained the character he has won; while Messrs. Marshall and Vautin, on the flute and violoncello, contributed, in no slight degree, to the eclat of the performance. In the air, "O liberty," spiritedly sung by Mr. McGregor, and very neatly accompanied by Mr. Vautin, it seemed to be forgotten by all except the able mid experienced conductor, Mr. Curtis, that the accompaniment is, throughout, a violoncello obligato. Of Mr. Curtis we may add that he appears to be the "animating soul" of the society. Several of the choruses were very effective, and the last was admirably given . . .

ASSOCIATIONS: John McGregor (vocalist); Benjamin Humphries Cresswell (vocalist); James Vautin (cello)

"THE BENEFITS OF PROBATIONISM", The Courier (14 February 1846), 2 

On Sunday afternoon, during the attendance of Mr. and Mrs. Curtis at St. George's Church, where they superintend the choir, their residence in Campbell street was entered by a back window, and the sum of £7 10s. was abstracted from a box where it had been deposited but the day before. Nothing else was disturbed. Two men, just engaged by Mr. Johnson, the cooper, whose yard is in the rear of Mr. Curtis's cottage, are in custody on suspicion of having effected this heartless robbery. These men were in the yard the whole of Sunday afternoon; and though they had received no money from their master on the Saturday, they subsequently found the means of indulging in "a spree," from which one of them did not return to his employment until Tuesday morning, and then in a state of intoxication.

ASSOCIATIONS: St. George's church (Battery Point, Hobart)

"CHORAL SOCIETY'S CONCERT", The Courier (31 October 1846), 2 

The first of a series of concerts, the proceeds to be devoted in liquidation of outstanding claims upon the society, was given in the Hall of the Mechanics' Institute on Tuesday evening. The weather was most unpropitious, and the concert, consequently, but thinly attended. Mr. Curtis was conductor, and Mrs. Curtis and Mr. Russell alternately presided at the pianoforte. The orchestral department was strengthened by the excellent band of the 96th, and the overtures were effectively performed. The principal vocalists were, Messrs. Young, Allen, Cresswell, Curtis, and Hartridge. Lovers beautiful song, the "Four-leaved Shamrock," was sung by Young with much taste, and elicited general applause. We have not space for a detailed notice of the performances.

ASSOCIATIONS: Charles Young (actor, vocalist); Mr. Hartridge (vocalist)

"TRANSFER OF LICENSES", Colonial Times (3 November 1846), 3

. . . To Richard Curtis, a new house in Murray Street, adjoining Mr. Gaylor's Tavern, to be called the Cumberland Arms. Mr. Perry, who appeared to support the application, stated to the Bench, that the house was a splendid one, being the property of Mr. White, of the firm of Burns & White, and that it contained a very large and commodious room, which was available to the purposes of the Choral Society, of which Mr. Curtis was a zealous and most active member; it was also well adapted for a Family Hotel, which the learned gentleman thought was much required in that locality.

"GRAND BALL AND BANQUET. Opening of the New Exchange Rooms", The Courier (2 January 1847), 3 

Mr. T. Y. Lowes, on Thursday evening, invited his numerous friends and patrons, and their families, to a ball and supper, on the occasion of opening his new auction mart and stores, in Collins-street, the property of Louis Nathan, Esq., of Commercial House. Nearly 400 guests were present . . . The space in front of the gallery, over the auction mart, was fitted up with all appropriate and necessary appendages as an orchestra for a quadrille band. Of this we may mention, en passant, Mr. G. F. Duly [sic] was conductor at the pianoforte; Mr. Howson leader, with Mr. Curtis, Mr. Piecroft, Mr. Duly, jun., and two of the band of the 96th - the one playing the cornopean, and the other the clarionet . . .

ASSOCIATIONS: Henry Howson (violin, leader); Joseph Pycroft (musician); Band of the 96th Regiment (military)

"LICENSED VICTUALLERS SOCIETY", The Britannia and Trades' Advocate (4 February 1847), 2 

Agreeable to arrangements previously made for the presentation to Charles McLachlan, Esq., by the members of the Van Diemen's Land Society of Licensed Victuallers, that gentleman attended a meeting, called by advertisement, and circulars, at Mezger's Hotel, at half-past two, on Friday last . . . After the cloth was removed . . . Messrs. Harbottle, Wright, and Curtis, sang the very appropriate glee - "Should auld acquaintance be forgot," in a style, and with a feeling suited to the occasion . . .

ASSOCIATIONS: Thomas Harbottle (amateur vocalist)

"PACKER'S CONCERT", The Britannia and Trades' Advocate (15 February 1849), 3 

The Music Hall was numerously, and respectably attended on Monday night . . . Mr. Packer was well supported in several pieces, by Messrs. Curtis, Dyer, and Russel, and his singing, and masterly performances on the pianoforte, drew forth general applause from those present.

ASSOCIATIONS: Charles Sandys Packer (musician); Benjamin Bissell Dyer (musician)

"AT THE FOURTH QUARTERLY MEETING . . .", The Courier (8 August 1849), 3 

. . . for-granting publicans' licences, held on Monday, 6th August . . . the following transfers were allowed: . . . Richard Curtis to Henry Downer, the Cumberland Arms, Murray street . . .

After 1849:

"Death", The Maitland Mercury and Hunter River General Advertiser [NSW] (3 February 1855), 3 

At Dungog, on the 27th January, of apoplexy, Mrs. Curtis, of the Dungog Inn, aged 42 years, leaving four children to lament their loss.

"NEW INSOLVENTS", The Maitland Mercury and Hunter River General Advertiser (3 November 1855), 2 

OCT. 29. - Richard Curtis, of Dungog, publican. Liabilities, £1600 5s. Assets-value of personal property, £755; outstanding debts, £30; total, £785. Deficit, £231 5s. Mr. Morris, official assignee.

"MUNICIPAL COUNCIL", Colonial Times [Hobart, TAS] (13 November 1856), 3

The applications for the situation of City Inspector in the room of Fane dismissed, were next taken into consideration. The applicants were 23 in number, namely: - Richard Curtis, late publican . . .

"CITY OF MELBOURNE QUARTERLY LICENSING MEETING . . . TRANSFERS", The Argus [Melbourne, VIC] (5 September 1860), 5 

. . . Richard Curtis, Young Queen Inn, Therry-street, from John Bailey. Withdrawn . . .

[Advertisement], Gippsland Times (16 January 1863), 1 

R. G. CURTIS, Engineer, Plumber, &c., Sale,
BEGS respectfully to inform the residents of the district that he has commenced business in the above line, and trusts, by strict attention to all orders entrusted to his care, to obtain a share of patronage and support;
Steam, Fire, Garden, and Beer-engines, Water closets, Lift and Force Pumps, Gas and Water Fittings, on the best and latest improvements, made and repaired.
All orders left at the POST-OFFICE will be attended to. Sale, January, 1863.

Application, land grant, 1863; Public Record Office Victoria, 242/P0000, 63/H/6063 

Richard Gill Curtis seeks a grant of land to supply Sale township with water by means of steam power

"MARRIAGES", The Mercury [Hobart, TAS] (15 May 1865), 1 

BOXALL - CURTIS. - On May 10, by special license, at St. Luke's Church, Richmond, by the Rev. D. Galer, Mr. J. P. Boxall, Elizabeth-street, Hobart Town, to Emma Curtis, second daughter of the late Richard Gill Curtis, Esq., of Gipps Land [sic]. No Cards.

"DEATHS", The Argus (10 July 1871), 4 

CURTIS. - On the 8th inst., at the residence of his son Charles, Lygon-street, Carlton, Richard Gill Curtis, aged 79 years.

Bibliography and resources:

Rosemary Margaret Hallo, Erard, Bochsa and their impact on harp music-making in Australia (1830-1866): an early history from documents (Ph.D thesis, University of Adelaide, 2014), 66, 73-74, 91-94, 202, 206 (DIGITISED)

NOTE: Hallo (74, and see also 93 and 202) claimed to have identified Emma Curtis's harp as no. 2728 (see Erard London ledger 2, 2728); however, that harp was sold on 17 June 1819 to a Miss Curtis of Bond Street, London, obviously unrelated to Emma Irving Curtis

"Boardman Moss family tree", posted 11 February 2016 


Amateur musician, German flute player

Active Launceston, VDL (TAS), 1835 (shareable link to this entry)


? "SHIP NEWS", Colonial Times (5 November 1830), 2

OCT. 30. - Arrived the brig Resource, Captain Smith, from London the 29th of June . . . Passengers, Messrs. Walkinshaw, Frampton, Collett, Murdock, Curzons . . .

? [News], Colonial Times (29 January 1833), 2

Messrs. Lawrence and Curzon fell in with the native tracks on Wednesday last, at the Western Lake. They distinctly heard the natives, and brought away with them a quantity of spears, which they found hid by the side of a tree where the blacks had just before been encamped.

[News], The Hobart Town Courier (16 January 1835), 2

The concert at the British Hotel on Wednesday evening was most respectably attended, and the gentlemen amateurs deserve much praise for their exertions to gratify the company, Mrs. Davis presided at the piano-forte, and was very ably supported by Messrs. Munce, jun. (on the violin), Curzon (German flute), and Beckford (violincello). Ibid. [= Launceston Independent]

ASSOCIATIONS: Sophia Letitia Davis (musician); Mr. Munce junior (violin); Thomas Leaman Beckford (cello)

? Letter, Horace Curzon, Launceston, 28 May 1836, to Colonial Secretary; Tasmanian names index; NAME_INDEXES:1622025; CSO1-1-864 File Number 18261$init=CSO1-1-864-18261-2 (DIGITISED)

Sir, Understanding, that Mr. Hutchinson, the present second clerk of the Police Office in this town, is about to be removed to a higher appointment . . . I respectfully beg to offer myself as a candidate for that situation . . .

? 1839, deaths in the district of Launceston; Tasmanian names index; NAME_INDEXES:1143780; RGD35/1/16 no 235 (DIGITISED)

No. 235 / 21st Dec'r 1839 / Horatio Curzen / Male / Thirty / Violent Cold . . .


Musician, banjo player, vocalist, member and manager of the New York Serenaders

Arrived George Town, near Launceston, TAS, 26 February 1851 (per Spartan, from California, via Tahiti)
Arrived Sydney, NSW, 19 June 1851 (per Maid of Erin, from Hobart, 6 June)
Departed Sydney, NSW, 31 August 1851 (per Emma Prescott, for San Francisco, via Tahiti) (TROVE tagged by Australharmony) (shareable link to this entry)

ASSOCIATIONS: New York Serenaders (troupe)


Cushing was a member of the New York Serenaders at the start of their Pacific tour in 1850. The company of six, consisting of C. Cushing on banjo, W. H. White on violin, J. P. Nash and J. H. Gantz on guitar, and J. C. Lee and J. O. Pierce respectively as Tambo and Bones, opened in Hawaii on 29 January 1850. They were next playing San Francisco in August 1850, where Gantz was replaced by James Edward Kitts.

Cushing left Sydney around August 1851, to return to the United States, while the rest of the troupe toured on to India, with James W. Reading replacing him as banjoist.


"PASSENGERS", Daily Alta California [San Francisco] (20 September 1850), 2 

Per Connecticut - Messrs. C Cushing, J. C. Lee, J. R. Mitchell, M. Whitcomb, Capt. Thorp, Capt. Cole and 3 in the steerage.

[Advertisement], The Cornwall Chronicle [Launceston, TAS] (1 March 1851), 133

THE NEW YORK SERENADERS take pleasure in announcing to the citizens of Launceston and its vicinity their arrival at this place, and will have the honour of appearing in Ethiopian character at the "Cornwall Hotel," on TUESDAY evening next.
This company is among the first which were organised in New York, and have given very successful Concerts throughout the United states, South America, California, and the islands of the Pacific, and are now visiting the Australian Colonies en route to the East Indies and the Continent of Europe.
From long experience in the business they are enabled to give a legitimate American Negro performance.
All the music of the day having been sent them from New York, a new and varied programme will be offered.
The company is composed of the following gentlemen:
W. H. White, Violin - C. Cushing, 1st Banjo
J. P. Nash, Guitar - J. Kitts, 2nd ditto
J. O. Pierce, Tamborine - J. C. Lee, Bone castanets
PROGRAMME OF PERFORMANCE, On Tuesday evening, March 4, 1851.
Overture - Introducing selections from the Operas of I Puritani, and La Dame Blanche - Full band
Let's be gay, from Robert le Diable - Mr. Nash
Julius' Bride - Mr. Cushing
Mary Blane - Mr. Kitts
Trio - Colored Fancy Ball - Messrs. Nash, Kitts, and Pierce.
Juliana, Phebiana, Constantina Brown - Mr. Pierce
Virginia Rosebud, from the Bronze Horse - Mr. Nash
Phantom Chorus, from La Sonambula - Company
Stop dat knocking an Operatic Burlesque - Mr. Pierce
Banjo Solo - Mr. Cushing
Trio - Violin, Guitar, and Bones - Messrs. White, Nash, and Lee
Burlesque on Mesmerism - Company
Bulgine, Slambang, Humbug - Overture - Full band
Give is chaw tobacco - Mr. Cushing
History of the world - Mr. Pierce
Old Napper - Mr. Lee
Picayune Butler - Mr. Pierce
Bowling Green - Mr. Cusbing
[REDACTED] from de Souf - Mr. Pierce
Old tar River - Mr. Lee
Tickets to be obtained at the "Cornwall Hotel," "Launceston Hotel," and at the door, on the evening of performance.
Price of admission, 2s. Doors open at Seven o'clock, commence at half-past Seven.
March 1, 1851.

"NEW YORK SERENADERS", The Irish Exile and Freedom's Advocate [Hobart, TAS] (5 April 1851), 6 

. . . We cannot give too much praise to Mr. Cushing, the able and amiable Manager, for the truly "[REDACTED]" style in which he sang the favorite air, "Who's dat knocking at de door:" his accompaniment on the banjo deserves particular notice, for it was most artistically executed. Few persons in the colony seem aware of the great difficulties which the banjo presents; it is easy enough to scrape an accompaniment on that instrument, but it is quite another affair to execute variations, in the manner Mr. Cushing does. The banjo being played with but two fingers - the thumb and forefinger - the performer must acquire a very extraordinary agility of fingering to be able to execute the presto passages with that surprising quickness which astonished us so much in the solo which Mr. Cushing performed a few evenings since. We understand, that, in the United States, the land of tambourine and banjo, Mr. Cushing stands unrivalled; there, the extreme difficulties of the instrument being better known, Mr. Cushing's talent, must, of course, be more fully appreciate . . .

"SHIPPING INTELLIGENCE. ARRIVAL", The Sydney Morning Herald (20 June 1851), 2 

JUNE 19. - Maid of Erin, brig, 152 tons, Captain Ellis, from Hobart Town, the 6th instant. Passengers - Mr. Charles Cushing, Mr. J. C. Pearce. Mr. J. P. Nath, Mr. J. C. Lee, Mr. J. Kitty, Mr. W. White . . .

[Advertisement], Bell's Life in Sydney [NSW] (5 July 1851), 3

Ethiopian Grand Musical Soirees BY THE NEW YORK SERENADERS.
THE NEW YORK SERENADERS, experience much gratification in acknowledging the very flattering reception with which they have been greeted on the occasions of their
SIX FIRST APPEARANCES In Sydney, and respectfully announce the following Entertainments for the ensuing week, on each evening of which the Programme will be diversified, retaining only those melodies stamped as sterling by the approbation of their audience.
The Company is composed of the following gentlemen:
W. White - Violin.
J. P. Nash - Guitar.
C. Cushing - First Banjo.
J. E. Kitts - Second Banjo.
J. O. Pierce - Tamborine.
J. C. Lee - Bone Castanets.
Admission - 2s. Doors open at Seven o'clock; commences at Half-past Seven precisely.
Tickets to be obtained at Entwisle's Hotel, York-street; the Royal Hotel; at Mr. Marsh's Music Store, and at the doors.

"DEPARTURES", The Sydney Morning Herald (1 September 1851), 2 

August 31.- Emma Prescott, brig, 160 tons, Captain Fligg, for San Francisco via Tahiti. Passengers - Mr. Jones, Mr. John, and Mr. Cushing.

"SYDNEY", The Courier [Hobart, TAS] (15 October 1851), 3 

Mr. J. W. Reading, the original "Bones," has joined the New York Serenaders. Mr. Cushing has left the company.

"THE NEW YORK SERENADERS", The Courier (15 November 1851), 3

. . . Mr. Reading has assumed Mr. Cushing's place as a banjoist . . .

Bibliography and resources:

Matthew W. Wittmann, Empire of culture: U.S. entertainers and the making of the Pacific circuit (Ph.D dissertation, University of Michigan, 2010), 51, 55 note 78, 74 (DIGITISED)

CUTOLO, Cesare (Cesare Salvatore Fortunato CUTOLO; Cesare CUTOLO; C. CUTOLO; Signor CUTOLO)

Musician, professor of music, pianist, vocalist, teacher, composer

Born Naples, Italy, 1826; baptised Naples, 1826; son of Raffaele CUTOLO and Maria Teresa MELE
Arrived Melbourne, VIC, 25 April 1858 (per Columbian, from Suez, via Aden, Galle and King George's Sound)
Married Mary Alvey ROGERS, St. James' church, Sydney, NSW, 24 March 1862
Naturalised Sydney, NSW, 9 January 1864 (aged "37")
Died (at sea) 11 January 1867, aged "40/41" (TROVE tagged by Australharmony) (NLA persistent identifier) (Wikipedia) (shareable link to this entry)

Cesare Cutolo, 1867

Cesare Cutolo (DIGITISED)


The Argus reported on Cesare Cutolo's arrival in Melbourne in May 1858:

As the liberal and enlightened Government of Naples refused to grant a passport to Signor Cutolo to proceed either to France or England, this gentleman determined to try his fortunes in Australia.

By November, Cutolo had moved on to Adelaide. Advertising that he was a pupil of Mercadante, he gave local audiences a standard line-up of etudes (notably his own lost etude Source et torrent) and pre-worked fantasies on selected operatic airs, as previously in Melbourne, and as later in Sydney.

But by mid-1859 he seems to have exhausted the limited performing outlets for his standard repertoire, first in Adelaide, then in the nearby towns.

He then turned to patriotic composition, in what seems to have been a mostly vain attempt to earn favour with a broader, less sophisticated local audience. Late in 1859, Cutolo also entered a setting (now lost) of Caroline Carleton's The song of Australia in the Gawler Institute competition. Though it was the runner up (to Carl Linger's setting), when he tried to perform it at his own public concert in early November, the Gawler committee asserted their copyright, and forced him to withdraw it from the program.

Cutolo next tried his fortunes in Sydney, disembarking there on 2 February 1860. There, again able to address a larger audience for his serious concert music, he published toward the end of 1860 perhaps his most interesting and characteristic surviving composition, the nocturne for piano inspired by a stop on his recent journey to the southern hemisphere, Remembrances of the pyramids.

Cutolo married Mary Rogers at St. James's, Sydney, on 24 March 1862, and was naturalised in 1864.

In 1861 Ernesto Spagnoletti junior dedicated his aptly named The Garibaldi polka to Cutolo, and in 1864 W. J. Johnson likewise his piano arrangement, Nearer to thee, based on the hymn setting by the late Frederick Alexander Packer.

Cutolo re-established himself in Melbourne in November 1864. Two further piano compositions were published in London in January 1865 by Boosey (and in Sydney in April 1865 by Elvy and Co.): L'alba, "descriptive of the dawn of a Summer morning on the waters of Port Jackson"; and an elegy In memoriam Meyerbeer.

Cutolo was killed in an accident on board a ship returning from Sydney to Melbourne in 1867. His funeral was held at St. Peter's, Eastern Hill, Melbourne, and he is buried in the Melbourne General Cemetery. Cutolo's pupils, themselves in due course teachers and performers, kept his memory fresh in their advertisements and concert programs into the 1870s and 1880s.


Baptisms, Naples, Italy, 1826; Italy, births & baptisms (PAYWALL) (PAYWALL)

Cesare Salvatore Fortunato [son of] Raffaele Cutolo / age 32 / and Maria Teresa Mele / age 23

Melbourne, VIC (25 April to 16 November 1858):

Cutolo was several times reported to have arrived in Melbourne on the European from Suez, which docked on 11 March 1858; but his name does not appear on the passenger list; however, according to his own later testimony (see 13 February 1862 below), he arrived on 25 April 1858, and therefore on the next overland mail from Suez, the Columbian; again, however, that Cutolo's name does not appear on the passenger list: (DIGITISED)

"SIGNOR CESARE CUTOLO", The Argus [Melbourne, VIC] (6 May 1858), 4

The representatives of the Press, and a number of other gentlemen, were invited last evening to a private soirée d'artiste, by the gentleman whose name appears at the head of this notice, and who arrived in the colony by the last overland mail. Signor Cutolo, a Neapolitan by birth, presents himself to us in a threefold capacity - as a musical composer, a vocalist, and a pianist. He has acquired a distinguished reputation, both in Italy and the Levant, and the certificate which has been conferred upon him by the Royal College of Music in Naples (in which he received his education) bears the signature of the illustrious Mercadante, and is alone a guarantee of the eminent abilities of the gentleman to whom it was granted.
We propose on the present occasion to speak of Signor Cutolo as a pianist, without reference to his other qualifications, as a vocalist and composer. As an executant his style is original, bold, brilliant, and effective; his touch combines firmness with pliancy; wonderful rapidity of fingering with unerring precision. He sometimes reminds us of Liszt in respect to his mastery of what the French call la gymnastique du clavier, but he does not fall into that great pianist's extravagance of action, and, if we may use the word, turbulence of touch. Signor Cutolo favored his auditors with several fantasias upon airs, in Il Trovatore and La Traviata, and every one who is familiar with the character of Verdi's music will acknowledge the difficulties which his elaborate notation offers to the performer, difficulties which are of course immensely enhanced by the arrangement of the melodies as fantasias. These, however, were executed with astonishing ease, and an almost careless security of touch, so that the eye, as it follows the flight of his fingers over the keys, and watches the bold and vigorous descent upon those notes which indicate and sustain the motif, separating it from, and chiselling it, as it were, in high relief, above the arabesque bordering, is as much gratified as the ear which listens to the continuous shower of sweet sounds.
In fine, the impression produced upon our mind last night was, that in Signor Cutolo we have as great a master of his instrument as Miska Hauser of the violin, and, as such, the lovers of music should warmly welcome the arrival of this gifted Neapolitan among us.

ASSOCIATIONS: Saverio Mercadante (Neapolitan composer, teacher) Miska Hauser (violinist)

"THE NEWS OF THE DAY", The Age (6 May 1858), 5 

There has lately arrived among us a distinguished musical celebrity - Signor Cesare Cutolo, professor of music and composition from the Royal Musical College of Naples. He brings with him credentials under the sign manual of no less a personage than Mercadante, endorsed by the Minister of Public Instruction, and other Neapolitan dignitaries, and proposes to devote himself here to giving instructions in singing and the pianoforte. Last evening this gentleman gave a soiree d'artiste at his residence, the Excelsior Hotel, which was attended by several musical connoisseurs. Signor Cutolo treated his audience to a specimen of his abilities, vocal and instrumental, both of which are of the highest order. He performed several compositions of his own, including a fantasia on airs from the "Traviata," and a descriptive work entitled "Source et Torrent." His execution is most brilliant, and he infuses into his performance a vast amount of expression. His voice is a tenor of great richness and power, and from his intimate acquaintance with the Italian school of music, he will doubtless prove a great acquisition in any future attempt to organise an opera corp. The soiree proved a great treat to the favored few who were permitted to hear it, and we trust that, as respects support from the public, Signer Cutolo will have no reason to repent having visited our shores.

[Summary for Europe] "THE COLONY OF VICTORIA", The Argus (15 May 1858), 6 

Among the recent arrivals we notice that of Signor Cutolo, the favorite pupil and friend of the Neapolitan composer, Mercadante. As the liberal and enlightened Government of Naples refused to grant a passport to Signor Cutolo to proceed either to France or England, this gentleman determined to try his fortunes in Australia, where his rare powers as a pianist have been already exhibited, and promise to gain for him a brilliant and well-deserved reputation.

"THE LATE SIGNOR LABLACHE", The Argus (19 May 1858), 7 

Signor Cutolo, the Neapolitan pianist, who lately arrived in this city, has communicated to us a few reminiscences of the great basso, which we believe will possess some interest for those to whom he was known, either personally or by reputation. Naples was the birthplace of Lablache, and thither he was accustomed to repair as often as an opportunity presented itself for the enjoyment of a little relaxation from his professional labors. Our informant, at that time a student in the Royal College of Music, appears to have conciliated the good opinion of the deceased vocalist, who warmly recommended Signor Cutolo to proceed to London as soon as he had completed his studies. In the estimation of Lablache there was no place in the world like the British metropolis . . .
"The reverence which I, a young collegian and a nameless student of music, felt for a man whose greatness as an artist was colossal, caused me to address him in the language of humility and respect," observes Signor Cutolo, "but he soon waived all this aside; nor would he suffer me to converse with him in scholarly Italian, but in the dialect in use among the common people. 'Parlam a lengua nost' (Parliamo lingua nostra), he would say 'Ue uaglio nun fa u Tuschcan' (O, ragazzo, non farmi il Toscana). Let us speak our own vernacular, my boy: don't talk to me in Tuscan; though he could not express himself in the Neapolitan dialect with the same fluency and facility with which he spoke the purer Etruscan. The last time I aw him was at the Teatro San Carlo, where we occupied the same box, and where his chief talk, apart from some merry comments on the performance in progress, was still of England, and of England's Queen" . . .

ASSOCIATIONS: Luigi Lablache (Italian vocalist)

"SIGNOR CUTOLO'S CONCERT", The Argus (29 May 1858), 5 

Signor Cutolo may be considered to have made his position by the specimen which he gave of his powers last night. It is long since we have heard such tones produced from a piano as are elicited by his touch, at once so firm and energetic, and so soft, light, and delicate - so full of power, and, at the same line, so capable of evoking sounds of such fineness that "nothing lives 'twixt them and silence." As we borrow illustrations from musical science for the purpose of criticising pictorial works of art, so we must resort to the productions of the painter for those terms which best characterise the style of a musical executant. Signor Cutolo, then, is a master, of color. In interpreting a musical composition he not merely presents to the mind of the listener the high lights and deep shadows of the picture, but the nice gradations, the soft demi-tints, the clear tangible foreground of the tableau, and the normal distance melting away upon the horizon. He is a proficient in the mechanics of his art, and something more. He feels what he plays; imbues his performance with sentiment and expression; and the feeling of the artist appears to infuse itself into otherwise dissentient ivory, and to thrill along the wires which vibrate to his touch. As an able critic observed, in our hearing, "he makes the piano sing," animating the instrument with an electric life, and thus enabling it to express joy or sorrow, a feeling of tenderness or a sense of triumph, quite as effectually as does the human voice.
There is much of the vehemence of the Neapolitan character, and of the Neapolitan school of composers and vocalists - and Naples, it must be remembered, has given us Bellini, Cimarosa, Mercadante, and Lablache - in Signor Cutolo style of playing, chastened and disciplined, however, by rigorous study and an intelligent perception of the importance of repose and contrast, in order to heighten the effect or harmonise the ensemble of the compositions he interprets.
The pieces performed last night were from "La Traviata," "Il Trovatore," and "Lucia di Lammermoor," together with a nocturne by Liszt, a composition of Blumenthal's, and an Etude de Concert from the executant's own pen. Besides these, Signor Cutolo was obliged to accompany each vocalist, owing to the pianist who had been engaged for that purpose declining to do so in consequence of the accidental omission of his name from the programmes. Notwithstanding the onerous labors which thus devolved on Signor Cutolo, who is at the present moment under medical treatment, he played with unflagging spirit to the last, and repeatedly evoked enthusiastic plaudits. In response to one encore, he gave "Old Dog Tray," improvising some exquisite variations. We should think, indeed, that that canine favorite has been seldom covered with such a gorgeous embroidery as the pianist wove around the familiar air with so much ease and dexterity last night. His Excellency the Governor and Captain and Mrs. Timms were present, and the audience included a good many notabilities in art, literature, and music, whose expressions of gratification with the performance of Signor Cutolo were earnest and emphatic.

ASSOCIATIONS: Henry Barkly (governor)

"THE NEWS OF THE DAY", The Age (29 May 1858), 5 

Signer Cutolo, a student of the Royal Academy of Music of Naples, whose arrival by the European we chronicled some weeks ago, last evening held a soiree musical at the Mechanics' Institution, which was numerously attended by the elite of Melbourne, including his Excellency the Governor and a large party. Signor Cutolo was assisted by Miss O. Hamilton and Mons. E. Coulon. The entertainment passed off in the most satisfactory manner.

ASSOCIATIONS: Octavia Hamilton (vocalist); Emile Coulon (vocalist)

"SIGNOR CUTOLO'S SOIREE MUSICALE", The Age (29 May 1858), 5 

Last evening, a considerable audience, including his Excellency the Governor and a large party, the majority of the musical connoiseurs of the city, and a great number of the compatriots of the artiste himself, assembled in the hall of the Mechanics' Institution, to listen to the first public performance of Signor Cutolo, who recently arrived from Alexandria per European. Signor Cutolo is a student and graduate of the Royal Academy of Music of Naples, and brings with him credentials from the great Mercadante as principal of the academy, bearing also the signatures of the Minister of Public Instruction, and other Neapolitan dignitaries. Some weeks ago we noticed the arrival of this distinguished pianiste and composer, who is without doubt one of the greatest musical celebrities whom we have yet had amongst us; as also the results of an entertainment which he gave to his friends at the Excelsior Hotel. We have now briefly to notice the concert of yesterday evening, in which Signor Cutolo was assisted by Miss Octavia Hamilton and Mons. Emile Coulon.
We have before commented upon the brilliant and tasteful execution of Signor Cutolo, and are, therefore, scarcely called upon to reiterate our encomia on the various points of his performance. It is, however, necessary to say that in no point whatever do we feel disposed to modify the remarks made on that occasion. At the opening of the concert Signor Cutolo performed his own able composition "Source et Torrent" with wonderful brilliancy and success, closely succeeded by his Gems from "La Traviata." In obedience to a vociferous encore he, after a few moments' consideration, gave a solemn rendering of "Old Dog Tray" followed by grotesque variations, which at their close elicited a large amount of applause - so much the greater as at the commencement of the improvisation we believe that few persons in the room could make themselves sure that their ears told them aright. Liszt's "Nocturno" closed this division of the concert, not before, however, Mons. Coulon had given the audience a splendid rendering of Verdi's "Infelice" from the opera of "Ernani"; Miss Hamilton had executed in faultless style, Alexander Lee's beautiful ballad "One Careless Word"; and both had given in the most brilliant manner, Fioravanti's "Music Lesson."
The second part opened with a fantasia composed and performed by Signor Cutolo, on airs from "Trovatore." Narrowly escaping an encore, this was followed by the graceful singing of Miss Hamilton in Lover's song of "The Fairy Tempter," Wallace's "In happy moments," by Mons. E. Coulon; and the brilliant instrumentation of Signor Cutolo in Blumenthal's "La Source," which bears a striking resemblance to the opening piece composed by the artiste himself. The "Quant' Amore" from Donizetti's "L'Elisir d'Amore" was so well rendered by Miss Hamilton and Mons. Coulon, that the audience seemed unwilling to let the performers leave the stage without its repetition. The response was the "A.B.C. duett," which, from the able manner in which it was given out, quite consoled the audience for the loss of the more classical composition. The concert closed with a fantasia on airs from "Lucia di Lammermoor," arranged by Prudent, and ably performed by Signor Cutolo, who, without delay, started the original arrangement of "God save the Queen" with variations. Out of compliment to the Governor, we should suppose - scarcely from the nature of the composition itself - the audience rose to their feet, and remained standing to its close. We might question the taste of such an indication of loyalty on the hearing of a purely instrumental composition, but are loth to cast a damper on enthusiasm however evoked. No one, we imagine, was more astonished than the composer himself; but we trust that he read in it, and in the whole proceedings of the evening, an earnest that he shall receive a hearty welcome from all who had the pleasure of listening to his charming music.

ASSOCIATIONS: Mechanics' Institution (Melbourne venue)

MUSIC: La source (Blumenthal); Fantaisie sur Lucia di Lammermoor (Prudent)

[Advertisement], The Age (2 June 1858), 1 

Previous to his departure from the Australian colonies, upon which occasion he will be assisted by SIGNOR CUTOLO,
The most eminent and talented Pianist that has ever visited Australia . . .
PROGRAMME For Thursday, June 3 . . .
PART II . . . Solo, piano - Selections from "Il Trovatore" - Signor Cutolo . . .
PART III . . . Solo, piano - Selections of popular airs - Arranged by Signor Cutolo . . .

"MISKA HAUSER'S CONCERT", The Argus (4 June 1858), 4 

It is a healthy sign of an improved taste for the highest class of musical entertainments in this city that last night, notwithstanding the powerful counter attractions presented at each of the theatres, there was a very large audience at the concert given in the Mechanics' Institute, and we believe that there was not an individual present who was not highly gratified with the musical treat provided . . . The second part of the entertainment concluded with a solo on the piano, by Signor Cutolo, comprising a selection of airs from "Il Trovatore," and he obtained from the numerous assemblage a complete ratification of the favorable verdict so emphatically pronounced upon his merits on a previous occasion. Although he had to contend with the disadvantages of an inferior instrument, very metallic in its tone and limited in its power of giving adequate effect to the execution of the performer, he won an encore for each of his solos, and fairly astonished those who were near enough to witness the facility and brilliancy of his touch . . .

[Advertisement], The Argus (30 June 1858), 8 

SIGNOR C. CUTOLO'S Instrumental and Vocal CONCERT,
Under the patronage of H. E. Major-General Macarthur, And a number of gentlemen of Melbourne and its environs,
To take place at the MECHANICS' INSTITUTION, THIS EVENING, JUNE 30, at 8 o'clock.
Etude - "Source et Torrent" (by request), C. Culolo - Signor Cutolo.
Sonata Opera 31, "Allegro Vivace," Beethoven - Signor Cutolo.
Cavatina - "Vi raviso," (Sonnambula,) Bellini - Mons. E. Coulon.
Trio - Finale of Ernani, for piano, C. Cutolo - Signor Cutolo.
Ballad - "The Spell is Broken" - Miss O. Hamilton.
Grand Nocturn, for piano, Woss [Voss] - Miss Pilkington.
Aria - From the opera "Attila," Verdi - Sung by Signor Cutolo.
Duo - From the opera "I Masnadieri," Verdi - Miss Hamilton and Mons. Coulon.
Fantasia, arranged from "Lucrezia Borgia," C. Cutolo - Signor Cutolo.
Song, dedicated to his Excellency the Governor, the words by Mrs. A. Dewitt, music by C. M. Weinritter, "Rose of England, Fare thee well" - Miss O. Hamilton.
Aria buffo - "Miei rampolli Feminini," Rossini - Mons. E. Coulon.
Grand fantasia, from "La Sonnambula," Thalberg - Signor Cutolo.
Cantabile, for voices (Chanteuse voilee), Thalberg [sic, V. Masse] (first time in this colony) - Miss O. Hamilton and M. Coulon.
Grand rondo, for two pianos, H. Hertz - Miss Pilkington & Signor Cutolo.
Mr. Geo. Pringle accompanyist.
Tickets to be had at Wilkie's music saloon, Collins-street east, and at the doors of the Institute.
Price, 5s. Back upper seats, 3s.

ASSOCIATIONS: Edward Macarthur (musical amateur, patron); Anna Alicia Pilkington (pianist); George Weinritter (composer); George Robert Grant Pringle (pianist, accompanist)

MUSIC: Grand caprice sur La sonnambula (Thalberg)

"SIGNOR CUTOLO'S CONCERT", The Argus (1 July 1858), 5 

Signor Cutolo's concert last evening at the Mechanics' Institution was extremely well attended, and the programme, both as regards the vocal and instrumental portions of it, was of a varied and agreeable character. The only drawback to the complete success of the entertainment was the indifferent quality of the instruments employed; one of which was unpleasantly metallic in its tone, while the keys of the other chattered like the teeth in the head of on old crone afflicted with the palsy, so that the effect of Signor Cutolo's splendid execution was marred by this sort of castanets accompaniment. Miss Pilkington, a pianist of great promise, appeared the first time in public, and made a decidedly favorable impression upon a critical audience. Her touch is delicate, and she plays with taste and feeling, being deficient chiefly in that confidence which time and habit will inspire . . . The concluding Rondo for two pianos elicited great applause and we hope on the next occasion we have the pleasure of hearing Miss Pilkington and Signor Cutolo, they may be more fortunate the instruments available for their use.

See also "SIGNOR CUTOLO'S CONCERT", The Age (1 July 1858), 5 

"MELBOURNE NEWS (From Wednesday's Papers)", Bendigo Advertiser [VIC] (8 July 1858), 2 

. . . We observe that Signor Cutolo intends to give a series of four concerts at the Royal Hotel, St. Kilda, the first of which will take place this evening . . .

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

SIGNOR CUTOLO gives private LESSONS in MUSIC, Singing, and Harmony in families. Address Wilkie's music saloon.

ASSOCIATIONS: Joseph Wilkie (musicseller)

[Advertisement], The Argus (14 October 1858), 8 

SIGNOR CUTOLO, of the Royal College of Music, Naples, and pupil of Mercadante, GIVES LESSONS in SINGING and PIANOFORTE.
Terms in advance, - Melbourne, 10 guineas quarter; suburbs, 12 guineas.
At his residence, Mrs. Pilkington's, 8 Kyte's-buildings, Collingwood. Schools, moderate terms.

ASSOCIATIONS: Anna Elizabeth Pilkington (musician, mother of the pianist above)

"PRINCESS' THEATRE", The Argus (4 November 1858), 5 

There was a full dress circle last night, on the occasion of Signor Cutolo benefit. The other parts of the house were but indifferently filled, and there was consequently less of that demonstrativeness which is so encouraging to a candidate for popular favor who is comparatively new to the public. The performances commenced with the comedietta of "Give a Dog a Bad Name," in which Messrs. Rogers and Fawcett, and Miss Rosa Dunn, sustained the principal characters with the completeness which has been before noticed. Signor Cutolo followed with selections on the pianoforte from Verdi's "I Lombardi." To this succeeded another small comedy, entitled "Trying It On," which was insufferably stupid and execrably acted. After this Signor Cutolo gave, with most admirable finish, a fantasia on airs from Il Trovatore, arranged by himself. This was unanimously encored, and he replied by another fantasia upon a less classical, but equally well-known composition; this also was encored, and produced some sparkling variations upon the "Blue Bells of Scotland." Miss Juliana King then sang the "Robert toi que j'aime" very pleasingly. She also was encored, and replied to the compliment by the song of "I'll be no submissive Wife." Then came "the Gentleman from Connemara," who presented the novelty of an Irish accent, accompanying his singing upon the guitar. The joke was not apparently understood by a portion of the audience, for there arose some very unique vocal manifestations of disapprobation. Good humor, however, was restored by the clever execution of a duet from "Norma," on two pianos, by Signor Cutolo and Miss Pilkington. This concluded the musical portion of the evening's entertainment. The amusing farce of "Twenty Minutes with a Tiger" came last. The general management of the house, it is to be regretted, was unsatisfactory. No programmes had been furnished to the doorkeepers, and the majority of the audience were annoyed by the embarrassment of not knowing what to expect. The reception of His Excellency, too, was not such as to merit commendation, the National Anthem being played some time after he had taken his seat. These defects, it is understood, arose out of no fault of the beneficiaire, but are to be attributed to the conductors of the theatre itself. It is only due to Signor Cutolo that this should be stated, as the odium of those imperfections would otherwise by many persons be permitted to fall upon him.

ASSOCIATIONS: George Herbert Rogers (actor); George Curtis Fawcett (actor, manager); Rosa Dunn (actor); Juliana King (vocalist); Princess' Theatre (Melbourne venue)

See also "THE NEWS OF THE DAY", The Age (4 November 1858), 5 

"MORE AMUSEMENTS", Adelaide Observer [SA] (13 November 1858), 3 

A correspondent in Melbourne says, "the celebrated pianist, Signor Cutolo, pupil of the Royal College of Music of Naples, will arrive in Adelaide by the first steamer."

Names and descriptions of passengers per Admella, from Melbourne, 16 November 1858, for Port Adelaide; Public Record Office Victoria (DIGITISED)

Saloon . . . John Cutolo / 28 . . .

Adelaide, SA (18 November 1858 to 18 January 1860):

"SHIPPING NEWS . . . ARRIVALS", The South Australian Advertiser [Adelaide, SA] (19 November 1858), 2 

Thursday, November 18 . . . Same day, the screw-steamer Admella, 478 tons, Underwood, master, from Melbourne and Portland. Brown and Isbister, agents. Passengers . . . C. Cutolo . . .

"VICTORIA [From our own Correspondent] Melbourne, November 16 . . .", The South Australian Advertiser (19 November 1858), 2 

Signor Cutolo, the eminent pianist, proceeds to Adelaide by this steamer, where I am convinced he will become popular with your musical cognoscenti. He was educated at the Royal College of Music in Naples, where he became the favorite pupil of the illustrious Mercadante, and was the no less favorite companion of the great Lablache, during the visits which that basso profundo delighted to pay his native city, and nothing used to please the "elephant who had swallowed a nightingale," better than to get hold of young Cutolo - ardent, enthusiastic, and a Neapolitan - and natter with him in the quaint dialect in use among the lower orders. As an executant, Signor Cutolo combines precision, rapidity, and delicacy of touch, with a great amount of feeling. He is also a brilliant colorist (a characteristic I have observed of Neapolitan painters, poets, composers, vocalists, and instrumentalists, and explicable, I imagine, on the ground of the brilliant atmosphere and woodbine which surround them) delighting in bringing out strong lights and deep shadows, suffusing his pictures, to continue the analogy, with a southern warmth of tone, and putting his heart in his performance, which is what very few British or German musicians do. In private this gentleman has conciliated general respect, and has had the entree of Government House and of the best society.

"Signor Cutolo", South Australian Register (20 November 1858), 2

This distinguished Neapolitan pianist, who has just arrived from Melbourne, will shortly make his debut before on Adelaide audience. Judging from the critiques in the Victorian papers, we are led to expect a more than usually surprising performance, for the praises lavished upon him by the whole of them have been equalled only by those which were bestowed upon the great Hungarian violinist Miska Hauser.
The Argus declares that "he makes the piano sing, animating the instrument with an electric life, and thus enabling it to express joy or sorrow, a feeling of tender ness or a sense of triumph, quite as effectually as does the human voice."
The Evening Mail says: - "This Neapolitan is a pianist - heart and soul a pianist; none of your human automata, who go through the performance of a fantasia with mechanical precision and accuracy, much as a self-acting instrument - as, for example, a musical snuff-box would - but a man full of passion, earnestness, and intensity, who known that a great composer puts his own soul into his compositions, and that they require for their interpretation one who is also gifted with a living soul capable of divining the meaning of the master, and of declaring it in the eloquent language of music. Wherefore this Neapolitan (Signer Cutolo by name) informs his instrument with life, energy, and a marvellous power of utterance."
From the Herald we learn that "he is a perfect master of the instrument, which he handles as if it were a toy;" and again, "the most remarkable feature of his playing is his execution, which is brilliant and effective in the extreme, his lingering being wonderfully rapid and delicate, and his performance is enhanced by his original graceful and Italian style."
The Examiner observes that "music without words should be as descriptive as when combined with articulate sounds." It adds, "Signor Cutolo makes it so, and this faculty is his great merit."
We have given these extracts as he wish to render the accomplished stranger every justice, and the commendations of the Melbourne newspapers are so exceedingly high that we have no course open to us but that of suffering them to speak for themselves. We must not omit to mention that Signor Cutolo appears to be as successful in composing music as in playing it, some of his own pieces being referred to in terms of the most enthusiastic admiration. We presume we shall soon be able to inform our readers when and where they can hear and judge of this distinguished visitor.

[Advertisement], The South Australian Advertiser (25 November 1858), 1

The distinguished Italian Pianist, Eleve of the Royal College of Music of Naples, and Pupil of the Great Composer Mercadante, has the honor to announce that he will give a
GRAND VOCAL and INSTRUMENTAL CONCERT, at the above Rooms, On FRIDAY, November 26,
Assisted by MRS. CALDICOTT (late Miss Saunders), Vocalist; and MR. R. B. WHITE, Violinist.
1. "Etude Source et Torrent," composed and executed by SIGNOR CUTOLO.
2. Aria - "Quando Miro," MRS. CALDICOTT - Mozart.
3. Fantasia of De Beriot - MR. R. B WHITE.
4. Song, "Adieu" - MRS. CALDICOTT - Schubert.
5. Selection of Airs from the favorite London Opera, "La Favorita," composed and executed by SIGNOR CUTOLO.
1. Grand Fantasia from "Lucia di Lammermoor," executed bv SIGNOR CUTOLO - Prudent.
2. Solo, Violin - MR. R. B. WHITE - Sainton.
3. Song - "Over the Sea" - MRS. CALDICOTT.
4. Grand Fantasia from "La Sonnambula" SIGNOR CUTOLO - Thalberg.
The Concert will commence at 8 o'clock. Front Seats, 5s.; Back Seats, 3s.
Tickets to be had of Mr. White, at the Rooms, and of Messrs. Platts, Wigg, and Hillier.
For sale, at the above-mentioned booksellers, a few copies of Signor Cutolo's "Etude de Concert Source et Torrent."

ASSOCIATIONS: Emma Eliza Saunders Caldicott (vocalist); Richard Baxter White (violinist); White's Rooms (Adelaide venue)

"SIGNOR CUTOLO", The South Australian Advertiser (27 November 1858), 2 

This gentleman gave his first concert in Adelaide last evening at White's Rooms, and more than realized the very high expectations which had been raised of his powers as a distinguished Italian pianist. What the violin was in the hands of Miska Hauser, that is the piano under the manipulation of Signor Cutolo. From the moment he touches the unsentient ivory to the end of the performance, the instrument becomes "a thing of life," and discourses in most eloquent music the glorious language that is passing through its master's soul. EXPRESSION is the characteristic of all great works of art, and we pay Signor Cutolo no idle compliment when we congratulate him upon the possession of this gift of genius. His execution is extraordinary. Anon the delicious and graceful fingers glide gently over the keys, evoking linked sounds of the most delicate melody, and then, as if agitated by a sudden inspiration, they move to and fro with an energy and rapidity proportionate to the grand and swelling music which electrified, and calls forth the spontaneous applause of the enamoured listener. Without laying ourselves open to the charge of exaggeration, we think we may say of the Italian's play, what was once said of a great man's oratory, "it sometimes resembles the music, and sometimes the thunder of the spheres." The pieces in last night's proof gramme were Source of Torrent, etude pour le Piano" (Cutolo), Selection of Airs from the favorite London opera "La Traviata" (Cutolo), and a Grand Fantasia from "La Sonnambula." Loud and genuine applause followed each of these performances, which were severally honored with an encore. Signor Cutolo responded by playing "Villikins and his Dinah," "The Blue Bells of Scotland" with variations, "The Polka Mazurka" (Cutolo), and wound up with "God Save the Queen," in a manner that brought the concert to a close amidst the most gratifying exhibition of public favor. Signor Cutolo was assisted in the musical and vocal departments by Mr. R. B. White and Mrs. Caldicott, whose efforts were well appreciated. We understand that His Excellency the Governor has signified his intention of being present at the next concert, which will take place on Tuesday next. For the credit of the musical taste of Adelaide, it is really to be hoped that the first-rate artist who is now amongst us will receive that amount of public patronage which his brilliant abilities so justly merit.

NOTE: Regarding "delicious and graceful fingers" above, see "ERRATUM", The South Australian Advertiser (29 November 1858), 3 

"SIGNOR CUTOLO'S CONCERT", South Australian Register (27 November 1858), 2 

When we mentioned a few days ago the arrival of this extraordinary Neapolitan, we were only able to speak of his musical powers from report; therefore, like a barrister who gathers from his brief the particulars of the case he is to conduct, we called our witnesses and laid their testimony before the Court. These consisted of the various Melbourne newspapers, each of which appeared to vie with the others in rendering homage to Signor Cutolo's genius, and in extolling his wondrous feats upon the pianoforte. But now, having had the pleasure of hearing him at White's Room on Friday evening, we are in the position of an advocate who, more intimately acquainted with the facts of the case, not only details them to the Court, but winds up his address by tendering his own evidence. Having listened to the playing of Signor Cutolo, we can say with confidence that even the highest accounts of it which we have seen in the papers just referred to were not exaggeration but simple truth. It is extraordinary, it is surprising, and it is entirely original. He throws his whole souI into his performance, and he may be said literally to make the pianoforte speak. Still it was not difficult to perceive that the somewhat scanty attendance on Friday evening rather disappointed him. Accustomed as he has been to perform to overcrowded audiences, he would naturally feel his energies somewhat damped by an apparent want of appreciation; and we can well imagine that, under such circumstances, his genius, at the commencement of the evening, would not rise to its ordinary height. Be this as it might, the feeling of depression, if it existed, must have passed away very quickly, for it was evident that he soon forgot every external circumstance in his passion for the "Art divine." A room scarcely half-full did not in any way surprise us, for we have had here so many mere pretenders, that the lovers of music can hardly be expected to take a stranger upon trust. But there were sufficient present of our best judges to make Signor Cutolo's excellence known; and we may venture to prophesy that their report will secure him a very large company on Tuesday next, when, as we may take occasion to mention, His Excellency the Governor and Lady MacDonnell will patronize the evening's entertainment. Among those present on Friday we noticed the Hon. B. T. Finniss (Treasurer), the Hon. Francis Dutton (Commissioner of Crown Lands), Mr. Paisley (Private Secretary), Dr. Woodforde, Messrs. Boothby (Sheriff), Ewing, Reyher, Bakewell, M.P., Hurtle Fisher, Wildman, &c. The attendance of ladies was proportionably good, including the families of most of the gentlemen we have enumerated.
The performances commenced with a composition by the executant himself entitled "Etude Source et Torrent." A very few bars were sufficient to convince the audience that it was no ordinary performer to whom they were listening. In addition to the usual accomplishments of a master, Signor Cutolo has added a peculiarity of his own, in which are displayed the nervous energy and fire which characterize the Italian school as well as the inhabitants of that sunny land. It is said of Beethoven, that in his latter days, when he sat down to his piano, "his whole soul seemed to be so much absorbed, that nothing short of an earthquake could withdraw his attention from the music before him." Something of this passionate attachment to the art seems to animate the talented Italian. Every piece performed by him was rapturously encored, and on each occasion of his reappearance he favoured the audience with a change in the performance . . .

ASSOCIATIONS: Richard and Blanche Macdonnell (governor and wife); Boyle Travers Finnis (attendee); Francis Stacker Dutton (attendee); Oscar Reyher (attendee); Alexander Ewing (attendee)

"SIGNOR CUTOLO", The South Australian Advertiser (1 December 1858), 2 

This eminent pianist gave his second concert last evening, in White's Rooms, under the patronage of His Excellency the Governor-in-Chief and Lady MacDonnell, who arrived with their accustomed punctuality, attended by a small suite. We were glad to observe that the feme of the accomplished performer had collected a numerous and brilliant audience; amongst whom we observed the members of the Ministry and Legislature, the officers of the garrison, and the elite of Adelaide. It would transcend the limits of the space which we have at our command to enter into any detailed criticism of Signor Cutolo's performance. As far as our memory can be trusted, an Adelaide audience has never, until the arrival of this gentleman, had an opportunity of listening to a pianist of such excellence. The chief characteristics of his style are extreme brilliancy, gracefulness, and delicacy; not that we mean to convey an impression that he is at all deficient in power, but he seems chiefly to delight in music which calls for the exercise of tasteful brilliancy and rapidity of execution. He is a disciple of what is termed "the Modern Romantic School," and excels in the art of keeping up and sustaining a melodious subject, while his hands are rapidly playing up and down the instrument, accompanying the melody with varied and brilliant arpeggios, and other divisions. His touch is singularly elastic and precise, and he is gifted with a fine and correct taste. Signor Cutolo commenced the concert by playing Blumenthal's beautiful study "La Source," which he did with an amount ef finish and expression which procured him an enthusiastic encore, when he substituted a capriccio on "Poor Dog Tray." His next performance consisted of a fantasia of his own on subjects from "Il Trovatore." The beautiful themes which he had selected were given with great expression, and joined together by most effective and brilliant passages. We were particularly struck by his admirable and picturesque rendering of the music of the finale to the opera - the well-known "Miserere." Being encored in this he substituted a fantasia on the Scotch melody, "Comin' through the Rye." This he performed with exquisite feeling and expression. In the second part, Signor Cutolo performed a Scherzo, a la Miska Hauser, on the "Carneval de Venise." Among the innumerable soloists on violin and on pianoforte who have chosen this theme as a groundwork on which to build a series of marvellous variations, in which they display their powers and mastery over their respective instruments, we consider Signor Cutolo entitled to a distinguished place. He played on this occasion a series of variations, exhibiting most extraordinary power over the instrument. Being again encored, he played variations on "The Last Rose of Summer." Signor Cutolo concluded the concert by a very masterly performance of Thalberg's well-known variations on the prayer in Rossini's "Moise," a performance which did him great credit. He was enthusiastically recalled, and terminated the concert by playing "God Save the Queen" . . .

[Advertisement], The South Australian Advertiser (3 December 1858), 1 

THE PIANOFORTE. SIGNOR CUTOLO, Eleve of the Royal College of Music, Naples, and a pupil of Mercadante,
in reply to many applications with which he has been honored, will be happy, during his sojourn in South Australia, to give lessons in Music and Singing on the following terms: -
At the pupil's residence - Twelve lessons, £6 6s.; twice that number of lessons, £11 11s.
At Signor Cutolo's residence - Twelve lessons, £5 5s.; twenty-four lessons, £9 9s.
N.B. - Two lessons to be given in each week. Address No. 90, King William-street, adjoining White's Rooms.

[Advertisement], The South Australian Advertiser (13 January 1859), 1 

SIGNOR CUTOLO will give a CONCERT, assisted by MISS ROWE, at GAWLER TOWN, on TUESDAY next, January 18; and at KAPUNDA, on WEDNESDAY, January 19. Further particulars in future advertisements.

ASSOCIATIONS: Lousia Jane Rowe (pianist, vocalist)

"SIGNOR CUTOLO'S CONCERT", South Australian Register (18 February 1859), 2 

This accomplished pianist gave a grand concert on Thursday evening at White's Rooms, assisted by Miss L. J. Rowe, Mr. J. W. Daniel, and Herr Heydecke. There was a large and highly respectable attendance. The programme contained a miscellaneous selection of very choice music by Weber, Beethoven, Thalberg, Glover, Linley, and other popular composers, all of which, without exception, were extremely well received. To enumerate those which were encored would be to repeat the greater part of the entire programme. Signor Cutulo, in particular, was most enthusiastically applauded at the close of each of his performances. This talented Neapolitan has frequently been heard before in Adelaide, but, so far from this producing littleness or indifference, it would appear that on each occasion he is the more admired. Some new beauty, some previously-undiscovered charm in his brilliant execution, is discovered on every fresh occasion. We regard this as one of the truest evidences of sterling talent. The charlatan seeks to astonish us by some extraordinary appeal to our senses, but the man of true genius awakens in us feelings and emotions of a far deeper and more enduring character. Amongst the most successful of the Signor's performances on Thursday evening was a fantasia of his own composition upon the celebrated air in "Lucretia Borgia," De Pescatore Ignobile. In this performance it is difficult to say which we most admired - the beautifully plaintive air itself, the brilliant variations, or the skilful manner in which both were combined by the talented performer. We may also refer to some duets, sung by Miss Rowe and Mr. Daniel, as amongst the gems of the evening . . . Previous to the finale Signor Cutolo announced his intention of giving a concert in aid or the sufferers by the late fire. This will, no doubt, be well attended. The evening's entertainment concluded with the National Anthem,

ASSOCIATIONS: Josiah Wyke Daniel (vocalist); Theodor Heydecke (musician)

"SIGNOR CUTOLO'S CONCERTS", South Australian Register (7 March 1859), 3 

We observe that the eminent pianist, Signor Cutolo, is about to give a series of concerts in various parts of the country . . . Signor is to be at Glenelg next Thursday. During the following week he will be at Kooringa on Monday, the 14th, Kapunda on Tuesday, the 15th, and Gawler on Thursday, the 17th instant.

"SIGNOR CUTOLO", The South Australian Advertiser (10 March 1859), 2 

There are circumstances in the history of every young and industrial community necessarily much more favorable to the worship of Mammon than to the cultivation of Art. The horny-handed son of toil who has to earn his daily bread by the sweat of his brow - the tradesman who, at all times, and especially in times of depression, has to fight the hard fight of competition - the merchant with his argosies and ventures from all parts of the world coming, perchance, to a falling market - the lawyer with his quiddets, his quillets, his cases, his tenures, and his tricks" - these, and numerous other classes, that go to make up the body politic, have all, more or less left home, and kith and kin, for the main object of putting money in their purses. Say what you like to the contrary, this is apparently, "the be all and the end all" of most colonists. Our nationality is not here - our nationality is in England - a nationality enshrined in the Past, which counts its history by calendars of centuries. In another generation things will be different; the children of Australian soil will learn to appreciate the noble sentiments contained in the patriotic lines:
"Breathes there a man with soul so dead,
Who never to himself hath said
This is my own, my native land."
But until this new generation springs up, those national impulses which make us long for and years after the country which gave us birth, will have little weight with people who came to settle in the colony. Hence the number of our rich absentees. The land is prized, not for its intrinsic worth, or for the memorials which are associated with it, but simply for the gold which can be extracted from it. We have been led to make these remarks in consequence of the want of encouragement afforded to the distinguished artist whose name figures above. Beyond all other men, the men who, by an effort of genius, chase away the Actual in search of the Ideal, feel acutely the neglect of the public. Sensibly touched by the inspiration which enables the sculptor to quicken the cold and stolid marble into life, and which gives the painter the magic power of peopling the inanimate canvass with images of life, and, light, and beauty, they feel
"What they can ne'er express,
Tet cannot all conceal."
We, therefore, always regret to hear that artists of the mark of Signor Cutolo have failed to receive that tangible benefit which their high abilities so deservedly merit. With a view therefore, of serving the Divine Art of which he is so earnest a disciple, we beg to remind our readers that the Signor's farewell concerts in South Australia have commenced the first of which will take place this evening at the Town Hall, Glenelg.

"MUSIC FOR THE MILLION. TO THE EDITOR OF . . .", The South Australian Advertiser (11 March 1859), 3 

Sir - Your lamentation over the ill-success of Signor Cutolo leads me to say a few words on musical entertainments generally, and the reasons why they are not better attended. In doing so I speak for myself only, believing at the same time that the majority will go with me. I am very fond of music, and not overgreedy of money, but I seldom attend a concert, for two reasons. In the first place, I wish to be pleased, not to be astonished; and I would rather hear common music, which I understand, than be bored with wonderful pieces whose only merit appears to me to be the difficulty of execution. In the second place, I have a wife and family, and wish to enjoy myself in their company, but I cannot afford to spend 15s. or 20s. for the amusement of an hour or two.
Public performers should reflect that it costs no more to entertain 500 than 50, and also that if they wish to be supported by the multitude, they must consult the general taste.
I was in Melbourne a few years ago, when weekly concerts were given at the Mechanics Institute, which were well attended, and gave great satisfaction. Popular songs and glees formed the staple of the entertainments, and the admission was one shilling.
I feel persuaded that White's Room would be filled once a week on the occasion of similar performances, especially if children were admitted at a lower rate.
Such entertainments would serve a great moral purpose. Total abstainers would find no fault with "Mynheer Von Dunk," who so largely diluted his liquor - early rising has a good example in "Dame Durden" - children would surely learn to be cleanly, when informed in so delightful a manner that even little pigs like the cleanest straw - whilst romantic minds would delight in the wonderful account of the "Darby Ram," and the poetical justice which overtakes the dishonest weaver and miller. In conclusion, Sir, I shall feel greatly indebted if you will lend your aid in this matter; you have informed me where the comet has gone to, please to let me hear
"What has become of the little Tai-lor,
With the broadcloth under his arm?"
I am, Sir, &c.

ASSOCIATIONS: Thursday concerts (Melbourne series); Mechanics' Institution (Melbourne venue)

"SIGNOR CUTOLO'S CONCERT", The South Australian Advertiser (16 June 1859), 2 

This entertainment took place according to advertisement at White's Rooms, on Wednesday, June 15, under distinguished patronage. Of the imposing list of names contained in the advertisement few were absent, and we noticed as present on the occasion, His Excellency the Governor and suite, the Chief Secretary, the Commissioner of Public Works, and other members of the Executive Council, besides a large muster of the elite of Adelaide. The evening was inclement and unfavorable for a large attendance, still the attractive nature of the entertainment collected a very considerable number of admirers of fine music. Signor Cutolo commenced the entertainment with a brilliant fantasia for the pianoforte, on which he displayed that exquisite taste and faultless execution which has distinguished him from all performers on the instrument who have previously appeared before an Adelaide audience. The piece which he played was encored, and the Signor instituted "Poor Dog Tray" with variations. No criticism could do proper justice to the performance of this beautiful melody, or to the manner of rendering the rapid and scientific variations which the accomplished Neapolitan introduced on the occasion. The piece which followed was a trio - "Desolate is the dwelling of Norma" - by Miss Rowe, Mr. Daniel, and Miss Bryan; the latter an amateur vocalist, and this her first appearance in public. The performance of this piece was loudly encored. Miss Bryan displayed some excellent and accurate tones of voice, as well as a degree of animation which indicated proficiency in her part and taste in its delivery. A solo on the harp by Miss Horn, selected from Meyerbeer, followed. Miss Bryan then sung "Bright things can never die." Throughout both of these songs she developed tones of voice and an animation in her delivery which took the spectators quite by surprise. She was interrupted several times by the applause of the audience, and was enthusiastically called upon for an encore, when she substituted "I do not ask," which was rendered in an unexceptionable manner and with great feeling. We venture to state that for volume of tone and expression in delivery this young lady has not her equal in the colony. A duet by Messrs. Daniel and Christen followed, with a pianoforte accompaniment by Miss Rowe. The singing of this piece was artistic and tasteful. Miss Rowe afterwards sang "I strive to forget thee," - a song which developed the mellow notes of her voice, and which she delivered with good and striking effect. Signor Cutolo closed the first portion of the entertainment with a brilliant fantasie on the piano, from "Trovatore." The extraordinary execution of this wonderful performer has been so frequently noticed, that it will be unnecessary to criticise his performance on this occasion, further than to say that his wonderful manipulation of the keys of the piano excited the surprise of the audience, and the tones produced conveyed the impression that the spectators were listening to a number of instruments. On being called on for an encore, he favored the audience with "Villikens and his Dinah," with variations, which was loudly applauded. After the interval Signor Cutolo executed a romance composed by himself. On being encored he gave the popular Scotch melody of "O where, tell me where," with variations, which received the enthusiastic approval of the assemblage. The duet, "Slowly and softly," by Mr. Daniel and Miss Rowe, followed, and was very well received. Mr. Christen next sung a solo from Zauberflote. Some of the deep bass notes of Mr. Christen's voice called down rounds of applause, and he was immediately encored in the piece. A trio, partly instrumental and partly vocal, came after, in which Miss Rowe acquitted herself with her accustomed skill and power. The harp accompaniment was executed by Miss Horn, and that on the piano, by Signor Cutolo. The piece was very well received. A quartette followed by Misses Rowe and Bryan, and Messrs. Daniel and Christen. The harmony was very well preserved, and the beautiful cadence at the close excellently rendered. The audience impatiently demanded an encore, and the piece was repeated. The only fault which it seemed to possess was, that it was much too short. A grand fantasia, by Signor Cutolo, composed by himself, terminated the programme, and on being encored, he gave "Coming through the rye," with variations. No criticism could do justice to the exquisite taste and proficiency with which the variations were rendered, and it would be equally impossible to describe the pathos which the accomplished pianist succeeded in throwing into such a common and almost obsolete ballad. "God save the Queen," by the whole company, closed the entertainment.

ASSOCIATIONS: Jane Elizabeth Bryan (vocalist); Annette Elise Horn (harp); Hugo John Christen (vocalist)

"SIGNOR CUTOLO'S CONCERT", South Australian Register (16 June 1859), 3 

On Wednesday evening last Signor Cutolo gave a grand concert at White's Rooms. Notwithstanding the threatening state of the weather, a numerous and highly respectable audience assembled, His Excellency the Governor, Sir Charles Cooper, and many of the members of the Government and of both Houses of Parliament being present on the occasion. The programme of the concert promised a rich musical treat, and all lovers of that art which takes the soul and laps it in Elysium, who suffered the fear of a shower to keep them away, have just cause of self reproach, for the promise held out was most amply fulfilled. A more thoroughly excellent concert, taken as a whole, has seldom been given in Adelaide. The music was well varied, some of it decidedly popular, and the remainder of a highly classical taste. Signor Cutolo is so well known as a pianist, that any praise of him is rendered quite superfluous. The public are thoroughly well aware that in announcing the fact that he played, it is also announced that he was brilliant; that he alternated potency and sweetness in his beautiful variations on the airs he had selected; that he threw a soul into the pieces, clothing the strain with the emotions of his own breast; that he dignified the instrument by showing what magnificent results can be elicited from it; that he was warmly applauded and encored; and that in his usual gentlemanly and obliging style he cheerfully complied with the wishes of the audience. If there was one piece more than another of the Signor's own compositions which appeared to transcend in merit we think it was the fantasie "Il Lombardi," which seemed to embrace in its various passages the emotions of which the people of that State may be supposed to be the subjects at the present period, and towards whom the Signor must be drawn by the strongest sympathies . . . We can only hope that Signor Cutolo may long continue his residence at Adelaide to give to his friends and the public, from time to time, repetitions of such concerts as that given last evening.

[Advertisement], South Australian Register (18 July 1859), 1 

SIGNOR CUTOLO is giving LESSONS in MUSIC twice a week at Mrs. Gilbert's Seminary, Waterhouse's-buildings, North-terrace.
Terms moderate. For particulars apply to Mrs. Gilbert

"THE PRIZE POEMS. TO THE EDITOR OF THE . . .", South Australian Register (1 November 1859), 3 

Sir - I do not like these Gawler Town poems. They may be all very well for what I know, but they are not songs, far less national songs. A national song should be simple - such that every child can learn; it should be set to simple music, that everybody can sing; it should be applicable to times of prosperity and adversity, to all ages, to all classes of people like "God save the Queen," or "Rule Britannia," or "God preserve the Emperor." None of your long poems, with heavens of thousand dyes, and azure tints, and silvery moons, and brilliant suns, and all that sort of thing. None of your Cutolo music, appreciated only by a few; but simple and grand, something Handelish, some thing of the style of "See the Conquering Hero Comes," or perhaps like "The Marseillaise;" and the words of the song, character like Dibdin, or Burns, or Moore, descriptive of the country, and expressing our satisfaction and joy at having it for a resting-place; perhaps praying for its prosperity. As we are not a nation, I confess I do not see how we can have a national song any more than a national flag; but if we do have one, let it be really a song, not a poem which nobody would care to read twice, and which nobody would learn.
I am, Sir, &c, SICNARF.

ASSOCIATIONS: Gawler Prize (poem and song competition, 1859); "Sicnarf" = "Francis" reversed

[Advertisement], The South Australian Advertiser (1 November 1859), 1

On TUESDAY, the 8th of November, SIGNOR CUTOLO will give a Concert in White's Room,
when, amongst other performances, he will execute for the first time a Song composed by himself, which he will have the honor to dedicate to the Volunteers of South Australia, the words of which have been written expressly for the purpose by Mr. Smith, Second Inspector of Schools.
Signor Cutolo will be assisted by the following Artistes: -
Mrs. Perryman, Miss Rowe, Miss Bryan (her second appearance), Mr. Daniel, Mr. Christen, and Mr. Hermann Oelmann, tenor (his first appearance).
Reserved Seats, 5s.; Unreserved, 3s. Tickets to be obtained at Platts's, Wigg's, and Hillier's.

ASSOCIATIONS: Henry Edward Smith (lyrics); Caroline Peryman (vocalist); Hermann Oelmann (vocalist)

"MUSIC TO THE PRIZE POEM", South Australian Register (7 November 1859), 2 

It has come to our knowledge that the composition bearing the motto "Garibaldi," to which the Judges refer approvingly in their adjudication, is the production of Signor Cutolo; also that the other compositions, with the mottoes "Con amore" and "Long live our gracious Queen," referred to as nearly equal to the prize music in merit, were written by Herr Linger, to whom the prize was awarded.

ASSOCIATIONS: Carl Linger (composer)

[Advertisement], The South Australian Advertiser (7 November 1859), 1

WHITE'S ROOMS, on Tuesday, November 8, 1859, under the patronage of the South Australian Volunteers,
assisted by Mrs. Perryman, Miss Rowe, Miss Bryan (second appearance), Mr. Daniel, Mr. Christen, and will introduce, for the first time, Mr. Hermann Oelmann (tenor).
1. "Le Harpe Aeolienne" (Krueger) - Signor Cutolo.
2. "The Song of Australia" (Carleton), Composed by Signor Cutolo - Miss Bryan.
3. Glee - "Gallant and Gaily" (Horsley)
4. "I've Loved Thee Long" - Miss Rowe.
5. "Mein Engel" (H. Esser) - Mr. Hermann Oelmann.
6. Quartett - "Awake, the Starry Midnight Hour" (Mendelssohn).
7. Fantasia - "Lucrezie Borgia," by special desire (Cutolo) - Signor Cutolo.
Interval of 10 minutes.
1. Quintett - "Spirits Advance" (Sir H. R. Bishop.)
2. "I Breathe Once More my Native Air" (R. F. Harvey) - Miss Bryan.
3. Duet - "Hearts and Homes" (J. Blockley) - Miss Rowe and Bryan.
4. Glee - "Sleep, Gentle Lady" (Sir H. R. Bishop.)
5. Fantasia - "Bohemian Girl" (Cutolo) - Signor Cutolo.
Tickets-Reserved seats, 5s.; Back seats, 3s.; may be had at Messrs. Plalts's, Hillier's, Wigg's, and Aldridge's.
Doors open at half-past 7 ; Concert to commence at 8 o'clock precisely.

"SIGNOR CUTOLO'S CONCERT", The South Australian Advertiser (8 November 1859), 3

It will be seen from advertisement in our business columns that Signor Cutolo will this evening give a grand concert, a prominent feature in which will be the bulging of a portion of a Song to the Volunteers, composed by Mr. Smith, Inspector of Schools, and set to music by Signor Cutolo. The following is the song:
Sons of the South, shall foeman's hand
Rend from us this fair heritage?
Shall Frank or Russian hold this land
In southern history's unwrit page?
No, God forbid! No, heaven forfend!
Better win blood-red glorious biers,
Than meanly live-gain coward's end.
Up, laggards, join our Volunteers!
[CHORUS] Australia's sons, arise! awake!
Be men, dismiss all craven fears;
For country, home, for altar's sake,
Enrol amongst our Volunteers . . . [6 more verses]

"SIGNOR CUTOLO'S CONCERT", South Australian Register (9 November 1859), 3

After an interval of nearly five months Signor Cutolo gave the public another opportunity on Tuesday evening last, of listening to an excellent selection of the classic compositions of some of the great masters of an art in which the Signor himself is no mean proficient. The concert was extremely well attended, White's spacious assembly-room being nearly filled. From some cause or other the gas most provokingly refused to burn, in consequence of which a large portion of the audience was kept waiting at the entrance till near 8 o'clock. At length, however, a number of camphine lamps were obtained, and, having been suspended in the room as a substitute, the audience were admitted. We do not know whether it was from this or from some other cause, but the first four or five pieces in the programme, though performed with faultless accuracy, and even with much taste and spirit, failed to excite in the audience those thrilling emotions which, from the nature of the music, and the acknowledged abilities of the performers, might reasonably have been anticipated. Signor Cutolo, Mrs. Peryman, Miss Rowe, Miss Bryan, Mr. Daniel. Mr. Christen, and Mr. Oelmann had all appeared on the platform, but it was not till the very last piece in the first part bad been commenced that the "witching spell of harmony" produced its full effects. It was not till then, when the accomplished Signor sat before the grand piano, and with marvellous skill swept its keys in the performance of a fantasia composed by himself upon the celebrated "Il Piscatore Ignobile" from "Lucrezia Borgia," that the feelings of the audience were stirred to their very depths, and the greatness of their enthusiasm was indicated by the vehemence of their applause.
The second part, however, was much more successful in every particular. It would seem from this that the choicest gems were reserved till after the interval. At any rate almost every piece in the second part was loudly encored. We may here mention that Signor Cutolo, having set the prize "Song of Australia" to music, it was included in the programme, with Miss Bryan's name to it as the vocalist who was to have sung it. But the Committee of the Gawler Institute having claimed the copyright to the song, the Signor, on their remonstrating with him, had struck it out from the programme, and, as we are informed, had also given a written guarantee that it should not be sung. The audience, however, many of whom had probably purchased their tickets on account of the prize poem being included in the programme, and who were also uninformed of the reason of its omission, raised a general demand for its performance. This of course placed the Signor in a dilemma, but the audience were importunate, and the song was sung, encored, and repeated. In all probability, however, this will only increase the desire of the public to hear the composition of Herr Linger, to whom the prize was awarded.
The extent of this notice precludes our referring to several pieces we had marked for that purpose as deserving special commendation. Miss Bryan was received with very great applause. Her fine and powerful voice rang joyously through the hall on each occasion or her appearance before the audience. Mrs. Peryman and Miss Rowe also were very effective, both in the quintette from "Oberon," "Spirits advance," and in several glees, &c., in which they took parts. A fantasia on the airs "I dreamt I dwelt in marble halls," and the "Heart bowed down" of the "Bohemian Girl," composed by Signor Cutolo, gave the accomplished pianist another opportunity or displaying to advantage his astonishing powers or manipulation. It was rapturously encored, when the Signor substituted another of his choice morceaus - shall we name it? - a fantasia on "Villikins and his Dinah."
The entertainment was concluded with "The Song of the Volunteers," written by Mr. Smith, Inspector of Schools, and composed by Signor Cutolo. Miss Rowe presided at the piano: the air was sung alternately to the several verses by the Signor, Miss Bryan, Mr. Daniel, and Mrs. Peryman. In the chorus "the whole strength of the company" united, including several gentlemen who had kindly volunteered their services. The song is remarkable for its fire and spirit, and drew down a complete furor of applause. The last verse was repeated in full chorus. The concert was over before 11 o'clock.

"THE GAWLER POEMS", South Australian Weekly Chronicle (31 December 1859), 1 supplement 

We understand that one of the competitors for the Gawler prize has had her composition set to music by Signor Cutolo, and that it will shortly be published. We have been favored with a copy of the verses, which we shall probably put into print. The writer is a lady residing at Lyndoch Valley.

ASSOCIATIONS: Caroline Carleton (poet, winner); Cutolo's setting was not published, and the music is lost

[Advertisement], South Australian Register (5 January 1860), 1 

SIGNOR CUTOLO respectfully informs his friends and pupils that business prevented his leaving the colony, as he had intended, on Saturday last, and that he will remain in Adelaide till Saturday, January 14, during which period he will have great pleasure in giving PRIVATE LESSONS in MUSIC at Half a Guinea each.
King William-street, January 4, 1860.

"SHIPPING NEWS . . . CLEARED", The South Australian Advertiser (19 January 1860), 2 

Wednesday, January 18 - Omeo, steamer, 1,000 tons, John McLean, master, for Melbourne. Passengers - Sir Charles and Lady Cooper, Judge Forbes, Signor Cutolo . . .

Sydney, NSW (2 February 1860 to 22 December 1864):

"SHIPPING . . . ARRIVALS. FEBRUARY 2", The Sydney Morning Herald [NSW] (3 February 1860), 5

City of Sydney (s.) 700 tons, Captain Moodie, from Melbourne 31st ultimo. Passengers . . . Signor Cutolo . . .


DEAR SIR, - An old friend once more craves admission into your valued columns . . .
though "only a Geiger" . . . as my "Geige" is often heard in the ranks of those over whose backs I now break it, you may rely on the justice of my complaint. A foreign artist comes amongst us - letters of recommendation to the highest in the city, the verdict of the Press and of musical connoisseurs of two neighbouring colonies completely in his favour as an artist and a gentlemen. He solicits his Excellency's patronage and presence at his concert - it is granted. The Philharmonic Society, at some loss for available talent, invites Signor Cutolo to play at their list Monday's concert; this could not be done without a breach of courtesy towards his Excellency; the offer was therefore respectfully declined until after the Signor's first concert. In the same way, having refused one gentleman to play at his private residence, Signor Cutolo, as a gentleman, could not consent to play on any other private occasion. In consequence of this we hear that the friends of yesterday are mortal enemies to-day; that the Philharmonic Society has refused the Signor the use of their piano (no such great loss as another can be obtained), that he himself has been subjected to an amount of personal insult from certain persons almost unparalleled in the annals of respectable society, and even that bets have been made that his concert shall not pay its expenses. And this to an unoffending foreign artist, because he was desirous of behaving like a gentleman, and let his "no" be "no," and from persons who profess to have a "love far harmony" and the art of music.
As Signor Cutolo has not yet been heard in Sydney, how is it that these self-constituted judges condemn him unheard, as no artist, &c.?
As I often suffer from the excruciating tones produced at the Philharmonic Society's concerts, I ask whether that society is capable of deciding on the merits of an artist, and whether he who does not submit to the tribunal of their judgment is to be branded with contumely?
A reply to these queries, from any of your correspondents, will oblige, Dear Sir, yours, &c.,

ASSOCIATIONS: "Nur ein Geiger" = Henry Neville Montagu (journalist, musical amateur, violinist); Sydney Philharmonic Society (association)

[Advertisement], Empire (27 February 1860), 1 

EXCHANGE HALL. SIGNOR CUTOLO (of the Royal College of Music at Naples, and pupil of the celebrated Mercadante)
begs leave to inform the patrons of the musical art that he will give a
CONCERT, at the above Hall, On TUESDAY EVENING, February 28th,
Under the immediate patronage and presence of His Excellency the Governor-General, Sir W. T. Denison, K.C.B., Lady Denison, Major-General Macarthur, C.B., and the elite of Sydney.
SIGNOR CUTOLO will be assisted by Madame SARA FLOWER, the Misses HOWSON, and (by the kind permission of Mr. Samuel Colville) Mr. F. HOWSON.
1. Source et Torrent - Etude de concert pour piano - C. Cutolo - Signor Cutolo.
2. Aria - O, Happy Dream, from Luisa Miller - Verdi - Miss Clelia Howson.
3. Air variee, for piano (dedicated to Lady Denison) - C. Cutolo - Signor Cutolo.
4. Cavatina - Sotto il paterno, from "Luisa Miller" - Verdi - Madame Sara Flower.
5. German Song - When the quiet Moon - Schondorff - Mr. F. Howson.
6. Gems from "La Traviata," arranged by C. Cutolo - Signor Cutolo.
7. Recit and Aria - O, joyous, happy day - Rose of Castile - Miss Emma Howson.
8. Grand Nocturne - Kruger - Signor Cutolo.
9. Ballad - Evangeline - Romer - Madame Sara Flower.
10. Duet - Dite alla Giovane - "Traviata" - Verdi - Miss Emma Howson and Mr. F. Howson.
11. Fantasia, from "Lucretia Borgia," arranged by C. Cutolo - Signor Cutolo.
Mr. G. Linck, organist, of St. Mary's, Balmain, will accompany the vocalists.
Tickets - Five Shillings each, may be had of Messrs. J. R. Clarke, Buist and Son, Mader, Sandon, and Aldis, George-street;
Moss, Hunter-street; Johnson and Co., Pitt-street; Hurford, Castlereagh-street;
Mr. G. Linck, Maitland House, Balmain; and at the doors on the evening of the Concert.

ASSOCIATIONS: William and Caroline Denison (governor and wife); Edward Macarthur (musical amateur, patron); Sara Flower (vocalist); Emma and Clelia Howson (vocalists); Frank Howson (vocalist); George Linck (pianist, accompanist); Exchange Hall (Sydney venue)

"SIGNOR CUTOLO'S DEBUT", Empire (29 February 1860), 8 

SIGNOR CUTOLO'S playing may be described as Art opposing Science. Those artists who possess a life in endeavouring to overcome the difficulties of a thorough mastery of the instrument, often attain their end by a sacrifice of the evident intention of music - the rousing of the soul to the wonders of the realm, over which he may acquire sovereign sway. Everyone must acknowledge that Signor Cutolo is an artist of no common stamp, his execution can be compared to none other - at all events none hitherto heard in Australia, if anything there is something of the Liszt school, in the grasping of the keys and, like a despot, making them subservient to his will. And yet to understand Signor Cutolo's playing, one must understand the Italian - above all, the Neapolitan character, that partakes in some measure of its own Vesuvius, darting its fires on all around - impulsive with none of the thumping mechanical playing of notes occasionally heard. This Italian has a contempt for notes - often false - often there are keys wanting to express all he would say. But he is himself dumb, and music, Italian, must speak for him. The thought - the feeling of the moment inspires his soul, and he wails, and sings, and pours out his complaint, on his pianoforte. Cold and hypercritical must be those who do not appreciate this. The rippling of the "source" commences amongst the glaciers of the mountains - the waters glide on, downwards, down the mountain crag we follow the artist in his descriptive path, till, gathering in strength as it rushes on, it becomes the "torrent," we hear foaming and dashing amongst the rocks. Signor Cutolo's pieces are all short, but a world of expression lies in their execution. How beautiful was Camille's appeal to Alfred, "Parigi, caro, noi lascaremo," in Verdi's "Traviata," (Camille) - warbled, - one felt the meaning of her appeal. This piece, as well as the air "Variée," dedicated to Lady Denison, was loudly encored, his Excellency being amongst the warmest in desiring the artist's re-entrée. We hope, however, that Signor Cutolo will play something more worthy of himself than the trifles he adopted as encores. Our remarks are necessarily hurried on this occasion. As we shall take an opportunity of referring to the concert again . . .

ASSOCIATIONS: Review probably written by Henry Neville Montagu (journalist, musical amateur)

"SIGNOR CUTOLO'S CONCERT", The Sydney Morning Herald (29 February 1860), 5 

The first concert given in Sydney by this eminent Italian pianist, came off in the Exchange, last evening. The hall was moderately well filled by a highly respectable audience. His Excellency and Lady Denison, and Major-General Macarthur were in the gallery. The performance commenced with an original composition entitled "Source et Torrent," which was finely descriptive of the idea embodied, and the brilliant execution of which at once gave evidence of the Player's power of instrumentation. In his second piece - an air variee, the theme was singularly elegant and graceful, and an encore being demanded, the Blue Bells of Scotland, with variations, was substituted, of which "the tintinabulation so musically swelled" that there seemed some risk of a demand for its repetition. A selection from "La Traviata" gave a fine opportunity for a varied expression of power and grace, and the performer being encored, gave by way of contrast variations on "Villikins and his Dinah," which took very well. In the second part the "Grand Nocturne" was a fine dreamy piece of musical thought, in which the fingers of the performer seemed perpetually to chase some alluring phantasy that in the darkness eluded capture. The finale was a fantasia from "Lucretia Borgia." Signor Cutolo is evidently a master of his instrument; but he is more than that - brilliancy and clearness of execution are with him only means to an end, and are subordinated everywhere to a delicate expression of shades of feeling, and an outpouring of the very soul of music. Signor Cutolo bids fair to become a favourite with Sydney audiences. The pianoforte is a household instrument, and every family will contribute eager listeners to one who can effect such wonders with it. Apart from the pleasure of music itself, there is a special delight to all who are themselves aspiring to become proficient, in witnessing the realisation of an almost ideal excellence . . .

[Advertisement], The Sydney Morning Herald (8 March 1860), 1 

SIGNOR CUTOLO, from the Royal College of Music, Naples, and pupil of Mercadante, has the honour to announce that he is prepared to give LESSONS on the PIANOFORTE, Singing, and Composition.
Terms letters addressed to Signor CUTOLO, 140, Castlereagh-street North and W. J. JOHNSON and CO., 122, Pitt-street, will meet with immediate attention.

ASSOCIATIONS: William Jonathan Johnson (musicseller)

[Advertisement], The Sydney Morning Herald (13 March 1860), 13 

The undersigned beg to announce that they have made arrangements with Signor CUTOLO for the publication of his favourite Pianoforte Compositions.
H. MARSH and CO.

ASSOCIATIONS: Henry Marsh (musicseller, publisher)

"FLOOD RELIEF FUND", The Sydney Morning Herald (15 March 1860), 7 

The grand vocal and instrumental concert, in aid of this fund, was given last night by the members of the musical profession, in the Exchange Hall, which was crowded in every part. Almost, if not all the local talent now in Sydney, was placed at the disposal of the committee, in addition to the instrumental talent of Signor Cutolo, the Band of the 12th regiment, and a numerous array of amateur and professional performers . . . The National Volunteer Song [Cutolo's], which was to have been sung by Madame S. Flower, did not come off for some reason unexplained to the audience; the loss was felt the more severely from the desire experienced by all to listen to the splendid instrumentation of Signor Cutolo . . . Of the instrumentalists, Signor Cutolo completely took the audience by storm by his magnificent instrumentation. His delicacy of touch and facility of execution, are very far beyond anything we have hitherto had an opportunity of witnessing, and after his concluding a very difficult solo of Thalberg's, on a Thema from Somnambula, an encore was unanimously and imperatively demanded, upon which the talented performer substituted variations from a Theme from the Borgia. This also was loudly applauded . . .

ASSOCIATIONS: Band of the 12th Regiment (military)

[News], Empire (22 March 1860), 4 

The performances at the Prince of Wales Theatre last evening were of a mixed character - dramatic and musical . . . After the performance of the very pleasing little comedy (an adaptation from the German) of "Nine Points at Law," a miscellaneous vocal and instrumental Concert was given, which commenced with Signor Cutolo's performance of his own fantasia on airs from Balfe's "Bohemian Girl;" a short prelude introduces very distinctly the two themes of the pieces, "I dreamt that I dwelt," and "The heart bowed down," the motifs following each other amid a flood of impassioned variations. In those compositions of his own, Signor Cutolo is enabled to display the entire peculiarities of his style; the bell like tones of the arpeggi, the extraordinary changes in using the pedals producing the most wondrous light and shade, and the delicate yet powerful manipulation; the fingers not the arm produces the immense volume of sound; so that whilst the ear is ravished, the eye is not offended by uncouth gesticulation, nor by a cold mechanism. We should, nevertheless, be glad to hear Signor Cutolo in communion with some of the choice spirits of the art, and to listen to his interpretation of the standard authorities. For the enthusiastic encore of this place, the Signor gave his warbling variations on our famous "Villikins;" for the second encore, the Brindisi from Donizetti's "Lucretia" . . . Signor Cutolo then played an arrangement of Mendelsohn's duet "I would that my love," the air being exquisitely kept up in various shades amidst the flowery and delicate accompaniments . . . Signor Cutolo commenced the second part of the concert with Thalberg's "Sonnambula" Fantasia, a most difficult piece, which was rendered with wondrous power, and far better than at the concert of last week. We cannot but consider it most unjust to demand an encore after so great an exertion on the part of an artist; nevertheless it was persisted in, and "Old Dog Tray" was playfully introduced; certainly he must have been very happy to have had so eloquent an exponent of his sufferings . . . and the concert concluded with Signor Cutolo's song of "The Australian Volunteers," a pleasing and easy but spirited and martial air given by Miss Emma Howson and chorus . . .

ASSOCIATIONS: Prince of Wales Theatre (Sydney venue, Frank Howson, above, was musical director)

"SIGNOR CUTOLO", The Sydney Morning Herald (29 March 1860), 4 

The Prince of Wales Theatre was last evening, as on the previous Wednesday, partly devoted to the votaries of Apollo, the great attraction being the performance of Signer Cutolo on the pianoforte; but in order to suit the taste of the lovers of the drama the fine tragedy of Medea was also announced, and this combined attraction drew an excellent house . . . On the conclusion of Medea, Signor Cutolo performed the etude "Source" of Blumenthal with a pathos and finish that denotes the true artist. A fantasia on the aria "Di tale amor," and the beautiful melody "Ah! che la morte," from the opera of Trovatore, and Prudent's fantasia on the "Fra poco," from Lucia di Lammermoor, were also performed by Signor Cutolo with exquisite effect. In the brilliant variations by which the subject is surrounded one might almost expect that the unsophisticated ear would for the moment lose the melody, but so true is the Signor's fingering that we feel convinced not a note is lost. His distinctness is extraordinary, and his touch produces the most liquid notes, while the forte passages are obtained without that physical contortion so common in pianists. Signor Cutolo was loudly applauded and encored; for the encore on the fantasia from "Il Trovatore" he substituted the "Last Rose of Summer," the tremolo variations on which were exquisite . . .

[News], Empire (29 March 1860), 4 

The musical portion of the entertainment at the Prince of Walea Theatre (after the performance of the Tragedy of "Medea,") commenced with Signor Cutolo's execution of an etude "La Source," by Blumenthal, a very successful modern German composer. It is a sparkling little gem, and though giving every opportunity for the display of brilliant manipulation, is not so overburdened with ornament as to conceal the obvious intention of the study, - unfortunately a fault in modern composition. In reply to the encore for this piece the Signor gave his own variations to the "Blue Bells of Scotland," displaying the use of the pedals to their utmost extent, one variation being almost an echo. The next piece played by the Italian pianist - on whom last evening fell nearly the entire musical portion of the entertainment - was a fantasia on "Il Trovatore," a composition of his own, introducing part of the "Miserere," the allegro movement of "Tacea la Notte," and the well known "Ah che la Morte," with which it concludes. We content ourselves by saying that the piece was encored, Signor Cutolo substituting variations on "The Last Rose of Summer." We would remind the pianist that in this national melody, the motif of the first part is repeated - the effect is somewhat marred by this omission . . . Signor Cutolo's performance of Prudent's fantasia from "Lucia di Lammermuir," which, as we anticipated was the gem of the evening, and was brilliantly executed by the Italian artist. Clear and true sounded the "Tu che a dio," with its running accompaniments for both hands, merging, into the celebrated "Sospiri" aria - it was played without the aid of the pedals, the full effect being legitimately produced by the manipulative skill of the executant. The house was well and fashionably attended, a farce concluding the entertainments.

"MISCELLANEOUS", Empire (12 May 1860), 8 

The Philharmonic Society gave the last of their series of soirees musicales for the summer season, on Monday evening. The only contretemps that occurred to mar the entertainment was the absence of Signor Cutolo, who was indisposed . . .

"ITALIAN OPERA", The Sydney Morning Herald (18 May 1860), 4 

Arrangements have at length been effected by Mr. Samuel Colville, the enterprising manager of the Prince of Wales Theatre, which are shortly to result in the production here, on a scale of unequalled attraction, of the grand Opera; to be continued for one month only, four nights per week, Mondays, Tuesdays, Thursdays, and Saturdays - the Tuesdays, Thursdays, and Saturdays being set apart as subscription nights. With this in view engagements have been already concluded with the long expected artists, the Signora and Signor Bianchi, who arrived in this city from Victoria on Friday evening last . . . These distinguished artists are to be supported by a numerous and efficient corps - both vocal and instrumental carefully organised so as to include all the talent available for this purpose, both here and in Melbourne. The six operas which will be produced are, Il Trovatore, Lucrezia Borgia, Ernani, Nabucodonosor, Norma, and Traviata; and the season is to commence on the 29th instant - next Tuesday week. The following engagements have already been entered into: Signor Cesare Cutolo, conductor; and a full and efficient orchestra, in which will be comprised the well-known piano instrumental performer, Monsieur Eigenschenk, and Monsieur Paltzer - the last-named gentleman having been expressly brought up to Sydney from Melbourne for this occasion. The vocal support which has been already secured is very considerable - Monsieur E. Coulon, the well-known, and justly eminent barytone; Signor H. Grossi, distinguished as a basso profundo; and Mr. Frank Howson, whose abilities as a singer are so well known to the Sydney public. By telegraphic advices Mr. Colville is informed by his agent at Melbourne of the engagement of Miss Octavia Hamilton, of whom the Victorian Press has always spoken in the highest terms of praise. Herr Schluter, Messrs. Benham, Springhorn, and Benham, together with Mesdames Lacy and Rayment, all left Melbourne by the City of Sydney, and are expected to arrive here to-morrow night. The majority of those thus engaged have been performing in conjunction with the Bianchi, and are familiar with operas promised . . .

ASSOCIATIONS: Samuel Colville (manager); Eugenio and Giovanna Bianchi (vocalists); Charles Eigenschenck (violin); Jacques Paltzer (violin); Emile Coulon (vocalist); Enrico Grossi (vocalist); Octavia Hamilton (vocalist); Adolph Schluter (vocalist); Henry and Lewis Benham (vocalists); Johann Sprinckhorn (vocalist); Miss C. Lacy (vocalist); Mrs. Raymond (vocalist); Italian opera company (troupe)

"TO THE EDITOR OF THE . . .", Empire (23 May 1860), 3 

SIR, - As my name will not, in future, appear as conductor in the list of operatic engagements, may I trust to your kindness for the insertion of the following letter, which I have this day addressed to Mr. Colville.
I am, Sir, your very obedient servant, C. CUTOLO. 

DEAR SIR, - When you, in company with Mr. Fitzgerald, called on me last week for the purpose of kindly offering me the conductorship of your proposed opera, you put questions to me which led me to infer that you imagined some misunderstanding to exist between myself and some artists engaged by you. I informed you that this was not the case as far as I was concerned, but if anything unpleasant was likely to ensue from my engagement, I would not accept your kind offer.
You replied that you were manager in your own theatre, and would not permit anything to take place likely to disturb your arrangements.
When I went into the orchestra on the occasion of the first rehearsal, some opposition was made to my mode of beating the time, which is the same as that in use at the Royal College of Music in Naples. Knowing, however, that it is in many cases difficult for a body of artists to conform to a new method, I yielded the point, and altered the beat to that known by the company. On continued opposition however, being offered to me in various ways, I have thought it necessary to resign the post you entrusted to my care, as I cannot consent to be the willing tool of those I am appointed to conduct. Of my capabilities for the task I am perfectly willing to leave the public and the Press to judge, after opportunity has been afforded them; but I certainty do not feel disposed to submit to the judgment of a clique, desirous of causing my overthrow for their own purposes.
Wishing you every success in your spirited undertaking.
(Signed) C. CUTOLO.
140, Castlereagh-street, May, 22nd, 1860.

ASSOCIATIONS: Alexander Fitzgerald (actor, manager)

[Advertisement], The Sydney Morning Herald (24 May 1860), 1 

PRINCE OF WALES THEATRE, Sydney, May 23rd, 1860.
SIGNOR G. CUTOLO, DEAR SIR, - The publication of your letter of the 22nd instant in the HERALD and EMPIRE of this date, which I only received upon arrival at my hotel at half-past eleven o'clock p.m. last night (too late an hour for an answer appearing in the papers of this morning, you being desirous thereof), leaves me no other alternative than the enclosure of a copy of Signor Bianchi's letter to me of the morning of the 22nd instant, and is as follows: -
"Tuesday morning, May 22nd, 1860. Samuel Colville, Esq., Manager Prince of Wales Theatre.
"Dear Sir, - I feel called upon, from the nature of our mutual arrangements for the entire success of the production of the various operas in the time, as ennumerated in our prospectus, that there be no failure on our part, to state that, in justice to all concerned, it will be necessary, for obvious reasons, that you make a change in the office of conductor.
"Yours very truly, (Signed) "E. BIANCHI."
This munt make it clearly appear to you that it was incumbent upon me to make arrangements conducive to the advantage of the entire company, as well as promotive of the interest of the public. To this end, and, for the purpose of effecting amicable arrangements between all parties, I held a friendly conference with you yesterday, on account of which I deeply regret that you gave publicity to the letter referred to, which (in my opinion) is an encroachment upon the public of a matter strictly professional, and cannot be of interest to them, provided always that their anticipations are realised. I need not sav that your abilities, as a musician, are too well established to require any endorsement here; but you must be well aware, that the office of conductor of an opera, to he properly filled, requires not only musical ability, but managerial skill, and should be occupied by a person of experience in that position.
Very respectfully, SAMUEL COLVILLE.

"TO THE EDITOR OF THE . . .", Empire (12 June 1860), 8 

SIR, - If any one with the least pretentions to rank amongst gentlemen, and with the smallest fraction of claim to be considered as an artist, so far forgets himself as to descend to low, mendacious, malicious, and cowardly manoeuvre; if such a man resorts to slander and falsehood - if he employs anonymous writers whose venomous pen is bought to assail those he imagines cannot defend themselves against his unmanly attack, then I say, Sir, it is the duty of every true man to expose the impostor to the indignation of the public. Signor Cesare Cutolo bas been guilty of the basest slander and of falsehood against ladies and gentlemen by far his betters in mind and heart. Were I alone concerned I would tell him in the words of Junius, "Cease viper, you are biting against a file." But he has most cowardly and ungentlemanly assailed those who never did him any injury or harm; employing for this ungracious task the pen of one whom I am astonished to see has condescended to lend his help and talent for such a mean cause. I allude, Sir, to an article inserted in the columns of the Melbourne Examiner of June 2, and which is a tisane of the grossest, most abusive, and vulgar vituperations against me specially, and the other members of the Italian Opera Company at present engaged at the Prince of Wales - this, no doubt, at the solicitation of CESARE CUTOLO, the amiable slanderer.
You will perceive, Mr. Editor, by the enclosed list, that every one, and all the vocal and instrumental artists, as well as choristers, have protested against CESARE CUTOLO'S efficiency as a conductor, indeed, against his complete incapacity as such. It will also be in the recollection of everybody, that he himself was the first to intrude upon the public with these private matters, by a rather scurrilous letter in teh papers, and that Mr. S. Colville, our excellent manager, very properly, though gently, put him in his right place.
Now, Sir, I ask how can the man have the barefaced impudence to assail a company of ladies and gentlemen with whom I have the honour of being connected, and to employ a gentleman of the Melbourne Press, whose great talents I regret to see enlisted in such a miserable and unjust cause, to slander us all, and misrepresent everything connected with his dismissal as conductor? We had all decided to act generously towards him, and let these painful circumstances remain in oblivion; but his invidious and malicious impudence, in causing us to be so atrociously calumniated in the columns of the Examiner, compels me, though most reluctantly, to protest with heart and soul, in common with my brethren of the company, against his arrogance and mendacity.
I claim at your hands, merely as justice, the insertion of my letter, as well as the protest signed as early as the 23nd of May, 1860. The public have bad no cause of complaint; our performances have been successful, in spite of the inclemency of the season, and, therefore, in justice to us all, I hope you will not deny me this matter of right, especially as we endeavour to introduce in this city a growing taste for the noble art of music.
I have the honour to remain, most respectfully, Your very obedient and humble servant,
Pohlmann's Hotel, George-street, June 11.

"COPY OF PROTEST", Empire (12 June 1860), 8 

COPY OF PROTEST. Prince of Wales Theatre, Sydney, Tuesday Morning, May 22nd, 1860.
WE, the undersigned, professors of music, vocal and instrumental, and also the chorus engaged in the forthcoming Opera season, deem it a bounden duty, taking into consideration an article appearing in this morning's Empire, to protest against the ability of Sig. CUTOLO, as a conductor of grand opera, at the same time believing him to be, without doubt, an excellent pianist; but from inexperience, unable to wield the baton as conductor.

ASSOCIATIONS: Clelia Howson (vocalist); Augusta Hart (vocalist); Annie Yeamans (vocalist, dancer); Isabella Twight (vocalist, dancer); Maggie Griffiths (vocalist); Frank Alfred Howson (junior); Henry Prince (musician); Walter John Rice (musician); Isaac Davis (musician); Alfred Chate (musician); Edward Fahey (musician); Gottfried Nathanson (vocalist)

[Advertisement], Empire (13 June 1860), 8 

SIR, - As the columns of your paper have been used for the purpose of a ridiculous but malicious attack on me, I trust from your well-known justice for the permission to insert the following lines. It is not for one moment my intention to reply to any of the remarks contained in the letter, signed, "E. Bianchi," or of the so-called protest, signed by chorists, danseuses, and others, who, of course, have nothing to do but to obey the will of their master. That letter is worthy of the source whence it emanated: to reply to its contents would be to lower myself to the level of the writer. The attack on the writer for the Melbourne Examiner - whoever he may be-I leave to him to answer: a task of which he is, no doubt, fully capable.
But, in order that the public of Sydney, and my friends here from whom I have received so much kindness, may know on whom they have hitherto bestowed their favour, I beg to insert the following testimonial from the Royal Conservatory of Music at Naples: an institute that has aided in maturing the genius of Bellini, Mercadante, Cimarosa, Paisiello, Lablache, and many others; and, as a specimen of the esteem in which I was held by that celebrated master, a short note from Mercadante, leaving the public to judge of the point at issue.
I am, Sir, yours, &c.
110, Castlereagh-street, June 13, 1860.
"Naples, July 10, 1857.
"I hereby certify, as Director of the Royal Conservatory of Music at Naples, that the Professor of Music, Signor Cesare Cutolo, has been a pupil of this institute, where he has, with immense profit, completed his studies in the various branches of this beautiful art: in pianoforte, singing, and composition.
"As he has constantly distinguished himself during his residence in the Royal Conservatory, and equally so during his travels, where his reputation has even gained strength in all these branches, and where he has given concerts with the most brilliant success, I award him this diploma, as a token of merit, as well for the distinguished powers of his mind as for his general proficiency.
"(Signed) Cavaliere SAVERIO MERCADANTE.
"(Countersigned) Marquis CASALNEROVO.
"CAPECE ZURLO, Director and Governor.
"Testified to by the Director of Public Instruction, Scorza, and the Minister."
"To Signor Cesare Cutolo.
"Saverio Mercadante salutes his kind friend, Cesare Cutolo, and informs him that he will expect him to-day, to have the pleasure of being introduced to Signor Coreos.
"Dal Abigariello, near Naples, July 1, 1855."

"METROPOLITAN DISTRICT COURT. Monday [6 August] . . . CUTOLO v. JOHNSON", Empire (7 August 1860), 8 

This was an action to recover the sum of £35, preferred by Signor Cutolo against W. J. Johnson. Some four months ago Signor Cutolo was about to give a concert at the Prince of Wales Theatre, and being on terms of friendship with Mr. Johnson, music-seller, was recommended by that gentleman to purchase a pianoforte instead of hiring one each time, and said he had a first-class one at his residence which would suit him, and which be would let Signor Cutolo have at cost price. He went to Mr. Johnson's private residence, and there saw the pianoforte; he tried it, but had not an opportunity of judging in the room how effective it would be in a theatre. Next morning he saw Mr. Johnson, who told him the pianoforte was well suited. The price agreed on was £85; of this sum Signor Cutolo paid £35 cash. The piano was removed to the stage of the theatre from Mr. Johnson's house. Signor Cutolo requested Mr. Johnson to play something on it, whilst he went into the pit to judge of its effect. The pianoforte was by no means as effective aa necessary. Signor Cutolo told Mr. Johnson so; and went to Mr. Paling, and requested him to send up the pianoforte he had upon former occasions, for the hire of which he paid £5 for the evening. Next day he met Mr. Johnson, and told him the pianoforte was not a suitable one, and offered to pay £5 for the trouble he had caused. This offer Mr. Johnson refused, saying that he would not take the instrument back. Nothing further was done in the matter until a fortnight after, when Mr. Johnson removed it from the theatre, or had it removed upon his own authority. He then deducted £15 from the £35 paid to him by Signor Cutolo, as an indemnity, and offered the remaining £20 to him; this offer he considered an imposition and refused; and appealed to the Court for justice. Mr. R. Johnson, solicitor, for defendent, asked for the receipt of the £35. Owing to the short space of time intervening between receiving the notice to produce and the sitting of the Court, Signor Cutolo was unable to produce it. The case was, therefore, remanded until Tuesday this day.

ASSOCIATIONS: William Henry Paling (musicseller); Robert Johnson (solicitor, brother of W. J. Johnson)

"FREEDOM OF THE NEAPOLITAN PRESS. - NOTCIE OF MUSIC IN AUSTRALIA", The Sydney Morning Herald (30 October 1860), 4 

The last mail from Europe brought to Sydney copies of the Indipedenza Italiana, a political, scientific, and literary journal, published at No. 7, Vico Luperano, Naples - a newspaper which curiously exemplifies the extraordinary changes the triumphant career of Garibaldi has already brought about in the state of public affairs at that beautiful, and (hitherto) basely oppressed city. Judging from the third number of this tri-weekly newspaper, now lying before us - and which, for literary ability, frank independence, excellent typography, and good paper (in fact for everything save and except else) will bear a very favourable comparison with any British journal - it is easy to understand what important alterations have taken place in Naples, and how thoroughly she has been awakened from that long and cataleptic sleep into which she has been thrown by the overpowering influences of the Bourbons . . .
On the last page of this interesting proof of the real progress of Italian freedom in an article headed "Accademia di Musica in Australia."
The lndipendenza says: - "Togliamo da duo giornali dell'Australia quanto segue intorno al merito artistico dell'egregio Signor Cutolo di cui tanto si onora la nostra Napoli. Egli ha meritato in Sydney tali ovazioni ed applausi da non iamentir punto l'alta fama ond'era preceduto" -
"We extract from the two journals of Australia (the Sydney Morning Herald and its daily contemporary) that which follows, relative to the artistic merit of the eminent Signor Cutolo, reflecting so much honour upon our city of Naples. He has deserved in Sydney such triumphs and manifestations of applause as are in entire accordance with the distinguished fame by which he was preceded."
The Indipendenza then proceeds to quote at full length the two several notices which appeared in the columns of this paper and those of our contemporary, descriptive of the first concert of "questo esimio pianista Italiano," at the Sydney Exchange, at which his Excellency the Governor-General and Major-General Macarthur (ii Maresciallo di Campo Marcarthy) were present. The composition entitled Source et Torrent, the aria variata the Blue Bells of Scotland, variations on a well-known comic air, a fantasia on Lucrezia Borgia, and Signor Cutolo's grand nocturne of the Pyramids were, it will doubtless be remembered, among the principal performances of the artist on that occasion. The nocturne last referred to is, we understand, already in the Press, and will be published in a day or two.

"EXAMINATION OF SIGNOR CUTOLO'S PUPILS", The Sydney Morning Herald (28 September 1861), 4 

An examination into the proficiency of the pupils of Signor Cutolo was held at Mr. Clark's Assembly Rooms, Elizabeth-street, under the immediate patronage of Lady Young and a committee composed of Lady John Taylor, Lady Manning, Mrs. Deas Thomson, Mrs. Arthur Hodgson, and Mrs. Billyard. The examination was, as might be expected, of a strictly private character, but there were a number of distinguished visitors at the express invitation of the lady patronesses - under whom, it is almost needless to observe, everything was so managed as to give unfeigned satisfaction to all who were privileged to be present. The programme was divided into two parts, and included vocal and instrumental music calculated to show the present development of musical taste and skill in the rising generation of this colony. The main object of the examination - to excite a generous emulation in the mind of the eleves of Signor Cutolo - was obviously secured in a very gratifying manner. Lady Young, the lady patronesses, and the friends of the pupils generally expressed their high sense of the talent which was displayed. It is understood that examinations of this peculiar description, in which there is nothing that can be objected to by the most fastidious reserve and delicacy, will be from time to time repeated. They will doubtless exercise a very beneficial influence upon the minds of those who seek to obtain the advantages of a good musical education.

ASSOCIATIONS: John Clark (dancing master); Adelaide Young (governor's wife); Anne Maria Deas Thomson (patron, musical amateur)

"TO THE EDITOR OF THE . . .", Empire (25 December 1861), 3 

SIR, By an advertisement inserted in your journal, you will perceive that it is my intention to give a concert for the benefit of the Asylum for Destitute Children at Randwick, my offer to that effect having been accepted by the managers and lady visitors of the institution. Notwithstanding that, it will be my effort - in order that the Asylum shall receive the greatest possible benefit from this undertaking - to make the concert as attractive as possible by the engagement of the best professional artists, in addition to my own individual exertions, I am desirous of introducing a novelty, which may tend, I hope, materially to the success of the entertainment.
This is, to offer a prize for competition amongst instrumental accredited and authenticated musicians to play, on any instrument, an extempore composition, taking for a theme, a popular melody chosen by the audience, and playing variations of different kinds, so that in each variation, the melody shall be dearly sustained throughout, and the piece executed to the satisfaction of the judges.
The mode of arrangement for this performance will be discussed at a meeting of the candidates to be held before tba evening of the concert, when all further particulars will be decided.
I am, Sir, yours obediently,

[News], Empire (29 January 1862), 4 

We are sorry to hear that in consequence of an inflammation in the hand of Signor Cutolo, which entirely prevents his playing the pianoforte, it is absolutely necessary to postpone the concert in aid of the Destitute Children's Asylum, at Randwick. We trust that Signor Cutolo will soon recover, and that we shall have the pleasure of hearing him at this concert, which must, we are sure, be a success.

"To the Editor of . . .", The Sydney Morning Herald (30 January 1862), 2 

SIR, - The cool manner in which Mr. Cutolo has treated the public and artistes in upsetting the arrangements for the concert, which was to take place this evening, for the benefit of the Destitute Children's Asylum - must convince any one of his being an egotist of the first water - without communicating his intention to any one concerned, of not carrying out the concert he advertises in the daily papers, that a bad finger (which I am informed, has been bad for three weeks), will be the cause of the entertainment not taking-place. I think that the opinion of those who volunteered to take part in the Concert, as well as of the ladies and gentlemen professionally engaged, might have been consulted, for what does his conduct express, but that he wishes it to be understood, that they of themselves cannot by their musical qualifications, attract an audience - that in fact, they are merely make-weights, and that he is the all in all.
Believing that the profession, amateurs, and the, public, will rightly appreciate Mr. Cutolo's proceedings.,
I remain, yours, &c.,
Sydney, 29th.January.

[Advertisement], The Sydney Morning Herald (1 February 1862), 5 

Sir, -The letter of "A Subscriber," in yesterday's HERALD, not being on professional matters, it becomes my province to reply to it, and I should have done so before but that it entirely escaped my notice, until my attention was just now directed to it. I regret that the writer should have thought fit to make such a communication, as it is evidently conceived in a spirit of personal dislike and opposition to Signor Cutolo, and tends to the disparagement of a kind desire to aid a most useful public institution.
It certainly appears to me that the letter was written by some one not directly concerned in the proceedings for the concert. Of the names in the programmes, the only ones that have been offered gratuitously are Mr. Waller, Mr. Henty Marsh, and Mr. Sussmilch, and the gentlemen of the German Glee Club. I am convinced that all of those gentlemen were, in their offer, actuated too much by the true spirit of charity to be so ungenerous in jumping at the conclusions advanced in the letter of "A Subscriber."
Having undertaken the duty of this reply, I must explain, the circumstances, as far as known to me, as I am not likely to see Signor Cutolo to-day.
Whilst on a visit to the country, during the Christmas holidays, Signor Cutolo had the misfortune to fall from some high rocks, which caused an abrasion of the hand. On his return he complained of pain in the finger, but from appearances it was said to be rheumatic gout. He applied some simple remedy, and took no farther notice of it, but gave his lessons as usual. A few days before that fixed for the concert the pain gradually increased, and slight inflammation set in, the consequence of what I considered to be a gathering round the nail. I saw Signor Cutolo at four o clock on the day preceding the concert day, and he then expressed his determination to play at all hazards, and went then to procure something to diminish the inflammation and mitigate the pain. Drs. Nathan, Boyd, and Roberts were, however, unanimous in agreeing that it was impossible for him to play.
Signor Cutolo called at my residence as soon as he received the medical certificates, in order that the necessary steps might be taken for the postponement of the concert. Unfortunately, I was absent from home attending to some preparations for the concert, and I only learned the fact at 11 o'clock, on my return home. I immediately personally communicated the fact to some of the ladies and gentlemen who were to take part in the concert, and even at that hour returned to the HERALD Office, to see that the certificates were perfectly satisfactory, and such as would justify me in agreeing to the postponement. With the other gentlemen I could not communicate until they would have seen the advertisement.
As to the idea of giving the concert without Signor Cutolo, I can only say, that it appears to me to be very like that of giving the play of "Hamlet" with the part of Hamlet omitted; and for this reason I am equally convinced that no true PROFESSIONAL GENTLEMAN would put his name to such a suggestion. To Signor Cutolo alone the society is indebted for the proposal to give this concert - at his responsibility is the large expenditure incurred. I scarcely know which would be greater - the injustice or the want of courtesy in proposing to give the concert without him. The flooded of Windsor were on a former occasion indebted to Mr. Henry Marsh for the suggestion to give, a concert on their behalf; what would have bean said to the proposal to leave him out of the programme? Very properly, at the end of the proceedings, he received a warm vote of thanks from those who CO-OPERATED with him.
Surely "A Subscriber" knows of the many unpleasant occurrences that have taken place when any particular performer has not fulfilled the part allotted to him in the obligations which have been contracted with the public. Had the announcement of Signor Cutolo's inability to play, been deferred to the moment of the concert, would it not have been justly regarded as an imposition? Of course no one would have desired to receive back money given to a public institution. Signor Cutolo has many friends, and those have been exerting themselves to ensure the success of a concert for so excellent an object. I myself have received communications (and I have no doubt I could obtain permission to publish them), from gentlemen residing far up the country, who remained in town expressly to hear Signor Cutolo play.
Signor Cutolo took the only course open to him as a gentleman and man of honour by a timely notice to prevent the assemblage of a large audience under false pretences. As far as the public is concerned, by an advertisement appearing in my own name, purchasers of tickets are informed that they can, if desirous of doing so, return the tickets to me. Instead, however, of any applications of this kind having been made, I have received letters requesting tickets to be forwarded, and from parties who state that they "know the concert has been postponed, but are desirous of encouraging so worthy a cause."
I am, Sir, yours, &c.,
HENRY N. MONTAGU, honorary secretary.
Belvedere Cottage, Bourke-street.

ASSOCIATIONS: James Waller (vocalist); Christian Bernhard Sussmilch (vocalist); Charles Nathan (surgeon, musical amateur); German Glee Club (association)

[Advertisement], The Sydney Morning Herald (13 February 1862), 8 

Sir, - There are times in the course of the life (perhaps, more especially of an artist) when, arriving at a kind of crisis, it seems necessary, both for his own sake and for the sake of public opinion, to take stock of himself and come to some conclusion as to his own value. Such a crisis appears to be mine at the present moment, and for good and sufficient reasons I intend to take the risk of being charged with egotism while I trespass upon the patience of the readers of your paper. Everyone has a right to respect the opinion of the community in which he lives, and for those who never move out of their own private circle, it is not difficult with moderate circumspection, to escape censure - to do more than that, to live in peace and charity with all men. The life of a professional man, however, is almost public property, and unfortunately for poor human nature, for him nothing is so dangerous as success; it creates many enemies whose delight it is covertly to censure, and leave no stone unturned to injure him; at length the ear of the public is gained, and it would be almost a piece of unexampled generosity if his own immediate friends did not begin to question whether there might not be some shadow of truth in the reports so industriously circulated against him. I utterly disclaim any idea of throwing myself upon the generosity, either of the public or of individuals, and to show that nothing is more unnecessary in my case, I give an outline of my career in Australia: -
My idea in leaving Europe was to visit the principal cities of India, Australia, and America. The breaking out of the mutiny put an end to the first of those projects, and caused my visit to these colonies sooner than would otherwise have been the case.
I arrived by the overland mail in Melbourne, on the 25th April, 1858, being then unable to speak a word of English. Being introduced to Thomas Cocksworthy, Esq., Deputy Commissariat-General for Australia, he kindly introduced me to General Macarthur, to whom I was indebted for an introduction to the Governor, who invited me to many pleasant parties, both public and private, in consequence of which I became acquainted with many distinguished families there, who did their utmost to render my visit as agreeable as possible.
The opinions of the Press on my concerts speak for themselves in evidence of the kind manner in which I was received by the public, and I have every reason to be gratified with my visit to Melbourne.
During that time, having received letters from Adelaide requesting me to pay a professional visit there, I left Melbourne, and, as proof of the kind feeling entertained towards me by the Governor at the moment of my departure, I received a letter from Captain Bancroft, containing an introduction to Sir R. Macdonnell, a copy of which I annex: -
"Seat of the Military Secretary of the Governor of Victoria.
"Captain Bancroft presents his compliments to Signor Cutolo, and has the pleasure of forwarding a letter of introduction to his Excellency the Governor of South Australia, written by his Excellency Sir Henry Barkly. Nothing in the shape of a letter has been received from Mr. Black; should one come it shall be transmitted without delay to 8, Kylis-buildings. Captain Bancroft begs to annex the address of Mr. Black, in case Signor Cutolo would like to call, and Captain Bancroft wishes Signor Cutolo a pleasant and prosperous journey to Adelaide. "Government Office, 11th November, 1858.
"Mr. J. R. Black, Bignell's Hotel, North Melbourne."
I arrived in Adelaide at the latter end of November, 1858, when Sir R. Macdonnell had the kindness to invite me to an excursion party for the purpose of introducing me, so that I found myself at home at once, though a stranger; and, instead of remaining a few weeks, as I at first intended, my visit extended to a twelvemonth, which was for me a holiday of enjoyment. The hospitality and kindness of Sir R. and Lady Macdonnell I shall ever remember with the most pleasurable and grateful feelings. I was most successful in my profession, so that, with kind friends and the good opinion of the public, my sojourn in Adelaide was every way satisfactory; and as the time of my departure drew near, I could not but regret leaving a place I had found so truly agreeable. During my stay I received many kind notes in the handwriting of Sir R. Macdonnell. I append copies of the few I have, fortunately preserved, including a kind note of farewell indicating the estimation I was held at the close of my visit to Adelaide. -
"Government House, 9th June.
"My dear Sir, - If you have no other engagement for next Saturday, would you favour me with your company in the evening, about eight o'clock.
"Believe me to be, most sincerely yours,
"Government House, 29th August, 1859.
"My dear Sir, - I hope you will be able to spend next Saturday (at least all of the day that follows one p.m.) at Government House, when I mean to summon a few of my friends round me to an archery fete and try to amuse them.
"Very sincerely yours,
"Government House, 18th January.
"My dear Sir, - I understand you were wishing to see me, and that you have some idea of soon leaving us; I shall be glad to see you here to-morrow (Thursday) at dinner, at six o'clock. Pray let me know if you can come.
"Yours very truly,
I came to Sydney, via Melbourne, in January, 1860, bringing with me many letters of introduction from friends both in Melbourne and Adelaide, including one given me by General Macarthur for Sir W. Denison. I visited General Macarthur, at Elizabeth Farm, Parramatta, early in February, and on the 6th of that month received from him the following letter: -
"Dear Signor Cutolo, - I hope that you got well to Sydney, after your very broiling visit to Parramatta. By the same post with this note I have written a few lines to the Governor-General's aide-de-camp, which, let me hope, are of a nature to be of service to you, and to render Sydney as agreeable to you as Melbourne and Adelaide have been.
"Believe me, truly yours,
"Elizabeth Farm, 6th February, 1860."
Sir William Denison is too well known to render it necessary for me to mention his constant kindness and polite attention. I shall always bear him and his estimable lady in my remembrance with the deepest respect and esteem. Having asked and obtained his patronage for my first concert I made a similar application to General Macarthur; I annex his reply.
"Dear Signor Cutolo, - Should you continue to think my name of any advantage to you, in promoting the success of your intended concert, it would give me much pleasure that you should avail yourself of it, as being under my patronage preceded by that of the Governor-General.
"Believe me truly yours,
Whilst making the necessary arrangements for my concert I received a note from the Committee of the Philharmonic Society, requesting me to play at their concert to be given in the interim. With much regret I felt compelled to decline this honour, stating my engagement to the Governor for my own concert, and expressing my willingness on some future occasion to comply with their request and avail myself of the opportunity so kindly offered; to my astonishment an idea was expressed, that I ought to care more for the Philharmonic Society than for my prior engagement to the Governor. This, I confess, my judgment could not submit to. On the occasion of the next concert of the society, I received a similar request to play, to which I acceded; but unfortunately the concert occurred during the prevalence of the influenza. I had been in bed with a high fever for some days; nevertheless, I applied to Dr. Nathan to allow me to leave my room to take my part in the concert. He was greatly astonished at my request, and said that if I did so he would not be answerable for my life. He gave me a certificate which I think should have been considered a sufficient guarantee both of my inability and good faith; but, alas, the event proved the contrary, not only did one member politely inform my messenger that I was a humbug; but more than one took care to circulate the enviable fact through the audience; a course of proceeding I am happy to say not participated in by my friends connected with the society; but which naturally influenced those, who not being in a position to know the exact truth, imagined that others were better informed than themselves.
There are those who labour under the impression that no artist can succeed without the protection of the Philharmonic Society; this, my experience has proved to be a great mistake, inasmuch as I have succeeded. This success I am aware has had the effect of making me many enemies, all of whom of course are those whose position could not be one whit altered had I never existed.
There is one thing more that I wish to touch upon as lightly as possible - necessary to mention to avoid further misunderstanding. Many of my friends are aware that under high patronage, and under the control of a committee of ladies of some of the first families in Sydney, a private examination was held of some of my more advanced pupils, which I am happy to say gave the greatest satisfaction to both parents and friends then present; one family only in Sydney refusing to allow one of my pupils to attend, and the principal of a school volunteered her opinion of the impropriety of such an examination. Thinking such refusal and opinion a direct offence to the committee of ladies, patronesses, as well as to the families who approved of the examination, I declined the honour of continuing Professor to the parties referred to, and consequently withdrew. I merely mention this, because I am informed that wrong motives are attributed to me in this matter, - also an erroneous idea has been created; that I have established similar periodical examinations, and decline to receive pupils who may not be permitted to unite in them. Such is certainly not the case, I cannot deny the right of private judgment to others which I claim for myself.
My time being thoroughly occupied with the duties of my profession, I had however, having frequently expressed an opinion that I determined to keep myself perfectly private, and not to take part in any public entertainments. Many kind friends, ought to do something, I sent to Erard of London, for one of his best instruments; so that I might occasionally be able in some measure to assist any charitable institution. The instrument having arrived, I proposed to give a concert for the benefit of the Asylum for Destitute Children; this concert was postponed, as the public is aware.
Wishing to introduce some attractive novelty, I offered a prize for an improvisation on some popular air; but to simplify matters and avoid confusion, I addressed my invitation to those who were duly qualified members of some academy. This idea has not met with the acceptance for which I had hoped. There are many people who, like the despisers of Columbus, declare nothing easier to perform than that which being first done by others, has not even been attempted by themselves. My invitation gave all competent an opportunity of acquitting themselves before an audience who would judge equally their performance and my own. I by no means courted competition, but I am not afraid at any time to enter the lists when necessary. I received no answer to my invitation except a communication from a gentleman who, I understand, is an amateur; of course as such he did not come within the limit of my advertisement, and could not be recognised.
In conclusion I must say a few words upon the subject of a most shameful affair, which has appeared in one of the daily papers, reflecting in the most disgraceful way upon the character and position of a gentleman in Sydney, my own personal friend, who, I believe and know, to be a most honourable man, incapable of any act inconsistent with a Christian and a gentleman. This scandal is as diabolical on the part of the base originator, as it is untrue of the gentleman against whom it is directed. To my unbounded astonishment this vile procedure is attributed to me. It seems almost to lower myself even to deny (but I do solemnly deny) having had either act or part in this most infamous transaction, and conspiracy. The cowards who have covertly dared to include my name in their machinations have not yet had the courage to attack me openly, perhaps well knowing an open enemy who dares to slander is punishable by law. But, from the underhand weapons of concealed cowards, who can defend himself, such scandal is hydra-headed, or, like Greek fire, burning unquenched, hidden beneath the water. I offer a reward of Twenty Pounds to any person who will prove to my Solicitor that he has heard any one charge me to have been the author of it, in the presence of witnesses. It has been my rule through life to do nothing I ought to be ashamed of, and fear no man, to owe no man anything, to mind my own business, and not to interfere with the business of others, and being in no why bound to any one, except in the way of kindness, and feeling my conscience clear of any offence against my neighbour, I hope to be able to live down the power of scandal and malice - potent though it be, and enjoy the retirement of private life, like any other man, who justly claims so much as the reward of his daily labour. Be the result what it may I am clear before God, and in my own conscience that no one can truthfully say aught against me in any one of those things in which men have a right to judge their fellows, or refute the statements I have made.
140, Castlereagh-street, February 12th.

ASSOCIATIONS: The slandered friend referred to was a fellow Neapolitan Charles D'Apice; see [Advertisement], The Sydney Morning Herald (25 January 1862), 1 

PERSONS ADVERTISED FOR. - D'APICE, alias SICA, SIGNOR, Professor of Music, formerly of Naples. -
Your wife and two daughters just arrived safely, but in very delicate health, from London.
Pray do write without delay. Address General Post Office, Melbourne.

[Advertisement], The Sydney Morning Herald (27 January 1862), 1 

PERSONS ADVERTISED FOR. - Referring to the advertisement under the above heading, inserted in the issue of the SYDNEY MORNING HERALD of the 25th January instant, addressed to "D'Apice, alias Sica Signor, Professor of Music, formerly of Naples," stating "that his wife and two daughters had arrived at Melbourne," I can only say that I have never been married, and that the advertisement is a false and malicious libel.
CHARLES D'APICE. Villa Floridiana, Hunter's Hill, 25th January.


SIR - My attention has been called several times to certain advertisements in the columns of your paper in reference to a concert for the benefit of the destitute children of the Randwick Asylum.
I have been a long time considering whether I should notice it or not publicly, and I have now come to the conclusion that in due regard to the members of the musical profession in Sydney (many of whom, I am happy to say, are artists of much talent and proficiency), I had better offer a few remarks upon the subject. But before doing so, I beg to assure you, sir, that my object is not to attack the advertiser upon the ground of "a novelty" which he proposed to introduce at that concert, for I think him perfectly justified in bringing something new and interesting before the public, if done in a proper manner.
The "Ten-Guinea-Prize" that Signor Cutolo tendered for competition to the musical profession of Sydney, was quite natural and, I hope, well meant. But I was very much astonished to find that the candidates for the above prize were to forward their testimonials. This, I must confess, struck me as a "novelty," as well as a "maladresse."
However, this much could have passed unnoticed as yet. But just before the concert was to take place, another advertisement appeared announcing to the public that "Signor Cutolo," with much regret, was compelled to withdraw his offer of a Ten-guinea Prize on account of the applications not having been accompanied by testimonials or certificates. On reading on, I find that Signor Cutolo at the same time, "begs to append his own "diploma." Upon further examination, however, I came to the most natural conclusion, that this "diploma" was a compliment signed by some members of a school or college of music in favour of a pupil of that school or college.
I have no doubt Signor Cutolo might have deserved the compliment, but I object to the word "diploma," for such a thing does not exist except in a recognised profession, such as medical and several others, where a man is not allowed to practise without a diploma, for the security of the public. But, in our profession, if an artist obtains a distinction, it is in the shape if a prize, and not otherwise.
Signor Cutolo is in good circumstances, and enjoys the privilege of good society: why, then, this attempt to degrade his brother artists? It is not in good taste. If Signor Cutolo feels so much his superiority over others, he should have for them, also, a particle of the "Générosité des Grands."
I have the honour to be, Sir, your obedient servant,

ASSOCIATIONS: Edward Boulanger (musician)

"SIGNOR CUTOLO'S CONCERT", The Sydney Morning Herald (19 March 1862), 5 

Yesterday evening Signor Cesare Cutolo's long deferred concert in aid of the funds of the Randwick Asylum for Destitute Children, took place at the Freemasons' Hall in York-street, - a large and fashionable audience being in attendance on the occasion. Lady Young, Lady Taylour, Colonel and Mrs. Kempt, Mrs. Deas Thomson, and many other distinguished personages were present. The large and well-selected programme had justice done to it by the vocal and instrumental artists to whom it had been entrusted. The concert commenced with selections from Rossini's admired opera of Semiramide, which was admirably interpreted by the military band, under the able conductorship of Mr. D. Callen. A pleasing duet was then sung with much taste by the Misses Brady, and received with well-deserved applause. Signor Cutolo next performed, on the pianoforte, an exquisite fantasia taken from the opera of II Trovatore. This beautiful piece of music, from the pen of the talented executant, was received with every mark of approbation from the audience. Signor Cutolo is indeed no ordinary performer. Besides the usual accomplishments of maestro he has a style peculiarly his own, full of that nervous energy and brilliancy which are the happy characteristics of all pianists of the Italian school. In the fantasia just mentioned, and subsequently in a similar composition by Prudent (at the end of the first part), the Signor amply vindicated his claim to rank as a musical artist of the highest order. This was achieved not without some difficulty, inasmuch as he was still suffering severely from the cause which obliged him so long to defer giving this concert. Mr. Waller was, we regret to say, through indisposition prevented from going through all the parts assigned to him in the programme, but he nevertheless made a commendable effort to be present, and sang with his usual taste and power of expression a scena from Handel, "O ruddier than the cherry." Several songs were very pleasingly sung by Mrs. Marsh in the course of the evening - the "Adieu," of Roch-Albert; the "Gondoletta," and the "Wanderer," of Schubert. Mr. Brooks also, from time to time, performed on the harp, exhibiting all the mastery which he has over that beautiful instrument. He was rewarded with numerous encores, and loud and repeated manifestations of applause. The German Glee Club was also distinguished with some marks of approbation. In the second part the programme was necessarily varied in consequence of the indisposition of Mr. Waller, and the inability of Signor Cutolo to play any longer and in consequence of the state of his hand - severely tried by his previous efforts. The duet of "the Wind and the Harp" by S. Glover, merits a particular notice. It was very sweetly sung by the Misses Brady to the magic notes of the harp - Mr. Brooks playing the accompaniment. The quartet "Marschlied" concluded the concert at about cloven o'clock. Although the hall was not so full as could be wished, the attendance was a numerous one. The general arrangements for the concert were deserving of the highest commendation, and the hall was very tastefully ornamented with national flags and wreaths of flowers. Altogether the whole appeared to give satisfaction to the audience, and the proceeds have, we trust, proved to be a sum which will materially assist the excellent charity for which this concert has been give by Signor Cutolo.

ASSOCIATIONS: George Douglas Callen (bandmaster); Matilda and Mary Ann Brady (vocalists); Thomas Brooks (harp); Louisa Dawson Marsh (vocalist); Band of the 12th Regiment (military); Freemasons' Hall (Sydney venue)


This concert took place last night, as advertised at the Masonic Hall, York-street. We were sorry to observe that Signor Cutolo, under whose auspices the affair was got up, had again to have an apology offered, for his non-fulfilment of his portion of the evening's entertainment, on account of his being suddenly attacked by an inflammation of one finger. We trust that Signor Cutolo will not attempt any more concerts until he recovers the use of his fingers. We may feel it necessary to refer again to this concert.


Signor Cutolo's concert for the benefit of the above institution took place, after many difficulties, on Tuesday evening last, at the Masonic Hall, and was tolerably well attended. The object of the concert being for the benefit of a benevolent institution, would usually disarm criticism; but, on this occasion, we fuel it necessary to make a few observations and not to pass over the performance in silence. Signor Cutolo had selected three pieces, which, of course, he was expected to play; for we naturally suppose he must have chosen what he thought himself able to attempt. What has he done with the three pieces? In the first, his own arrangement upon "Trovatore," he broke down. In the second, Prudent's "Lucia," he took a liberty that no pianist, no artist, would ever dare to take; for he passed three distinct parts of it for his accommodation, cutting the piece to his own size and measure. In the third * * *, but this was never attempted, the gentleman's little finger being suddenly taken ill between the two parts of the concert. Of Signor Cutolo's own version on the keyboards of "Il Trovatore," we cannot give a correct idea; for we could not make out whether he was "trying his Grand" or preluding in bold terms upon the above opera. Of Prudent's "Lucia," however, we must confess that we were compelled to acknowledge his flagrant inability. What did the young ladies in the Hall think of the Signor, who were scolded by their teacher last week for keeping down the pedal without regard for the different vibrations and changes of harmony, for using a ridiculous fingering, or playing the airs of Lucia in a sulky movement? As to the third piece, Somnambula, by Thalberg, we feel quite satisfied that Signor Cutolo never intended to play it, for unless he has lost all common sense, he must see the madness of such an attempt on his part. The piece is known here, and has been well played in public on a former occasion, by a lady now absent from our shores; and Thalberg has not been without an able interpreter here during the last few months. One feature of the concert, however must not be passed over without notice, we mean the ominous silence of Tuesday evening. It leads us to hope that the strictures we have felt it our duty to make from time to time in our columns in reference to musical matters have produced their fruits, and that the opportunities lately afforded us of hearing sterling music have not been thrown away. Of Mr. Brooks we will speak in different terms, for without him the concert would have been literally unbearable. The harp is an instrument almost gone by, so we cannot expect any new feature. Mr. Brooks pieces were played without any pretension, and were all the more acceptable for it. He intended, he endeavoured to please his audience, and he must have felt his exertions were fully and justly appreciated, as to him alone befell the honour of encores. Of the band we would rather avoid speaking, as we were deafened by cannonades of drums more fit for war than peace.

ASSOCIATIONS: Amalia Mauthner Rawack ("lady now absent"); the "able interpreter [of Thalberg] here during the last few months" was Edward Boulanger (above)

"MARRIED", Sydney Mail (5 April 1862), 2

CUTOLO - ROGERS - March 24th, at St. James' Church, Sydney, by the Rev. Elijah Smith, of Penrith, assisted by the Rev. G. H. Moreton, Cesare Cutolo, fourth son of Signor Raffaelle Cutolo, solicitor, of Naples, to Mary Alvey, eldest daughter of A. T. Rogers, Esq., the Priory, Louth, Lincolnshire, England.


Mr. DALGLEISH moved - "1. That the matters referred to in the petition of Thomas Charles Bentley, presented to this House on 24th October, be referred to a select committee . . . Mr. Harrison at first said that it was not possible for two persons, as Mr. Montague and Mr. Cutolo to have done it themselves. But afterwards he said it was done by two persons . . .

ASSOCIATIONS: The matter concerned anonymous threatening letters which the recipients, Julia Munk Bentley and her husband, suspected Cutolo and Montague, among others, of sending

"PARLIAMENTARY PAPER. PETITION OF THOMAS CHARLES BENTLEY", The Sydney Morning Herald (20 December 1862), 4 

The Select Committee of the Legislative Assembly, to whom were referred, on the 11th November last, "the matters referred to in the Petition of Thomas Charles Bentley, presented to this House on 24th October, with power to send for persons and papers," have agreed to the following progress report:
Your committee have examined eighteen witnesses, but the approaching close of the session has prevented then taking all the evidence they desired. Your committee have not arrived at a satisfactory conclusion as to the authorship of the anonymous letters referred to in the petition of T. C. Bentley . . . One of the witnesses, Signor Cutolo, whose name appears somewhat prominently in the deposition of the petitioner and his wife, as a suspected party, does not appear, from the evidence taken before your committee, to have been in the slightest degree liable to those imputations . . .

[Editorial], The Sydney Morning Herald (23 December 1862), 4 

The BENTLEY case promises to be interminable . . . We shared with all the colony in a feeling of indignation at the persecution to which these people were alleged to have been subjected . . . Our sympathies were with the BENTLEYS, but we confess that they were shaken when we became cognisant of the case at Exeter. They are still more shaken when we find that the committee discover no reason to impeach the very man whose name has been mentioned in all directions. No doubt Signor CUTOLO is really a victim, and we confess that our interest is largely turned towards him. His foreign birth and Italian name seemed to satisfy the popular prejudice, which since the time of the trial of Queen CAROLINE has made every Italian a counterpart of "Non mi ricordo" - a witness so called from a celebrated answer which he gave to every awkward question, and which became the subject of popular songs . . . We should not even offer the suggestion of leaning to either side, did we not feel somewhat indignant that Signor CUTOLO should have been, without the smallest apparent reason, offered to public detestation as the guilty man. It is true not much has been published in print to that effect, but a rumour may be spread as effectually, and much more injuriously, from the absence of all tangible means of detecting its authors or bringing them to account . . .

ASSOCIATIONS: Evidence tendered showed that Julia Munk (Mrs. Bentley) had previously been at the centre of a similar case in Exeter, suggesting to some commentators that she herself might have been the author of the supposed abusive correspondence

[Editorial], The Sydney Morning Herald (25 September 1863), 4 

The evidence taken before the Committee appointed last session to inquire into the petition of Mr. Thomas Charles Bentley is now printed. The only interest which survives in the case is the illustration it affords of the power of any foolish member to put the public to an enormous expense in pursuance of some crotchet of his head. There was nothing whatever in the case of Mr. Thomas Charles Bentley to entitle the House to take cognisance of it. If people are injured by anonymous' letters, or assailed by professional rivals, the Courts are open, and law affords redress so soon as the culprit is detected . . . The matter ought to have been left with the police, for nothing which has since been done has in the slightest degree affected the public mind, or altered the relative positions of parties. All we can say now is that the letters ceased to be written, and Mrs. Bentley has passed from the case of the police to the ordinary protection of domestic life, without apparently any bad consequences. The report of the committee acquits Signor Cutolo on all share in this alleged persecution. But he has been pointed out by the Bentleys as one of the culprits. He being an Italian, this kind of plotting and secret assassination was attributed with very great freedom to him as the development of the national and professional jealousies. It was fortunate for Signor Cutolo that when the general accusation took the shape of precise fact, he was in the hands of his physician, and by the dates of his prescriptions was enabled to show that it was utterly impossible he could have taken the part ascribed to him. There being nothing further to implicate the worthy musician, the committee could hardly do otherwise than declare these accusations unfounded. It is all very well to pity poor persecuted people, but there is a kind of persecution not less savage, and that is the reckless imputation of conduct to men whose character is as precious as that of any for whose sake they are immolated. Signor Cutolo and his character were given on venture as a contribution to this precious plot, one which we should have supposed to be altogether improbable had not the records of the past given us not only a parallel at Exeter, but many others in various cities and countries . . .

"THE BENTLEY MYSTERY", Illawarra Mercury [Wollongong, NSW] (29 September 1863), 4 

We have received [a] volume issued from the Government printing office, containing the evidence taken before the select committee of the Assembly on the Bentley case. The volume numbers altogether some 370 or 380 closely printed pages of foolscap. The committee appear to have sat eighteen days, and to have examined the same number of witnesses. Altogether, no less than 9,475 questions were asked and answered, and these fill up 309 pages. The remainder of the book is made up of the appendix, and of this, the deposition made by Mr. and Mrs. Bentley, and their two servant[s], resident in the house, Anna Maria Bradshaw and Mary Ryan, occupies 44 pages. The depositions embrace all the anonymous letters about Mrs. Bentley addressed to her friends, and contains a tale fully equal in horror and incident to even Anne Radcliffe's Mysteries of Udolpho or Walpole's Castle of Otranto. Besides the four witnesses above mentioned, the others examined were Mrs. John Black, of the mercantile firm of Mollison and Black; Mr. Edward Boulanger, the well-known pianist, who has since died at Shanghai; Dr. Le Gay Brereton, Mrs. Bentley's medical adviser; Detectives Champnin and Sanderson; sub-inspector Harrison; Mr. W. Elyard, the under secretary in the Colonial Secretary's department; Mr. Harris, in Sands and Kenny, the booksellers' employ; Mrs. Lindsay and her daughter, who lived opposite the Bentley's; Signor Cutolo, at one time suspected of being at the bottom of the "conspiracy" but who was fully exculpated by the select committee; the Inspector-General of police; Mr. Edward Wrench, of the firm of Richardson and Wrench, auctioneers; and a youth named Fredrick Sigmont. The names of Mr. Clarke Irving, Mr. Francis Lewis Shaw Merewether (at one time auditor-general), Mr. San Juste, and other celebrities are freely mentioned throughout the case, and no concealment is made of the suspicions entertained against persons. It appears that the individuals against whom the chief suspicion existed on the part of the Bentleys were Signor Cutolo and Mr. Montagu, a musical critic, whose real name is Nathan, but a Mr. Rawack the husband of a Madame Rawack, a pianiste, and Mr. San Juste were also at one time suspected. From a perusal however of the evidence, it is clear that none of those persons had anything to do with the matter, and the conclusion most intelligent, and impartial people will come to from reading it is that the Bentleys themselves, or one of them, from a monomania or some motive, were the originators of the conspiracy and carried it out. We may frankly confess that until we read the evidence we has strong opinions that the Bentleys were the victims of as foul a plot as was ever conceived, but we closed the volume withe a very different impression. - Goulburn Chronicle.

ASSOCIATIONS: Frederick Sigmont, son of William Abercrombie Sigmont (musician); Leopold Rawack (amateur musician); Eduardo San Just (Spanish consul, d. 1869)

"MADAME LUCY ESCOTT'S CONCERT", Empire (17 October 1863), 4 

. . . the entertainment of Madame Lucy Escott, announced to take place at the Masonic Hall on Monday evening, cannot fail, from its intrinsic musical worth, to prove one of the most attractive concerts that have been submitted to the appreciation of the Sydney public . . . Signor Cutolo, too, whose dulcet tones are now but seldom heard in public, in consequence of his very numerous professional engagements fully occupying his time, has, with the true spirit of an artist, in admiration of the talents of Madame Escott, most generously offered his valuable assistance on this occasion, and will play Thalberg's "Huguenots" fantasia . . .

ASSOCIATIONS: Lucy Escott (vocalist); Lyster Opera Company (troupe)

[Advertisement], The Sydney Morning Herald (23 December 1863), 1 

SIGNOR CUTOLO, at home to his Pupils and for business arrangements on MONDAY, January 4th.
Signor Cutolo will attend at the following Educational Establishments: -
Mrs. Tait, Lyons-terrace; Mrs. Bransby and Mrs. Vyner, Kellet House; Mrs. Blaxland, Paddington; Mrs. Moore, Moore Hall; Miss Flower, Castlereagh-street and the Misses Martin, Macquarie-street.
119, Phillip-street.

Naturalization, 9 January 1864; State Records Authority of NSW, NRS 1039 (PAYWALL)

. . . that Cesare Cutolo is a native of Naples, Italy, is Thirty seven years of age, and is a Professor of Music . . . having arrived by the Ship "City of Sydney" in the year 1859, and is now residing in Sydney and intending to purchase land in the said colony . . .
GIVEN . . . this [9 January 1864] . . .

"SIGNOR CUTOLO'S EVENING CONCERT", The Sydney Morning Herald (4 July 1864), 4 

On Saturday evening Signor Caesare Cutolo, aided by the services of several talented artistes, and by the instrumentation of the Band of the N.S.W. Volunteer Rifles, gave a concert in aid of the sufferers by the late disastrous floods in the interior. Unhappily the weather was so very unfavourable that the attendance was by no means what might have been anticipated considering the attractive character of the programme. The overture with which the concert commenced was played with great spirit by the Volunteer Band, the next item being Wallace's scenes, "Love, transient passion" (from Lurline), which was done every justice to by Mr. J. Bushelle, a gentleman amateur whose vocal powers are beginning to be generally recognised. A solo on the pianoforte - a fantasia on the opera "Il Trovatore" was then executed, in his best style, by Signor Cutolo, who exhibited an entire mastery over his favourite instrument in his performance of this beautiful piece, understood to be his own composition. The pathetic old balled of "Auld Robin Gray" was then sung with much feeling and expression by Madame Wallace Bushelle, after which Mr. Waller was heard to great advantage in Westropp's patriotic song - "England, England, glorious land," which was honoured with a decided encore. Mozart's aria from Figaro, "Deh! vieni non tardar," was cleverly sung by a lady amateur, the accomplished pupil of Madame Bushelle - a young lady who bids fair to be great favourite with the musical public. The next item in the programme was a duett from Semiramide, by Mesdames Bushelle and Sara Flower, which terminated the first part of the concert. In the second part there was a section of instrumental music by the band, and songs and other vocal performances by Madame Sara Flower, Madame Bushelle, Mr. Waller, Mr. Bushelle, and Mr. Charles Stewart. Signor Cutolo played Thalberg's fantasia on the Huguenots, and was loudly encored. On returning to the instrument, Signor Cutolo executed a Valse brillante of his own composition, which was enthusiastically applauded. The terzetto from Lucrezia Borgia, by Madame Bushelle and Messrs. Stewart and Bushelle, was also beautifully rendered, and received with loud marks of approbation. Mr. Henry Marsh acted as accompanyist. By the kind permission of the committee of the Masonic Orphan Society, the elegant decorations, used on Thursday evening last, as arranged by Mr. Walker, had been permitted to remain. Nothing was wanting to give eclat to this excellent concert but tolerably good weather.

ASSOCIATIONS: John Butler Bushelle (vocalist), son of Eliza Wallace Bushelle (vocalist)

[2 advertisements], The Sydney Morning Herald (19 November 1864), 12

PIANOS - Signor CUTOLO, being about to leave the colony, wishes to dispose of three first-class instruments,
viz. one grand, an Erard of London, made expressly for Signor Cutolo; one semi-grand Pleyel, and, one Aucher, a rosewood cottage. Apply 110, Phillip-street.

[Advertisement], The Argus [Melbourne, VIC] (21 November 1864), 6 

SIGNOR CUTOLO has the honour to announce that he will be in Melbourne during the Christmas vacation, when he will be happy to enter into business ENGAGEMENTS with schools and private families.
119 Phillip-street, Sydney, November 16.
Diploma from the Royal College of Music, Naples. (Translation.)
I hereby certify, as Director of the Royal College of Music, Naples, that Signor Cesare Cutolo has been a pupil of this last place, where he has completed his studies in the various branches of this beautiful art - in pianoforte, singing, and composition.
Naples, July 10, 1857.

"THE CONCERT AT THE AUSTRALIAN LIBRARY", The Sydney Morning Herald (15 December 1864), 4 

The concert on Tuesday evening last, in aid of the Building Fund of St. Peter's Church, at Watson's Bay, which took place in the hall of the Australian Library in Bent-street, was in a pecuniary and musical sense a success . . . The arrangements were under the management of a committee of gentlemen with Mr. Sloper, a talented amateur musician, at their head, and several professional and amateur musicians gave their gratuitous services in aid of the desirable object for which the concert was organized, an also a lady who lately arrived in Australia, Signora Valera - who possesses a well cultivated voice - and the announcement of whose debut in Sydney no doubt added to the attractions of the programme . . . Between the first and second parts Signora Valera sung the "Tacea la notte," and the allegro "Di tale amor," from Trovatore, in which she displayed considerable facility of execution. This lady's voice inclines to mezzo-soprano of average range, and it has evidently been cultivated for the florid Italian style. As an encores she gave "Robert toi que j'aime," which further confirmed us that the French or German school is not her forte. In the second part Signora Valera sang "Una Voce," from Il Barbiere, - previously set down in the programme for Mrs. Cordner; this was also very creditably rendered, and on being encored she sang a Spanish cabaletta with characteristic effect, - which amused the audience, as they frequently went off in an eclat di rire. For some reason not satisfactorily explained Signor Cutolo, who had hitherto taken no part in the concert, was requested to accompany Signora Valera, although competent accompanyists - who had been very active in the preliminary arrangements and in the rehearsals - were present. The object for which this concert was given precludes extended comment on a proceeding which must have been the cause of annoyance to those gentlemen, as on former occasions they have performed accompaniments to the first artists who have visited Australia. It might be, too, that professional etiquette was suspended pro hac vice . . .

ASSOCIATIONS: Senora de Valera (vocalist); Frederick Evans Sloper (musician); Ellen Cordner (vocalist)

[Advertisement], The Sydney Morning Herald (15 December 1864), 1 

The following gentlemen have undertaken the management of a Complimentary Concert to Signor Cutolo, on the occasion of his approaching departure from the colony, as a tribute to his eminent musical talents, and in recognition of his personal and social worth: . . .
The Concert will take place at the MASONIC HALL, on MONDAY, December 19th, and will be under the following distinguished patronage: . . .

"THE CONCERT AT THE AUSTRALIAN LIBRARY. TO THE EDITOR OF . . .", The Sydney Morning Herald (17 December 1864), 5 

SIR,—As your musical critic, in his notice of the above concert, has made some remarks relative to my having accompanied the Senora de Valira which might be easily misconstrued, I request your permission to afford the following explanation. Having, the day before the concert, been asked by some gentlemen interested in its success whether I would accompany the Senora in the aria she intended to sing, I refused to do so, on the ground that it would be entirely contrary to professional etiquette for me to accompany at a concert at which I was not otherwise assisting. On the day of the concert, I received the following note from the Rev. Mr. Kemmis: -
"St. Mark's, December 19th.
"My dear Signor. - On behalf of those interested in the success of the Concert this evening, would you kindly grant your valuable services in accompanying La Senora de Valira on the occasion? We are desirous that full justice should be rendered to the high vocal talent which this lady possesses; and as you have already accompanied her, and the short time intervening allows of no practice with another, may I ask your kind compliance with this earnest request.
"I am, dear Signor, yours faithfully,
I felt that a refusal on my part would now be discourteous, and as it was understood to be probable that the Senora would not sing in case of my rejection of this request, and the concert was for a charitable object, I consented, having in addition received the assurance that the circumstance should be explained to the satisfaction of the gentlemen who were to act as conductors of the concert.
As your reporter considers that the cause of my having accompanied was not sufficiently explained, I think he could scarcely have been there when Mr. Sloper, the honorary secretary, came forward, and after introducing the Senora made a statement to the effect that -
"although of course she would have been most happy to have availed herself of the services of either of the conductors of the concert, Messrs. Ellard and Callen, still, having had the good fortune to meet Signor Cutolo in private society during the previous week, and he having then accompanied her in the song she was about to sing, she naturally preferred his accompaniment, - especially as the time had been too short to allow of the necessary amount of rehearsal. He also begged to state that Signor Cutolo's accompanying the lady was with the sanction of the entire committee."
Yours obediently,
110, Phillip-street, December 15.

ASSOCIATIONS: Frederick Ellard (pianist)


The crowded and fashionable audience which attended the above concert, must have been highly gratifying to Signor Cutolo, whether as regarded in compliment to his ability, or as testimony of the regard in which he is held as a gentleman. Among the company present were Lady Young and Miss Dalton, Lord and Lady Taylour, Sir William and Lady Manning, the Honorable E. Deas Thomson and lady, with a very large number of the elite of the city and suburbs. The appearance of the Signor to open the concert with his "Etude de Concert," was the signal for a burst of congratulatory applause, to which he gratefully responded, and taking his seat at the piano performed his composition with that sterling ability which marks him as first in his profession, a post he couples with an amount of modesty but too seldom found to accompany its possession. Mr. J. Bushelle, whose voice is attaining more tone and power, particularly in the higher register, on each occasion we hear it, sang an aria from Verdi's "Ernani" with great effect. A lady pupil of Madame E. Wallace Bushelle, and who kindly accompanied her pupil, executed the romanza "Com e' bello" very beautifully. Signor Cutolo next performed Thalberg's fantasia from the "Huguenots" in a manner attainable only by artists of his own capability . . . Signor Cutolo again performed a Thalbergian selection from "Sonnambula," which was as vigorously played as afterwards applauded . . .


The Northam sailed at two o'clock, taking 128,606 ounces of gold, and 837 sovereigns. Signor Cutolo, who is a passenger, was presented with an address from the principal inhabitants before leaving.

Melbourne, VIC (from 24 December 1864):

"SHIPPING . . . ARRIVED", The Herald [Melbourne, VIC] (26 December 1864), 3 

DECEMBER 24 . . . Northam, P. and 0. Co.'s R.M.S., 1600 tons, N. J. Skottowe, Esq., commander, from Sydney 22nd inst. . . . Passengers - cabin: For Melbourne . . . Signor and Signora Cutolo and servant . . .

"SHIPPING . . . IMPORTS. DECEMBER 31", The Herald (2 January 1865), 3 

City of Melbourne, from Sydney . . . 1 piano, Signor Cutolo . . .

[Advertisement], The Argus (11 January 1865), 7 

A CARD. Signor CUTOLO, Alexandra-terrace, Victoria-parade.

[Advertisement], The Herald [Melbourne, VIC] (4 February 1865), 2 

Assisted by Madame Stuttaford, Miss Mortley, Mr. Charles Stewart, And the Members of the ORPHEUS UNION.
Conductor, Mr. G. R. G. Pringle.
Signor Cutolo will play impromptu on a theme from the opera Fra Diavolo, Cutolo; Allegro con Brio, Sonata Pathetique, Beethoven; Nocturne, The Pyramids, Cutolo; Fantasia, from the opera of the "Bohemian Girl," Cutolo.
Admission: Reserved area, 5s. each; unreserved seats, 2s. 6d.; gallery, 1s.
Tickets and programmes may be had from Messrs. Wilkie, Webster, and Co., and principal musicsellers.
Signor Cutolo will play on his own piano, a magnificent full grand Pleyel, arriving in Sydney three months ago from Paris.
Signor Cutolo having two instruments by the same maker will sell the above - price, 200 guineas.

ASSOCIATIONS: Charlotte Stuttaford (vocalist); Sarah Mortley (vocalist); George Robert Grant Pringle (pianist, accompanist, conductor); Orpheus Union (association); St. George's Hall (Melbourne venue); full program, see
[Advertisement], The Argus (6 February 1865), 8 

"THE NEWS OF THE DAY", The Age [Melbourne, VIC] (7 February 1865), 5 

Signor Cutolo, the Italian pianist, who six years ago conducted some very successful musical performances in this city, and who has made a high reputation in most of the Australian colonies, gave a concert of vocal and instrumental music in St. George's Hall, last evening. The entertainment, which was under the patronage of his Excellency the Governor and Miss Darling, was one of the most successful of the kind which have been given in Melbourne for some time, and the audience was a large and appreciative one . . . As a pianist, in colonial experience, Signor Cutolo is unrivalled. He has perfect command of the instrument, plays with velocity of execution without losing his peculiar delicacy of touch, and the piano in his hands is not permitted to become a mere vehicle for the display of metronomic skill . . .

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

Signor Cutolo, who introduced himself to the Melbourne public some time since as a pupil of Mercadante, and a pianist of unusual merit, made his re-appearance last night at a grand concert, given at St. George's-hall. In deference to his fame, and attracted, no doubt, by a programme which promised both variety and excellence, a large audience assembled, including His Excellency the Governor and family, and a large number of those whose faces are familiar to the whereabouts of good public musical performances. It will disparage none to speak of Signor Cutolo as himself the chief feature of the performances. His style is one wholly unfamiliar to Melbourne ears, and his execution, considering his credentials, may be taken for granted as of the best quality. We cannot undertake to describe the exquisite lightness, softness, delicacy, and modulation of emphasis with which his performance is marked. We have some admirable pianists in Melbourne, but he has an especial aptness in the lighter passages of an allegro movement which is delightfully fresh and welcome. His best effort last night was the "Sonata Pathetique" of Beethoven, at every pause in which one always felt like Shakspeare's privileged duke, and yearned to ask for "That strain again, / It had a dying fall." It is to he hoped we have not done with Signor Cutolo. The remainder of the programme had some good points . . .

See also [News], The Herald (7 February 1865), 2 

[Advertisement], The Argus (7 February 1865), 8 

WILKIE, WEBSTER, and Co. have just received the following WORKS by CESARE CUTOLO: -
II Trovatore, brilliant fantasia for piano;
Oh! Gently Breathe, souvenir of the Christy's Minstrels, for piano;
The Pyramids, Nocturne, for piano.

"THEATRICAL", Bell's Life in Victoria and Sporting Chronicle (11 February 1865), 2 

Another artist, gifted with a rare power of making a musical instrument throb with human feeling and express a wide range of emotions - Signor Cutolo - made his reappearance at St. George's Hall, on Monday evening, and re-established himself in his old position as one of the most brilliant pianists of the day. He fully exemplifies the truth of Buffon's maxim that "Le style est l'homme." The vehemence, the fire, the warmth of colour, the vividness of contrast, the rapidity, the dash, the bold grasp, and the exquisite lightness, which are found combined in his style, bear the impress of his individuality; and you may see how the elastic and emotional nature of the artist is acted upon by external circumstances; how his powers seem to gather new strength and gain a wider expansion under the wholesome stimulus of applause, from whence it results that some of his happiest achievements are unpremeditated, and, by their very novelty and suddenness, are probably a source of as much delight to the performer as to the audience. In fact, genius is always unconscious of its own capacities . . . - OLIVER SURFACE.

See also "A Musical Note", Melbourne Punch (9 February 1865), 3 

[News], The Argus (13 March 1865), 4 

We understand that the committee of the Lying-in Hospital have accepted the offer of Signor Cutolo, the eminent pianist, to give a concert in aid of that institution. The date is not yet fixed, but will probably follow the conclusion of the opera season.

"THE DUBLIN EXHIBITION", The Age (14 March 1865), 5-6 

A display of the articles of colonial produce and manufactures, about to be forwarded to the Dublin Exhibition of 1865, took place yesterday at the Exhibition building, William street . . . The list of exhibitors and exhibits . . . was as follows . . . [6] . . . Signor Cutolo, instrumental music of his own composition . . .

ASSOCIATIONS: Exhibition Building (Melbourne venue)

"ENTERTAINMENTS", The Australasian (29 April 1865), 9 

. . . Since last I chronicled theatrical and musical events there has been a concert at St. George's Hall, for the benefit of one of our most useful institutions. It was what theatrical advertisements are in the habit of describing as "a genuine success," both as to the performance and its results - a hundred pounds having been handed over to the treasurer of the Lying-in Hospital - another tribute, among many, to the excellent qualities of that accomplished musician and true-hearted gentleman. Cesare Cutolo. - JAQUES.

ASSOCIATIONS: James Edward Neild ("Jaques")

[Advertisement], The Argus (10 July 1865), 3 

SIGNOR CUTOLO has the honour to announce that, for the convenience of pupils resident in that neighbourhood, he will REMOVE, on the 1st of August, to Fair-view House, South Yarra, opposite the Gardiner's Creek Terminus, where he will be happy to give lessons in music and singing.
Signor Cutolo will meet his Melbourne pupils at Messrs. Wilkie and Webster's.

"THE NEWS OF THE DAY", The Age (2 June 1866), 5 

A musical exposition was given by Signor Cutolo, yesterday evening, at the town hall, Prahran, to a large and fashionable audience. With the assistance of a black board, he illustrated the progressive study of music, from the rudiments to the point necessary to be reached by an amateur, condensing the fundamental principles into a few theoretical and practical rules, his object being to prove that, the groundwork and structure of the science once understood, its acquisition would become a matter of ease and pleasure to the student. During the evening, Signor Cutolo executed some classical and popular music, as well as some of his own pieces, and was further assisted by two of his pupils; the performances being heartily enjoyed by the company. We believe Signor Cutolo intends to repeat this exposition in Melbourne at an early date.

ASSOCIATIONS: Prahran Town Hall (venue)

"THE NEWS OF THE DAY", The Age (13 July 1866), 4 

Signor Cutolo and Mr. H. N. Montagu, B.A., gave an entertainment at St. George's Hall, last evening, of a very pleasing kind. The performances on the pianoforte by the first named gentleman which in themselves are a plentiful attraction, were interspersed by readings by Mr. Montagu, from Shakspeare, Hood, and the "Ingoldsby Legends." These were very well received, more especially "Misadventures at Margate." There was not so large an attendance as the entertainment deserved.

[Advertisement], The Argus (31 July 1866), 8 

SIGNOR CUTOLO has REMOVED to 167 Collins-street east.

[Advertisement], The Argus (8 November 1866), 8 

SIGNOR CUTOLO being about to leave the colony, 167 Collins-street east to let. Immediate possession.

[News], The Herald (10 November 1866), 2 

We regret to learn that Signor Cutolo is about to leave this colony to take up his residence in Sydney, as at the present time we cannot well afford to lose a gentleman of Mr. Cutolo's musical talent. It is in contemplation, we understand, that an amateur concert shall be held, in which the lady pupils of Mr. Cutolo will take a prominent part.

"ENTERTAINMENTS", The Australasian (1 December 1866), 17 

Nobody in this community deserved better than Signor Cutolo that a special performance should be arranged for his benefit on Wednesday night at the Princess's; so that when a number of ladies and gentlemen, celebrated in the musical world, agreed to contribute their attractiveness on the occasion it was no wonder that a great many of Signor Cutolo's friends - meaning everybody - should determine to enjoy themselves, and do a graceful act to a gentleman who has done so many kind and graceful acts that their number has outgrown the power of calculation. It is not greatly to our credit, as professed musical enthusiasts, that such a thorough musician and so pleasant a gentleman should find it necessary to go back to Sydney - a place that we are in the habit of regarding as second to Melbourne in respect of the encouragement given to art and artists, but it is simply the truth that he has found it necessary to do so . . .

[Advertisement], The Argus (22 December 1866), 8 

It is intended to dispose of, on the principle of an Art Union, in January, 1867, in 160 shares of one guinea each, the magnificent GRAND ROSEWOOD PIANOFORTE, the property of Signor Cutolo, and made expressly for him by Board [? Broadwood], of London.
The Instrument will be on view at Mr. W. H. Glen's music warehouse, Collins-street east, Melbourne, on the 28th instant . . .

"SHIPPING. ARRIVALS. DECEMBER 21", The Sydney Morning Herald [NSW] (22 December 1866), 4 

City of Melbourne (s.), 615 tons, Captain Walker, from Melbourne 19th instant. Passengers - Signor and Mrs. Cutolo . . .

[Advertisement], The Argus [Melbourne, VIC] (2 January 1867), 8 

SIGNOR CUTOLO (who holds a diploma from the Royal College of Music, Naples) has the honour to announce that he has been induced, for reasons he will give to his friends, to RETURN to Melbourne, and will resume his instructions on the pianoforte, in singing, and composition, after the vacation, at 157 Collins-street east.
Applications, by permission, may be made in the interim to J. J. Moody, Esq., Parliamentary Agent, 38 Collins-street east, Melbourne.

"CLEARANCES. JANUARY 9", The Sydney Morning Herald (10 January 1867), 4 

Alexandra (s.), 425 tons, Captain Brown, for Melbourne. Passengers: Mrs. Cutolo . . . Signor Cutolo . . .

Inquest, Cesare Cutolo, 12 January 1867; Public Record Office Victoria (DIGITISED)

"FATAL ACCIDENT TO SIGNOR CUTOLO", The Argus (14 January 1867), 6

Dr. Youl held an inquest on Saturday, at Cohn's-Hotel, Sandridge, respecting the death of Signor Cesare Cutolo, who died on board the s.s. Alexandra, during the voyage from Sydney to Melbourne, from injuries which he received in consequence of one of the spars of the vessel falling on his head . . .
John Schott [sic], professor of music, who was a passenger by the Alexandra, went to the assistance of the deceased immediately after the accident. He found him reclining on the skylight, suffering from a scalp wound, about five inches long, at the back of the head. Witness dressed the wound, and did what he could for the deceased until he died. The latter did not become insensible until about fifteen minutes before his death. He died on the evening of the 11th, having lived about twenty-four hours after the accident. He made no remark whatever to witness concerning the accident . . .

"DEATH OF CESARE CUTOLO", The Herald (14 January 1867), 3 

By a melancholy catastrophe which occurred on board the steamer Alexandra, on her voyage from Sydney to Melbourne, the musical world is deprived of a great artist in the person of Cesare Cutolo. It seems that on Thursday evening, while reclining with Signora Cutolo on a skylight on the poop, he was struck on the back of the head by the gaff, which accidentally fell whilst the sailors were taking in sail. The unfortunate gentleman lingered on till the following evening, when he died. He was quite sensible up to a few minutes before his death, but could not be removed from the scene of the accident, where he was propped up with sails, his wife never leaving his side till he expired. It is stated that, when he went on board, he said he had a presentiment that he would never see Melbourne, but would be drowned with his wife. After the accident he made his will, and gave his last instructions to his friends, who were most assiduous in their attentions to him. He said that he was quite prepared to meet death. The body was covered with a Union Jack, and on Saturday morning it was convoyed to Cohn's hotel, Sandridge, where an inquest was held . . .

"DEATHS", The Argus (14 January 1867), 4

CUTOLO. - On the 11th inst., in the Alexandra steamship, at sea, Cesare Salvatore Fortunato Cutolo, professor of the Royal College of Music, Naples, son of Raffaele Cutolo, solicitor of that city, and grandson of the Duke di Mele, aged forty-one years.

"THE NEWS OF THE DAY", The Age (14 January 1867), 5\ 

The sudden and violent death of Signor Cutolo is one of the saddest events we have had to chronicle for many a day . . . It is almost superfluous to add that in Signor Cutolo the musical profession of Victoria has lost one of its brightest ornaments, and that he will be long mourned by a numerous circle of private friends, whose regard he had won by his personal amiability and social attractiveness.

"THE LATE SIGNOR CUTOLO", The Argus (15 January 1867), 5

The frightful accident which terminated in the death of the gifted composer and musician who, while living, bore the name of Cesare Cutolo, is a public calamity. We cannot measure, because we rarely pause to estimate, how much we owe to those who offer their highest thoughts and express the inspiration of their happiest moments, in music. The delight they communicate, whether in the exercise of their creative or their executive power, as it is of the purest, so it is of the deepest character. It manifests itself by no outward demonstration of feeling, but diffuses an exquisite sense of happiness over the mind, tranquilising the emotions, while it refines and elevates the moral sentiments. With Cesare Cutolo, music was the passion of his life, and the motive force of his nature. Dedicated to its study from his earliest years, instructed and encouraged by an illustrious master like Mercadante, and associated with students who have since become European celebrities, his ambition to excel was not greater than his affection for the divine art of which he was an enthusiastic disciple. He was a comparatively young man when he quitted college, with high honours, and went forth with slender means, a courageous spirit, and a sustaining hope, to fight the battle of life, and provide for the maintenance of a widowed mother and two sisters. It was a bold exploit for one who had never been outside the Neapolitan dominions, to commence his career in Constantinople, to pursue it in Egypt, and then to venture as far as Australia in quest of fame and fortune. He was everywhere popular, and everywhere successful. His handsome face and winning manners, his graceful courtesy and transparent sincerity, his kindly heart and high principle, procured him as many warm friends as his musical talents obtained for him earnest admirers. Who could help liking that gay good-natured Neapolitan, with his bright face and cordial smile, his buoyancy of spirits and vivacity of language? And if he was superficially engaging those who were privileged to sound the depths of his character, were not slow in discovering that there was solidity as well as sparkle, strength as well as airiness, sense as well as sentiment, a sovereign regard for truth and honour as well as a capacity for persiflage and a liability to whim and impulse. If he was ardent, mercurial, and wayward, like his countrymen, he also possessed many qualities which Englishmen are accustomed to consider peculiarly their own. The lighter traits of his character reposed upon a foundation of sagacity, integrity, and generosity. He was incapable of doing a mean action and of speaking an untruth. The ability to be a charming companion did not exclude that of proving himself a fast friend. While he surrendered much of his time to promote the pleasure of others, he never wavered in his fidelity to the higher law of duty. From the time he landed in Australia until the hour of his death, it was his constant gratification to provide for the comfortable maintenance of his mother and sisters in Naples. Filial affection, in his mind, amounted to a religious sentiment, and we can imagine few scenes more painfully distressing than that which will be occasioned by the transmission of the news of his shocking death to those of whom he was the stay, the solace and support, in his native city. Of his qualifications as a composer, he has left many memorials behind him and they are all more or less indicative of the poetical cast of his mind, and of its sensibility to the impressions produced upon it by the aspects of nature and by the melodies it breathes. As a pianist, his style was distinguished by its brilliancy, impetuosity, and elan. Le style, c'est l'homme, as Buffon says; and this was especially true of Cesare Cutolo. It had his vivacity, his sparkle, and his verve. But in the estimation of all who really knew him, the man dwarfed the musician and this is his highest praise. His character was so genial, winsome, and benign; so much genuine kindness of heart was blended with so much integrity of principle and there was such a childlike simplicity and ingenuousness interwoven with the more masculine attributes of his nature, as to produce a rare and enviable result. All these have passed away, but, in the beautiful words of a Tuscan poet -
"Impressa nella mente dell' afflitto
La memoria riman dei cari estinti,
Nè valgon gli anni a cancellar lo scritto.
E d'infausto cipresso il crin recinti
Corron gli amici del perduto all'urna
A tributar le lacrime e i giacinti."

ASSOCIATIONS: Verses from Elegy for Carlo Falugi (Giuseppe Giusti)

"FUNERAL OF SIGNOR CUTOLO", The Age (15 January 1867), 5 

The remains of the late Signor Cutolo were interred, yesterday morning, in the Church of England ground at the Melbourne Cemetery. The funeral, conducted by Mr. J. Daley, undertaker, moved from St. Peter's Church, East Melbourne, about ten o'clock, and consisted of a hearse, drawn by four horses, two mourning coaches and several private carriages. On reaching the ground, the friends who had assembled to perform the last sad offices for the dead formed into procession, and followed the remains to the spot set apart for their reception. The pall-bearers were Dr. Barker, Signor Biagi (Italian Consul), Signor Cosser (Italian Vice Consul), Jas. Smith, Esq., Professor Halford, the Rev. A. Thompson, Dr. Neild, C. E. Horsley, Esq., and J. Schott, Esq. The principal mourners were J. J. Moody, Esq., F. A. Moody, Esq., C. J. Claridge, Esq., and C. Malpas, Esq. The coffin was covered with fine black cloth, and the plate bore the following inscription: - "Cesare Cutolo, died 11th January, 1867, aged forty years." The funeral service was performed by the Rev. Mr. Harris, who officiated in the absence of the Rev. Mr. Handfield. A special musical service was performed at St. Peter's, which church the deceased gentleman had attended for some time previous to his departure for Sydney; and, after that portion of the service had been concluded, the choir accompanied the funeral procession to the grave, where they assisted in the latter portion of the burial service. A large number of persons assembled at St. Peter's to hear the service, and a considerable number attended the cemetery, in order to witness the last tokens of respect paid to Crosaro Cutolo by his personal and professional friends.

Will, probate and administration, Cesare Cutolo; Public Record Office Victoria (DIGITISED) (DIGITISED) (WILL - DIGITISED)

This is the last Will and Testament of me Cesare Salvatore Fortunato Cutolo of Sydney in the Colony of New South Wales . . .
to my wife Mary Alvey Cutolo . . . to my Brother-in-law Carlo Campanile of Naples . . .
to my brother Michele Salvatore Cutolo of Naples . . . to my mother Maria Teresa De Fiore widow of the late Raffaele Cutolo of Naples . . .
to my Sister Elisa Cutolo and to my half sister Emilia De Fiore . . .

Cutolo memorial concert, Theatre Royal, 21 February 1867 [printed program]; State Library of Victoria (DIGITISED)

"THE CUTOLO MEMORIAL CONCERT", The Age (22 February 1867), 5 

The generous undertaking of Mr. Schott to assist the widow of his friend, Signor Cutolo, and by taking advantage of the wide-spread sympathy felt for her both by the brother artistes of her husband and by the public, to draw forth from them such a recognition of his worth as would substantially benefit her, has been attended with the success which might have beon expected from the heartiness with which it was entered into by a large portion of our musical world. More particularly have those gentlemen who shared with the late Signor Cutolo the reputation of being the most accomplished instrumentalists among us, been forward in proffering their services; and to their exertions the success of last evening's performance was mainly due. Messrs. C. E. Horsley, G. R. G. Pringle, David Lee and Schott wielded the baton at different periods in the evening, and the instrumental performers included Mr. Siede and Mr. Harvie, a rising amateur flautist. The principal vocalists were Miss Fanny Carandini, Madame Carandini, Mrs. Young, Mrs. Testar, Mr. Amery, and Mr. Labertouche. The chorus consisted of about two hundred performers, selected from the different musical societies, and there was a full band, including several soloists of reputation . . .

[News], The Argus (22 February 1867), 4 

The Cutolo Memorial Concert took place the Theatre Royal last evening, under the Patronage of His Excellency the Governor, the Hon. Lady Manners Sutton, their family and suite. There was also a large number the fashionable world of the metropolis and suburbs present in the dress circle and stalls, where, in fact, there was scarcely a seat to be obtained, the occupants having previously engaged places. The other parts of the house must have shown similar returns. There was a good programme; and it is highly creditable to the musical profession, and to the musical amateurs who took part in the proceedings, that the genial spirit which pervaded this memorial concert should have brought so many of them together for a common purpose - - of benefiting the widow of the late Signor Cutolo. It is sufficient to mention the names of Madame Carandini, Mrs. Testar, Mrs. Young, Messrs. Labertouche and Amery, amongst the vocalists; Messrs. C. E. Horsley, G. R. G. Pringle, S. H. Marsh, S. Kaye, D. Lee, Herr Siede, and Mr. Schott, instrumentalists, and taking other parts in the evening's entertainment; while there was a very powerful orchestra, and nearly 200 of a chorus, to show that the kindly purpose of the promoters was well seconded by the lovers and professors of the musical art . . . Two compositions of Signor Cutolo were given - his last composition, "Oh sing that simple song," and his Choral March, composed for the opening of the Exhibition. Mrs. Testar sang the first-named, and in the latter the orchestral effects completely drowned the voices of the chorus . . .

ASSOCIATIONS: Maria and Fanny Carandini (vocalists); Elizabeth Testar (vocalist); Stephen Hale Marsh (musician); Samuel Kaye (musician); David Lee (musician); Julius Siede (musician)

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

Source et torrent (Paris, France, 1856)

Source et torrent, étude de concert pour piano (Paris: Heugel, [1856])

Copy at Bibliothèque nationale de France 

"MUSIQUE INSTRUMENTALE", Courrier de la librairie: Journal de la propriété littéraire et artistique pour la France et l'étranger 44 (1 November 1856), 712 (DIGITISED)

. . . 1579. Cutolo (César). Source et torrent, étude de concert pour le piano. Paris, chez Huegel. Prix. 7 fr. 50 . . .

Song of the volunteers (Adelaide, SA, 1860)

Song of the volunteers, composed by Sig. Cutolo, words by H. E. Smith, esq. ([Adelaide: printed for the S.A. Volunteers, 1860]); cover illustration: "W. Wyatt"

Copy at the State Library of New South Wales; photocopy at National Library of Australia (DIGITISED)

"SONG OF THE VOLUNTEERS", Adelaide Observer [SA] (7 January 1860), 5 

We have been favoured with a proof of the above song, the words, as will be remembered being, by Mr. H. E. Smith, and the music by Signor Cutolo. The song was first sung at one of the Signor's concerts in Adelaide, and the bold and martial character of the strain was greatly admired and applauded. In its praise, as an addition to the songs produced within the colony of South Australia, we need say nothing more than has been said already; but of the style in which the song is got up it would be wrong to be silent, since there is so much to approve in the clearness of the type, the general correctness of the lithography, and more particularly in the frontispiece which illustrates the theme. We are informed that the frontispiece was designed by Mr. W. Wyatt, son of Dr. Wyatt, and that it was also drawn by him on stone . . . We can readily imagine that the frontispiece might tempt many to purchase the song apart from the intrinsic excellence of the words and the music.

Also "COLONIAL MUSIC", The South Australian Advertiser (11 January 1860), 3

ASSOCIATIONS: Henry Edward Smith (lyrics); William Wyatt junior (illustrator)

Hail fair Australia (Adelaide, SA, 1860)

Hail fair Australia, words by Ellie, music by Cutolo, dedicated to the public of South Australia (Adelaide: Penman & Galbraith, [1860])

Copy at the National Library of Australia (DIGITISED)

"ORIGINAL MUSIC", The South Australian Advertiser (22 October 1860), 2

"Hail, Fair Australia:" words by Ellie: Music by Cutolo. (Dedicated to the Public of South Australia.)
This "Song of Australia," both as to words and music, is a fair example of colonial ability, whilst the "getting up" does credit to the lithographers. As "Ellie" chooses to preserve her anonymity, we suppose we may not remove the veil that she has preferred to wear, more than in now hinting that we now wish that every district of the colony were possessed of a muse equally pleasing with that of Ellie, of Lyndoch Valley. The words of her song we wil presently give; in the meantime we may remark of the music that it is characterised hy simplicity, freedom, tenderness, and spirit. It is a very good specimen of Signor Cutolo's powers as a composer of ballad music, and will no doubt be welcomed in many a South Australian portfolio. The following are the words of the song:
All hail, Australia, noble isle,
Our own adopted land,
May Heaven for ever kindly smile
O'er all thy sunny strand;
We ask not for a home more fair
We would not brighter skies,
Thy joyous, bracing, mountain air
No Briton will despise.
Hail, fair Australia, hail, all hail,
Queen of the Southern Sea;
What tyrant foe shall dare assail
The bold, the wild, the free? . . . [4 more verses]

[Advertisement], The South Australian Advertiser (25 October 1860), 1

Just published, price 3s., "HAIL FAIR AUSTRALIA;" words by ELLIE, music by CUTOLO.
Sold by Messrs. Mullet, Wigg, Platts, and Rigby, Adelaide; and Mr. Barnett, Gawler.

ASSOCIATIONS: "Ellie" = Ellen Turner Debney (lyrics); Penman and Galbraith (publishers)

Polka mazurka (Sydney, NSW, 1860)


"NEW POLKA MAZOURKA", The Sydney Morning Herald (16 June 1860), 6 

A New Polka Mazourka, composed and dedicated to his pupil, Master Henry Denison, by Signor Cesaro Cutolo, is shortly to be published. It is understood to be peculiarly adapted for amateur pianists, and is of a brilliant character. It is stated that the Signor intends to publish series of musical pieces of his own composition. Nocturns, Fantasias, and Arias, &c, calculated for performance of amateurs. The publication of such music, if not too exclusively scientific and difficult, will doubtless meet with a ready sale.

ASSOCIATIONS: Henry Denison (dedicatee, pupil)

[Advertisement], Empire (25 June 1860), 8 

TO AMATEUR PIANISTS. POLKA MAZURKA, for Pianoforte, composed and dedicated to his pupil, Master Henry Denison, by CESARE CUTOLO, price 2s. 6d., may be obtained at the Caxton Printing Office, 307, George-street, opposite Clarke, stationer.

[Review], Empire (28 June 1860), 5 

The style of a composer and the tendency of his musical taste and feeling may be exemplified in trifles, though it would require a work of greater compass whereby to test his true merits. The former are certainly exhibited in a very pleasing little Polka-Mazurka, by Signor Cesare Cutolo, and just issued from the "Caxton Press." It is dedicated to his pupil, Master Henry Denison, and is consequently intended for juvenile fingers, which will, notwithstanding the unpretentious character of the piece, nevertheless require some little practice and exercise in order to enable them to overcome the difficulties of a few brilliant passages which will be played by adults with much satisfaction. In a Polka-Mazurka there can be no novelty, and the present one only has claim to originality in the sparkling mode and elegance of its treatment. To say that it is musically correct, as a composition, is of course superfluous. Signor Cutolo is, we believe, about to publish several pieces within the powers of an amateur; though we hope to see something more indicative of his talents as a composer.

ASSOCIATIONS: Caxton Printing Office (printers, publishers)

"NEW POLKA MAZURKA, BY SIGNOR CUTOLO", The Sydney Morning Herald (30 June 1860), 6 

A new polka mazurka, dedicated to his pupil, Master Henry Denison, by Signor Cesare Cutolo, the eminent pianist, has just issued from the Caxton Printing Office. A single glance at the music at once indicates that it is intended for the proficient - in fact it is rather a pleasing study than a polka - requiring brilliant execution, being interspersed with volante and brilliante passages. The introduction is in four flats, as also the first portion of the mazurka - the six opening bars being in major and minor fifths, with chord triplets in the second and fourth bars; the remainder is in five flats. It will be found a very beautiful composition. An excellent feature in it is marking the fingering in some passages, which to those amateurs who may perform it will, by practice, give breadth of hand. It is elegantly printed in the graceful elliptical form of notation, and every mark is clear and distinct. The known reputation of Signor Cutolo, and the excellence of the composition, will ensure this mazurka a high popularity in the drawing-room.

God bless you! farewell! (Sydney, NSW, 1860)

God bless you! farewell! a song written by Edward Reeve, esq., the music being composed in an easy style, and adapted for all voices, with accompaniments for piano or harmonium, by Cesare Cutolo (Sydney: Lewis Moss; Melbourne: Joseph Wilkie; Adelaide: Platts's, [1860])

Copy at the State Library of New South Wales; photocopy at National Library of Australia (DIGITISED) (DIGITISED)

"MUSIC AND DRAMA", Sydney Mail (25 August 1860), 8 

A ballad is now in the course of publication, the music by Signor Cesare Cutolo, and the words from the pen of Mr. Edward Reeve, entitled "Farewell - God bless you." It will be remembered that some very excellent fugitive pieces, under the signature of "Yorick", appeared in a weekly journal some few years back, of which it we believe is one, and has been set to music by the popular pianist . . .

"NEW MUSIC", Empire (18 September 1860), 4 

Two publications have during the past week enriched the Sydney album of music, in each case of considerable value. The first is a song by Signor Cesare Cutolo, the genial and talented Italian musician and composer, who has now become a settled resident amongst us. The song is entitled "God bless you, Farewell" - the words by Mr. E. Reeve, and is so thoroughly original in its peculiarity, as to indicate the school whence it emanates, the warmth of mind that has allied tones so appropriate to the idea of the subject. It is very short, and commences in a minor (G) terminating in the major of the same key. Sad and plaintive without being melancholy, the melody of such a farewell must for ages bring back the memory of the friend who uttered it. The song is within the compass of every voice, male or female, - and well adapted for arrangement as a part song, very finished and yet exquisitely simple, by no means overburdened with ornamental accompaniment, the latter being but a few chords, for pianoforte or harmonium. The song is so easy, yet so effective, so pleasing, and so appropriate, that it is evidently destined to be in the hands of every vocalist, and we hope the composer may be induced to continue his contributions to the art . . . We cannot omit adverting to the very elegant manner in which this music is got up; the first piece, issued by the Caxton Press, almost outshines any London publication . . .

"NEW SONG", The Sydney Morning Herald (18 September 1860), 5 

"God bless you - farewell," is the rather novel title of a very welcome addition to the ballad music of Australia, which has just issued from the musical press. The poetry is from the pen of Mr. Edward Reeve, and, with a number of other fugitive pieces of merit, appeared some years ago in one of the Sydney journals, under the signature of "Yorick." The subject of the poet's lay is the final farewell of two lovers, "when the rosy eve was dying into twilight dim and gray." It breathes a feeling of soft melancholy, apparently affected by the deepening shadows of the evening hour, and is expressed without descending into the insipid sentimentalism that characterises the great mass of modern ballads. It is in easy and flowing metre, though in setting it to music there must have been some little difficulty in dealing with the short concluding line of each verse. The music is the composition of Signor Cutolo, and, as announced on the title page, is in an easy religioso style, adapted for all voices, in the key of B flat, and quite in keeping with the words. The pianoforte accompaniment is light and elegant, preserving throughout in the treble an exquisite second to the voice. A composition combining the two qualities of good music and good poetry, can hardly fail to become extremely popular.

ASSOCIATIONS: Edward Reeve (lyrics); Lewis Moss (musicseller, publisher); Joseph Wilkie (musicseller, publisher); Charles Platts (musicseller, publisher)

Remembrances of the pyramids (1860)

Remembrances of the Pyramids, nocturne for the pianoforte, dedicated to Mrs. George Wigram Allen by Cesare Cutolo (Sydney: Lewis Moss, J. R. Clarke; Melbourne: Joseph Wilkie; Adelaide: Charles Platts, [1860]); "Caxton Printing Office"

Copies at the National Library of Australia and State Library of New South Wales (DIGITISED) (DIGITISED)

"MUSIC AND DRAMA", Sydney Mail (25 August 1860), 8 

. . . We had the pleasure of hearing the performance privately, by Signor Cutolo, of an unpublished Nocturne, suggested by contemplating the Pyramids of Egypt. Although the music possesses scientific fingering as a matter of course, it is not of that intensely difficult nature as to preclude its performance by the amateur - this is one recommendation; another is, that the melody is pure - now soft as the evening shadow these mighty monuments of antiquity throw across the desert waste; and now bursting forth into that enthusiasm which may be supposed to have inspired Napoleon the First when he proclaimed to his warriors that from their summit "Forty ages were looking down upon them;" and, finally, subsiding into those tones that impart an idea of the mythical interest with which the pyramids are always regarded. We feel convinced that, should this Nocturne vere issue from the office of the printer, it will become extremely popular.

"MUSIC AND DRAMA", The Sydney Morning Herald (21 November 1860), 7 

A Nocturne for the pianoforte has, we may here state, been composed by Signor Cesare Cutolo, the eminent Italian pianist, now resident in this city. It is already in press and will appear in the course of a few days. Report speaks in the very highest terms of this original composition, which is entitled Remembrances of the Pyramids; the music being the expression of such ideas as naturally suggested themselves to the mind of the composer whilst contemplating those stupendous monuments of ancient Egypt, in company with the great Italian Poet Regaldi.

ASSOCIATIONS: Giuseppe Regaldi (1809-1883, Italian poet)

[Advertisement], Empire (7 January 1861), 1 

SIGNOR CUTOLO'S "NOCTURNE" of the PYRAMIDS, for the Piano, may be obtained at Mr. CLARKE'S, and at Mr. MOSS'S.
CUTOLO'S. "NOCTURNE PYRAMIDS." - The public are cautioned against purchasing copies without the seal of CESARE CUTOLO.

"REMEMEBRANCES OF THE PYRAMIDS", Empire (18 January 1861), 5 

. . . In such a spirit as this has Signor Cesare Cutolo, the Italian master-artist, one of the greatest the Australian colonies have known, and who has for some time resided amongst us, composed his "Nocturne - Remembrances of the Pyramids," which he has dedicated to Mrs. G. W. Allen, of Sydney . . . To descend in the scale, we may say that the piece is issued from the Caxton press - (Messrs. Clarke and Moss are the publishing agents) - and reflects the highest credit on the printer. The title-page is the first of the kind in Sydney; it is engraved by Turner from a drawing by Walter Mason, after a design by a friend of the composer. The word "Pyramids," running transversely the length of the page, is in bold characters formed pyramidally and interspersed with the Sphynx, Ibex, and numerous Egyptian sacred emblems, a sketch of the Pyramids themselves forming the apex of the page.

ASSOCIATIONS: Marian Boyce Allen (dedicatee, ? pianist); Edward Turner (artist, engraver); Walter George Mason (artist)

Il trovatore fantasia (London, England, 1863)

Il trovatore, fantasia for the Pianoforte [Verdi] (London: Boosey & Sons, [1863])

Copy at the British Library 

[Advertisement], Empire (6 February 1864), 8 


"MUSIC AND DRAMA", The Sydney Morning Herald (20 August 1864), 8 

. . . M. Cutolo's fantasia on airs from "Il Trovatore," published by Cramer [sic], of London, has been received here, and favourably accepted . . .

Come where my love lies dreaming (arr. Cutolo, Sydney, NSW, 1863)

Come where my love lies dreaming, sung by Christy's Minstrels, arranged for the pianoforte and dedicated to his pupils, by Cesare Cutolo [Stephen Foster] (Sydney: J. R. Clarke; L. Moss; Wilkie, Elvy & Co., [1863])

Copies of first edition (as above) and 2 later editions at the National Library of Australia (DIGITISED - 1st edition)

[Advertisement], The Sydney Morning Herald (1 August 1863), 10 

NEW MUSICAL PUBLICATIONS. Cutolo's Variations on the air "Come where my love lies dreaming," 3s. . . . J. R. CLARKE, music seller.

ASSOCIATIONS: Jacob Richard Clarke (musicseller)

Canst thou not read the mute appeal (London, England, 1864)

Canst thou not read the mute appeal, song, as solo or duett, words by Hon. B. T. Finniss, M.L.C., music by Cesare Cutolo (London: Boosey & Sons; Sydney: Wilkie, Elvy & Co., [1864])

Copy at Flinders University Library, digitised at Alexander Street (PAYWALL)

[Advertisement], The illustrated London news (28 May 1864), 16 (PAYWALL)

CANST THOU NOT READ THE MUTE APPEAL? Song, as Solo or Duet. Composed by CESARE CUTOLO. Price 3s.
By the same Composer, OH! GENTLY BREATHE, Souvenir of the Christy Minstrels' Visit to Australia. Arranged for the Pianoforte. Price 2s. 6d.
London: BOOSEY and SONS. Sydney: Wilkie and Co.

ASSOCIATIONS: Boyle Travers Finniss; text set earlier by Georgiana Murray

[Advertisement], The Sydney Morning Herald [NSW] (20 July 1864), 8 

NEW MUSIC Ex Mail . . . Signor Cutolo's new fantasia - Souvenir of Christy's Minstrels;
also his now song - Canst thou not read the mute appeal?
ELVY and CO., 321, George-street.

[Advertisement], The Sydney Morning Herald (19 November 1864), 12

SIGNOR CUTOLO'S charming arrangement of Oh, gently breathe, price 2s. 6d.; and the vocal duet, Can'st thou not read, price 3s. ELVY and CO.

ASSOCIATIONS: Robert Hammond Elvy (musicseller)

Oh! gently breathe (London, England, 1864)

No copy identified of original 1864 edition (see advertisement above)

Oh! gently breathe, arranged for the piano by Cesare Cutolo (Melbourne: Mrs. Cutolo, [1867]

Copy at National Library of Australia (DIGITISED)

[Advertisement], The Sydney Morning Herald (12 October 1864), 6 

SIGNOR CUTOLO'S Charming Fantasia, "Oh Gently Breathe," 2s. 6d.
His admired vocal composition, "Canst thou not read the mute appeal," 3s. ELVY and CO.

"NEW MUSIC", The Sydney Morning Herald (14 October 1864), 4 

Two pieces of music, composed by Signor Cutolo, have been published by Elvy and Co., of George-street. One is a song entitled, "Canst thou not read this mute appeal?" written by the Hon. B. T. Finniss, M.L.C., of South Australia; the other, a souvenir of the Christy Minstrels' visit to Australia - Oh, gently breathe" - arranged as a piece for the piano. The former is a pretty ballad, with a flowing melody in the key of C. This can be either sung as a solo or duet, and has the recommendation of being within the limit of easy compass. The latter is also composed with a view to its being performed by players of fair capacity. A striking echo effect is also given, which is written on a separate staff, and, though comparatively easy of execution, it nevertheless possesses much brilliancy. These compositions were printed by Boosey and Sons, of London, and it is almost needless to say are produced in the best style.

[Advertisement], The Sydney Morning Herald (14 January 1865), 6 

JUST PUBLISHED, New Editions of CUTOLO'S "Come where my love," 3s.; Oh gently breathe, 2s.; Song - Canst thou not, 3s. . . . ELVY and CO.

In memoriam, Meyerbeer; and L'alba (London, England, 1865)

In memoriam, Meyerbeer and L'Alba, morceaux for pianoforte composed by Cesare Cutolo (London: Boosey and Co., [1865])


[Advertisement], The illustrated London news (7 January 1865), (DIGITISED)

IN MEMORIAM, MEYERBEER, and L'ALBA, Morceaux for Pianoforte. Published this day. Composed by CESARE CUTOLO. Price 4s. each. BOOSEY and CO., Holles-street.

[Advertisement], The Sydney Morning Herald (1 April 1865), 9

. . . SIGNOR CUTOLO'S new compositions, L'Alba, 4s; In Memoriam, Meyerbeer, 4s. . . . ELVY and CO.

[News], The Argus [Melbourne, VIC] (27 May 1865), 4

Two compositions for the pianoforte from the pen of Signor Cutolo have just been published. One of these, entitled "L'Alba", is descriptive of the dawn of a Summer morning on the waters of Port Jackson, and is eminently poetical, both in conception and treatment. What may be termed the pictorial power of sound has been admirably exemplified by Handel, Haydn, and Beethoven; and following these illustrious models, Signor Cutolo has presented us with a graphic picture of the time and place described. The composition opens with the sound of the matin bell, while a preluding movement denotes the flushing of the eastern horizon, and the gradual expansion of the rosy light. The serenity and silence of that early hour are broken in upon by the song of some sailors weighing anchor; by the murmur of the waves upon the beach, and their dispersion into foam among the rocks; and by the twittering of birds among the trees inland. As the sun flames up the sky, the sounds of animated nature increase in volume and variety, and after an allegro movement expressive of the general awakening to life, appropriate to this period of the day, the original theme is reverted to for a few bars, and characteristically closes the composition. The second piece of music is entitled "In Memoriam", and is an elegiac tribute to the memory of Meyerbeer. Like the poem, whose title it has adopted, it gives melodious expression to the sentiment of grief; sometimes uttering it in the language of earnest passion, and sometimes subsiding into a wail of despondency, but uniformly testifying to the sincerity of the sorrow which inspired it.

March and chorus (Melbourne, VIC, 1866)

March and chorus, composed in honor of the opening of the First Intercolonial Exhibition held in Melbourne, October 1866, words by Dr. Neild, music by Cesare Cutolo (Melbourne: Charles Troedel, 1866)

Copies at the National Library of Australia (DIGITISED)

ASSOCIATIONS: James Edward Neild (lyrics); Charles Troedel (lithographer, printer)

[News], The Argus (5 October 1866), 4 

The members of the Exhibition Chorus assembled last evening in the hall of the Turn Verein, Lonsdale-street, to hold their first rehearsal for the opening concert of the Intercolonial Exhibition . . . The pieces rehearsed were a Choral March composed by Sig. Cutolo, the words of which are by Dr. Neild . . .

The Victorian Christmas waltz (1866)

The Victorian Christmas waltz by C. Cutolo, supplement to The illustrated Australian news, December 1866 (Melbourne: Ebenezer and David Syme, 1866) (COVER) (MUSIC)

Also copies at the National Library of Australia and State Library of Victoria (DIGITSED)

Other sources:

Progress report from the select committee on the petition of Thomas Charles Bentley: together with the proceedings of the committee, minutes of evidence and appendix . . . ordered by the Legislative assembly to be printed, 9 July 1863 (Sydney: Thomas Richards, govt. printer, 1863) (DIGITISED)

General summary of the weekly abstract of . . . petitions, Legislative Assembly, New South Wales (Sydney: Parliament of New South Wales, 1862), 960, and other (DIGITISED) (DIGITISED)

See also petitions of Thomas Charles Bentley (24 October 1862, and 12 November 1862): (DIGITISED)

And Cesare Cutolo (12 November 1862): (DIGITISED)

Bibliography and resources:

CUTTER, Cassie (Cassie Everett DYER; Mrs. Arthur Hamilton CUTTER; Mrs. CUTTER)

Musician, contralto vocalist

Arrived Melbourne, VIC, 22 June 1869 (per Corea, from New York, 5 March)
Departed Melbourne, VIC, after 25 December 1884 (TROVE tagged by Australharmony) (shareable link to this entry)



List of passengers arrived at Melbourne, 22 June 1869, from New York, per Corea; Public Record Office Victoria (DIGITISED)

. . . A. H. Cutter / 27 / Foreign // R. Cutter / 27 / [Foreign] . . .

"SHIPPING INTELLIGENCE . . . ARRIVED. - June 22", The Argus [Melbourne, VIC] (23 June 1869), 4

Corea, American barque, 594 tons, G. F. Bangs, from New York March 5. Passengers - cabin: Mrs. G. F. Bangs and child, and Mr. and Mrs. Cutter . . .


. . . The entertainment consisted, as usual, of a mixed concert of vocal and instrumental music, amongst which we must select for special mention the performance of two solos by Mrs. Cutter, the artiste above alluded to, who is an American lady recently arrived from New York, and who possesses a contralto voice of great compass, the effect of which is enhanced by the perfect purity and extraordinary richness of tone which it embraces . . .

"Deaths", The Argus (2 March 1875), 1 

CUTTER. - On the 1st inst., at 92 Nicholson-street, Fitzroy, of measles, Cassie Everett Cutter, aged three years and five months.

Bibliography and resources:

Allister Hardiman, "Dissecting Mrs. Cutter", Out of the inkbottle (weblog), posted 28 January 2011

© Graeme Skinner 2014 - 2024