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A biographical register of Australian colonial musical personnel–E (Elm-Ez)

Dr GRAEME SKINNER (University of Sydney)


To cite this:

Graeme Skinner (University of Sydney), "A biographical register of Australian colonial musical personnel–E (Elm-Ez)", Australharmony (an online resource toward the early history of music in colonial Australia): ; accessed 17 June 2024

- E - (Elm-Ez) -

Introductory note:

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

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

Major upgrades of the contents of this page were completed in December 2019 and June 2024, and newly added documentation (including genealogical data) and Trove tagging now brings the page content up to the end of 1860 close to completion.

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

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

ELMAR, Mr. (John Adam ELMAR; Mr. ELMAR) = John Adam ELMER

Actor, vocalist

ELMBLAD, Johannes Wilhelm Samuel (Johannes Wilhelm Samuel ELMBLAD; Johannes ELMBLAD; Herr ELMBLAD)

Musician, vocalist, pianist, organist, composer

Born Icard Herrestad, Sweden, 1853
Married Maggie MENZIES, Berlin, Germany, 12 January 1878
Arrived Melbourne, VIC, by June 1878 (shareable link to this entry)


ELMBLAD, Maggie (Margaret MENZIES; Miss Maggie MENZIES; Madame Johannes ELMBLAD)

Musician, pianist, composer

Born Melbourne, VIC, 20 September 1853 (details on marriage certificate)
Married Johannes ELMBLAD, Berlin, Germany, 12 January 1878
Died (suicide), Switzerland, 1887, aged "33" (? "27 July 1887"; ? 8 August 1887) (shareable link to this entry)


"Marriage", The Argus [Melbourne, VIC] (12 February 1878), 1

At Berlin, Johannes, second son of the Rev. Paul Elmblad, professor of theology, Stockholm, to Maggie, eldest daughter of Mr. Archibald Menzies, Melbourne.

See also marriage registration, 12 January 1878; Landesarchiv Berlin (PAYWALL)

"Herr Johannes Elmblad", Illustrated Australian News (8 July 1878), 122

Johannes Wilhelm Samuel Elmblad is the son of the Rev. P. M. Elmblad, Professor of Theology and Hebrew at the Stockholm University, and of Frau Emilia Elmblad, Baronne Rappe, and was born in 1853, at Icarda Herrestad, in the south of Sweden. His godmother is Jenny Lind Goldschmidt, who has always followed his career with deep interest. Herr Elmblad went through his school and college examinations with great success and credit. From his youngest years he was passionately fond of music, and composed many little pieces for piano, organ and singing. While at college, and when he was in his sixteenth year, he sang in a small school examination, and then attracted the notice of the chief secretary to the King, who, being a musical man, took an interest in the boy's voice and musical talent. Young Elmblad was placed in the Royal Conservatorium of Music, where he studied with the best masters, and carried off prizes for piano, organ, singing, composition and declamation. While in the conservatorium Herr Elmblad sang with the Crown Prince (the present King), and was constantly invited to court to sing and play duets, trios and concerted music with him. In 1874 Herr Elmblad went to Berlin, and studied under Stockhausen, who at once felt the greatest interest in him. He introduced Herr Elmblad into the highest musical circles, and the young artist soon was made at home with Joachim, Madame Schumann, Rubinstein, Brahms, &c. Wagner and Liszt he met later, and he is a favorite with them all, not only in his artistic capacity, but personally. Rubinstein and Madame Schumann in particular are his sincere friends. On one occasion Herr Elmblad was singing the Poet's Love songs of Schumann, to Madame Schumann's accompaniment, and in one of the pauses she turned her head, and with her sad beautiful eyes fixed on him, said, "Why does not Robert still live (Warum lebt nicht Robert)." Herr Elmblad has had many overtures made to induce him to sing in London. Firstly, from Madame Lind-Goldschmidt, who has several times expressed a wish that he would go to her for the purpose of making a debut there. Last year, 1877, Mr. Mapleson wrote and made offers to him, wishing to make an engagement, and it is the intention of Herr Elmblad to go from these colonies via America to London. On the 12th of January, 1878, Herr Elmblad was married to Miss Maggie Menzies, of this city, and left Europe for her health and for the purpose of making the acquaintance of her family.

"Deaths", The Argus (11 August 1887), 1

ELMBLAD. - At Munich (by cable), after a short illness, Maggie Menzies-Elmblad, wife of Johannes Elmblad, and eldest daughter of the late Archibald Menzies, of this city, aged 33.

A memorial is recorded on her parents' gravestone in Melbourne, giving her date of death as 27 July

"Death of Madame Elmblad (FROM OUR CORRESPONDENT) London, August 10", Evening News [Sydney, NSW] (12 August 1887), 6

News has been received from the continent that the talented Australian pianist, Madame Elmblad, formerly Miss Menzies, of Melbourne, and wife of the celebrated basso, Herr Elmblad, has been found dead. Her husband has telegraphed that she shot herself.

"DEATH OF MADAME ELMBLAD. LONDON, AUG. 16", The Argus (19 August 1887), 5

An inquest has been held at Silvaplana, in the Upper Engadine, Switzerland, concerning the death of Madame Elmblad, the eminent pianiste, who was found dead on the 8th inst. A verdict was returned that the deceased had committed suicide.


Actor, comedian, vocalist, groom, convict, emancipist

Born London, c. 1811; son of John ELMER
Married Emma ?, ? London, England, by 1832
Convicted Old Bailey, London, England, 6 September 1832 (aged "21")
Arrived Hobart Town, VDL (TAS), 12 August 1833 (convict per Emperor Alexander, aged "23")
Married (? common law) Martha HURST, by 1843
Died Talbot, VIC, February 1877; buried Amherst, 15 February 1877, aged "65/66" (TROVE tagged by Australharmony) (Digital panopticon) (shareable link to this entry)

ELMAR, Martha (Martha HURST; Mrs. John Adam ELMAR)


Born c. 1819; daughter of George HURST
Married (? common law) John ELMER, by 1843
Died Talbot, VIC, 1881, aged "62" (BDM 6157/1881) (TROVE tagged by Australharmony) (shareable link to this entry)


"MARLBOROUGH STREET", Sun [London, England] (12 July 1832), 1 (PAYWALL)

John Elmer, a young man sprucely attired, was brought before Mr. DYER, the sitting Magistrate, yesterday, charged with having attempted to steal the jacket of a young gentleman named Raitt. The prosecutor, a slip of a youth, about 15 years of age, residing in Charlotte-street, Portland-place, was passing down Regent-street, in company with several other young gentlemen, about two o'clock that morning, when he was insulted by a person who was passing. Conceiving this to be a favourable opportunity to ascertain his proficiency in the fistic art, he demanded "satisfaction" a l'Anglaise, and stripped off his jacket for a boxing bout. The combat, however, was put an end to by the appearance of a policeman, and the prosecutor, having been persuaded to renounce his warlike intentions, looked about for his jacket, but he found it had been removed from the spot where he had placed it. The prisoner, who was leisurely walking off, having been pointed out to policeman C. 34, the constable went after him, and accused him of the theft. The prisoner denied the charge with great hauteur, and was exceedingly indignant that the constable should presume to stop a person of his appearance. The policeman, however, insisted upon searching him, and, on opening his frock coat, the jacket was discovered beneath it.
When called upon for his defence, the prisoner flatly denied ever having seen the jacket, and exclaimed with great warmth against the policeman for taking him into custody.
The policeman again swore, most positively, that he took the jacket from the prisoner, and produced the address of a gentleman who had witnessed the fact, and had promised to come to town, if he should be required as a witness.
Mr. DYER - Really the prisoner denies the charge so impudently, that although there is quite sufficient to commit him, yet I shall remand him for a week, to procure the testimony of this gentleman, for I have so frequently witnessed the fact of Juries listening to the statements of prisoners, and acquitting where no moral doubt could remain as to their culpability, that I will, in this case, procure the fullest corroboration of the evidence of the policeman.
Pray, Sir (addressing the prisoner), how do you get your living?
Prisoner - I am a professional gentleman.
Mr. DYER - I do not exactly understand what that means?
Prisoner - Oh, I am a vocalist. I attend concerts professionally.
The policeman here informed the Magistrate that the prisoner was a frequenter of Free and Easys, and attended a singing-room, where the company was of the worst description.
The "professional gentleman" was then removed from the bar.

Trial, John Elmer, 6 September 1832; Old Bailey online 

2197. JOHN ELMER was indicted for stealing, on the 11th of July, 1 jacket, value 10s., and 1 handkerchief, value 18d., the goods of Henry Alexander Reatt . . .
GUILTY. Aged 21. - Transported for Seven Years.

Hobart Town and VDL (TAS) (from 12 August 1833 to December 1845):

Convict record, John Elmer, per Emperor Alexander, 1833; Tasmanian names index; NAME_INDEXES:1390455 (DIGITISED)

Elmer John / Emperor Alexander 12th Aug't 1833 / Middlesex G. D. 6th Sept'r 1832 / 7 [years] /
. . . Married . . . Wife Emma at Bell St. Marylebone . . . Surgeon's report very clean orderly intelligent . . .
. . . 23. 3. '39 (DIGITISED)

Elmer Jno. / [born] London / Trade: Groom / Height: 5ft 5in / Age: 23 . . .

DISAMBIGUATION: Not to be confused with John Elmer, farmer, who arrived in VDL (TAS) from England at Circular Head in 1842, and died at West Tamar, in 1880, aged "78"

"POLICE REPORT . . . Saturday, November 9th", The Tasmanian [Hobart Town, VDL (TAS)] (15 November 1833), 6 

. . . John Elmer, for drunkenness, was reprimanded . . .

"Hobart Town Police Report . . . Tuesday, April 1", Colonial Times (8 April 1834), 7 

. . . John Elmer was sentenced twenty-five lashes for drunkenness, and furiously riding in the streets . . .

"GOVERNMENT NOTICE, No. 190, Colonial Secretary's Office, August 21", The Hobart Town Courier and Van Diemen's Land Gazette [VDL (TAS)] (23 August 1839), 1 

The period for which the under-mentioned persons were transported, expiring at the date placed after their respective names, certificates of their freedom may be obtained then, or at any subsequent period, upon application at the Muster Master's Office, Hobart Town, or at that of a Police Magistrate in the interior: . . .
Emperor Alexander . . . John Elmer, 6th [September] . . .

[Advertisement], Launceston Advertiser [VDL (TAS)] (17 June 1841), 2 

MR. POWELL COURTIER, WILL PERFORM On Friday Evening, 18th Instant,
In a Commodious Room, fitted up for the occasion, Plough Inn, Charles-street . . .
After which several Comic Songs will be sung, and a Solo on the Violin by Mr. MARINER.
Mr. ELMAR will also sing several Comic Songs . . .

ASSOCIATIONS: Powell Courtier (magician); Mr. Mariner (violinist)

[Advertisement], The Cornwall Chronicle [Launceston, VCL (TAS)] (7 August 1841), 3 

In consequence of the great applause with which the entertainments were received on Tuesday last, will be performed for the second time the grand serio comic burlesque of
BOMBASTES FURIOSO. King Artaxomenes - Mr. Gooch. Fusbus - Mr. Elmar. General Bombastes - Mr. Smith . . .
Comic Song, Mr. Elmar.
Duett, Messrs. Smith and Green.
Comic Song, "The Steam Arm," Mr. Gooch.
Duett, Messrs. Smith and Green.
To conclude with the celebrated farce of THE MOCK DOCTOR. Sir Jasper Mr. Gooch. Leander - Mr. Elmar. Dr. Hellebore, Mr. Smith . . . Tickets of admission, 3s. each; to be had at the bar of the Plough Inn . . .

ASSOCIATIONS: George Lonsdale Gooch (actor, vocalist); "Theatre" at the Plough Inn

"THE THEATRE", Launceston Advertiser (7 October 1841), 3 

On Monday night was produced an interesting Melo-drama entitled "Mabel's Curse," which gives excellent scope for the display of Mrs. O'Flaherty's talents . . . Considerable interest was excited by the announcement in the hand bills, that the old favourite song of "Jim Crow," was to be sung in character, by a "Gentleman Amateur," who went through the song with great eclat, and at the conclusion, was greeted with such boisterous encores, that he was necessitated to make a second appearance . . . Mr. Elmar's comic song was certainly one degree too low, and Mr. Hamilton's song about as much too high.

ASSOCIATIONS: Eliza Winstanley O'Flaherty (actor); Mr. Hamilton (vocalist); Olympic Theatre (Launceston venue)

[Advertisement], Launceston Courier (14 March 1842), 3 

Respectfully informs his friends and the public, that in consequence of the great overflow of visitors on the evening of the last Masquerade, at the particular desire of many Gentlemen, he will open
Mr. Grant's Assembly Rooms, On the Evening of the 2lst March, 1842,
WHEN A GRAND MASQUERADE will take place.
On this Evening the Band will be considerably augmented, and every thing done by Mr. Elmer to ensure the comfort of his patrons.
A very numerous assortment of Dresses of every description may be had on application to Mr. Elmer, at Mr. Grant's, Plough Inn.
ADMISSION (INCLUDING MASK) SIX SHILLINGS. Tickets to be obtained at Mr. Cozen's, Mr. Miller's, Pastrycook, and at the bar of the Plough Inn.

[Advertisement], Launceston Courier (11 April 1842), 1 

CARNIVAL!!!! MR. ELMER respectfully informs the Ladies and Gentlemen of Launceston and its vicinity, that the next
GRAND MASQUERADE for the Season, will take place at the PLOUGH INN ASSEMBLY ROOMS, On Monday Evening, the 18th April . . .

[Advertisement], The Cornwall Chronicle (14 May 1842), 3 

MONDAY, MAY 16, 1842 . . . Kotzebue's celebrated Play of THE STRANGER . . .
Solomon, Mr. Elmar . . . Countess, Mrs. Elmar . . .
After which, the celebrated Song and OF "Nix my Dolly, Pals."
Jack Sheppard - Mrs. Cameron; Blueskin, Mr. Hamilton; Kneebone, Mr. Elmar; Edgeworth Bess, Mr. Wilson . . .
S. Cameron, Manager.

ASSOCIATIONS: Samson and Cordelia Cameron (actors, manager); Royal Victoria Theatre (Launceston venue)

[Advertisement], Launceston Advertiser (25 August 1842), 2 

MRS. ELMER begs to acquaint her Friends and the Public in general, that her Benefit is fixed as above, on which occasion will be selected two New Pieces, to commence with, the first time in this Colony, a Domestic Melo-Drama, in three acts, called,
AFTER WHICH, Song, "Ri Fum Ti Fum," MR. ELMER,
Highland Fling (in character) by a Lady Amateur.
Naval Hornpipe, by MR. STARKEY.
The whole to conclude with the laughable Farce, in two acts, entitled,

MUSIC: Ri fum ti fum (comic song)

[Advertisement], The Cornwall Chronicle (17 September 1843), 3 

On MONDAY, SEPT. 19. Will be performed, with New Scenery, Dresses, and Decorations, Sheridan's tragic Play, entitled PIZARRO; or, THE SPANIARDS IN PERU.
Irish Jig, Amateur. Comic Song, Mr. Elmer. Nix My Dolly-Pals . . .
S. Cameron, Manager.

"QUARTER SESSIONS", Launceston Advertiser (5 January 1843), 3 

. . . On Monday Mr. Elmer applied for a licence for holding public dances, masquerades, &c., which the bench refused - M. Kowarzick obtained a license for holding concerts in the room formerly occupied as the Victoria Theatre . . .

ASSOCIATIONS: Francis Frederick Kowarzik (musician)

1843, births in the district of Launceston; Tasmanian names index; NAME_INDEXES:1105367; RGD33/1/23/ no 1390$init=RGD33-1-23-p719 (DIGITISED)

1390 / 15 January / John Adam / [son of] John Adam Elmore / Martha Elmore formerly Hurst / Comedian

[Advertisement], The Teetotal Advocate [Launceston, VDL (TAS)] (3 April 1843), 3 

In the matter of the insolvency John Adam Elmer, of Launceston, Comedian.
To the creditors of the above-named John Adam Elmer.
NOTICE is hereby given, that William Gardner Sams, Esquire, Commissioner of Insolvencies for Launceston, hath this day declared the above-named John Adam Elmer insolvent, and appointed John Atkinson, Esquire, Provisional Assignee of his estate and effects; and has also appointed Wednesday, the twelfth day of April next, at ten o'clock in the forenoon, at the Court house in Launceston, for the first meeting of the creditors of the said insolvent.
Dated this 20th day of March, 1843.

"INSOLVENT COURT, Wednesday, April 26", Launceston Examiner (29 April 1843), 3

In re John A. Elmar. - Insolvent applied for his discharge. Discharged without opposition. The total amount of debts on this estate was £48.

[Advertisement], The Cornwall Chronicle (6 January 1844), 3 

the celebrated Grand Romantic Melodrama, entitled THE KNIGHTS OF ST. JOHN OF JERUSALEM, OR THE FIRE BANNER.
AFTER WHICH, "The Old Maid," in character, Mrs. Cameron.
Leader of the Orchestra, Mr. Megson . . .

ASSOCIATIONS: Arthur Falchon (actor, vocalist); Joseph Megson (musician)

[Advertisement], The Cornwall Chronicle (4 December 1844), 3 

J. A. ELMAR intends providing the above entertainment for his friends and the public generally,
for which occasion a platform will be elected over the pit, to form a junction with the stage.
A quadrille band will be in attendance; and every attention will be paid to the accommodation of those ladies and gentlemen who may honor him with their patronage.
No money to be taken at the doors. *** Tickets 3s. each. To be had of Mr. Cozens, Chemist, and of Mr. Storey, London Hotel, only.
Doors open at 8 o'clock precisely. December 4.

[Advertisement], Launceston Advertiser (24 January 1845), 2 

Duet, "Town and Country Life," Messrs. Hambleton and Elmar . . .

ASSOCIATIONS: John Hambleton (actor, vocalist)

Departures, per Margaret, from George Town, 21 December 1845, for Adelaide; Tasmanian names index; NAME_INDEXES:546581; CSO95/1/1 p303 

. . . Elmar John . . .

"Launceston Shipping List . . . DEPARTURES", Launceston Advertiser (25 December 1845), 2 

December 21 - Schooner Margaret, 49 tons, Clinch, master, for Adelaide. Passengers - . . . John Elmar . . . Cargo - 5 horses . . . 5 ditto . . . 6 ditto . . .

Perhaps Elmer travelled as groom to the horses; as see his advertisement below

Adelaide, SA (January 1846 to October 1852):

[Advertisement], South Australian Register [Adelaide, SA] (24 January 1846), 1 

White Hart Livery and Bait Stables. W. R. BLOWER and J. A. ELMERS
beg leave most respectfully to inform their friends and the public in general they have opened the stables belonging to A. McFie, Hindley-street, as Livery and Bait Stables, where every attention will be paid to those gentlemen who may honour them with their patronage.
N.B. - Horses broke to saddle and harness on reason able terms. Saddle horses and spring carts to let. [manicule] W. R. B. was for eight years training groom to Sir John Edginton, of Holton, Cheshire, and of late to W. Corner and H. Baynton, Esqs. of Van Diemen's Land.

"THE THEATRE", South Australian (14 July 1846), 2 

Novelty seems the standing order, and we are happy to see it receives a due share of support from the public. Last night, the interesting Drama of Will Watch, or the Bold Smuggler, was well got up, and the Hero ably sustained by Mr. Elmer, from the Launceston Theatre, supported by Mr. Howard and Mr. Deering.

ASSOCIATIONS: Mr. Howard (actor, vocalist); Henry Shinton Deering (actor, manager); Royal Adelaide Theatre (venue)

[Advertisement], South Australian (17 July 1846), 2 

Royal Adelaide Theatre. SATURDAY. - Three Pieces, for this night only.
To commence with LOVERS QUARRELS . . .
Comic Song - Mr. Elmer . . . [REDACTED] Song - Mr. Howard . . .
Stage Manager - Mr. Deering.

[Advertisement], South Australian Register (26 August 1846), 1 

ROYAL ADELAIDE THEATRE . . . THURSDAY, August 27th, 1846 . . .
Comic Medley, by Mr. Elmer . . . Larry O'Brien, by Mr. Elmer . . .

MUSIC: Larry O'Brien (comic song)

[Advertisement], South Australian (23 October 1846), 4 

Royal Adelaide Theatre. Last night but two of the Season.
ON Saturday, October 24, will be performed BLACK EYED SUSAN; OR, ALL IN THE DOWNS.
William - Mr. Elmer. Gnatbrain - Mr. Deering . . . Dolly Mayflower - Mrs. Elmer (her last appearance) . . .

[News], South Australian Register (7 November 1846), 3 

On Thursday [5 November] all the world was at the port . . . The first piece was the "Irish Tutor," in which Mr. Deering did wonders . . . Mrs. Elmer, in the waiting maid had not the lively and national air which the part requires. Her emotions are too evidently the result of effort . . . The other characters were pretty well done, Elmer, in Tickwell, was occasionally a little at a loss . . .

[Advertisement], South Australian (18 December 1846), 4 

New Queen's Theatre . . . On Saturday Evening, December 19, 1846 . . .
Comic Song - Mr. Elmer. Comic Dance - Mr. Douglass . . . Hornpipe - Mr. Jacobs . . .

ASSOCIATIONS: James Augustus Douglass (dancer); George Coppin (actor, manager); New Queen's Theatre (Adelaide venue)

"QUEEN'S THEATRE", South Australian Gazette and Colonial Register (1 May 1847), 2 

We perceive by our advertising columns that Mr. and Mrs. Elmer take a joint benefit on Monday night, and have no doubt, from the selection of pieces, and their being old favorites with the public, they will have a bumper.

"LOCAL INTELLIGENCE", South Australian Register (1 December 1847), 2 

The Royal Adelaide Theatre was reopened on Monday night last, under the auspices of Mr. Brewer, of the "Bush Club House," and the Stage Management of Mr. Jacobs, under rather favourable circumstances; the performers and musicians being principally the malcontents from Coppin's . . . A well-filled orchestra, under the leadership of Mr. Richards (late of the Queen's Theatre), is not inferior to any theatrical band we have heard in the colony. The principal piece of the evening was a melodrama, frem the pen of J. B. Buckstone, Esq., called Peter Bell the Waggoner . . . Peter Bell, in company with Martin, a tinker (Mr. Elmer), whose occupations principally consist in bandying jokes about putting new bottoms to old pots and kettles and frequent drinking of grog . . . Catherine the waggoner's wife might have been placed in better hands than Mrs. Elmer's . . . Two songs by Mrs. Richards were very well sung, and the "Land of the West" loudly encored. A capital comic song was also sung by Mr. Elmer . . .

ASSOCIATIONS: John Lewis Jacobs (actor, manager); Henry and Dorothea Richards (musician and vocalist)

[Advertisement], South Australian Gazette and Mining Journal (16 December 1848), 3 

will be presented, the Operatic Entertainment of the WATERMAN. Song, Mr. Elmer . . .

ASSOCIATIONS: John Lazar (actor, manager)

"LOCAL INTELLIGENCE", South Australian Register (19 May 1849), 3 

The Theatre, under Coppin's management, continues very attractive. On Saturday evening The King's Gardener and The Illustrious Stranger kept the audience in convulsions of laughter, and to the surprise of those who had not seen Coppin play a serious character, his Luke the Labourer, on Monday night, was an agreeable surprise . . . The part of Bobby Trot was make exquisitely ridiculous by Lazar, and his mirthful extravagance was an appropriate counterpoise to the machinations of the villain Luke, and the scoundrel Squire (Elmer) . . . The Young King was revived on Thursday evening . . . In the wooing scene Mrs. Elmer did appear to advantage, but her part presented little difficulty. A husband-hunting widow is a character any woman can play intuitively . . .

"LOCAL INTELLIGENCE", South Australian Register (6 February 1850), 3 

We perceive by advertisement, in another column, that the new "Dramatic Hall," in Leigh-street, over Mr. Crawford's offices, will be opened on Thursday next (to-morrow), by some of the performers who have seceded from the Queen's Theatre. Mr. Opie has very neatly decorated the house, and painted a pretty drop scene and proscenium. The accommodation for visitors is good, there being a private entrance by a carriage door opening to the street. It appears, when lighted up, a snug and respectable place to pass an evening. The managers, Messrs. Jacob, Elmer, and Gardener, announce their intention to conduct this place of recreation that "families can visit it without fear of being insulted by obscene language on the stage, or elbowed by improper characters among the audience." A Mr. Chapman makes his debut as a solo player on the cornet a piston. The musical arrangements are very creditable, and we have no doubt, if conducted on a respectable plan, with careful study, and short intervals between the acts, the public will support and encourage the concern.

ASSOCIATIONS: Edward Andrew Opie (scenic artist); Joseph Gardiner (actor manager); William Chapman (musician); Dramatic Hall (Adelaide venue)

"SUPREME COURT. Friday, 1st March . . . LAZAR V. STEPHENS", South Australian (5 March 1850), 2 

. . . The action was brought by Mr. John Lazar, manager of the New Queen's Theatre, to recover compensation from Mr. John Stephens, proprietor of the South Australian Register, for the following libel, which appeared in that paper on the 16th of January last:
"We have seen Lazar 'so overstep the modesty of nature,' as to compel even the prostitutes to blush, and send the indignant blood tingling to the ear tips of every decent man in the house. There can, to our minds, be no greater, no more dangerous nuisance, than an indecently conducted theatre . . ." . . .
John Lewis Jacobs, comedian, proprietor of the Dramatic Hall, Leigh-street, deposed that on the 12th January he was in the pit at the New Queen's Theatre after he had ceased to be a member of the company. Described some indecent words and gestures used by the plaintiff on that and several other occasions . . .
John Adam Elmer, another performer at the Dramatic Hall, was called, but could give a direct answer to no question, and was suffered immediately to quit the box . . .

ASSOCIATIONS: John Stephens (newspaper proprietor);
see also "LAW AND POLICE COURTS", South Australian Register (4 March 1850), 3 

[Advertisement], Adelaide Times (25 March 1850), 1 

BEGS leave most respectfully to acquaint his friends and the public generally that his Benefit is fixed for Monday (this Evening), March 25th, 1850 . . .
The performance will commence with Howard Payne's celebrated Musical Drama . . . THE SLAVE . . .
Fogrum, a Londoner on his Travels, Mr. Coppin.
Sam Sharpset, a Yorkshireman, his Mentor, Mr. Elmer. (Who has kindly given his services for this night only.)
Gambia, the Slave - Mr. Lazar . . .
In the course of the Drama the following music will be sung - . . .
"The World's Seven Wonders" - Mr. Elmer . . .

MUSIC: The world's seven wonders (song, in The slave)

[Advertisement], South Australian (5 April 1850), 3 

TOM AND JERRY, or, Life in London, With New Scenery and all the Original Music.
Tom - Mr. Lazar. Jerry - Mr. Coppin. Logic - Mr. Elmer. . . .

[Advertisement], South Australian Gazette and Mining Journal (18 December 1851), 2 

ROYAL VICTORIA THEATRE . . . Mr. Lazar begs leave most respectfully to announce that be has obtained the LOAN OF the above Theatre . . .
and if munificent encouragement is given, Mr. Lazar will continue it open for SIX MONTHS.
THIS EVENING (Thursday), December 18th, will be presented, for the first time in this colony, a laughable Farce, called TICKLISH TIMES.
Song - Mr. Elmer . . .

ASSOCIATIONS: Royal Victoria Theatre (Adelaide venue)

"THE THEATRE", Adelaide Morning Chronicle (15 July 1852), 2 

On Monday night there was a very large turn-out of diggers, and the house was full to overflowing . . . The performance was Charles the XII. Mr. Knight played Triplotemus Muddlework, and was warmly greeted on his debut from the diggings. Mr. Elmer played the part of Adam Brock exceedingly well . . .

ASSOCIATIONS: Troy Knight (manager, actor, vocalist)

[Advertisement], South Australian Register (26 July 1852), 2 

To conclude with the WATERMAN. Tom Tug, - Troy Knight, with the Songs . . .
Stage Manager - Mr. Elmer.

"ROYAL VICTORIA THEATRE", South Australian Register (20 August 1852), 2 

This place of public amusement was yesterday opened (for the first time) for a morning performance . . . The amusements commenced with the drama of "Schinderhannes, the Robber of the Rhine" . . . The acting of the spirited Manager, Mr. Troy Knight, and of his droll though taciturn attendant, Mr. Elmer, secured for each his "meed of praise" . . . The performances concluded with "The Waterman" . . . Mr. Beauchamp, as Old Bundle, and Mrs. Elmer, as Mrs. Bundle, were quite at home in the characters sustained by them; and on the whole, the performances were well revived by a respectable though by no means crowded audience.

ASSOCIATIONS: Robert Beauchamp (actor), see also below

[Advertisement], South Australian Register (7 October 1852), 2 

ROYAL VICTORIA THEATRE . . . This Evening, the 7th of October . . .
OTHELLO (Moor of Venice) . . . Emilia - Mrs. Elmer . . .

Melbourne and Geelong, VIC (by November 1852 to May 1853):

[Advertisement], Geelong Advertiser and Intelligencer (1 November 1852), 2 

To conclude with the laughable farce of BLUE JACKETS; or the FEMALE MEN O'WAR'S MEN . . . Chaser, Mr. Beauchamp.
The Blue Jackets: Fanny Trundion, afterwards Lieut. Firefly, Mrs. Moore . . .
Lucy Snobb - Tom Rattler, Mrs. Elmer.
Jenny Jones - Jack Bowsprit - Madame Veilburn.
Kit Kitters - Joe Marlinspike - Mrs. Beauchamp . . .
Leader of the Orchestra, Mr. Moore . . .

ASSOCIATIONS: Rachel and Andrew Moore (actor and musician); Madame Veilburn (dancer, actor); Theatre Royal (Geelong venue)

[Advertisement], Hobarton Guardian, or, True Friend of Tasmania [TAS] (18 May 1853), 3 

THE LESSEES have the pleasure to announce that the alterations and improvements having been completed, in a style so as to render the Theatre, in point at elegance and comfort, second to none in the Australasian colonies; and without any regard to expense, it will open for the season, on the above evening . . .
The corps dramatique consist of the following ladies and gentlemen . . . Mr. ELMAR . . .
Acting Manager - Mr. F. B. Watson. Stage Manager - Mr. Arabin . . .
Lessees - Messrs. Davies and Watson.

ASSOCIATIONS: Feltham Bold Watson (actor, manager, lessee); Gustavus Arabin (actor, manager); John Davies (lessee); Royal Victoria Theatre (Hobart)

Names and descriptions of passengers per Emma Prescott from Melbourne, 23 May 1853, for Hobart Town; Public Record Office Victoria (DIGITISED)

. . . J. A. Elmer / 42 // Wife & Ch'd / 30 / [male] 9
J. C. Thomson / 33 // Wife & child / 21 / [female] 2
Rob't Beauchamp / 32 // Wife & 4 ch'd / 30 / [male] 11, 4, 2, [female] 6 . . .

ASSOCIATIONS: John Charles Thompson (musician, leader), along with the Elmers and Beauchamps were hired in Melbourne by an agent named Warner for the Royal Victoria Theatre, Hobart (as above)

Hobart and Launceston, TAS (May 1853 to late 1855):

"ROYAL VICTORIA THEATRE", The Courier [Hobart, TAS] (4 June 1853), 2 

The opening scene of "Paul the Poacher," which was presented last night, was so conducted as to lead to a very favourable impression of the talents, in their line, of two of the new company, Messrs. Elmer and Upson, who were rather successful in their delineation of English rustic character . . .

ASSOCIATIONS: C. A. Upson (actor, vocalist)

"The Theatre", The Cornwall Chronicle [Launceston, TAS] (16 July 1853), 2 

The performances at the Olympic during the week have past off very satisfactorily, and the corps dramatique have received a valuable auxiliary in the person of Mr. Elmer, who played with success last evening, in the character of Andrew, in the drama of the "Warlock of the Glen" . . .

"Theatre", The Cornwall Chronicle (23 July 1853), 2 

. . . The performances during the week have been of a pleasing character, and have passed of well . . . Mr. Elmer has also received a share of deserved applause for his comic songs . . .

"THE OLYMPIC. Mrs. Elmer's benefit", The Cornwall Chronicle (3 September 1853), 3 

The patronage of the admirers of the drama, is solicited on Thursday evening next, for the benefit of Mrs. Elmer. The opening piece selected for the occasion is the beautiful drama of the "Forest of Bondy," in which Mr. Elmer's dog "Lion" will display some wonderful feats of sagacity. The interlude and farce are well-chosen, and taken as a whole, the entertainment contains more than ordinary attraction. The length of time which Mrs. Elmer has been employed on the Launceston stage, and her willingness at all times, to please her patrons, entitle her to general support.

[Advertisement], The Cornwall Chronicle [Launceston, TAS] (2 December 1854), 7 

First Night of JACK SHEPPARD The Housebreaker . . . Song (comic) - Mr. Elmer . . .
J. R. KENNEY, Manager.

ASSOCIATIONS: James Richard Kenney (actor, manager); Clarence Theatre (Launceston venue)

[Advertisement], The Cornwall Chronicle (21 April 1855), 7 

CLARENCE THEATRE. - For the benefit of Mr. J. ELMER. -
On Monday next, 3rd instant, the performances will commence with the beautiful drama of
JONATHAN BRADFORD; OR, THE Murder at the Roadside Inn.
The interlude will consist of a variety of singing and dancing . . .
G. F. ARABIN, Manager.

"THEATRE", The Cornwall Chronicle (21 April 1855), 5 

The "little Clarence" during the last few weeks has been exceedingly attractive - the pieces ushered forth being well supported by the corps dramatique; it would be invidious to be stow praise upon any single performer, when all do well. Mr. John Elmer, one of the oldest comedians in the colony, makes an appeal on the evening of Monday next, when will be introduced to the community the unique drama of "Jonathan Bradford" . . .

"AMATEUR DRAMATIC CLUB [Launceston]", The Courier [Hobart, TAS] (28 September 1855), 2 

Thc first performance by the members of this club took place at the Clarence Theatre last night. The house was crowded to excess by a most fashionable audience; and the arrangements of the managing committee to secure order and respectability was all that could be desired. The principal piece of the evening was Colman's comedy of the "Poor Gentleman" The dramatis personae were composed as follows: . . . Dame Harrowby, Mrs. Elmar . . .

Geelong and Talbot, VIC (by mid to late 1855):

Names and descriptions of passengers per Pirate from Launceston, 21 June 1855, for Geelong; Public Record Office Victoria (DIGITISED)

. . . J. A. Elmer / 28 [sic] . . .

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

takes great pleasure in informing his friends and the patrons of the drama, that he has taken the management of the Theatre, which will open for the Summer Season on MONDAY, DECEMBER 3rd, with a New and Talented Company . . .
THE COMPANY Will comprise the following talented Artistes, who have been selected from the principal Theatres with that care and judgment which experience alone commands: -
Messrs. . . . Elmer, from the Royal Victoria Theatre, Hobart Town . . .

ASSOCIATIONS: Clarance Holt (actor, manager)

"THEATRE", Geelong Advertiser and Intelligencer (15 January 1856), 2 

Notwithstanding wind, rain, and dust, there was a good house at the Theatre Royal last evening to witness the performance of a "new drama" entitled "Eustache, or the Courier of Lyons" . . . Mrs. Elmer must make herself look a little more dowdy and matronly if she wishes to represent properly that ancient and dignified individual the Countess d'Alberti; a "dress improver" to give width and sweepiness, and a feather for to give zest to hoighty-toighty-ism and put her "a son aise" would be a considerable alteration for the better in the style of her getting-up . . .

[Advertisement], Geelong Advertiser and Intelligencer (14 March 1856), 3 

THEATRE ROYAL. - Manager, Mr. J. Simmonds . . .
Friday Evening, March 14th, The performances will commence with the celebrated drama, entitled ROB ROY . . .
Bailie Nicol Jarvie, MR. MUNGALL . . . Mattie, Mrs. Elmer . . .

ASSOCIATIONS: James Simmonds (actor, manager); John Mungall (actor)

[News], Maryborough and Dunolly Advertiser (25 August 1862), 2 

The Garrick Club of the place, in its efforts to increase the Lancashire Relief Fund collected in this locality, had three influences to contend against in the performances offered to the public on Friday evening . . . The first piece played was "Cool at a Cucumber" . . . Miss Isabella Chalmers was a pleasing Miss Honiton, and Mrs. Elmer a good Wiggins . . . best thanks are due to Miss Chalmers and Mrs. Elmer, for their attendance. The latter lady is entitled to them in an unusual degree for coming at the last moment from Talbot, having only time to dress and play in new parts almost perfectly. Mr. Meriton and Mr. T. P. Cross, of Talbot, kindly exerted themselves to save the credit of the Club in promptly attending to a telegram, and conveying Mrs. Elmer hither . . . Messrs. Cranz and Boullemier played some excellent pieces, rendering their aid gratuitously . . .

ASSOCIATIONS: August Friedrich Cranz (musician); Anthony Boullemier (musician)

"IMPROMPTU PERFORMANCE IN AID OF THE IRISH RELIEF FUND", Maryborough and Dunolly Advertiser (10 September 1862), 3 

Some of the members of the Garrick Club, yesterday, feeling it necessary that they should play for the Irish Relief Fund, determined, only about one o'clock, to perform that evening, as so many strangers were honoring Maryborough with their presence, and they lost no time in procuring the very valuable assistance of Miss Chalmers and Mrs. Elmer, from Talbot, to carry out their sudden and somewhat eccentric intention. Consequently, about half-past eight in the evening, the curtain rose; a very good audience assembled in the Theatre of the Golden Age, and "Cool aa a Cucumber" was submitted to critical approval, Mr. Toutcher playing Old Barkim for the first time with excellent judgment and propriety . . .

ASSOCIATIONS: Charles Toutcher (amateur actor)

"TALBOT. FOUR LIVES SAVED", Leader [Melbourne, VIC] (30 April 1864), 17

A child named Annie Halsted, about four or five years of age, was nearly drowned in Mr. Hawkins's pump hole, on the flat, yesterday evening, about five o'clock. The child was playing about the vicinity of the hole, when it approached too close and fell into the water. The cries of her brother brought a youth named Elmer to her assistance, and he speedily got her out before much damage was done. This youth has saved no less than four lives in Talbot during the last two years in the same manner, and it is to be regretted that there is no society in the colony from which he could obtain a suitable reward for his bravery. - Talbot Leader, April 26.

"LATEST INTELLIGENCE", Maryborough and Dunolly Advertiser (17 August 1864), 2 

We have much pleasure in drawing attention to an advertisement in another column, where it will be seen that the Dunolly Amateur Dramatic Club will give their first performance this season, tomorrow (Thursday) evening, at Dunolly, on which occasion Frayne's Theatre will be re-opened, after having been thoroughly repaired and re-decorated . . . Miss Maxwell and Mrs. Elmer, both well known actresses, have been engaged, from Talbot . . .

[News], Maryborough and Dunolly Advertiser (18 October 1865), 2 

On the occasion of Miss Maxwell's benefit, announced to take place on the 8th of November, the Talbot Club have resolved to produce Coleman's comedy, entitled "John Bull," and the farce of the "Eton Boy," the cast for the former being as follows: - . . . Denis Bulgruddery, Mr. Toutcher . . . Mrs. Bulgruddery, Mrs. Elmer . . .

Bibliography and resources:

John Elmer, Find a grave 

BDM VIC 36/1877 gives spouse's name as Martha Hirst (sic), father's name as John

ELMES, Henry (Henry ELMES; Mr. H. ELMES; Mr. ELMES)

Theatre owner and proprietor, publican, brewer, property developer

Born c. 1814
Arrived Melbourne, NSW (VIC), by August 1841
Married (1) Maria ALBON (c. 1819-1867), St. James's church, Melbourne, NSW (VIC), 1841 (BDM VIC 4338/1841)
Married (2) Mary MARTIN, VIC, Geelong, 18 November 1867
Died Hobart, TAS, 27 April 1883, aged "69" ("78") (TROVE tagged by Australharmony) (shareable link to this entry)


"NEW BREWERY", Port Phillip Gazette [Melbourne, NSW (VIC)] (14 August 1841), 3 

Mr. Elmes has opened a brewery in Little Flinders-street, in the premises lately occupied by Mr. Pender, where the public can procure a good decoction of malt and hops.

"SEMI-WEEKLY ABSTRACT", Port Phillip Gazette (19 November 1842), 2 

At the Police office, on Thursday, the license of the Market Square Hotel was transferred from Edward Edgar to Henry Elmes.

"DOMESTIC INTELLIGENCE . . . A COMEDY", Port Phillip Gazette (31 May 1845), 3 

A few days since, two married ladies took it into their heads that their husbands had played them false, and scenting the whereabouts of the fair angels who had beguiled their husbands' hearts, proceeded there and commenced with beautiful effect a dramatic scene and acted the "Jealous Wives" with startling effect; not half liking the wigging, one of the gay deceivers, Mrs. Knowles, an actress at the Queen's Theatre, appeared before the bench with a woefully black eye, and through her professional advisor Mr. Councillor Stephen, applied for summonses against the offending ladies, Mrs. Cantlon and Mrs. Elmes. We cannot help noticing that Mr. Smith, the proprietor of the Queen's Theatre, has been blamed for keeping these actresses, but with what justice we are at it loss to perceive; the proprietor of a theatre cannot be cognisant of the actions of all the corps dramatique out of doors, and it would be a great absurdity to state that it is ever possible for him to do so. All that is expected of the manager of Covent Garden, or Drury Lane, is to keep proper decorum within the house, in fact to do anything more be impossible.

ASSOCIATIONS: Harriet Knowles (actor); John Thomas Smith (proprietor); Queen's Theatre (Melbourne venue); Adam Cantlon (b. c. Ireland, 1820; d. NZ, 17 September 1905), later also a Geelong publican, was Elmes's business partner in breweries in Melbourne and Geelong (1847); in 1843 Cantlon had married Sarah Austin (d. VIC, 1852)

"MELBOURNE . . . A COMEDY", Geelong Advertiser and Squatters' Advocate (4 June 1845), 3 

A few days since, two married ladies took it into their heads that their husbands had played them false, and scenting the whereabouts of the fair angels who had beguiled their husband's hearts, proceeded there and commenced with beautiful effect a dramatic scene and acted the "Jealous Wives" with startling effect; not half liking the wigging, one of the gay deceivers, Mrs. Knowles, an actress at the Queen's Theatre, appeared before the bench with a woefully black eye, and through her professional adviser Mr. Councillor Stephen, applied for summonses against the offending ladies, Mrs. Cantlon and Mrs. Elmes. - (The affair has since been hushed up.)

[News], Geelong Advertiser [NSW (VIC)] (23 November 1847), 2 

The extraordinary fecundity of the Geelong soil, exemplified, as the Chronicle hath it, "in houses literally springing up from the earth" is beginning to display itself in that hitherto deserted locality, the east end. The blank that has long presented itself to the eastward of Mr. Griffin's allotment, and in front of Dr. Clerke's residence, is now the scene of extensive building operations. The Free Church, fronting little Mallop-street, one or two shops fronting Malop-street, and the extensive brewery of Messrs. Cantlon & Elms, are already in course of erection; and when to the latter will be added the Hotel, Theatre and other projected buildings, the eastern part of the town will be completely metamorphosed.

"ROYAL HOTEL", Geelong Advertiser (12 August 1848), 2 

This large and handsome hotel has been transferred from the possession of Mr. Cantlon to Mr. Henry Elmes. The theatre and other erections attached to this building are proceeding with great rapidity to their completion. The theatre, it is reckoned, will be open to the public by the latter end of next November.

"THE NEW THEATRE", Geelong Advertiser (31 October 1848), 2 

It is contemplated by Mr. Elmes, the proprietor of this place, that he will be enabled to open it to the public, either by the last week in November, or the first week of the following month. The theatre covers an area of ground full one third in extent larger than that of Melbourne, and very little short of the one in Sydney. The breadth of the frontage, including the hotel, is eighty-five feet, the depth one hundred and twelve feet, and the height inside thirty-one feet. The pit, it is calculated, will contain from eight to nine hundred persons, and the boxes from four hundred to four hundred and fifty. We need scarcely say anything of the exterior appearance of this building. It has been erected at a tremendous outlay, and those who are competent to form an opinion, pronounce it to have been built with much skill and judgment. The interior is not yet completed, but we believe that every attention will be paid to those arrangements tending to the comfort and convenience of visitors, and to the general decorative and ornamental appearance of the whole.
We have just one or two remarks to make, and a few words of advice to offer, on the subject of colonial theatrical amusements. To render the stage a means of gratifying or creating a refined taste, or to inculcate a feeling and desire for elegant sentiment, and the beauties of language or poetry, which are to be found in the writings of our dramatists, we know to be quite out of the reach and command, at the present day, of the proprietor or lessee of any colonial theatre. He who attempts it will assuredly fail, from the very circumstance that, however much he may desire it, he has not the means and appliances to effect his object. But he may, nevertheless, conduct his theatre upon such a plan as to make it available as an amusement to the respectable and intelligent portion of the community; and in this way only do we hope to see such an undertaking in Geelong any other than a losing and profitless speculation.
The great fault, as it appears to us, is, that lessees and managers get up pieces and conduct their performances solely for the approbation and entertainment of the pit, and are under the domination of an erroneous and most mistaken idea that unless something bordering on the licentious or indelicate equivoke - some maudlin sentiment spoken and carried out - or some popular vice made still more familiar and palatable by pleasing representation, it will fail to attract. And so it is that in Port Phillip the play-going portion of its inhabitants is extremely limited. The respectable clerk, tradesman, or mechanic, with a distaste to have his understanding insulted, and a repugnance to have the feelings of his wife, daughter, or sister, shocked and offended, is seldom seen in the theatre, either alone or in company of his family or friends.
To a certain portion of the public press is to be attributed much of the blame for the very low and retrograde state of our theatrical amusements. Seldom is a notice or a critique written with any other apparent view than an injudicious desire to praise up and flatter the proprietor, manager, the play, and the whole corps dramatique en masse without distinction or difference. The public have been so long accustomed to read these puff paragraphs are so well aware of their untruth and incorrectness - that such announcements must have long since ceased to be useful even as an advertisement. No attempt is ever made here to lead and direct theatrical taste and propriety. In other countries the acting drama is influenced in a great measure by the advice, censure, or commendation of the press; here public journalists never attempt to criticise, but lavish indiscriminate praise on what ever is brought before the public; and whether it be trashy, immoral or indecent, to them it appears all the same.
In Geelong, as in most of the towns of Port Phillip, there are very few places of public amusement of any description for the resort and entertainment of the inhabitants, and we do not know whether a theatre ably managed and respectably conducted would not be desiderated by a very numerous and highly respectable portion of the community. Were we to see an effort made to produce this, it would always meet with our sanction and encouragement, but it must first be shown that the attempt has really been made. If the proprietor of the new theatre is careful in the choice of his manager, who will select his pieces with taste and judgment adapted to the standard of talent which Is to be employed, and insist on the text of the author being rigidly adhered to - not adding to, but pruning those parts that contain anything like indecent allusion or immoral tendency - if he guards against immoral characters entering where they may be encountered by disreputable individuals we sincerely hope his anticipations will be fully realised. Numbers will avail themselves of such a source of entertainment conducted in the manner we mention.
Mr. Elmes is a person of no small judgment and experience in these matters, and he has expressed his determination to render his theatre a reputable attraction for all classes. This will not only be the most creditable, but, undoubtedly, also, the most certain method to ensure success.

ASSOCIATIONS: Theatre Royal (Geelong venue); Queen's Theatre (Melbourne venue); Royal Victoria Theatre (Sydney venue)

[Advertisement], Geelong Advertiser (25 November 1848), 2 

The following is a list of the Company as at present constituted -
Mrs. DEERING, Mrs. BATTERS, (late Mrs. Wallace), Mrs. GRIFFITHS, MRS. CAMERON, Mrs. EVANS, Miss JONES.
Several talented additions to the Company are daily expected from the neighboring Colonies.
Previous to the performances the National Anthem of "GOD SAVE THE QUEEN," BY THE WHOLE OF THE COMPANY;
AND AN Opening Address by Mr. Deering.
The Band will perform the Overture to the Caliph of Bagdad
The Performances will commence with the highly popular and moral play, (in five acts,) entitled
"Tell me my Heart," Mrs. Batters.
Solo on the Flute - Mr. Hulley.
"Charming Woman," Mrs. Batters.
Overture L'Italiana in Algieri, By the Band.
The whole to conclude with the laughable Farce of PADDY'S PRESCRIPTION; OR HOW TO CURE A DUMB WOMAN . . .
Propriety of conduct, and abstinence from Smoking, will be rigidly enforced in all parts of the Theatre.
Boxes may he secured on application to Mr. ELMES, Royal Hotel.
Boxes, 4s., Pit 2s. Doors open at 7; Commence at half-past. Half price, a quarter past 9.
Mechanist - MR. TOOLE. Scene Painter - Mr. LIGHTWOOD.
Leader of the Band - Mr. STAINSBY.
Prompter - Mr. WILKS.
Stage Manager, MR. DEERING.

ASSOCIATIONS: Henry and Eliza Deering (actors, manager); Caroline Batters (actor, vocalist); Samson and Cordelia Cameron (actors); William Evans and wife (actors); Cornelius Warde (actor); Mr. Wilson (actor, vocalist); Thomas Charles Willis (actor); John C. Wilks (actor); James John Hasker (actor); William Henry Douglas (actor); Mr. Clifford (actor, dancer); Robert and James Stainsby (musicians); R. G. Wilson (musician); James Spencer Hulley (musician); John Lightwood (scene painter); Thomas Toole (mechanist)

[News], Geelong Advertiser (28 November 1848), 2 

The new Theatre Royal was opened last night, but, of course, we can scarcely, so soon after the event, be expected to give a critique of the performances, and it is not our habit to bestow indiscriminate applause or censure. Of the house itself, we can only (making allowance for the rapidity with which the preparations were made) speak in terms of approval. Although patronised by the whole fashionable world of Geelong, the theatre was by no means filled; and there can be no two opinions as to the size of the house being too great for the present size of the town. We have a very mean opinion of the "Curse of Mammon" as a literary production, and whatever merit it possesses in representation, is derived from the exertions of the actors. We were sorry to perceive that the really good music of the orchestra was in a great measure thrown away upon the audience, who, throughout the overture to L'Italiana in Algieri, appeared unconscious of its performance. In other respects, the audience played its part as well before the curtain, as did the corps dramatique on the stage.

"JUDICIAL INTELLIGENCE. SUPREME COURT . . . Monday, April 16th, 1849 . . . FELONIOUS ASSAULT", The Melbourne Daily News (17 April 1849), 2 

Titus William Toogood, John Thomas, and Richard Fitzgerald were charged with feloniously assaulting Henry Elmes, at Geelong, on the 16th March last; and stealing from his person, eight bank notes of the value of one pound each . . .
Henry Elmes, sworn. I am a publican at Geelong. I remember the night of the 16th March, the prisoners were at the bar of my house on that night. I was coming out of the theatre about a quarter before 10 o'clock, when in going into my bar I heard Mrs. Elmes telling Fitzgerald that he should not have illused a woman, and I told him he should not do so there; he said he would do as he liked, and I then took him by the shoulder and tried to put him out of the house; the other two prisoners struck and kicked me and knocked down. At the time they were hitting and kicking me, I lost eight pounds out of my trowsers pocket . . .
I had been in the theatre which adjoins my public hours, when I heard my wife wrangling with Fitzgerlad; the theatre was well attended that night; there were a number of ladies there; it was a "fair" house; when the dispute with Fitzgerald was going on Mrs. Elmes had a large audience rather too many; there were a great number there . . .

"SAX HORN BAND", Geelong Advertiser (29 November 1849), 2 

An application to the Bench of magistrates, was made yesterday morning by Mr. Elmes, the proprietor of the Theatre Royal, to prevent Messrs. Hore and Sons from holding a series of concerts at Mack's Hotel, on the 3rd, 4th and 5th instant, as advertised in the local journals. Mr. Elmes stated, that he was at an immense weekly outlay in maintaining the expenses of his theatre, during a very bad season; and now that an opportunity of retrieving himself from a portion of his losses presented itself by a night or two of holiday making, when persons were likely to visit his place of amusement, a new public entertainment was announced to take place, just on those nights, and which would cease immediately after. Mr. Elmes said, that had the entertainments been for one night only, or at a different time, he would not have opposed their taking place; he would have even lent his house for them to be held in. The Clerk of the Bench on referring to the Act, informed the magistrates that by 1st Geo. IV., they did not possess the power of granting permission for any concerts to be held where money was charged for admission to them. This information being decisive, Mr. Elmes thanked the magistrates and left the Court.

ASSOCIATIONS: Joseph Hore and sons (Sax horn players, from Melbourne)

"THE THEATRE", Geelong Advertiser (15 September 1849), 2 

Mrs. Derring's benefit, on Friday evening last, concluded the present season with the Theatre Royal. The house was well filled and the benefit really what a benefit should be. Beyond the approbation of the public and a sense of self-satisfaction, that he has done his very utmost for the entertainment of the patrons of the drama, Mr. Elmes has reaped nothing. Where talent was to be got he actively sought after it, and if attractive pieces were procurable he was the first to bring them out, regardless alike of the expense, the anxiety and trouble which such undertakings ever entail. If a musician of more than ordinary talent was in the field he was added to the Orchestra. In short Mr. Elmes has most undoubtedly made a colonial theatre all that a colonial theatre can be made at the present day. Those who have visited this place frequently must feel this to be true, and if they are sufficiently enough behind the scenes in such matters, they must be well aware that the outlay of the house has not been nearly covered by its receipts. The forth-coming season, it is to be hoped for the sake of a truly spirited proprietor, will compensate for the poorness of the past. From an advertisement in another column, it will be perceived that the house will be opened for one night more, for the benefit of Messrs. Stubbs and Howard, whose recent addition to the corps dramatique, has been hailed as a valuable accession of talent.

ASSOCIATIONS: Gibson Stubbs (actor); Mr. Howard (actor, vocalist)

"COUNTRY NEWS . . . THE LAST ACT OF ALL", The Age [Melbourne, VIC] (11 April 1867), 7 

The glory of the old Theatre Royal in Malop-street has departed. The last drama that may ever be played upon the old familiar boards, whereon so many famous Thespians, some of whom, alas, are now no more, have trod in times gone by, was enacted yesterday, when Mr. Levy, the auctioneer, in accordance with instructions from Mr. Elmes, the proprietor of the building, submitted for sale the whole of the fixtures and stage machinery within the premises. There was a large attendance of spectators at the mournful tragedy. The lots were knocked down, however, at sums which did not speak much for the theatrical speculativeness of the attendants. A quantity of stage stuff, consisting of scenery, machinery, canvas, statues, thunder, rain, and so forth, was knocked down at a mere trifle. The benches and boxes, the curtains, painted canvas, ceilings and sides, and all the gay apparel that once made the old place look tolerably brilliant, were disposed of at a twentieth of their cost. - Geelong Register, April 9.

"CURRENT TOPICS", Geelong Advertiser (8 January 1863), 2 

. . . In consequence of the death of Mrs. Elmes, the theatre was closed last night . . .

ASSOCIATIONS: Mary Ellen Howells, the wife of Charles Elmes, died at Elmes's Royal Hotel on 7 January 1863;
see "DIED", Geelong Advertiser (9 January 1863), 2 

"DEATHS", The Age [Melbourne, VIC] (27 September 1867), 7 

ELMES. - On the 4th inst., at Malop-street, Geelong, the wife of Mr. H. Elmes, aged forty-eight years.

ASSOCIATIONS: Maria Elmes, died aged 48 (BDM 8316/1867), daughter of Thomas Albon and Mary Williams

"MARRIAGES", The Age [Melbourne, VIC] (23 November 1867), 4 

ELMES - MARTIN. - On the 18th inst., by the Rev. F. P. Strickland, Henry EImes, of Great Malop-street, Geelong, to Mary, eldest daughter of Mr. Boyle Martin, timber merchant, Ryrie-street.

ASSOCIATIONS: Boyle Martin (c. 1810-1877) was one of the builders of the Theatre Royal, and the theatre's mechanist

1883, deaths in the district of Hobart; Tasmanian names index; NAME_INDEXES:1230412; RGD35/1/10 no 818 (DIGITISED)

no. 818 / 1883 April 29th / Henry Elmes (Died Bathurst Street, Hobart) / male / 69 years / Gentleman / Cirrhosis of liver

"DEATH OF MR. HENRY ELMES", Geelong Advertiser [VIC] (28 April 1883), 3 

Intimation was received yesterday by cablegram from Hobart, by Mr. J. D. Robinson, the well-known auctioneer, of the death of Mr. Henry Elmes, which took place yesterday morning at his residence, Hobart, the capital of the island of Tasmania. The deceased was well known in Geelong, he having at his own cost erected the Theatre Royal in Malop-street (which latterly has been used as a brewery), in 1849. For many years he conducted the theatre, and amassed a magnificent fortune. For a long time the net receipts from the theatre amounted to £120 a month, and as the hotel business in connection with the theatre was immense in the early days, Mr. Elmes, who also owned it, rapidly accumulated a large sum of money. Being of a speculative turn of mind he invested largely in property in this town, and at one time became possessed of great wealth. After a trip to England he returned to Geelong, and shortly afterwards retired to Tasmania, and died at Hobart as already stated, at the advanced age of 78 years [sic]. It may be stated that Mr. Geo. Coppin, the well-known theatrical manager, took a lease of the theatre here, after Mr. Elmes had retired, and kept it until 1856, at which time he, too, was able to retire with a fortune. The theatre was afterwards under the management of Messrs. Young and Hydes, and Mr. Meadows, respectively. The excitement of the gold-fields discovery having subsided the theatre soon became deserted, and it was eventually turned into a brewery, under the management of the late Mr. Isaac Hodges. The building is now disused, except that the dwelling portion of it is occupied by Mr. Jas. Miller and his family.

ASSOCIATIONS: George Coppin (actor, manager); John Proctor Hydes (actor, manager); Charles Young (actor, manager); George Meadows (actor, manager)

Will and grant of probate, Henry Elmes, died 1883; Public Record Office Victoria (DIGITISED - Will) (DIGITISED) (DIGITISED)


Amateur vocalist, ? actor

Active Adelaide, SA, by 1838 (shareable link to this entry)


[Advertisement], South Australian Gazette and Colonial Register [Adelaide, SA] (19 May 1838), 2 

Stage and Acting Manager, Mr. BONNAR.
Leader of the Orchestra, Mr. LEE . . .
The Public is respectfully informed that a small, unique, and commodious
Theatre has been fitted up above the Adelaide Tavern, Franklin-street,
the audience part of which comprises nine dress boxes and a comfortable pit, and will open on Monday Evening, May 28th . . .
Comic Song - Mr. Bailes. "The British Oak" - Mr. Bonnar. Song, "Logie o'Buchan" - Mr. Elphinstone . . .

ASSOCIATIONS: Charles Fawcett Bonnar (actor); Philip Lee (musician); Theatre Royal (Adelaide venue)

IDENTIFICATION: He was probably Charles Elphinstone (born Edinburgh, Scotland, 4 October 1799; son of William Elphenston [sic] and Ann Balfouer; died Glebe, NSW, 19 June 1864); see [Advertisement], South Australian Gazette and Colonial Register (25 May 1839), 6 

CHARLES ELPHINSTON, Builder, Carpenter, Undertaker, and Appraiser, avails himself of this opportunity of returning sincere thanks to his numerous friends for the support he has received in the above branches, and also begs to state that he is now carrying on business at his temporary residence, at Mr. TULLY's Registry Office, Rosina-street; but that as soon as his shop (which is in a forward state at the back of Trinity Church) is finished, he will remove his business to that spot, and hopes by paying close attention to their orders, he will ensure to himself a share of the public patronage and support.

And [Notice], New South Wales Government Gazette [Sydney, NSW] (28 March 1865), 730 

CHARLES ELPHINSTON, DECEASED . . . late of Derwent-street, Bishopthorpe, Sydney, in the Colony of New South Wales, carpenter, deceased, who died on the 18th of June, 1864 . . .

ELRINGTON, Richard Goodall (Richard Goodall ELRINGTON; R. G. ELRINGTON; Mr. ELRINGTON)

Actor, ? vocalist, dancer

Born Devon, England, 1814; baptised St. Peter, Barnstaple, 1 February 1814; son of William Sandys ELRINGTON (1780-1860) and Catherine CAINES
Arrived Sydney, NSW, 7 April 1827 (per Elizabeth, from London, 18 November 1826, Plymouth, 25 November, and Madeira, 13 December)
Married Louisa Mary CLARKE, NSW, 1838
Active Melbourne, NSW, by 1846
Died Lunatic Asylum, Ararat, VIC, 18 June 1870, aged "57" (TROVE tagged by Australharmony) (shareable link to this entry)

ELRINGTON, Louisa Mary (Louisa Mary CLARKE; Mrs. Richard Goodall ELRINGTON)

Musician, pianist, organist, harmonium player, music teacher, governess

Born London, England, 1810; baptised St. Andrew, Holborn, 15 October 1810; daughter of George Bryant CLARKE (c. 1788-1828) and Louisa Christina HEYDINGER
Married Richard Goodall ELRINGTON, NSW, 1838
Died Werribee, VIC, 18 December 1893, aged "83" (TROVE tagged by Australharmony) (shareable link to this entry)


Baptisms, Barnstaple, St. Peter, Devon, 1814; South West Heritage Trust (PAYWALL)

1 February 1814 / Richard Goodall son of / William Sandys and Elizabeth / Elrington / Barracks / Major 11th Infantry

ASSOCIATIONS: He was named after his uncle, Richard Goodall Elrington (1776-1845), from 1841, Major-General of the 47th Regiment of Foot; on his military career, see "ENGLISH", The Courier [Hobart, VDL (TAS)] (31 December 1845), 2 

Christenings in October, 1810. St. Andrew, Holborn; register 1805-12; London Metropolitan Archives, P82/And/A/001/Ms06667/015 (PAYWALL)

Louisa Mary Daug'r of George Bryant Clarke & Louisa Christian, Kibry Street / [October] 15

ASSOCIATIONS: George Bryant Clarke and Louisa Christiana Heydinger (widow Fricker) had married at St. Andrew, Holborn, on 4 February 1804

"SHIPPING INTELLIGENCE. ARRIVALS", The Monitor [Sydney, NSW] (13 April 1827), 8 

On Saturday, the Ship Elizabeth, Captain Collins, from Plymouth Nov. 25th. Passengers - Captain Murray, H. P. (late Paymaster) 48th. Regiment . . . Major Ellerington, H. P.; Mrs. and Master Ellerington . . .

"PLYMOUTH", The Sydney Gazette and New South Wales Advertiser (9 May 1827), 2 

Emigration to New South Wales has been encouraged here by the flattering accounts received from several individuals, natives of those towns, who have settled in that rising Colony, and have realized handsome fortunes. Last week the Elizabeth sailed from this port with several settlers, among whom was Major Elrington, of this town, who has sold his commission, and received a grant of 2,000 acres, situate about 150 miles from Sydney, which he intends to cultivate. [Davenport Telegraph.

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

Elrington / Wm. Sandys / 48 / Came Free / Elizabeth / 1827 / Protestant / Settler / [residence] Mt. Elrington / St. Vincent
[Elrington] Richard G. / 18 [sic] / [Came Free] / [Elizabeth] / [1827] / [Protestant] / [Settler] . . .

[Advertisement], The Australian [Sydney, NSW] (14 November 1843), 4 

IF MR. RICHARD ELRINGTON does not call and release the Box left in my charge,
(containing Music books, and sundry other articles), within seven days from this date,
the same will be sold to defray the amount due thereon.
M. NAPTHALY, Bald Faced Stag.
George-Street South. Nov. 9th, 1843.

Sydney, NSW (1846-47):

[Advertisement], The Spectator [Sydney, NSW] (7 March 1846), 82 

THIS EVENING, March 7, will be performed, for the second time in this colony, a Tragedy in 5 Acts, entitled
Cola Di Rienzi (afterwards Tribune of the People) - Mr. Nesbitt.
Stephen Colonna (a great nobleman of Rome, his first appearance at this Theatre) - Mr. Elrington.
Angelo Colonna (his son) - Mr. Griffiths.
Lady Colonna (Stephen Colonna's wife) - Mrs. O'Flaherty.
Claudia (Rienzi's daughter) - Mrs. Sterling.
Berta (with the original song "The Red-rose is Queen" - Mrs. Wallace.
Teresa, Mrs. Thomson . . .
MR. J. LAZAR, Stage Manager. MR. T. SIMES, Acting Manager. Vivat Regina.

ASSOCIATIONS: Joseph Wyatt (proprietor); Frederick Gibson (proprietor); Francis Nesbitt (actor); John Gordon Griffiths (actor); Eliza Winstanley O'Flaherty (actor); Theodosia Stirling (actor); Caroline Wallace (actor, vocalist); Martha Thomson (actor); John Lazar (actor, manager); Thomas Simes (actor, manager); Royal Victoria Theatre (Sydney venue)

"THEATRICALS", The Australian (21 May 1846), 3 

. . . THE TEMPEST has also been produced in a tolerably efficient manner - that is to say, looking at the "means and appliances" at the VICTORIA. Nesbitt's Prospero was very fair - rather too much of heavy tragedy perhaps. Griffiths, as Ferdinand, will pass muster. Miranda and Dorinda had able and pleasing representatives in Mesdames Stirling and Ximenes. Alonzo by Mr. Elrington, was very fairly sustained; so also was Caliban by Mr. Spencer. Stephano and Trinculo were humourously represented by Hambleton and Simes. Mrs. Wallace made a very good Ariel. In short, the play was respectably sustained throughout . . .

ASSOCIATIONS: Ann Ximenes (actor); Albert Spencer (actor); John Hambleton (actor)

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

Upon which occasion . . . REVIVAL OF DER FREISCHUTZ, With increased splendour,
the INCANTATION SCENE upon the most extensive scale ever attempted in the colony . . .
THE EVENING'S Performance will commence with Weber's celebrated Opera, in three Acts, (with the original Music), entitled DER FREISCHUTZ,
With the original Overture by the Orchestra and Military Band, new Scenery, extensive Machinery, Dresses, Properties, &c.
KILIAN . . . - Mr. LAZAR.
Foresters - Messrs. Elrington, Hambleton, Spencer, Riley, Fitzgerald, &c. . . .

ASSOCIATIONS: John Riley (actor, dancer); Dennis Fitzgerald (actor, dancer); Band of the 11th Regiment (military)

[Advertisement], The Spectator (10 October 1846), 448 

ROYAL VICTORIA THEATRE. MR. SIMES'S FAREWELL BENEFIT is fixed for Monday Evening, October 12th 1846.
THE entertainments of the above evening will commence with Balfe's splendid opera, performed at the Theatre with most decided success for upwards of twenty nights, entitled -
Count Arnheim - Mr. Lazar
Florestein (his nephew) - Mrs. Ximenes
Thaddeus (a Polish officer) - Mr. J. Howson
Devilshoof (leader of a tribe of Gipsies) - Mr. F. Howson
Gipsies - Messrs. Hambleton, Spencer, Torning, Collins, Riley, &c.
Captain of the Guard - Mr. Arabin
Austrian Officers - Messrs. Elrington and Fenton
Arline - Mrs. Guerin
Queen of the Gipsies - Mrs. Gibbs
Budo - Mrs. Thomson
Gipsy Women - Mesdames Torning, Hambleton, and Misses Kelk, and E. and F. Griffiths . . .
The whole to conclude with the popular Farce, entitled
Hector Pettypas - Mr. F. Howson
Mr. Anthony Lightfoot - Mr. Elrington
Jeremia Lamps - Mr. Hambleton
Oscar Pastoral - Mr. Fenton
Adventurine - Mrs. Guerin
Patty Lightfoot - Mad. Torning.
the farce will conclude with the polka, To be danced by Mr. F. Howson and Mrs. Guerin . . .

ASSOCIATIONS: John Howson (actor, vocalist); Frank Howson (actor, vocalist); Andrew and Eliza Torning (actors); Thomas Collins (actor); Gustavus Arabin (actor); Charles Fenton (actor); Eliza Gibbs (actor, vocalist); Miss Kelk (actor, dancer); Fanny and Emily Griffiths (dancers, actors)

[Advertisement], The Sydney Morning Herald (12 November 1846), 2 

ROYAL VICTORIA THEATRE. For the Benefit of Messrs. Spencer, Fenton, Elrington, and Fitzgerald.
THIS EVENING, NOVEMBER 12, WILL be performed, for the first time at this Theatre, the Nautical Drama of
THE WRECK OF THE KOEUBA; OR, THE PIRATE VESSEL: Diego de Montaldo, Mr. Elrington . . .

[Advertisement], The Sydney Morning Herald (16 November 1846), 1 

ROYAL VICTORIA THEATRE. MR. ELRINGTON, in thanking his kind friends for their patronage on Thursday night last, begs to explain the reason why he left the Theatre after the first act of the "Wreck of the Kouba," which Mr. Lazar had not the candour to do, when he sent his messenger on the stage. The erudite Manager of the Victoria Theatre thought proper to say, in a most insulting manner before the whole Company, "Mr. Elrington, if you know no more of the part which you are taking than to spoil the piece, and make a fool of the Company, leave the stage, and don't return to it again, I will put a person on that will play your part."
Now, Mr. Elrington would ask his friends whether this attack was just or not? He can assure them, that instead of endeavouring to make a benefit, he employed himself in studying his part, from the wish of contributing to their amusement.
Mr. Elrington trusts that this explanation will exonerate him from any blame which the ex parte statement made on the stage, during his absence, may have attached to him.
Domain Terrace, November 13.

Melbourne, NSW (VIC) (from 5 December 1846):

"Shipping Intelligence", The Melbourne Argus [NSW (VIC)] (8 December 1846), 2 

December 5. - Sisters, schooner, 44 tons, Korff, master, from Sydney. Passengers . . . Richard Elrington . . .

"THE QUEEN'S THEATRE", The Melbourne Argus (8 December 1846), 2 

The monotony of the Town which for the last two or three weeks has been perfectly indescribable is about being relieved by the commencement of the new season at the Queen's Theatre, which event is spoken of us likely to take place in the course of about ten days. Great improvements have been effected during the recess, both the exterior and interior of the building being re-modelled. In the company also considerable improvement is offered. Mr. Elrington, an actor of some celebrity, at Sydney, has actually arrived, and Mr. and Mrs. Deering, are expected from Adelaide and Mrs. Thompson, and daughter from Hobart Town. The season opens with the genuine old English comedy of John Bull.

ASSOCIATIONS: Henry and Eliza Deering (actors); Martha Thomson (above) and daughter

"MELBOURNE DEBATING SOCIETY", Port Phillip Gazette and Settler's Journal (10 April 1847), 4 

This society is progressing rapidly; and to those who are fond of listening to really sound and intellectual arguments must be a source not only of great amusement, but of moral and scientific instruction. Attracted by the interest of the subjects proposed for debate, we paid a visit to their room, at Mr. Stoneham's Temperance Coffee-house, Elizabeth-st., at their last meeting; and, considering the infancy of the society, we were astonished on entering the room to find it not only numerously and respectably attended, but were struck with the eloquence and ability of the speakers; and we found that in the short space of six weeks they had no fewer than 45 individuals members of the society. Two subjects were discussed. The first, proposed and opened by Mr. Rae, "Is poetry or music more likely to influence the mind" - did not long occupy the attention of the meeting, as only three individuals spoke upon the subject. Mr. Rae contended that music cannot be perfectly attained without long practice of manual operation; whereas poetry depends entirely on the faculties of the mind, and, consequently, was more likely to influence it. Mr. Elrington considered that poetry and music were sister arts, and could not be separated. Mr. Howard maintained that general poetry would hold a more lasting impression on the mind than the most dulcet strains produced by music; which, however, they might for the time affect the mind, would not produce an lasting an impression as the sublime language of the psalms and other good poetry.
The second subject proposed by Mr. Wallace, "Is capital punishment calculated to prevent crime," was, in the absence of the proposer, opened by Mr. Elrington, who, in a most eloquent address, pointed out the evils which were likely to accrue to society, if murderers were allowed to exist: he was of opinion that no punishment, save the fear of an untimely and ignominious death, would deter some men from committing crime . . .

ASSOCIATIONS: Benjamin Rae (actor)

"MR. ELRINGTON'S BENEFIT", The Port Phillip Patriot and Morning Advertiser (3 December 1847), 2 

On Monday evening next, Mr. Elrington purposes taking a benefit at the Queen's Theatre, for which he has made an admirable selection of piece, viz., "Othello;" the ballet of "The Fair Maid of Perth," and the comedy of "Catching an Heiress," in which pieces the beneficiaire will play the principal characters, and from the cast, and the patronage which we are informed has been promised for the occasion, we have no doubt of his success. Mr. Elrington is an actor of much talent, and we shall be glad to see him meet with the encouragement he deserves.

"MRS. GRIFFITHS' BENEFIT", Port Phillip Gazette and Settler's Journal (8 December 1847), 2 

We are requested to state that Mrs. Griffiths ha been compelled to undertake the character of "William" in BLACK EYED SUSAN, this evening in consequence of Mr. Elrington having "declined" to play it. She only received he notice at a late hour last night; and it is to be hoped that the well known indulgence of a Melbourne audience, will be extended to her on the occasion. Mr. Elrington "has had his benefit" on which occasion Mrs. G. exerted herself to the utmost, and she now has to task herself to do without "him." We certainly "have" heard of such things as honor and gratitude, Some people haven't. More anon.

ASSOCIATIONS: Ann Griffiths (actor)

"Original Correspondence. QUEEN"S THEATRE. To the Editor of . . .", The Port Phillip Patriot and Morning Advertiser (9 December 1847), 2 

Melbourne, Dec. 8. 1847.
SIR, - In the Gazette of this morning appears a paragraph, referring to me, which I shall feel much obliged by your allowing me space in your columns to contradict. There is attributed to me a want of graciousness and honor in refusing to play the part of "William," in "Black Eyed Susan," for the benefit of Mrs. Griffiths. This is not strictly true. The part was handed to me by her on Tuesday morning, at 11 o'clock, to study for playing on Wednesday night. This is a very short time to "get up" in any part, much more in one of Mr. T. P. Cooke's longest, and most arduous characters. I was then willing to attempt it at all hazards, and accordingly passed the afternoon in study, but finding it impossible in any way to do justice to the part at so short a notice, I returned to the Theatre, and having consulted Mr. Smith on the subject, exchanged parts with another member of the company, who professed to play the character of "William." Shortly after this, Mrs. Griffiths entered Mr. Smith's house, and after a volley of uncalled-for abuse, took the part I had (Doggrass) from me, and said that I should not play for her benefit. I expressed my willingness to play any inferior character, or to do anything in my power for her advantage, but was repelled. The same evening, Mrs. G. placed herself in communication with her friend Mr. Forsyth, of the "Port Phillip Gazette," who wrote and inserted that malicious mis-statement in the paper which he represents, and in the morning issued placards, the object of which was by maligning the character of one whose object it has ever been to perform honorably his public and private duties - to create a morbid sensation in Mrs. Griffiths' favor. -
I am, Sir, your obedient servant,
P. S. I would ask Mr. Forsyth, is this in accordance with his vaunted principles of Honor and gratitude.- R. G. E.

ASSOCIATIONS: John Thomas Smith (theatre proprietor)

"WORTH SEEING", The Port Phillip Patriot and Morning Advertiser (5 April 1848), 3 

One of the most successful, and deservedly successful of Theatric spectacles, entitled "Ondine," was produced at the Queen's Theatre on Monday and yesterday evening, to crowded houses. The performance, as its designation in the bills states, is one expressly designed for the display of tableaux; and, without speaking hyperbolically, we can safely say that a more gorgeous display of scenery, dresses, &c., never yet appeared on a colonial stage: frequent round of applause greeted the appearance of every "faery" scene, which was got up with a felicity and splendour reflecting the greatest credit on the proprietor and his servants. The dresses were excessively handsome and appropriate, with the exception of Mrs. Cameron's, an actress who seem to exert her utmost ingenuity to "dress" as inappropriately (to use the mildest term) as she possibly can. Mrs. Mereton, Mrs. Avins, and Mr. Elrington, and the Chambers' were the "stars" of the spectacle. "Ondine" could not be better produced on the London boards where it would certainly have a brilliant run for the season. Mr. Smith should repeat the performance during the week: it improves on acquaintance, and undoubtedly the most amusing and brilliant representation we have seen out of the "great metropolis."

ASSOCIATIONS: Julia Avins (actor); Christiana Mereton (actor); Joseph Chambers and children (dancers)

[Advertisement], The Port Phillip Patriot and Morning Advertiser (17 June 1848), 3 

On MONDAY EVENING, JUNE 19, WILL be presented the first part of Shakspeare's Historical Play of HENRY IV.
HENRY PERCY, (surnamed Hotspur,) Mr. ELRINGTON.
Sir John Falstaff - Mr. SAVILLE . . .

ASSOCIATIONS: Charles Faucit Saville (actor); this was Elrington's last benefit at the Queen's Theatre, and he appears to have temporarily retired from the Melbourne stage at the end of the season, until his brief return, in February to April 1849

"GEELONG", Port Phillip Gazette and Settler's Journal (6 January 1849), 2 

Mr. and Mrs. Elrington have resigned the situation they held as teachers of the school attached to the English Church, and are about to commence on their own account.

[Advertisement], The Melbourne Daily News (16 February 1849), 3 

Queen's Theatre. By desire of several parties Shakspeare's
Tragedy of MACBETH for the FIRST AND ONLY TIME during this season.
Every care has been bestowed by strengthening the cast and introducing as much of the ORIGINAL MUSIC as the capability of the company will allow.
THIS EVENING, FEB. 16, 1849 . . . Banquo - Mr. Elrington. Macduff, Mr. Thompson.
Macbeth - Mr. Morton King. Lady Macbeth - Mrs. Mereton. Hecate - Mrs. Chester . . .

ASSOCIATIONS: Morton King (actor, manager); Mr. Thompson (actor); Marian Maria Chester (actor, vocalist)

[Advertisement], The Melbourne Daily News (30 April 1849), 3 

the Petite Comedy WHO'LL LEND ME A WIFE. Killegrew Kill-all - Mr. Elrington . . .

"POETRY", Port Phillip Gazette and Settler's Journal (4 August 1849), 2 

Mr. Elrington, formerly of the Queen's Theatre Royal, has just published a small poem named "Carthage," a religious and classic sketch. We have been favored with a copy, which we shall do full justice to in a succeeding number.

ASSOCIATIONS: This was correctly by his brother Clement Caines Elrington (baptised White Ladies Aston, Worcester, 18 January 1807); see 1853 second edition

"KILMORE [FROM OUR OWN CORRESPONDENT]", The Argus (11 February 1851), 2 

Thursday the sixth day of February, in the year or our Lord, one thousand eight hundred and fifty-one, shall aye, be a black day in our calendar, not all the fabled powers of the waters of Lethe being of sufficient potency to steep our senses in forgetfulness to the overwhelming destruction which has fallen upon this, with many other devoted portions of Victoria . . . A company of Thespians, consisting of Mr. and Mrs. Evans, Mr. Elrington and Mr. Moss en route for Sydney with a cart filled with the necessary paraphernalia for their vocation, which they intended following at the various towns upon their journey, were surprised by the flames on the Big Hill, and the whole of their wardrobe, &c. was destroyed. The only articles snatched from the burning being a cornopean and a violin. Such have been the results of the fire hereabouts . . .

ASSOCIATIONS: Black Thursday bushfires (VIC, 6 February 1851); William and Mrs. Evadne Evans (actor, vocalist); Moss is otherwise unidentified; according to The Lorgnette (28 June 1883) below, Elrington was back performing at the Queen's Theatre, Melbourne, in July 1851

"THE THEATRE", Geelong Advertiser and Intelligencer [VIC] (14 June 1854), 4 

The manager of our little theatre has an endless list of attractions. No sooner does one favorite leave than another succeeds. The veteran histrionic, Mr. Buckingham, the father of the Colonial stage, has twice made his bow to a Geelong audience, and twice retired with hearty plaudits. Last evening, in the Middy ashore, he not only convulsed the audience, but partially arrested the performance by his hearty drolleries as "Cringle" . . . It is gratifying to record the hearty acclamations greeting an old veteran. Mrs. Moore played very well; and the curtain fell amid applause. The first piece was the Lady of Lyons, in which Mr. Byers showed great improvement, and played Claude Melnotte with genuine spirit; and Mrs. Harward was admirable as Pauline, delineating that beautiful character with great nicety of feeling. Mr. Elrington as Colonel Dumas, has established himself as the real character nothing could be more truthful.

ASSOCIATIONS: George Buckingham (actor); Rachel Moore (actor); "Mrs. Harward", late Mrs. Mereton (as above); James Lucas Byers (actor); Theatre Royal (Geelong venue)

[Advertisement], Geelong Advertiser and Intelligencer (22 June 1854), 5 

THEATRE ROYAL. Benefit of Mr. J. L. BYERS.
First appearance of Mr. J. F. Griffin, the Scottish delineator, in his unrivalled character of Ballie Nicol Jarvie, late of the Olympic and Marylebone Theatres, London,
and last appearance of MR. ELRINGTON. On FRIDAY Evening, June 23rd, 1854
The Entertainments will commence with the popular Scottish Drama, with all the music, entitled ROB ROY.
Rob Roy - Mr. J. L. Byers. Bailie Nicol Jarvie - Mr. J. F. Griffin.
A Farewell Address to the Stage, by MR. ELRINGTON . . .

"THE THEATRE", Geelong Advertiser and Intelligencer (9 November 1854), 4 

Yesterday evening the musical drama of Rob Roy was acted at the Theatre. The part of Rob Roy was taken by Mr. C. Kemble Mason, who delineated the character of this bold, but at the same time honorable freebooter, with much force and effect. Mrs. W. Evadne Evans personated Helen Macgregor, and portrayed with much ability, the masculine daring combined with feminine softness, which formed the two principal features in the character of Macgregor's wife. The Baillie Nicol Jarvie of Mr. Chapman was a most excellent piece of acting, and was well sustained throughout. Mr. Elrington as Rasleigh Osbaldistone, most correctly conveyed to the mind of his audience the deep cunning and villany of which the character of Rasleigh is composed. Mr. Clement White as Francis Osbaldistone, acquitted himself satisfactorily in several songs which he sang. The rest of the characters were creditably sustained.

ASSOCIATIONS: Charles Kemble Mason (actor); Henry Chapman (actor); Clement White (actor, vocalist)

"MR. ELRINGTON. To the Editor of the . . .", Geelong Advertiser and Intelligencer (28 November 1854), 5 

Sir, - Feeling as I do, your love of justice, I am confident that you will place the enclosed letter in your next publication. A paragraph appeared on Saturday morning in the Spirit of the Age which has had that effect on me that I give up my living. I was promised by the Editor to have the enclosed letter published, which would have soothed the wounded feeling; that has not been done, nor has sufficient apology been given to me.
Your doing this will oblige, Sir, Your obedient servant,
R. G. ELRINGTON. 27th November.

"To the Editor of the Spirit of the Age", Geelong Advertiser and Intelligencer (28 November 1854), 5 

Sir, - A paragraph appeared in this morning's paper containing assertions which I beg most distinctly to repudiate. Criticism, to be valuable, should be just. It should not sting to wound, but only wound where it would effect a cure. Now, as I have the testimony of Mr. Holt, who, before the whole of his company this morning, thanked me for the manner in which I supported him during his performance of Don Caesar, I beg leave to suggest to your reporter that he has in this instance overstepped the bounds of the just criticism. The pen is a pretty little instrument, and when rounded periods pointed as we think by satire flow freely from it, no doubt it is delightful to use it. But he who wields it should have in his view that mighty engine, the Press, which he is setting in motion; he should reflect on its wide spreading powers, and not by false statements wound - nay, perhaps crush a mind more capable than his own of fathoming the meaning of an author however deep.
I beg leave to subscribe myself, Sir, Your obedient servant,
R. G. ELRINGTON. 25th November.

ASSOCIATIONS: Clarance Holt (actor, manager)

"Missing Friends, Messages, &.", The Argus (6 September 1855), 1 

Mr. Clement Elrington, age about 48. Has a brother Mr. Richard G. Elrington, who is supposed at the diggings. Captain Gordon, of Worcester, wishes to hear from you or your brother.

[Advertisement], The Argus [Melbourne, VIC] (6 September 1855), 1 

Mr. Clement Elrington, age about 48. Has a brother, Mr. Richard G. Elrington, who is supposed at the diggings. Captain Gordon, of Worcester, wishes to hear from you or your brother.

"NEWS AND NOTES", The Star [Ballarat, VIC] (29 September 1864), 2 

The monthly meeting of the Creswick District Hospital Committee was held at Anthony's American Hotel, on Tuesday evening . . . After the despatch of the usual preliminary business, Mr. Janssen moved, Mr. Anthony seconded, and it was carried "That the offer of Mr. Elrington, to give a Shaksperian entertainment in aid of the funds of the institution be declined with thanks" . . .

"NEWS AND NOTES", The Ballarat Star (2 May 1867) , 2 

A farewell tea meeting in honor of the Rev. J. B. Steel - about to leave Creswick - was given at the Presbyterian Church, Creswick, on the evening of 30th April . . . Mrs. Elrington presided at the harmonium, and various pieces of music were pleasingly executed during the intervals . . .

Richard Elrington, death certificate, 1870

1870, deaths in the district of Ararat in the colony of Victoria; VIC BDM

No. 51 / [died] 18 June 1870 / Lunatic Asylum Ararat /
Richard Goodall Elrington / [profession] Not known / Male / 57 years [sic] /
[ause of death] Softening of the brain / [parents] William Elrington [and] Catherine Elrington formerly Canes [sic] /
. . . [where born] Not known / Arrived in New South Wales 1826 / Married: New South Wales Aged 26 [sic] Louisa Mary Clarke . . .

"DEATHS", Leader [Melbourne, VIC] (2 July 1870), 27 

ELRINGTON. - On the 18th June, at Ararat, Richard Goodall Elrington, younger son of the late Major W. Sandys Elrington, formerly of Mount Elrington, New South Wales.

"NEWS AND NOTES", The Ballarat Star (1 April 1873), 2 

. . . at the Smeaton Wesleyan bazaar . . . The Advertiser says: "Some well-executed pieces on the piano, by Mrs. Elrington, added much to the attractions of the bazaar."

"NEWS AND NOTES", The Ballarat Star (20 December 1873), 2 

An entertainment, consisting of singing, instrumental music, and dancing, was given by the pupils of Mrs. Elrington's school, at Creswick, on Wednesday evening, 17th inst., for the benefit of the Hospital. The young folks exhibited great proficiency, especially in their dancing.

"NEWS AND NOTES", The Ballarat Star (14 October 1875), 2 

The Creswick Fine Arts Exhibition still attracts large audiences and is likely to for some little time, as the musical entertainments given every evening are of a first-class character and are bound, to draw pleasure loving folks from all parts, of this flourishing district . . . At the concert on Tuesday evening, a number of little fairies dressed in white, pupils of Mrs. Elrington, danced the "Wreath dance;" it was one of the prettiest things witnessed for some time and is to be repeated on Saturday afternoon; when children will be admitted at a low charge . . .

"NEWS AND NOTES", Ballarat Star (1 November 1878), 2 

A grand Ethiopian entertainment was held in the Town-hall, Creswick, on Wednesday evening in aid of an old widow lady, Mrs. Elrington, who is an old resident of Creswick. The concert was a great success and the proceeds amounted to £21.

""Maritana", The Lorgnette (28 June 1883), 4 

. . . The first sensation, or idea of the opera in Australia was given at the Queen-st. Theatre, Melbourne, in July, 1851, when "the splendid" operatic spectacle of Maritana was brought out. Mrs. Charles Young was the Maritana and sang portions of the music. Mr. Charles Young was Don Caesar de Bazan; Mr. Elrington, Don Jose; and Mr. Ward sustained the ro1e of "the sombre, weak and vacillating Charles the Second of Spain." Mr. Megson's band was strengthened for the occasion . . .

"Deaths", The Age (20 December 1893), 1 

ELRINGTON. - On the 18th December, at the residence of her son-in-law, Mr. Thomas Hewetson, Laverton, Mrs. Louisa Mary Elrington, in her 84th year.

"ROMANCE OF A PIONEER FAMILY", Sunday Times (16 December 1923), 30 

. . . Richard, resembled his father greatly, possessing the same hot and fiery temperament, and tradition says that there were frequent quarrels between father and son in regard to the management of the place . . .
ANOTHER cause for disagreement, and a graver one, was the Major's disapproval of Richard's marriage. At the home of Captain Huntley, one of Sydney's pioneer settlers, Richard met a Miss Louisa Clarke, sister of Dr. George Clarke, of Penrith, and later aunt of Sir Fielding Clarke, a famous London barrister, and Lieutenant-Governor of Fiji. Miss Louisa Clarke was a highly educated and beautiful young lady, who spoke seven languages, and was a very gifted musician; but, being the daughter of a London merchant, the proud old Major considered it a misalliance for an Elrington to marry the daughter of a trader! He refused his consent, and Dr. Clarke, whose sister was also his ward, would not consent to the marriage either. Therefore the young people eloped, were married at Campbelltown, and fled to Sydney. There they existed for a year, Rlchard using his Cambridge education to secure a position as a tutor, and Louisa assisting him by acting as governess to the younger members of the Huntley family. The Major cut Richard out of his will. THE news that a child was expected altered matters, and the proud old man wrote to say that if Louisa would make the trip to Mount Elrington, so that the child might be born there, all would be forgiven . . . Catherine Charlotte Elrington was hailed as "the little heiress," . . . Family tradition relates that Louisa Clarke, as a daughter-in-law, completely captured the old soldier . . .
HOWEVER, this idyllic state of affairs was rudely shattered by a still more serious quarrel. Some difference arose between the Major and Richard, in regard to the control of the estate. The Major complained of Richard's softness in dealing with offenders, and called his son a coward. Incensed, the son challenged the father to a duel! Pistols were raised, and the two men stepped backwards the full length of the room. Then the Major dropped his weapon, and apologised for his hasty remark; but Richard, hurt beyond endurance, and sick of the tyranny that prevailed, left his home, never to return. The Major pleaded in vain that Louisa and the children remain.
COURAGEOUS as ever, the brave young wife went out into a cold, hard world at her young husband's side, with her two infants, and it is said that they endured dreadful privation before they finally reached their objective - Melbourne - which held possibilities for educated people to earn a living as teachers, or in other ways, according to their gifts. It was not long before Richard Elrington found his vocation. He became one of Australia's pioneer Shakespearian actors, and theatrical company promotors. It is recorded that he took his Shakespearian companies from Sydney to Melbourne, and vice versa, travelling per medium of bullock waggons, with all his stage properties. HOWEVER, the company was caught in a big bush fire on Black Thursday in 1851, and they only escaped with their lives, losing everything else they possessed. The Ballarat goldfields eventually attracted them, though there is mention of a stay and the founding of a college at Geelong en route, where apparently Louisa Clarke Elrington acquired that wonderful proficiency as a teacher, which, later on, made her famous in Creswick for her school of music, which she only relinquished when overtaken by rheumatism at the age of 65. . . Richard Elrington was known far and wide for his wonderful Shakespearian recitals, given weekly in Creswick and Ballarat. He died about 1875 [sic], leaving a wife, three sons and two daughters . . .

Bibliography and resources:

Richard Goodall Elrington, Find a grave 

Richard Goodall Elrington (1814-1870), WikiTree 


Musician, professor of music, pianist, composer

Born Höfingen, Württemberg (Germany), 7 June 1817; son of Johann Gottlieb ELSÄSSER and Johanne BELSER
Arrived Melbourne, VIC, 27 April 1853 (per Woodstock, from London, 7 December 1852, and Portsmouth, 18 January, aged "34")
Married Johanne Louise RAFF, Melbourne, VIC, S5 September 1869
Died Hawthorn, Melbourne, VIC, 5 January 1885, aged "67" (TROVE tagged by Australharmony) (TROVE tagged) (NLA persistent identifier) (shareable link to this entry)


According to the account in Humphreys 1882 (presumably sourced directly from the subject himself), and as confirmed in his birth record, Carl Gottlieb Elsasser was born on 7 June, 1817, at Höfingen, near Stuttgart, Germany.

He received his first musical instruction from his father, and afterwards from Konrad Kocher (1786-1872), organist and director of music at the Stiftskirche, Stuttgart, before completing his studies with Johann Gottlob Schneider the younger (1789-1864) in Dresden.

Returning to Stuttgart, he founded an oratorio society, with which he performed many sacred choral works, notably Handel's Israel in Egypt, which he scored for the occasion, no full score being obtainable. At a competitive examination for the post of organist at the Hofkapelle Stuttgart, he was placed second in a field of 31 candidates. In 1847, when political tensions began rising, the Hofkapellemeister, Peter Lindpaintner, and the court theatre orchestra, were forbidden by the king of Wurtemberg to assist at any civic concerts, and Elsasser was appointed in his place to organise and conduct the city concerts.

Shortly afterwards, he left Germany to take up an appointment in England, with Beatus Heldenmaier, a former pupil of Pestalozzi, as music master at his Pestalozzian boys school, at Worksop, in Nottinghamshire.

While in England, as Charles Elsasser, he also published several pieces of piano music and church music.

After a short stay in Manchester, he sailed for Melbourne in the New Year of 1853.

The documentation below is only intended to trace his career in detail until the early 1860s. The list of musical compositions is complete only for those works known to survive, and selective for the many reported non-extant works.


Baptisms, Evangelische Kirche, Höfingen, Württemberg, 1817; Württemberg, Lutherische Kirchenbücher, (PAYWALL)

[Nr.] 13 / Carl Gottlieb / [son of] Joh. Gottlieb Elsässer [and] Johanne Elisabetha [formerly] Belser / Höfingen / [born] 7 Jun. / [baptised] 8 Jun. . . .

ASSOCIATIONS: Johann Gottlieb Elsaeser (born 28 June 1790), married Johanna Elisabetha Belserin [sic, Bleser] (born 24 December 1787) at Höfingen on 28 July 1816

"CELEBRATION OF MRS. HELDENHEIMER'S BIRTHDAY', Nottinghamshire Guardian [England] (8 May 1851), 5 (PAYWALL)

According to annual custom the young gentlemen educated in the Pestalozzian Institution, conducted by Dr. Heldenmaier, of Worksop, were treated with an excursion on the first of May, the day commemorative of the birth of Mrs. Heldemnaier, and on which occasion the pupils subscribe for and present her with some substantative token of their regard, as an acknowledgment for her uniform kindness and solicitude for their welfare . . . At an early hour in the morning, having assembled in the large dining room, the masters and pupils sang a most beautiful ode composed and set to music for the occasion . . .

"NEW MUSIC", Bradford Observer [Yorkshire, England] (9 October 1851), 7 (PAYWALL)

We beg this month to invite attention to Mr. Doorne's Amitie Quadrille; also to G. A. Franks' Trois Etudes arranged with exquisite taste for the Piano Forte; to which may add a charming Polka for two performers on the Piano, composed by Charles Elsasser. The foregoing are all published by D'Almaine & Co.

"NEW MUSIC", Blackburn Standard [Lancashire, England] (12 November 1851), 4 (PAYWALL)

Remember Me! Polka, for two performers on the Pianoforte. By Charles Elsasser. -
We confess to not entertaining a perfect appreciation of the title here, unless it refer to either the partner at the instrument, or in the dance. But the composition is not without merit if the name be something of a misnomer.

[Advertisement], Enniskillen Chronicle and Erne Packet [Ireland] (15 September 1853), 3 (PAYWALL)


Melbourne, VIC (from April 1853):

List of passengers per Woodstock, from London, 7 December 1852, for Port Phillip, 27 April 1853; Public Record Office Victoria (DIGITISED)

Fellinger Alex'r / 25 / Gentleman / German
Prinz Geo'e / 30 / [Gentleman] / [German]
Boehler Henry / 26 / [Gentleman] / [German]
Flautwater Jos'h / 27 / [Gentleman] / [German]
Wymsley Chas / 27 / [Gentleman] / [German]
Elsasser Chas / 34 / [Gentleman] / [German]
Herrgath Fredk / 28 / [Gentleman] / [German]
Riegg Michael / 29 / [Gentleman] / [German] . . .
Reeman Randolphus / 29 / Musician / German . . .

ASSOCIATIONS: George Prinz (musician)

[2 advertisements], The Argus [Melbourne, VIC] (11 May 1853), 12 

GESANG VEREIN. - Die beiden unterzeichneten, welche in Besitz einer ausgezeichnet en Sammlung von Männerchören sind, weiden einen deutchen Gesangverein gründen, zu welchem bereits Anmeldungen gemacht worden sind.
Freunde des Gesngen Können die nähern Bedingungen erfahren bei Mr. Gross 47, Chancery Lane.
- Prinz and Elsaesser.

GLEE CLUBS. - Two eminent German Professors of Music, who have lived a number of years in England, are going to form glee clubs, or singing classes for gentlemen, to be held in the evening.
They may be joined by those who have no previous knowledge of music, as well as by those who have some proficiency in singing.
The lessons of the former will be held separately, and will be chiefly devoted to the cultivation of the voice, the art of reading, and the rudiments of music in general.
The lessons of the latter will be principally devoted to the practice of glees, of which the advertisers possess an excellent collection.
None but very respectable parties will be accepted.
For particulars apply to Mr. Gross, 47, Chancery-lane.
The advertisers will also give separate lessons to ladies and gentlemen, in Piano and Singing.

[Advertisement], The Argus (13 October 1853), 8 

MECHANICS' INSTITUTION, Thursday, October 13th, 1853. Second Sacred Concert.
Principal Vocalists, Mrs. Testar, Miss Lewis, Miss Martin, M. Winterbottom, and Mr. John Gregg . . .
Pianist, Mr. Salamon. Harmonium, Mr. Capes. Conductor, M. Winterbottom.
Selections from the Creation, Messiah, Stabat Mater, St. Paul, &c.
Programme . . . Part II . . . Air - Charity - Miss Lewis - Chas. Elsasser . . .

ASSOCIATIONS: Elizabeth Testar (vocalist); Charlotte Martin (vocalist); John Gregg (vocalist); William Capes (harmonium); John Winterbottom (conductor); Edward And Annie Salamon (pianist; "Miss Lewis", vocalist); Thursday Concerts (series); Mechanics' Institution (Melbourne venue)

[Advertisement], The Argus (28 January 1854), 8 

MECHANICS' INSTIIUTION - Monday, January 30th, 1854.
Mr. Winterbottom's GRAND MUSICAL FESTIVAL . . . Pianofortes. - Messrs. Salaman, White, Tolhurst, Smith, Elasser [sic], and George . . .
PROGRAMME. Part I. Overture - Six Pianofortes - Zampa (Arranged by M. Salaman) - Messrs. Salaman, White, Elsasser, Tolhurst, Owen, &c. - Herold . . .
Part II. Overture - Six Pianofortes, Der Freischutz (arranged by E. Salaman), Messrs. Salaman, White, Elasser, Tolhurst, &c. - Weber . . .

ASSOCIATIONS: Edward Salamon (piano, arranger); Thomas White (piano); George Tolhurst (piano); Richard Owen (piano)

[Advertisement], Geelong Advertiser and Intelligencer [VIC] (11 February 1854), 3 

MASONIC HALL. For one Night only. MONDAY, FEBRUARY 13TH, 1854,
MADAME ELENA ROSSI, the celebrated contralto, and M. WINTERBOTTOM, beg to announce to the public of Geelong, that they will have the honour of giving a Grand Evening Concert at the above institution, on Monday, February 13th, when the following eminent artistes will appear.
AND MADAME ELENA ROSSI, (Pupil of Signors Garcia and Crivelli) who has just arrived from Europe.
SOLO INSTRUMENTALISTS. Bassoon - Mr. Winterbottom.
Piano Forte - Mr. C. Elasser [sic].
Reserved seats, 8s; Unreserved Seats, 5s.
Tickets and programmes may be had at Mr. Creed Royal's Music Saloon; at the Mechanics' Institution, and also at Mack's Hotel.
Doors open at half past seven. Concert to commence at eight.

ASSOCIATIONS: Elena Rossi (vocalist); William Francis Sayer (vocalist); Creed Royal (musician, musicseller)

"ALI-BEN-SOU-ALLE", The Argus (10 March 1854), 5 

This gentleman's Musical Festival in commemoration of the Discovery of Australia, came off last evening at the room of the Mechanic's Institute, in a manner alike satisfactory to the audience and the musician. The room was crowded and the entertainment excellent. Mrs. Testar sang in her usual pleasing style . . . The "Dove Sono" was deservedly applauded, and Mrs. Testar did for Knight's ballad, "What shall my Song be to-night," all that could be done for so poor a musical plagiarism. As for Ali-Ben Sou-Alle he fully sustained his reputation . . . Mr. Elsasser played the accompaniment on the piano very creditably, and the Band of the 40th Regiment gave an completeness to the entertainment that cannot otherwise be supplied in the colony . . .

ASSOCIATIONS: Ali-Ben Sou-Alle (musician); Band of the 40th Regiment (military); it is not clear what anniversary Sou-Alle had in mind

"ALI-BEN-SOU-ALLE'S CONCERT", The Banner (21 March 1854), 9 

St. Patrick's day (Friday) was brought to a close by a concert, given by Ali-Ben-Sou-Alle, which passed off with tolerable eclat, and was very well attended. The programme was, of course, Irish in character . . . The pleasure of the evening was much enhanced by the admirable play of the pianist, Mr. Elsassar.

[2 advertisements], The Argus (19 April 1854), 6 

MR. ELSASSER, Professor of Music, gives lessons on the Pianoforte, in St. Kilda, Richmond, and neigborhood of Melbourne.
Address, care of Mr. J. Wilkie, Music Saloon, 15, Collins-street east.

PIANOFORTE taught by Mr. Elsasser, whose Compositions, Songs, Pianoforte Pieces, Solos and Duos, Melodies (dedicated by permission to Prince Albert), Polkas, Waltzes, Quadrilles, may be had at Mr. Wilkie's Music Saloon.

ASSOCIATIONS: Joseph Wilkie (musicseller)

[Advertisement], The Argus (19 June 1854), 8 

CRITERION HALL - Extra Night -
To-morrow (Tuesday) June 20th, being for the Benefit of Miss Octavia Hamilton . . .
Conductor - Mr. George Chapman; Leader - Mr. Weston
Accompanyist - Herr Elsasser . . .

ASSOCIATIONS: Octavia Hamilton (vocalist); George Chapman (conductor); John Weston (leader); Criterion Hall (Melbourne venue)

[Advertisement], The Argus (11 July 1854), 8

ROWE'S CIRCUS. Great Attraction for One Night only.
Saturday, 15th July, 1854. Revival of M. WINTERBOTTOM'S
Grand Promenade Concerts a la Jullien, with the entire force of his UNRIVALLED BAND,
Who will perform, on this occasion only, The Great Exhibition Quadrille,
And the celebrated Drum Polka, With full drum accompaniment,
Arranged expressly for M. Winterbottom's Band received with immense success at these Concerts last season.
Also, for the first time in this Colony, Jullien's new Polka, L'Echo du Mont Blanc, Just received from M. Jullien (In America) by M. Winterbottom,
And Rossini's much admired Cujus Animan, from the STABAT MATER, Arranged expressly by M. Winterbottom for full orchestra.
The following artistes will appear - Miss Octavia Hamilton, Mons. Barre, M. Winterbottom,
Herr Strebinger, Herr Elsasser, Mr. Johnson, Mr. Hartegan, &c.
In addition to the above, the INIMITABLE BARLOW . . .
Leader - Herr Strebinger. Conductor - M. Winterbottom.

ASSOCIATIONS: John Winterbottom (conductor); Anthony Barre (vocalist); Frederick Strebinger (violinist); Henry Johnson (master, 40th band); Joseph Hartigan (musician, 40th band); Robert Barlow (vocalist, instrumentalist); Rowe's American Circus (Melbourne venue)

"GRAND PROMENADE CONCERT", The Argus (18 July 1854), 5 

On Saturday evening Mr. Winterbottom gave the first of a series of musical entertainments, which he designates as the revival of his promenade concerts, a la Jullien in Rowe's American Arena. The circus holds about thirteen hundred when full, and on this occasion there could not have been less that that number present, as the circus itself was crowded close up to the stage. The orchestral arrangements were of a very superior order, and comprised some of the best musical talent in the colony. Among the most distinguished artistes were Miss Octavia Hamilton, Mons. Barre, Herr Elsasser, Herr Strebinger, Mr. Johnson, the inimitable Barlow, and Mr. Winterbottom the prime mover and conductor . . .

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

MECHANICS' INSTITUTION, Monday next, 14th August, 1854.
Mr. VITELLI, R.A.M., Professed Trainer of Public and Amateur Singers, late Choir Master of Her Majesty's Chapel Royal, and Author of Vitelli's Art of Singing, &c., begs to inform the public of Melbourne and its vicinity, that he will deliver at the above Institution on Monday next his first
Lecture on the Art of Singing, And his new Physiological System for the Cultivation, Management and Improvement of the Voice,
Accompanied with Vocal and Instrumental Illustrations by Mr. Vitelli,
also Miss O. Hamilton, Herr Elsasser and M. Winterbottom, who have kindly proferred their valuable assistance . . .

ASSOCIATIONS: John Vitelli (vocalist, lecturer)

[Advertisement], The Age (13 February 1855), 1 

IN Aid of the Sufferers by the late Fire at Sandridge . . . will be given on THURSDAY EVENING NEXT, FEB. 15 . . .
VOCAL PERFORMERS: Mrs. Testar (her first appearance since her return from Hobart Town); Mrs. D'Alton; Miss Edwards;
Herr Prinz (his first appearance in Melbourne);
Mr. C. Young; Mr. Power; Herr Martin, Amateur; Herr Todt, Amateur; The German Amateur Glee Club.
Conductor on the Piano - Herr Elsasser.
PROGRAMME. Part I . . . 2 German Glees - German Amateur Glee Club . . .
4 Cavatina, "Roberto o tu che adoro," Mrs. D'Alton - Meyerbeer . . .
6 Duet - "O my beloved," Mrs. Testar and Herr Prinz (first time in this colony) - Nicolai . . .
8 Song - "The Wanderer," Herr Prinz - Schubert.
9 Grand Air - "Casta diva," from "Norma," Mrs. Testar - Bellini . . .
Part II . . . 2 Grand Introduction to the Opera, "Don Juan," - Mozart.
The first time performed in this colony by Mrs. Testar, Herr Prinz, Herr Martin, and Herr Todd . . .
4 Song - "The rosebud droops," Mrs. D'Alton - Verdi.
5 Glee - "Spring's delights," Mrs. Testar and Miss Edwards, Herr Prinz and Mr. Power - Muller . . .
7 Comic Duet, " The singing lesson," Miss Edwards and Mr. Young.
8 German Glees: German Amateur Glee Club . . .

ASSOCIATIONS: Mrs. D'Alton (vocalist); Miss Edwards (vocalist); Charles Young (actor, vocalist); William Pierce Power (vocalist); ? Philip Martin (vocalist); Emil Hermann Todt (vocalist); Martin and Todt were evidently members of the German Glee Club, of which Elsasser was probably already the director; Exhibition Building (Melbourne venue)

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

GRAND CONCERT at the Heidelberg National School, Saturday Evening, at half-past seven.
Artistes - Madame Annie Vitelli, Mrs. Creed Royal, Sig. Vitelli, Mr. Creed Royal (flute), Herr Strebinger (violin), and Herr Elsasser (piano).
Tickets of the Master, at the School.

ASSOCIATIONS: Annie Vitelli (vocalist); Mary and Creed Royal (vocalist and flute)

"DIE LIEDERTAFEL HARMONIA", The Age (9 May 1857), 5 

Yesterday being the anniversary of the death of Schiller, the German Shakspeare, the members of the Liedertafel Harmonia (or German Singing Club) commemorated the occasion by a soiree musicale in the evening. The saloon of the Criterion Hotel, where the soiree was held, was tastefully decorated with flags and festoons, and over the platform was a pretty allegorical transparency, by Herr Hennings, in the centre of which was a portrait of Schiller. There were nearly three hundred persons present, a large proportion of whom were ladies. The entertainments consisted of varied and choice selections from some of the best masters, and many of the pieces were decidedly well sung by the members of the society, who also had the valuable assistance (vocal and instrumental) of Messrs. Siede, Schleuter, and Elsasser. After the first chorus Professor Damm delivered the "Festrede" (in German), which was received with much applause . . .

ASSOCIATIONS: John Hennings (scenic artist); Julius Siede (musician); Adolph Schluter (musician); Charles Damm (speaker); Liedertafel Harmonia (association); Criterion Hotel (Melbourne venue)

"HERR SIEDE'S CONCERT", The Age (4 July 1857), 4 

A small but appreciative audience met at the Mechanics' Institution yesterday evening to honor the efforts of this able flautist, who was assisted by M.M. Schluter, Bial and Elsassar, and by the members of the German "Liedertafel." Considering the excellence of the entertainment we must express our regret that there was not a better attendance, scarce fifty persons being present . . . Herr Schluter as solo vocalist, favored the audience with an air from Lortzing's opera of "Czar und Zimmermann," and the fine prayer entitled the "Grenadier." As an encore to this latter he gave the "Ein schutz bin eich," from Kreutzer's opera of "Nachtlager von Granada," with capital effect. The "Liedertafel" were scarcely successful in their rendering of the national air "Deutchlands Sohne," but they amply redeemed themselves in the solo and chorus from the "Czar und Zimmermann," and the final choral March, both of which were enchored. For the latter they substituted a German drinking song, which was trolled forth in admirable style, under the able conduct of Herr Elsassar . . .

ASSOCIATIONS: Charles Bial (pianist)

[Advertisement], The Argus (23 September 1857), 7 

under the firm of Ph. Becker and Co., is this day DISSOLVED, by mutual consent.
All claims against the said firm to be made before the 30th inst., and all accounts due to it to be paid to Ch. Elsasser. PH. BECKER. CH. ELSASSER. Witness - SAMUEL RENTSCH. Melbourne, 10th September, 1857.

ASSOCIATIONS: Philip Becker was a carpenter, active in German associations, and probably also a member of the Liedertafel; the nature of his business partnership with Elsasser is unknown; however it was perhaps importing German pianos, as see 8 June 1858 below

"M. JULIUS SIEDE'S CONCERT", The Age (6 October 1857), 5 

Yesterday evening this able flautist gave a grand concert at the Criterion Hall, which was numerously and fashionably attended. He was assisted by our old favorite Herr Schluter, Messrs. Bial and Elsasser, the pianists, and the members of the Leidertafel [sic] . . . The Liedertafel mustered strong, and did great things in the way of part songs and chorus, but their best effort was the grand solo and chorus from Lortzing's opera of "Czar and Zimmerman." The soli were well sustained by Messrs. Raempler and Martin, who sustained respectively the parts of Ibano and the Czar. The chorus was given with infinite spirit, and vociferously re-demanded. It only remains for us to notice the efforts of the pianoforte players, Messrs. Bial and Elsasser, who fully sustained their well-gained repute - especially in their performance of Mendelssohn's grand and spirituelle overture to the "Midsummer Night's Dream," which was encored . . .

"M. JULIUS SIEDE'S CONCERT", The Argus (6 October 1857), 5 

. . . The programme last evening was almost exclusively German, embracing choruses and part songs, by the gentlemen of the "Liedertafel," from Mendelssohn and other composers, among which we may especially notice a solo and chorus from the opera "The Czar and Zimmermann," which was splendidly executed and, as a matter of course, encored . . . Herr Schluter shone in Die Fahnenwacht (standard-bearer), which was declaimed with fine-flowing martial vigor and good emphasis. M.M. Elsasser and Bial were encored im Mendelssohn's overture, a quatre mains, to the "Midsummer Night's Dream," a wonderful conception, which we have seldom heard better given.


Yesterday evening, the Exhibition Building was crowded in parts by a brilliant audience, who had assembled for the purpose of honoring the efforts of Mr. G. L. Allan, and a numerous choir, on behalf of the India Belief Fund. The choir, one hundred and fifty in number, have been selected from Mr. Allan's music classes in Collingwood, North Melbourne, and Melbourne proper . . . The programme included a judicious selection from the choral works of Stevens, Horsley, Gluck, Mornington, Hullah, Grast, Arne, Cooke, Pearsall, Tieck, and Atterbury, besides several pieces for two, four, and eight voices, by Mendelssohn, Abt, and Blockley. We must not omit to mention in terms of high commendation the vocal efforts of two young ladies, (Misses Amelia Bailey and M. A. Griffiths), pupils of Mr. Allan, who on this occasion for the first time sang solos in public. Mr. Allan, in some prefatory observations contained in the book of words, on this account deprecates severe criticism. He might have spared himself the trouble, for the young ladies acquitted themselves most creditably, and induce us to think that after careful study they will form a very welcome addition to our list of concert singers, should they propose devoting themselves to professional life . . . We had almost forgotten to mention that the solos, duetts, &c., were tastefully accompanied on the piano forte by M. Elsasser, who kindly gave his services on the occasion.

ASSOCIATIONS: George Leavis Allan (singing class instructor, conductor); Amelia Bailey (vocalist, later a pupil of Elsasser); Mary Ann Griffiths (vocalist)

[Advertisement], The Argus (31 March 1858), 8 

EDUCATIONAL. - HERR ELSASSER, Professor of Music, begs to inform his friends and the public, that he has
REMOVED from Collins-street east, to Harmonia Cottage, Punt-hill, South Yarra.


On Saturday evening, Miska Hauser, assisted by Signor Cutolo, a string quartette party, Miss Julia Harland, and Mr. Linly Norman, gave a farewell entertainment at the Mechanics' Institution, to a brilliant and very numerous audience . . . We must not close this brief notice without complimenting Mr. Norman on his exceedingly tasteful and brilliant pianoforte accompaniments, for which, we are sure, Miska Hauser must have felt grateful. The pianoforte used on this occasion was from the atelier of Messrs. Shiedmayer and Sons, of Stuttgart. It is an instrument of fine rich tone and great power, and is intended to be the first prize in a grand musical lottery, to be conducted by Herr Elsasser, who has just received from the continent a large consignment of music and musical instruments, which he proposes to dispose of in this manner.

ASSOCIATIONS: Miska Hauser (violinist); Cesare Cutolo (pianist); Julia Harland (vocalist); Linly Norman (pianist); Schiedmayer and Sons (German pianoforte makers)

[Advertisement], The Argus (3 December 1859), 8 

MR. ELSASSER, Professor of Music, REMOVED to, and continues giving lessons at, 165 Collins-street east.

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

The annual meeting of the Melbourne Philharmonic Society took place last evening at the Mechanics' Institute. Mr. Justice Barry occupied the chair . . . The following gentlemen were appointed office-bearers for the ensuing year: - President, Mr. Justice Barry . . . Conductor, Mr. J. Russell . . . Three candidates were nominated for the post of organist - viz., Mr. L. L. Lewis, Mr. Elsasser, and Mr. King. Mr. Lewis was elected, after a ballot, the announcement being received with general applause . . .

ASSOCIATIONS: Redmond Barry (president, chair); John Russell (conductor); Louis Lucas Lewis (organist); Henry John King (organist); Melbourne Philharmonic Society (association)

"THE NEWS OF THE DAY", The Age (3 April 1860), 5 

Last evening a large number of the most prominent members of the Philharmonic Society, met at the residence of Herr C. G. Elsasser, in order to rehearse a sacred cantata lately composed by that gentleman, and entitled "Praise the Lord." The author has derived his inspiration from that unfailing mine for sacred musical composition - the Psalms of David, with an incidental extract from the Revelation to St. John. Mr. Elsasser brings to the task long experience as choral master at Stuttgart, and previously, tuition under Johann Schneider, organist to the King of Saxony at Dresden - justly considered one of the greatest organists of the age. The impression left on the mind after hearing the performance of "Praise the Lord," notwithstanding it had all the imperfections of a first rehearsal, and the disadvantages of being without instrumental accompaniment, was decidedly favorable, not only as regards its effect on the ear, but as conveying a high estimate of the composer's learning and abilities. The work indeed, lacks the attractive features of the modern German school as exemplified in the productions of Spohr or Mendelssohn, but as may be imagined, it possesses all the scholastic severity which we admire in the Bachs, mingled with an occasional passage which shows that the writer has not altogether disregarded the freer style of later organists. These passages afford a pleasing relief even to the classical ear, while they will tend materially to recommend to general approbation a work which might by some be deemed almost of too sombre and monotonous a character. Certainly not one of the least recommendations of the work is the fact of its being wholly unconventional in its treatment. If it can be likened to anything in the shape of musical composition, it must be to the English anthem of the old school - elaborated and greatly extended. We forbear making any special note of individual portions of the cantata, as we trust that a better opportunity will shortly be afforded, through the agency of the Philharmonic Society, to whose serious attention we recommend our accomplished fellow-citizen's composition.

ASSOCIATIONS: Johann Gottlob Schneider (teacher)

[Advertisement], The Argus (19 April 1860), 3 

GERMAN COLLEGE - LESSONS in PIANO Singing, and Flute, by Messrs. Elsasser and Julius Siede.
GERMAN COLLEGE, Apsley place, Eastern hill, Melbourne.
Principal Professor, CHARLES DAMM, assisted by a numerous staff of experienced and efficient masters . . .

"PROMENADE CONCERT", The Age (30 April 1860), 5 

The concert at the Botanic Gardens on Saturday was highly successful, the weather being all that could be desired, and it having announced that it be the last appearance of the Band of the 40th during the season, caused the attendance to be very numerous. The late rains have wonderfully improved the appearance of the gardens, and the trees, shrubs and flowers, which a week or two since seemed to be almost dried up, have entirely revived. The performance commenced by the band playing the overture of "Les Diamans de la Couronne," followed very quickly with selections from "Dinorah." The latter deserves special praise. Mrs. Hancock and Messrs. Williams and Blanchard kindly gave their services as solo vocalists, and acquitted themselves with much credit. A duett between Messrs. Williams and Blanchard elicited great and deserved applause. Miss O. Hamilton was not present, owing to her engagement on the opera at Geelong. The gentlemen of the German Liedertafel also gave their services and sang four "part-songs." A march, which was played for the first time, and is the composition of a young gentleman named Boom, gave evident signs of great musical talent in the composer. The vocal part of the programme was very ably conducted by Herr Elsasser. The whole affair passed off very well, and we have no doubt to the entire satisfaction of the treasurer of the Benevolent Asylum, for the benefit of which institution the concert was given.

ASSOCIATIONS: Mary Ellen Hancock (vocalist); William Henry Williams (vocalist); Charles Blanchard (vocalist); Richard William Boom (composer); Botanic Gardens (Melbourne venue)

"MR. T. H. BROOKS'S CONCERT", The Age (23 May 1860), 5 

Considering the extremely unfavorable weather, Mr. Brooks can have no reason to complain either of the extent or character of the audience which met last evening at Hockin's Assembly Room, to welcome him among us as an accomplished musician, and as a skilful executant on the harp. His Excellency the Governor was present, and remained till the termination of the concert . . . Herr Elsasser, who presided at the pianoforte throughout, performed with Mr. Brooks in the "Non piu Andrai," and deservedly shared the applause which followed. Personally, he favored the audience with a composition of his own, entitled "Rondo a la Polacca," which was very tastefully played. The vocal music was sustained by Mrs. Hancock, Miss Bailey, and Messrs. Williams, Moxon, and Davis . . . Miss Bailsy, a late acquisition to our concert singers, sang several popular ballads, and was exceedingly well received.

ASSOCIATIONS: Thomas H. Brooks (harpist); Henry Barkly (governor); Septimus Moxon (vocalist); Hockin's Rooms (Melbourne venue)

[News], The Argus (23 May 1860), 5 

. . . Herr Elsasser performed a rondo on the pianoforte, which, pleasing enough in itself, would have been heard to more advantage had he possessed a better instrument . . . Mr. Moxon, who possesses a bass voice of fair quality, sang "The Wanderer." The concert, though prolonged till too late an hour, appeared to give general satisfaction.

"The Philharmonic Society's third subscription concert . . .", The Argus (4 July 1860), 5

The Philharmonic Society's third subscription concert in the Exhibition Building, last night, was less numerously attended than those which have preceded it. Perhaps the influenza had something to do with the circumstance, and perhaps the absence of the names of Miss Octavia Hamilton and Mr. Farquharson from the programme had also something to do with it. His Excellency, attended by Captain Bancroft, was present, and we noticed many of the usual patrons of these concerts among the audience. The attraction of the evening was, of course, the first performance of a new sacred cantata by Herr Elsasser, which had been for some time expected by the musical world. The composer, who himself conducted its performance, may be congratulated on the evident satisfaction which attended the work. While not remarkable for much depth or originality of idea, and disclosing frequent signs of indebtedness to the Handel school, it is throughout, for the most part, simple and pleasing, and, without being elaborate, is neatly and effectively scored. It is entitled "Praise the Lord," and contains three quartetts in the compass of a not very long work, airs for tenor, bass, and contralto voices, and some well written choruses. There is a tenor air, "I sought the Lord," which is very flowing and sweet, and detains the ear not unwillingly. A little later is a chorus, "Holy, holy, holy, Lord God of Sabaoth," which is really beautiful, solemn, and devotional. A quartett and semi-chorus, "Bless the Lord, O my soul," has a pleasing tenor accompaniment. It is followed by a chorus, "We give Thee thanks," which thoroughly reminds one of Handel. A soprano air, "Trust in the Lord," partakes of the sweetness which is the main characteristic of the whole work, but suffered materially from the thinness of the violin accompaniment. Indeed, the whole work was by no means indebted to the strength of the band, which we regretted to see considerably diminished, and, we think, unwisely. It was scarcely fair to Herr Elsasser that a greater effort should not have been made in the important matter of orchestral power, and not very complimentary, considering that his work was dedicated to the society. The contralto air, "My heart is glad," in the absence of Mrs. Batten, was capitally taken in alto by a Master Johnson, who was honoured by the only encore awarded. A bass air, of a somewhat florid character, "O Lord, our God," was well sung by a gentleman named Marten. Mr. Ewart and Miss Bailey sang the music allotted to them very creditably. The second part of the concert consisted principally of selections from Handel, Mozart, Rossini, and Beethoven.

ASSOCIATIONS: Mrs. Batten (vocalist); Master Johnson (vocalist); Thomas Ewart (vocalist); "Marten", probably Herr (? Philip) Martin as above


. . . The concert may be designated as one of the most successful which the Society have attempted under the suspicious term "miscellaneous." This, however, would be but faint praise, were it not that the programme possessed the notable speciality of including the new sacred cantata, "Praise the Lord," written for and dedicated to the Society by Herrn C. G. Elsasser [sic]. This work, which is a scholar-like and elaborate composition, with many beautiful and attractive passages (though, possibly, it may be too sombre and severe to charm any but the educated ear) was exceedingly well performed throughout by band, soli, and chorus. Herr Elsasser was well received on his appearance before the vocal and instrumental corps, and earned much deserved praise for their conduct. To Mr. Ewart were assigned the tenor solos, and to Miss Bailey and Master Johnson the soprano and alto passages, Mrs. Batten haying, by a sudden attack of sickness, been prevented attendance. The young gentleman proved an excellent substitute, and obeyed an encore in the air "My heart is glad." The chorus acquitted themselves well, and gave the best possible effect to the solemn cadences with which the work is so plentifully interspersed. The "Holy, Holy" was especially good, and the conclusion, "Praise the Lord," a bold and striking chorus, was delivered with such spirit and precision that, alone, it would, have redeemed all short-comings, had they been much more numerous than they were. In the quartette, "Bless the Lord," in which the parts were sustained by Miss Bailey, Master Johnson, Mr. Ewart, and Mr. Moxon, the execution was very smooth and equable, but in the recitative and air "Sing, O Heavens" and "Trust in the Lord," Miss Bailey failed to make a favorable impression. To say the truth, the air is too much protracted and is not sufficiently diversified. The instrumentation was admirable throughout . . .

"THE PHILHARMONIC SOCIETY. TO THE EDITOR OF . . .", The Argus (6 July 1860), 7 

Sir, - Although encroaching on your valuable space, I feel assured you will, through the medium of your journal, allow me to correct the remarks concerning the committee of the Melbourne Philharmonic Society, made in your issue of yesterday, wherein it is stated that the band for Herr Elsasser's Cantata was stinted by the above society, to which it was dedicated. On the resolution sanctioning its performance being passed, a certain sum was granted for the band, which was subsequently increased, at Mr. Elsasser's request, when the list of instruments, &c., was furnished by the author, and the amount required for its fulfilment was granted. If, therefore, there be any blame to be attached, it rests entirely with Mr. Elsasser, and not with the society, as stated.
In justice to the committee, your insertion of the above will greatly oblige,
Yours obediently, LOUIS L. LEWIS. Melbourne, July 4.

[News], The Argus (1 December 1860), 5 

The large hall of the Criterion Hotel was completely filled last night by the German residents in Melbourne, ladies and gentlemen, on the occasion of the Schiller Festival. The anniversary of Schiller's birthday was on the 10th ultimo, but the commemoration was unavoidably postponed till yesterday. The proceedings last evening, which were conducted entirely in German, were principally of a musical nature, with an oration by Professor Damm, on the patriotic character of Schiller, and the reflective influence, of his spirit on the present state of political affairs in Germany. Among the moat prominent musical features of the evening were the celebrated poem of Schiller on student life, as set to music by J. Otto, and two admirable solos on the violin by Herr Strebinger. Miss Bailey sang several airs in the course of the evening with carefulness and success, but she is still deficient in the quality of expression. The Liedertafel gave their valuable assistance, and Herr Elssasser presided with much ability at the pianoforte. The only decoration of the hall was a transparency of the bust of Schiller, painted with his usual success by Mr. Hennings, scenic artist of the Theatre Royal. The festival, which did not terminate until a very late hour, appeared to give all present unmingled satisfaction.

"THE SCHILLER FESTIVAL", The Age (1 December 1860), 6 

. . . The musical portion of the entertainment was then continued as follows: -
Air from "Linda," by Miss Bailey, pupil of Herrn Elsasser [sic].
Duet for two flutes, "A Perfido" by Herren Meyer and Merlin.
Song, "Marie," by Herrn Niemeitz. . .
a very good solo on the violin by Herrn Strebinger, and an air from Donizetti's "Anna Bolena," which was very sweetly sung by Miss Bailey.
After an interval of a few minutes Fraul. v. d. Heyde-Nordt and her teacher Herr Elsasser performed a fantasia from "Norma" upon the pianoforte.
The great feature of the evening, however, was "Die Burschenfahrten, or the Students' Trip," a very clever compilation of ancient national airs and declamations thrown into the form of a cantata. The songs were performed by the Liedertafel, and the declamations were given by Professor Damm . . .

ASSOCIATIONS: Fraulein Von Der Heyde Nordt, otherwise unreported, was a daughter of Hamburg merchant, William Van Der Heyde, and Anna Katerina Henrica Nordt (d. VIC, 1866)

"TOWN TALK", The Herald (21 January 1861), 5 

The retirement of Mr. John Russell from the post of conductor of the Philharmonic Society has created a vacancy that is much regretted. Mr. Russell has wielded the baton of this society for many years, and leaves that office not only with the well-merited thanks of the society, but with the gratitude of the musical world ot Melbourne. To him is to be mainly ascribed the production of many of the finest choruses in this hemisphere. The testimonials of Mr. Elsasser, who has been named as his successor, are such as to warrant the society in congratulating themselves upon having so worthy a successor to Mr. Russell. Mr. Elsasser is the gentleman who composed the sacred cantata "Praise the Lord," which was written for, and sung by, the Philharmonic Society in the early part of last year. He is the successful competitor who, out of fifteen candidates, was recommended by the great Lindenpainter [sic], author of the "Standard Bearer," and several other German songs, to the office of organist, to the King of Wurtemburg. The testimonial of Herr Johann Schneider, organist to the King of Saxony, speaks of Mr. Elsasser as one who has not only established himself as conductor of the orchestra at the performances of masses, cantatas, and oratorios, but as an artist whose loss was greatly felt by the lovers of the art, both singers, conductors, and composers, when he left his native land. As an organist he is without a rival. We are glad to congratulate the Philharmonic Society of Melbourne on having such a gentleman to fill the post of conductor.

ASSOCIATIONS: Peter Lindpainter (composer)

"THE PHILHARMONIC SOCIETY. To the Editor of . . .", The Herald (22 January 1861), 6 

SIR, - My attention has been drawn to a paragraph in your Town Talk of to-day relative to the conductorship of the above society. As it makes several erroneous statements, I think it my duty to correct them.
1st. Mr. Russell does not retire. The office of conductor becomes vacant every year. He is not a candidate for the office this year.
2nd. Mr. Elsasser is not his successor, at least so far as is at present known, as he is but one of two candidates nominated to the office. It is as the nominator of Mr. Samuel Kaye . . . that I feel myself called upon more particularly to notice the paragraph in question . . .
I am Sir, yours truly, W. H. WILLIAMS. 21st January, 1861.

ASSOCIATIONS: Samuel Kaye (candidate)

"THE NEWS OF THE DAY", The Age (31 January 1861), 5 

After several adjournments, the annual meeting of the Melbourne Philharmonic Society was held yesterday evening, at the Mechanics' Institute . . . Mr. Elsasser was elected the leader of the society by a large majority over Mr. S. Kaye, who was the other candidate; and Mr. L. Lewis was elected organist, the other candidate being Mr. Plaisted . . .

ASSOCIATIONS: Philip Charles Plaisted (candidate for organist)

"TOWN TALK", The Herald (4 March 1861), 5 

On Saturday we briefly noticed the anniversary meeting of the German Association. The following public report has been supplied by a correspondent: - The German Association celebrated its fifth anniversary at the Criterion hotel on Friday last. There was a numerous and respectable attendance of Germans and English of both sexes. The late president, Professor Damm, opened the proceedings by a spirited and humourous address . . . The company were then gratified by an excellent concert. The choruses were sung with great spirit and taste by a number of members of the association. Miss Bailey and Mr. Sprinkhorn distinguished themselves, singing several solos and duets with feeling and expression; Mr. Siede on the flute, accompanied by Mr. Elsaesser, conductor of the concert, gave unanimous satisfaction . . .

ASSOCIATIONS: Johann Sprinckhorn (vocalist)

[Advertisement], The Argus (16 March 1861), 8 

THIS DAY, SATURDAY, MARCH 10, Commencing at 3 o'clock . . .
On which occasion LADY DON Will be assisted by
Pianoforte, Herr ELSASSER . . .

ASSOCIATIONS: Emily Sanders Don (vocalist); Maria Carandini (vocalist); Charlotte Stuttaford (vocalist); Walter Sherwin (vocalist); Robert Farquharson (vocalist); Theatre Royal (Melbourne venue)

[News], The Argus (10 April 1861), 5 

The Melbourne Philharmonic Society gave their first subscription concert for the year in the Exhibition Building last night. His Excellency the Governor and Lady Barkly honoured the society with their presence, and most of the more influential of the patrons and subscribers were among the audience. The attendance of the general public was less numerous than we have noticed it on previous occasions, - a circumstance, perhaps, to be in part attributed to the absence from the programme of the names of certain "stars," whom the society had either omitted to secure, or who were prevented by other engagements from lending their co-operation. Judging from the performance of last night, as a whole, we are disposed to regard the new determination of the committee to give only four subscription concerts during the year, instead of six, as a salutary one. It has given time to Herr Elsasser, the honorary conductor, to bring his band and chorus into a very desirable state of proficiency, a condition which was matter of general remark last evening, and which is likely to do more substantial good to the Society than could be possibly secured to it by a larger number of less perfectly organized performances. There is no denying that the society presents a remunerative field for better management, in a practical point of view, than has been displayed for some time past, and that the public will not be slow to appreciate palpable improvement there is no reason to doubt. If the prospect of improvement has been a little furthered by the spur of competition, so much the letter, even if it be somewhat to be regretted that the oldest and most respectable musical society in Melbourne found that competition necessary to develope its latent strength. We take the fact, however, as we find it. There are excellent symptoms of a novel energy about the Philharmonic Society, and we hail the fact with pleasure. The concert of last night was not remarkable for great brilliancy but it was an even and ably-sustained effort in all essential points. It is not an established fact that the committee will be able to dispense with the assistance of the more prominent musical talent to be obtained in Melbourne; and, we confess, there are several artists we could mention whose presence last night would have been warmly welcomed; but we are bound to acknowledge that Miss Bailey, Mrs. Hancock and Mr. Ewart exerted themselves with much success. The first named lady, by her singing of "With verdure clad," and in the duetts for soprano and bass, in the third part, has unquestionably added to her already promising reputation. Her voice is clear, pure, and sufficiently powerful, and with care and judicious study, will prove fully equal to the interpretation of this class of music. Mrs. Hancock gave the air, "On mighty pens," in her best style and was much applauded. Mr. Ewart was in good voice, and sang the air, "In native worth," very satisfactorily. Mr. Angus made his principal effort in "Rolling in foaming billows," but he laboured subsequently under his usual fault, flatness, which marred the effect of his singing considerably. Messrs. Moxon and Williams executed their portions of the music with a fair amount of success. To the chorus and band we have already alluded. There was scarcely a real fault to be found throughout, but the choruses with duetts for soprano and bass, in the third part, were really excellent being admirably worked out in every particular. Mr. Lewis presided at the organ.

ASSOCIATIONS: Silvanus Angus (vocalist)

"THE NEWS OF THE DAY", The Age (10 April 1861), 4 

The Melbourne Philharmonic Society gave the first of its yearly series of performances yesterday evening, the subject being, as usual on such an occasion, Haydn's grand oratorio "The Creation." The Exhibition Building presented a gay and fashionable appearance, his Excellency, Lady Barkly, and suite occupying the vice-regal box. The performance was on the whole highly creditable to the Society, and was in itself the best commentary upon the system of numerous and painstaking rehearsals. The chorus "The heavens are telling," was given with great effect, and Mrs. Hancock was highly applauded in the air "With verdure clad." [sic] The performances, apart from their own excellence, were interesting on account of Mr. Elsasser filling for the first time the office of conductor, and we are happy to record that he made a highly successful debut. The instrumentation was excellent.

"TOWN TALK", The Herald (12 June 1861), 5 

The Philharmonic Society completely hit the taste of the musical public last evening, by the performance of Andreas Romberg's classical cantata, the "Lay of the Bell." This composition is very popular in Germany, and thoroughly deserves being so, as without trenching upon the style of any cognate work by another master, it contains beauties of which any composer might be proud . . . The second part of the concert consisted principally of operatic selections . . . The duet "A consolarmi," from "Linda di Chamouni," received full expression from Madame Escott and Mr. Squires . . . The magnificent finale to the first act of "Euryanthe," admirably arranged by Mr. Elsasser, the conductor, was marred by the inability of Miss Bailey to give effect to the solo - a circumstance which it would not be fair to mention without qualifying it by adding that the young lady undertook the task at almost a moment's notice, that the audience might not be disappointed by the omission of the piece . . . The band performed the glorious overtures to "Der Freischutz" and "Fidelio" with precision and general skill, and Mr. Elsasser exhibited undeniable indications of high qualities as a conductor . . .

ASSOCIATIONS: Lucy Escott (vocalist) and Henry Squires (vocalist), members of the Lyster Opera Company (troupe)

"ELIJAH AT THE THEATRE ROYAL", The Argus (31 July 1861), 5 

Nothing could be more unpropitious than the weather last night, and nothing more remarkable than the concourse of people which assembled, under such circumstances, to listen to the oratorio of "Elijah" at the Theatre Royal. A crowded dress-circle and a more than average influx of visitors to the other parts of the house, testified to the strength of what the French call the mélomanie of the Melbourne public; and those who came prepared for the enjoyment of a great treat were assuredly not disappointed. Probably no musical entertainment, consisting exclusively of sacred music, which has yet been given in this city, has been so successful or so effective as last night's performance. An orchestra unusually strong in stringed instruments, a chorus embracing the strength of the Philharmonic Society, and an array of- vocal ability comprising the members of Mr. Lyster's opera company, and some of our best local singers, under the skilful direction of Mr. Elsasser, combined to offer an admirable interpretation of Mendelssohn's great work . . . This evening, "The Creation" is to be given, and Elijah will be repeated on Thursday.

"THE NEWS OF THE DAY", The Age (23 September 1861), 5 

In anticipation of a rich feast of classical music we attended the Mechanics' Institute on Saturday evening, but we must confess to being considerably disappointed. The concert was given by Herr Carl Schmitt, a violinist residing in this city, who was assisted on the occasion by Miss Bailey and several gentlemen amateurs. The programme included compositions from Beethoven, De Beriot, and Vieuxtemps, which certainly were not by any means done full justice to. There is a want of style and finish about Herr Schmitt's playing, and his execution in by no means faultless, almost inducing the idea that he is self-taught. If that be the case great credit is decidedly due to him for the proficiency he has attained, but otherwise these faults deserve censure. The audience however, seemed determined to be pleased, and were liberal of their applause. Certain it is that the inefficiency of Herr Elsasser as an accompanyist did much to mar the effect of Herr Schmitt's playing . . .

ASSOCIATIONS: Carl Schmitt (violinist)

"TOWN TALK", The Herald (22 November 1861), 5 

The annual concert and ball of the German Association took place in the Criterion hotel yesterday evening, and was attended by about 300 ladies and gentlemen, including most of the principal German residents in and around Melbourne. The vocal and instrumental performers were Miss Bailey, and Herren Strebinger, Siede, Sprinkhorn and Elsasser. As usual on such occasions, dancing was kept up till an advanced hour in the morning . . .

"TOWN TALK", The Herald (26 December 1861), 5 

The Melbourne Philharmonic Society, following English precedent, annually celebrate the eve of the great Christian festival by the performance of Handel's sublime oratorio the "Messiah." On Tuesday evening, according to custom, this work was given in its entirety; and, although we have seen the Exhibition Building better attended on previous occasions, the audience was by no means scanty. The oratorio was, as a whole, very creditably rendered, and in some respects the performance was more than usually successful. With regard to the principal vocalists the society has seldom been so well assisted, the first appearance of Miss Liddle and Mrs. Webster, and, we may add, of Miss Julia Matthews, whose abilities as a vocalist had previously been known only to theatrical audiences, being an important feature in this instance . . . The Hallelujah Chorus was sung with precision, and the different features were very creditably marked. Of the other pieces perhaps the most noticeable was the quartet "Since by man;" and "The trumpet shall sound," the latter principally on account of the clever cornet obligato by Mr. Kohler . . . M. Elsasser, the conductor, was vigilant and spirited; and it may not be out of place here to suggest the propriety of his beats being more strictly attended to than was the case on this occasion. The orchestra, which included some of our best performers, was highly efficient.

ASSOCIATIONS: Maggie Liddle (vocalist, later a pupil of Elsasser, see 1863 below); Sophia Webster (vocalist); Julia Mathews (vocalist); Richard Wildblood Kohler (cornet)

"THE NEWS OF THE DAY", The Age (26 February 1862), 5 

The adjourned annual meeting of the Melbourne Philharmonic Society was held yesterday evening, at the Mechanics' Institute, Collins street, Mr. Sumner presiding. The only business to be transacted was the election of office-bearers for the ensuing year, which was at once proceeded with, and resulted as follows: - President, Sir Redmond Barry; Vice-Presidents, T. J. Sumner, Esq., and John Russell, Esq.; Conductor, Charles Edward Horsley: Organist, T. G. Gould; Treasurer, Mr. J. J. Blundell; Librarian, S. Moxon; Committee: - Messrs. Elsasser, Blundell, G. B. Hailes, W. C. Fisher, T. G. Gould, G. O. Rutter, the Rev. Wm. Jarrett, Messrs. Moxon, and Alfred Woolley. Honorary Secretary, W. G. Dredge.
A unanimous vote of thanks was passed to Herr Elsasser for his services, as conductor, during the past year; and a similar compliment having been made to the Chairman, the meeting terminated.

ASSOCIATIONS: Theodotus John Sumner (chair); Charles Edward Horsley (conductor); Thomas Green Goold (organist); James John Blundell (treasurer); George Button Hailes (member); Wilhelm Carl Fischer (member); George Oswald Rutter (member); William Jarrett (member); Alfred Woolley (member); William Gilpin Dredge (member)

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

A gymnastic and musical festival - the first of its kind in the colony - is announced to take place at Cremorne Gardens, on Monday the 24th instant, under the auspices of the German Association. For the gymnastic feats, and also for part-singing, or vocal quartetts, a number of prizes are to be given. An extensive and efficient band, comprising the leading members of the profession, and numerous well-known musical amateurs, has been got together for the occasion. Amongst other attractive pieces, the orchestra, consisting of over sixty performers, will play the last movement of the famous "Sinfonia in C minor," by Beethoven and Weber's magnificent overture to "Der Freischutz." Amongst the vocal music, a new chorus by Herr Elsasser, the conductor of the musical portion, of the festival, is promised. Mr. Sprinckhorn will co-operate with Mr. Elsasser in conducting the vocal music, and altogether no pains have been spared to render the entertainment as perfect as possible.

"THE TURNVEREIN AT CREMORNE", The Herald (25 November 1862), 5 

The German Gymnastic and Musical Festival for which preparations have been making for some months past, commenced at noon, terday, at Cremorne Gardens, and was kept throughout the day with immense spirit . . . The gardens were enlivened by the strains of Mr. Johnson's excellent band, while a very large orchestra, directed by Herr Elsaesser, and in which Messrs. Siede, Strebinger, Kohler, Coppin, Huenerbein, and other first-class musicians were engaged, performed the musical portion of the programme, to the loudly expressed satisfaction of the audience, which, unfortunately, was far too numerous to be accommodated within the narrow limits of the Pantheon, which, pretty at all times, looked vastly prettier yesterday, from being tastefully decorated with evergreens. The orchestra was arranged on the stage, from the front of which was displayed the banner of the Liedertafel. These admirable musicians were led by Herr Sprinckhorn . . . About 3,000 persons visited the gardens in the course of the day, and up to a late hour at night, the trains brought down their full quota of pleasure seekers. The majority belonged, of course, to the German nation, but many English were attracted by the novelty of the scene, which was appreciated by all.
The first part of the musical festival, comprised, among several compositions of a standard character, a new piece for chorus and orchestra, by Herr Huenerbein, entitled the Vaterlandslied, which obtained a liberal share of applause. Becker's Marsch, which was well performed by the chorus, was encored . . .
he most noticeable features in the second part of the musical programme, were, the overture to "Faust," arranged expressly, and conducted by Herr Siede, Mr. Elsaesser's new chorus, "Nur Nicht Verzagt," and the German National Anthem, by Reichardt. On the latter being encored, "God save the Queen" was appropriately and graciously substituted, in compliment to Her Majesty's representative. The competition for prizes in quartette singing by members of the various German musical associations took place during the second part, and seemed to attract great interest. Messrs. Siede, Strebinger, Elsaesser, were the judges, and they awarded the prizes to the following gentlemen for singing the "Die Kapelle" of Kreutzer, a double quartette of considerable difficulty - Messrs. Theodore Kawerau, Fred. Kawerau, Huenerbein, Karsteiner, Sprinckhorn, Gebendinger, Brinckmann, and Pagenstecker. The single quartette prize was carried away by Messrs. Kawerau, Huenerbein, Sprinckhorn, and - Kawerau. The name of the piece was the "Guten Morgen" . . .

ASSOCIATIONS: August Christian Huenerbein (musician, composer); Franz Andreas Kohler (musician); Frederick Coppin (musician); Theodore and Frederick Kawerau (vocalists)

[News], The Argus (24 December 1863), 4 

According to a custom which has now become time-honoured, the Christmas-Eve performance of Handel's Messiah, by the Philharmonic Society, will take place at the Exhibition building this evening . . . Miss Octavia Hamilton is set down for the soprano solos, and those for the contralto are to be sung by Miss M. A. Liddle, a promising vocalist, a pupil of Herr Elsasser's, who is gradually gathering a reputation which it is to be hoped she will not be induced to lose by overpraise . . . Mr. C. E. Horsley, as usual, is to wield the baton . . .

"THE NEWS OF THE DAY . . . THE VICTORIAN MUSICAL ASSOCIATION (Professional Musicians)", The Age (4 July 1868), 2 

The usual meeting took place yesterday, when the following names were proposed, balloted for, and elected: - Mrs. Le Cren, Mr. Rutter, Mr. Amery, Mr. Donaldson, Mr. Geo. Fincham, Mr. J. Dudley, Mr. Peters, Herr Elsasser, Herr Collin . . .

ASSOCIATIONS: Louisa Maria Le Cren (musician); Edwin Amery (musician); Charles Alexander Donaldson (musician); George Fincham (musician); Alfred Richard Peters (musician); Leopold Frederick Collin (musician); Victorian Musical Association (association)

"THE NEWS OF THE DAY", The Age (26 December 1868), 2 

The sacred concert at the Theatre Royal yesterday evening was not so largely patronised as might have been expected, but it will probably not prove a loss to the promoters, who were unfortunate in having to contend with another attractive concert of the kind in a church. The vocalists were Mrs. Fox, Miss Easdown, Miss P. Easdown, Mrs. Shaw, Mr. Donaldson, Mr. Angus, Mr. Amery and Mr. A. Ford. Mr. Elsasser acting as a pianist. The bill was excellent one, including selections from the "Messiah," "Elijah," "St. Paul," "The Creation," "Stabat Mater," "Judas Maccabaeus," Mendelssohn's "Christus," Mr. Horsley's "David," and Mr. Elsasser's cantata "Praise the Lord." The performance went most successfully throughout, and the audience were thoroughly appreciative. The artists who appeared will probably prepare another programme of the kind for Good Friday.

ASSOCIATIONS: Sarah Hannah Fox (vocalist); Lousia and Percy Easdown (vocalists); Alfred Ford (vocalist)

[Advertisement], The Argus (10 April 1869), 8 

HERR ELSASSER'S SELECT SINGING CLASSES for LADIES. - NEW QUARTER for Wednesday's Evening Class COMMENCES April 21. Terms, £1 1s. in advance. 146 Collins-street east.

"MARRIAGES", The Argus (28 September 1869), 4 

ELSASSER - RAFF. - On the 25th inst., at 146 Collins-street east, Melbourne, by the Rev. Henry Higginson, Carl Gottlieb Elsasser, Prof. of Music, to Johanne Louise Raff, of Zerbst, Germany. No cards.

[Advertisement], The Argus (27 June 1870), 8 

HERR ELSASSER, Professor of Music, continues to give INSTRUCTION in Piano and Singing at his new residence, 30 Russell-street south, next the new Detective office.

"COMMUNICATED", The Australasian (3 May 1884), 18 

Everybody will regret to hear that Mr. C. G. Elsasser is sick unto death, and will never again be known in public to the many friends who have these many years been glad to welcome him on all occasions.

"THE ELSASSER BENEFIT CONCERT", The Argus (19 May 1884), 6

The name of the artist which heads this column has been known for many years in Melbourne as that of a good citizen, a well-gifted composer, and in all respects a most conscientious musician. It has been mentioned hundreds of times in these pages with almost invariable praise. Now comes the sad record of stricken mind and paralised body; the end of usefulness, and the dark close of an active, and in some sense a distinguished career. Of the esteem in which Herr Elasser is held the present widespread feeling of sympathy with his misfortune is laudable and significant evidence. The members of the musical profession in Melbourne were prompt to open their purses and offer the use of their talents for the assistance of himself and his family in their distress. A subscription-list is filling up, to which numbers are contributing outside of professional circles. The energetic committee, of which Mr. Julius Herz is the honorary secretary, had difficulty in keeping their concert programme within playable limits, because many more gifted ladies and gentlemen would have given their services to the entertainment on Saturday night than could have had room found for them. Amongst many names of original volunteers we are requested by Mr. Herz to state that the name of Mrs. Palmer was withdrawn from the programme for Saturday night through ill-health . . .

ASSOCIATIONS: Rosina Carandini Palmer (vocalist); Mrs. Armstrong = Nellie Melba (vocalist, only her second public performance); Julius Herz (musician)

"Deaths", The Argus (6 January 1885), 1 

ELSASSER. - On the 5th inst., at his residence, Burwood-road, Hawthorn, Charles Gottlieb Elsasser, professor of music, aged 67 years.

[News], The Argus (6 January 1885), 5

A well-known musician and an old colonist, Mr. Carl Gottlieb Elsasser, died yesterday at his residence, Hawthorn. He was struck by paralysis in April last, and never spoke after-wards. He seemed to be conscious of what was going on, and was able to take food, but had no means of making his wishes known. Mr. Elsasser came to this colony in 1853 with already acquired fame. He founded an Oratorio Society in Stuttgart, Germany, where he received his first musical training, and also filled several important posts. While still a young mun he left Germany lor England, and became director of music at a private college in Worksop, where he stayed for three years, and then came to Victoria. Mr. Elsasser was conductor of the Melbourne Philharmonic Society in 1861, and also of the first festival concerts of the German Turn Verein in 1862. He is best known, however, as the composer of cantatas and part songs. His pieces have been frequently played or sung by the Philharmonic Society, Melbourne Liedertafel, and Metropolitan Liedertafel, including the Wedding Cantata in honour of the Prince of Wales's marriage, performed at the banquet given by Sir Henry Barkly in 1863, and "Victoria's Dream," intended for the Melbourne International Exhibition of 1880. Mr. Elsasser died in his 67th year. He will be buried to-morrow, and the funeral will leave his late residence at half past 2 o'clock.

"NEWS OF THE DAY", The Age (6 January 1885), 5 

We regret to announce the death of Mr. C. G. Elsasser, the well known musician, who died at his residence, Burwood-road, Hawthorn, yesterday evening. The deceased gentleman was born at Stuttgart, Germany, and had made a name for himself as a musician in his native country before he left for Melbourne, where he arrived in 1853. Since then he has been prominently identified with Melbourne musical society, and at one time was one of the leading members in the Melbourne Liedertafel Society. Mr. Elsasser, who has been in failing health for some time past, has been prevented from following his profession during the past twelve months. The funeral will leave Mr. Elsasser's late residence at half-past two p.m. to-day, arriving at the Melbourne Cemetery about a quarter to four.

[News], The Argus (8 January 1885), 5

The funeral of an old colonist, a good musician, and respected citizen, took place yesterday afternoon in the Melbourne Cemetery, when the body of the late Carl Gottlieb Elsässer was committed to earth. The interment was made in that part of the cemetery already largely occupied by the dead of the Lutherans. The Rev. Pastor Herlitz performed the last office. There was a large attendance of young and old of both sexes. The immediate following had space provided for them to stand round the grave, and numerous spectators stood, outside the roped-in enclosure. Pastor Herlitz used the English tongue in reading the funeral service and the Scriptural passages customary for the occasion. The pall-bearers were Messrs. J. Herz, A. Küster, E. Simmonds, C. Berghoff, J. R. Edeson, J. Buddee, Todt, and H. Püttmann, and with these there was a large following of such members of the Metropolitan Liedertafel as were in town. At the moment the body was lowered into the grave there rose in the air the strains of the old German hymn, "Unter allen wipfeln ist ruh" - done into English by Edwin Exon, and commencing "Brother, now for ever farewell" - and the harmonies which swelled over the disappearing coffin suggested rest and peace for the liberated spirit. The Rev. Pastor Herlitz said he could assure all the friends of the deceased artist that their united action at the time of his seizure by his fatal illness - some nine months ago - had resulted in all his wants being anticipated, and that his final days were passed in the midst of the most tender care for his comfort. In reference to the particulars already published in our columns concerning the career of the deceased composer, special mention must be made of the "Sieges Cantata," composed by him in fervent mood on the conclusion ot the Franco Prussian War, and "Songs of Praise," a great choral work, which was sung at the Musical Festival in the Exhibition building about two years ago. The late Herr Elsässer was never a self-assertive man, but was at all times a true artist. He was a good teacher, and, amongst others the names of Miss Amelia Bailey (Mrs. R. S. Smythe), and Geraldine Warden will be remembered by those to whom the early development of young Australian talent remains as a precious memory. A fitting monument, plain and graceful, is to be erected in honour of Herr Elsässer on the spot where he lies buried. In a few days time subscriptions to this end will be invited. This matter will be in the hands of Mr. Julius Herz. The arrangements made by Mr. Sleight for the performance of the obsequies were perfect.

ASSOCIATIONS: Edwin Exon (translator, vocalist); Julius Buddee (musician); Hermann Puttmann (amateur musician); Geraldine Warden (former pupil)

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

Come be my partner quadrille (c. 1850-52)

Come be my partner, quadrille for the pianoforte (London: [s.n.], [c. 1850-52])

Copy at National Library of Scotland

The Lord is merciful (anthem) (1850)

The Lord is merciful and gracious, anthem, for solo and chorus, with organ or piano, op. 8 (London: Ewer & Co., [1850])

Copies at Bodleian Library (Oxford); Royal College of Music (London)

[Advertisement in back matter], Elijah, an oratorio . . . [vocal score] (London: Ewer & Co., [1852]), unpaginated (DIGITISED)

Elsasser, Charles, Anthem, The Lord is merciful and gracious, for Solo and Chorus, with Organ or Piano-forte, Op. 8. - 2. 0
Three Sacred Songs, with Piano-forte, Op. 9. No. 1. Faith; 2, Hope; 3, Charity [each] 2 0

See also, Catalogue of the library of the Sacred Harmonic Society (London: For the Society, 1853), 13 (DIGITISED)

[A Collection of Services and Anthems by various Composers. In score. Bound in 2 volumes. Folio.] . . .
Vol. II . . . The Lord is merciful - C. Elsasser . . .

Three sacred songs (? 1850)

Three sacred songs, with piano-forte, op. 9 (London: J. J. Ewer, [? 1850])

No. 1, Faith; 2, Hope


[No. 3] Charity (sacred song) (performed 1853; later edition c. 1870)

Charity, a sacred song, written and composed by C. Elsaasser (London: T. Broome, [c. 1870])

Copy at British Library

[Advertisement], The Argus (13 October 1853), 8 

MECHANICS' INSTITUTION, Thursday, October 13th, 1853. Second Sacred Concert . . .
Programme . . . Part II . . . Air - Charity - Miss Lewis - Chas. Elsasser . . .

ASSOCIATIONS: Annie Salamon (pianist; "Miss Lewis", vocalist); Thursday Concerts (series); Mechanics' Institution (Melbourne venue)

[Advertisement], The South Australian Advertiser [Adelaide, SA] (15 September 1858), 1 

MISS PETTMAN . . . will give a
GRAND CONCERT of SACRED MUSIC on Wednesday, the 15th inst. . . .
PROGRAMME . . . PART II . . . 9. Song - "Charity" - Elsasser . . .
Conductor - Herr Linger . . .

ASSOCIATIONS: Mary Ann Pettman (vocalist); Carl Linger (piano accompanist)

Remember me! polka (1851)

Remember me! polka, for two performers on the pianoforte, by Charles Elsasser (London: D'Almaine, [1851])


"Reviews of Music", The musical world (30 November 1851), 762 (DIGITISED)

"REMEMBER ME" Polka, for two performers on the pianoforte. Composed by CHARLES ELSASSER. D'Almaine and Co.
Simple in construction, simple in form, simple in tune, and simple in the accompaniment; and withal a lively and danceable polka. The theme is well divided between the two performers; and the polka itself would suit two fair players, anxious to join forces and entertain their friends in the ball-room. We rather like the idea of arranging a polka for four hands, and recommend it to be carried out furthermore.

Rondeau brillante a la polacca (1851)

Rondeau brillante a la polacca, pour le piano (London: D'Almaine, [1851])

Copy at National Library of Scotland

Various other works (composed or published before 1854)

[Advertisement], The Argus (19 April 1854), 6 

PIANOFORTE taught by Mr. Elsasser, whose Compositions, Songs, Pianoforte Pieces, Solos and Duos, Melodies (dedicated by permission to Prince Albert), Polkas, Waltzes, Quadrilles, may be had at Mr. Wilkie's Music Saloon.

ASSOCIATIONS: Joseph Wilkie (musicseller)

How sweet, how heavenly is the sight (song) (by 1857)


[Advertisement], Adelaide Times [SA] (18 August 1857), 3 

HERR LINGER . . . will give a
in WHITE'S ASSEMBLY ROOM, on the evening of WEDNESDAY, the 26th August . . .
PROGRAMME . . . PART II . . . 9. Song - "How sweet, how heavenly is the sight" - Elsasser . . .

ASSOCIATIONS: Carl Linger (musician); White's Rooms (Adelaide venue)

Praise the Lord (canatata) (1860)

Praise the Lord (a new cantata) (composed in Melbourne and dedicated to the society) [1860]

"The Melbourne Philharmonic Society: II", The Argus (13 January 1879), 6

. . . [1860 season] For the third concert, a new cantata composed in Melbourne, and dedicated to the society by Herr C. G. Elsasser, formed the first part. The solo portions were undertaken by Miss Bailey (Herr Elsasser's pupil), the Misses Mortley and Watson, and Messrs. Ewart and C. Blanchard, Master Johnson supplying Mrs. Batten's place for the alto. The work is scholarly throughout, the instrumentation admirable, the most attractive numbers being the chorus, "Holy, holy," a quartet and semi-chorus, "Bless the Lord, O my soul," and a contralto air, "My heart is glad." The committee were censured for their want of liberality in decreasing the orchestral force for the first performance of a work dedicated to their society. The composer conducted most ably, and received warm congratulations from the society and the press . . .

ASSOCIATIONS: Amelia Bailey (vocalist); Sarah Mortley (vocalist); Bertha Watson (vocalist); Thomas Ewart (vocalist); Charles Blanchard (vocalist); Master Johnson (vocalist); Mrs. Batten (vocalist); Melbourne Philharmonic Society (association)

Nur nicht verzagt (chorus) (1862)

[Melbourne news], The Star [Ballarat, VIC] (25 November 1862), 2 

. . . Early in the day [24 November 1862] the shops and business places of most of the German citizens were closed for the purpose of allowing the proprietors and workmen to attend the gymnastic and musical festival at Cremorne. This festival is the first of its kind in this colony . . . The "Vaterlandlied" by the chorus and orchestra was composed for the occasion by Mr. Hueuerbein, of Melbourne, and the "Nur Nicht Yerzazt" [sic] was also composed for the occasion by Mr. Elsaesser, the able leader of the orchestra . . .

ASSOCIATIONS: August Christian Huenerbein (composer)

Wedding cantata (1863)

Wedding cantata (in honour of the Prince of Wales's marriage, performed at the banquet given Sir Henry Barkly; words: E. Exon (1863); text only survives (as see below)

ASSOCIATIONS: Edwin Exon (lyrics)

"ROYAL MARRIAGE REJOICINGS . . . THE GOVERNOR'S BANQUET", The Argus (25 May 1863), 1-2 supplement

The banquet given by his Excellency the Governor took place at six o'clock p.m., at the Exhibition-building. About 200 gentlemen were present . . . A gallery was erected in front of the organ, and here, during dinner, Johnson's band was stationed . . . A fine selection of music was performed during dinner by Johnson's band. At the close of the repast grace was said by Dean Macartney, after which a march, composed in honour of the occasion by Mr. C. E. Horsley, was performed.
His EXCELLENCY then proposed the health of Her Majesty the Queen . . .
. . . the following ode, by Mr. E. Exon (set to music by Herr Elsasser), was performed by members of the Philharmonic Society:
(Opening Chorus.)
The world attends to mark a joyous scene,
And hear a people of the proudest name.
With solemn joy from heart to heart proclaim,
God hath made one our future King and Queen.
(Recitative - Soprano.)
Oh, Sovereign of thw World draw nigh!
For them to Thee thy children cry.
(Air - Soprano.)
Do thou their guide and guardian prove:
Pour out lor them in ceaseless springs,
The blessings of a people's love,
The favour of the King of Kings.
To him, with royalty of place,
Give royalty of soul, that he
May worthy of his lofty race
And of his princely father be.
On her as great a boon bestow;
May she as much our love command,
As the good Queen, whose name we know
A household word, throughout the land.
Peace - an unsetting sun, attend them;
Joys at their feet like rivers flow;
All powers of Heav'nly good befriend them.
And if they must some sorrow know,
Then, on "our most religious" throne
May God's own strength, in faith, be shown.
(Concluding Chorus.)
As crystal at the touch of light imparts
Returning brightness, - so from loyal hearts
Now may their bliss in wide reflections shine,
And in the Nation's joy be understood,
The love which England bears the Royal line.
Of Albert and Victoria the Good.

Various vocal ensembles (1863)

"THE GERMAN FESTIVAL", The Age (30 December 1863), 5 

The celebration connected with the gymnastic and musical associations of our fellow-colonists, the Germans, was continued yesterday at the Exhibition Building, by a concert, supper and ball . . . The concert was mainly devoted to the performance of original compositions, choruses, and quartettes for male voices. The committee of management had offered prizes for the best of such compositions, and a number had been sent in, the most excellent of which were selected for production at the concert . . .
First prize for the choruses was given to "Mein Tiehen," Mr. Elsasser, a silver cup given by the German Association in Collins street, with half a dozen of champagne . . .
The second Quartette prize fell to "Serenade," of which Mr. Elsasser is the author. He received several volumes handsomely bound.
The third chorus prize fell to "Wanderlied," by Mr. Elsasser, who received an elegant smoking cap . . .

Joy galop brilliant (1866)

Joy galop brilliant for the pianoforte by C. G. Elsasser (Melbourne: R. J. Paling; Sydney: W. H. Paling, [1866]); cover: "J. A. Engel, litho." (DIGITISED)  (DIGITISED - "fourth edition")

ASSOCIATIONS: Richard John Paling (musicseller, publisher); William Henry Paling (musicseller, publisher); John Alexander Engel (cover lithography); the music engraved probably in the Sydney workshop of John Degotardi (printer, engraver)

[Advertisement], The Argus (20 November 1866), 2s

NEW MUSIC - Just published, "Joy," Galop brilliant, by Herr Elsasser. R. J. Paling, publisher, 85 Collins-street.

Hoch Deutschland Hoch (cantata) (1871)

"TOWN NEWS", The Australasian (3 June 1871), 19 

The German residents in Melbourne have celebrated the conclusion of the great Franco-Prussian war, by holding a Deutsches Friedensfest or Peace festival, at Weber's Assembly-rooms. The whole of Monday afternoon was devoted to a concert . . . The principal feature of the musical performance was the production, by the associated German choral societies, of a cantata composed for the occasion by Herr Elsasser, entitled "Hoch Deutschland Hoch." This is a composition of such excellence as to deserve more than a passing notice. It is divided into seven numbers, and besides containing choruses for men's as well as mixed voices, it has solo parts for soprano tenor, and bass. Amongst these, one entitled "Aus der Todtenliste," sung by Mrs. Moule, produced a profound impression upon the audience. The other solo parts were borne by Mr. Behrend and Mr. Puttmann. The final double chorus, "Triumpf, Triumpf, Victoria," which is highly effective in construction, was encored, and had to be repeated. The pianoforte accompaniment was played throughout in most artistic style by Mr. E Ascherberg. At the conclusion of the cantata the composer was recalled, to receive the hearty applause of the audience . . .

ASSOCIATIONS: Eugene Ascherberg (pianist)

My hope is in thee (sacred song) (1876)

My hope is in thee (sacred song) (Melbourne: Allan and Co., [1877]) (DIGITISED)

ASSOCIATIONS: Allan and Co. (musicsellers, publishers)

[Advertisement], The Argus (30 December 1876), 12

. . . ALLAN and Co. Have also in the press, to be published in a day or two . . .
MY HOPE IS IN THEE, Song by C. G. Elsässer . . .

[News], The Argus (8 March 1877), 5

We have received from the publishers, Messrs. Allan and Co., Collins-street east, a sacred song entitled "My hope is in Thee," composed by C. G. Elsässer and dedicated to Miss Christian, R.A.M. An andante movement in 3 4 time in the key of G major, compass from D to D eight notes. Mr. Elsässer's compositions are always to be admired. His inspirations are invariably tuneful, and he distributes his harmonies with a liberal and tasteful hand. This song is quite characteristic of the composer's style.

ASSOCIATIONS: Mary Ellen Christian (vocalist)

Joy waltz (first performed 1877; published 1883)

Joy waltz; words by H. W. Puttmann; arranged by C. G. Elsässer (London; New York; Melbourne: Chappell & Co., [1883])

ASSOCIATIONS: Hermann Wilhelm Puttmann (words)

[Advertisement], The Argus (12 October 1877), 8

GRAND VOCAL and INSTRUMENTAL CONCERT In aid of the above fund, Under the auspices of the
PROGRAMME . . . PART II . . . 7. Part Song, " Joy Waltz," with orchestral accompaniment - Elsasser.
METROPOLITAN LIEDERTAFEL. Conductor, Mr. Julius Herz . . .

ASSOCIATIONS: Julius Herz (musician)

Love reigneth over all (waltz chorus) (composed by 1880; published 1883)

Love reigneth over all; waltz chorus for male voices; words by Edwin Exon; music by C. G. Elsasser (London: Chappell & Co., [1883])

Copy at Bodleian Library (Oxford)

Victoria's dream (cantata) (1880) and various short works


"THE TOWN-HALL, MR. ELSASSER'S CONCERT", The Argus (20 September 1880), 6 

With their perfect organisation and skilful management and having a worthy object in view, the members of the Metropolitan Liedertafel succeeded in filling the Town hall on Saturday night with a large and fashionable audience, the occasion being for the benefit of Mr. C. G. Elsasser, a composer of good repute who has long been intimately connected with the society. There were present a select chorus of fully 200 voices, a fine band with Mr. E. King as principal violin, Miss Rosina Carandini, Miss Christian, Mr. Armes Beaumont and Mr. Silvanus Angus as solo vocalists. Mr. Herz at the organ and Mr. Elsasser himself as conductor. The programme was made up principally of the works of the beneficiaire. The first part consisted of a new cantata called "Victoria's Dream;" and the second part included a grand march, a solo and chorus - "When sorrow sleepeth;" a ballad - "A Paradise for Thee;" and two vocal waltzes - "The Blue Danube," and "Love reigneth over all." The cantata is a recent composition, and the items we have named as belonging to the second part of the programme were all either composed or arranged by Mr. Elssaser . . .

ASSOCIATIONS: Edward King (leader); Rosina Carandini (vocalist); Armes Beaumont (vocalist); Silvanus Angus (vocalist)

See also advertised program, [Advertisement], The Argus (18 September 1880), 12 

And another review, "HERR ELSASSER'S COMPLIMENTARY CONCERT", The Age (20 September 1880), 3 

Songs of praise (cantata) (1882)


"SONGS OF PRAISE", The Argus (27 December 1882), 7 

This is the title of a sacred cantata, with words taken chiefly from Holy Scripture. The music is composed by C. G. Elsasser. We extract from the official programme the following description of the style of this work -
"The title, 'Songs of Praise, partly, but not quite completely, describes this work, for much as life is mixed with pain, the strains of praise are diversified and broken by supplications suited to seasons of varied and deep affliction, but praise predominates, and indeed is never absent, for every complaint lays firm hold upon assured promise, and every prayer is mingled with thanksgiving. On these guiding principles the words have been selected and they are taken chiefly from the text of Scripture, occasionally interspersed with verses from the Metrical Psalms and Chorales."
The useful handbook from which we quote does not say that this cantata was specially composed for the musical event which we are now celebrating. The work consists of 19 different numbers, in which occasional solos and concerted pieces for the solo voices vary the decided heaviness of the choruses . . .

Es kennt der Herr die Seinen (song) (published 1900)

Es kennt der Herr die Seinen (words: Philipp Spitta), in Deutsche Weisen: Die beliebtesten Volks- und geistlichen Lieder für Klavier (Stuttgart: Albert Auer's Musikverlag, [1900], no. 205, 166-67 (DIGITISED)

Other works:

The life of Handel (1859)

The life of Handel: a sketch, compiled by Charles Elsasser (Melbourne: Joseph Wilkie, [1859]) (DIGITISED) (DIGITISED)

ASSOCIATIONS: Joseph Wilkie (bookseller, musicseller, publisher); Handel centenary (event)

[Advertisement], The Argus (9 August 1859) 8

HANDEL'S CENTENARY. - The LIFE of HANDEL, by Chas. Elsasser. At Wilkie's, and the booksellers.

Bibliography and resources:

[Early history of] "The Melbourne Philharmonic Society: II", The Argus (13 January 1879), 6

. . . [For the 1861 season] Mr. Russell resolutely declined to continue in office, and Herr Elsasser was elected conductor . . . The election of Herr Elsasser propitiated the German element, and many valuable members, vocal and instrumental, returned to their allegiance. The season of 1861 opened on April 9 with the ever welcome "Creation" . . . Herr Elsasser proved himself a most efficient conductor . . .
A memorable event in the musical history of Victoria was the arrival of Charles Edward Horsley in December, 1861 . . . All classes joined in feeling that a new musical era had dawned for Melbourne. Herr Elsasser was among the first to recognise this, and at the society's adjourned annual meeting in February, 1862, he proposed Mr. Horsley as conductor. The proposal was unanimously carried . . .

ASSOCIATIONS: Charles Edward Horsley (musician); Melbourne Philharmonic Society (association)

Men of the time in Australia: Victorian series, compiled by H. Morin Humphreys (Melbourne: McCarron, Bird, 1882), xliv (DIGITISED)

Elsasser, Carl Gottlieb, musician. Born 7th June, 1817, in Hofingen, near Stuttgart, Germany. Received his first musical instruction from his father; afterwards from Dr. C. Kocher, organist and director of Music in Stuttgart; and finished his studies under the celebrated organist and composer, J. Schneider, in Dresden. Returning to Stuttgart, he founded an Oratorio Society, and performed many oratorios, cantatas, &c., especially Handel's "Israel in Egypt," which he scored for the occasion, no full score being obtainable. At a competitive examination for the appointment of an organist for the Royal Court Chapel in Stuttgart, he was, from among thirty-one candidates, placed second. In 1847, when the political troubles began in Germany, and the Royal Chapel-master, P. Lindpaintner, with the whole of the orchestra of the Court Theatre, were forbidden by the King of Wurtemberg to assist at any concerts of the citizens, Mr. Elsasser was appointed in his place to organise and conduct the concerts. Shortly afterwards he accepted an appointment as director of music at Dr. Heldelmaier [Heldenmaier]'s College in Worksop, England, which he held for three years, and then, after a short stay in Manchester, he left for Melbourne, where he has resided since 1853. He was elected conductor of the Melbourne Philharmonic Society for the year 1861, and also for the first festival concerts (1862) of the German Turn-Verein. At the second festival (1863) he carried off three of the highest prizes for vocal compositions. He has composed several cantatas, as: - "Praise the Lord," performed 1860 by the Melbourne Philharmonic Society; "Wedding Cantata," performed 1863 at the banquet given by Sir H. Barkly in honour of the Prince of Wales' marriage; "Peace Festival Cantata," performed 1871 by the Melbourne Liedertafel; "Victoria's Dream," cantata, performed 1880 by the Metropolitan Liedertafel. His most popular compositions are his part songs, which take a leading position in the programmes of the Metropolitan Liedertafel. Mr. Elsasser is an honorary member of the Melbourne Philharmonic Society, the German Turn-Verein, and the Metropolitan Liedertafel.

ASSOCIATIONS: Konrad Kocher (teacher); Johann Gottlob Schneider (teacher); Peter Lindpaintner (Hofkapellemeister)

Kenneth Hince, "Elsässer, Carl Gottlieb (1817-1885)", Australian dictionary of biography 4 (1972)

William P. Nash, Charles Elsasser: Elsasser's demise - Melba's rise (Heidelberg Heights: Innisfallen Press, 1993)

Paul Elliott & Stephen Daniels, "Pestalozzianism, natural history and scientific education in nineteenth-century England: the Pestalozzian institution at Worksop, Nottinghamshire", History of education 34/3 (2005), 295-313, esp. 301 (PAYWALL)

. . . Music formed a very important part of the curriculum with boys being encouraged to take part with staff playing or singing in sacred choral classics such as Haydn's "The Creation" and attending musical events in the town (note 10: Gloucestershire County Record Office, D873 C17, C19, Marling correspondence [MC], also contains a school exercise book, concert programmes, notes and letters by the Heldenmaiers; note 35: MC, 5, 13 Dec. 1847; 16 March 1848; 9 April 1848; 22 October 1848; 3 May 1849; 17 December 1849; 18 November 1849.)

ELSON, Mr. (Mr. ELSON; also Mr. ELSORE)

Musician, leader of the orchestra

Active Sydney, NSW, and Maitland, NSW, 1853 (TROVE tagged by Australharmony) (shareable link to this entry)


[Advertisement], The Sydney Morning Herald (13 May 1853), 1 

The inhabitants of Parramatta and its vicinity are respectfully informed that the Marionette Company (who during their performance in Sydney have elicited; the highest encomiums from the Press) will have the honour of appearing in Parramatta this Evening, and to-morrow, Saturday, 14th of May.
The Evening's programme will include several of the best pieces represented by the Marionettes in Sydney, besides which the Evening's Entertainments will be agreeably diversified by singing and the wonderful performances of the celebrated Wizard of the South.
For full particulars see small bills.
Conductor of the Orchestra, Mr. Elson . . .

ASSOCIATIONS: Royal Marionette Theatre (troupe)

[Advertisement], The Maitland Mercury and Hunter River General Advertiser [NSW] (28 May 1853), 3 

ROYAL MARIONETTE THEATRE!! Wit, Mirth, Fun, and Frolic!
The inhabitants of Maitland and its vicinity are most respectfully informed that the CELEBRATED MARIONETTE COMPANY, from the Adelaide Gallery, who for the last two years have elicited the highest encomiums from the press, and who have had the distinguished honor of performing three several times before her most gracious Majesty Queen Victoria, will have the honor of making their Third and Fourth Appearance in Maitland, THIS EVENING (SATURDAY), AND MONDAY, THE 30th OF MAY, at the Old Theatre, in the rear of the "Fitzroy Hotel."
It is perhaps necessary to state the building has been repaired and decorated, and every attention paid to ensure the comfort of the visitors.
The performance will commence with an Address to the Audience, by Mr. Albany Brown, the Manager.
After which will follow the Laughable Burlesque (performed thirty successive nights in Sydney) of BOMBASTES FURIOSO.
Comic Song - Mr. Bruton.
To be followed by the Laughable Operatta Burlesque of TOM THUMB.
Comic Song - Mr. Bruton.
The whole to conclude with THE PANORAMA OF CONSTANTINOPLE, which elicited such bursts of applause on its first representation.
On Monday the New Panorama, entitled A SCENE ON THE CORNISH COAST,
Illustrated with upwards of One Hundred Mechanical Figures, will be exhibited in place of Constantinople.
Conductor of the Orchestra - Mr. Elsore.
Doors open at Seven; Curtain rises at Half past Seven precisely.
Admission - Reserved Seats, 2s.; Back, 1s.

ASSOCIATIONS: James Bruton (actor, vocalist)

ELVY, Robert Hammond (Robert Hammond ELVY; R. H. ELVY)

Musicseller, music and musical instrument importer and retailer, music publisher

Born Kent, England, 1830; baptised Minster-in-Sheppey, Kent, 14 November 1830, son of Filmer John ELVY (d. 1838) and Jane NETTLETON
Active Melbourne, VIC, ? by 1855
Married Eliza Louisa HARDY (c. 1840-1916), common law by c. 1863; registered VIC, 1873
Active Sydney, NSW, 1863-64, trading as Wilkie, Elvy and Co.
Active Sydney, NSW, from 1864, trading as Elvy and Co.
Died Manly, Sydney, NSW, 23 February 1923, aged "92/93" (TROVE tagged by Australharmony) (shareable link to this entry) (TROVE tagged by Australharmony) (TROVE tagged by Australharmony)


Robert Elvy was shipping pianos into Melbourne in June 1859 and January 1860, from his base as an associate of Joseph Wilkie.

By March 1863, he had set up a Sydney branch of a firm to be known as Wilkie, Elvy, and Co., and in April began publishing local compositions, with Madame Jaffa's setting of Tennyson's Sweet and low, followed by Frederick Ellard's serenade I'm listening for thy voice love, and in May and June, Ernesto Spagnoletti junior's The Marion schottische, Douglas Callan's Manly Beach galop, and W. J. Macdougall's setting of Sheridan Moore's The beauty that blooms in Australia.

His son and business partner, Filmer William Elvy, probably born around 1863, died in Manly, NSW, on 3 December 1933, aged 70.

Elvy and Co, 321 George-street, Sydney

Elvy and Co., new music warehouse, 321 George-street (photograph, c. 1870s); State Library of New South Wales (DIGITISED)


Baptisms, Minster in Sheppey, Kent, 1830; Kent Archives Office, parish registers (PAYWALL)

14 November 1830 / Robert Hammond son of / Filmer and Jane / Elvy

ASSOCIATIONS: Filmer John Elvy married Jane Nettleton at Minster-In-Sheppey, Kent, on 19 July 1821; an earlier son also named Robert Hammond Elvy was born to Filmer John Elvy, printer, and his wife Jane and baptised at Sheerness, Kent, in 1825; he died at Minster-in-Sheppey in 1828

Melbourne, VIC (by ? 1855 and until ? 1862):

[Advertisement], The Argus [Melbourne, VIC] (12 April 1858), 1 

AN ASSISTANT REQUIRED, in the MUSIC business. Must be of good address and respectability.
Apply by letter, stating references, to Mr. Elvy, 15, Collins-street.

"SHIPPING INTELLIGENCE", The Argus (8 June 1859), 4

Alarm, from London . . . 2 cases, R. Elvy . . .

"SHIPPING INTELLIGENCE", The Argus (24 January 1860), 4

Southampton, from London . . . 4 cases pianos, R. Elvy . . .

[Advertisement], The Argus (19 October 1860), 8 

CORNISH-MADE MINING PUMPS and BOILERS. Apply to Mr. Elvy, at Mr. Wilkie's, 15 Collins-street.

ASSOCIATIONS: Joseph Wilkie (musicseller, ? employer)

[Advertisement], The Age (19 February 1861), 7 

IN the Will of William Selkirk, late of the City of Melbourne, outfitter, who died on or about the 7th day of February, 1860. -
Whereas the Supreme Court, of the colony of Victoria, ir. its Ecclesiastical Jurisdiction, did, on the 13th day of March, 1860, grant probate of the will of the said William Selkirk to Robert Elvy, of Collins-street, and Orlando Fenwick, of King street, the executors named in the said will . . .
ROBERT ELVY, Executor, 15 Collins-street.

[Advertisement], The Age (12 November 1861), 8 

THE GARIBALDI GOLD MINING COMPANY. Notice is hereby given that at a Special General Meeting of the members of the Company, convened for the purpose, and holden on the sixth November inst., it was resolved that the Company be, and the same was, by the said meeting, declared dissolved; and the undersigned were, by the same meeting, appointed a committee on behalf of the shareholders generally, for the purpose of selling the real and personal property of the company, discharging the liabilities, and for settling and winding up the affairs thereof.
Dated this 7th November, 1861. WM. S. GARLICK, ROBERT ELVY, JOHN MITCHELL.

Sydney, NSW (by 1863):

"CUSTOMS IMPORT ENTRIES. - FEBRUARY 27", The Sydney Morning Herald [NSW] (28 February 1863), 4 

. . . 3 pianos, Wilkie, Elvy, and Co. // 1 piano, A. Maxwell . . .

[Advertisement], The Sydney Morning Herald (9 March 1863), 1

NEW MUSIC and PIANOFORTE WAREHOUSE. 321, George-street, Sydney. -
Messrs. WILKIE, ELVY, and CO. have much pleasure in announcing to the residents of Sydney and its vicinity that they have opened the above premises for the sale of New Music, Pianofortes, Harmoniums, and Musical Instruments, and they trust that the advantages of a new and carefully selected stock, combined with an attentive system of business, will ensure them a liberal share of patronage.
As agents for the eminent firms of Messrs. Broadwood and Sons, S. and P. Erard, and Collard and Collard, of London, W., E., and Co. will be in receipt of regular shipments of Pianos, specially prepared for this climate by those makers, whose interests W., E , and Co. will protect (as well as those of the residents of New South Wales) by checking the vending of inferior instruments to which their names may be fraudulently attached.
In the Music Branch the public will have the advantage of W., E., and Co's business arrangements with the principal London publishers, and of a speedy communication with the old established house of Wilkie, Webster, and Co. in Melbourne.
Monthly parcels of musical novelties will be received per mail steamers, and special orders for particular pieces will be promptly attended to by W., E., and Co.'s London agent, and forwarded here when possible by the return mail steamer.
Messrs. Wilkie, Elvy, and Co.. will always endeavour to keep in stock a carefully selected variety of Pianofortes and Harmoniums by the best makers. Orders will be taken from the trade lists of all the most eminent manufacturers, by which a large commission will be saved to the purchaser.
W., E., and Co., with the view of inducing persons of moderate means to become possessed of a really good instrument - pianoforte or harmonium - will offer most easy terms of settlement by the system of instalments suited to the convenience of selectors.
Pianofortes or harmoniums will be let on hire, bought, sold, exchanged, or stored, and the repairing branch will be conducted by competent workmen.
W., E , and Co., as agents for Messrs. Hill and Sons and Messrs. Walker and Sons, the celebrated organ builders, are prepared to give estimates and receive orders for church or chamber organs, and will erect the same in any part of the colony on the most reasonable terms.
March 7th, 1863.

ASSOCIATIONS: Wilkie, Elvy and Co. (firm); Erard John Broadwood and Sons (London pianforte makers); Sebastian and Pierre Erard (Paris and London pianoforte and harp makers); Collard and Collard (London pianoforte makers)

[Advertisements], The Sydney Morning Herald (10 March 1863), 8 

CLASSICAL ARRANGEMENTS of Lurline, Lilly of Killarney, Dinorah, Satanella, Traviata, Trovatore, Robin Hood, Puritan's Daughter, Un Ballo in Maschera, Martha, Rigoletto, Lucrezia Borgia, and other operas, by Favarger, Madame Oury, Oesten, and other composers.
Also the above, arranged in books of airs, solos, and duets, by Callcott and others.
FAVARGER'S CLASSICAL PIANOFORTE PIECES. - Nordmann's, Oesten's, Talexy's, Osborne's, Lindahl's, Wallace's, Kuhe's, and Blumenthal's charming piano arrangements and compositions.
MAIDEN'S Prayer, the Companion, Answer, and other beautiful Pieces, by Badarzewska; original London editions.
D'ALBERT'S popular Waltzes, Polkas, and Quadrilles
Farmer's ditto ditto
Marriott's ditto ditto
Solos and Duets, the former beautifully illustrated.
BRINLEY RICHARDS' brilliant arrangements and compositions. - Annie Lisle, Ave Maria, L'adieu Annie, Bloom is on the Rye, Bee Song, Bonny Jean, Cheer, Boys, cheer, Come nel Ciel s'adoro, Cottage by the Sea, Campbells are coming.
La Donna e Mobile, Ethel, O'er the Hills, Ernani, the Echo, Fading away, Florence, Gentle Annie, Hundred Pipers, I never can forget, Light as Snow, Last Rose of Summer, Nightingale's Song, Maraquita, Monastery, Moonlight, Naiad's Spell, Muleteer's Song, New Year, Nelly Gray, Over the Sea, Pro Peccatis, Riflemen Form, Summer Bloom, Skipper and his Boy, Truth in absence, &c., &c.

[Advertisement], The Sydney Morning Herald (13 March 1863), 1 

LA DANSE DES FEES, morceau caracteristique by GODEFROID. WILKIE, ELVY, and CO., 321, George-street.
EILY MAVOURNEEN, I'm Alone, and other beautiful airs, from Lily of Killarney, arranged by Richards, Kuhe, and others. WILKIE. ELVY, and CO.

"VOCAL AND INSTRUMENTAL MUSIC", The Sydney Morning Herald (18 June 1863), 5 

The firm of Messrs. Wilkie, Elvy, and Co., of 321, George-street, Sydney, have published two neatly printed alphabetical catalogues of music - one an extensive collection of standard classical pieces and popular dances for the pianoforte, and the other a choice selection of operatic and popular songs, duets, glees, and part music, arranged for the same instrument. The united list of the compositions on sale at their establishment extends over upwards of fifty pages of octavo letter-press. We observe that this firm have recently published Mr. Frederick Ellard's pleasing serenade, "I'm listening for thy voice, love" (words by Mr. C. D. O'Connell), composed and dedicated to Mr. Henry Squires, and recently sung by that eminent vocalist at the grand concert at the Prince of Wales Theatre. The Marion Schottische, for the pianoforte, by Ernesto Spagnoletti, has recently been published by Messrs. Wilkie and Elvy, and also the Manly Beach Galop - with on excellent vignette, drawn on stone by E. Thomas - composed by Douglas Callen, and produced, as performed under the conductorship of the composer, by the band of the First Battalion Sydney Volunteer Rifles.

ASSOCIATIONS: Frederick Ellard (composer); Charles Daniel O'Connell (c. 1819-1891, lyricist); Ernesto Spagnoletti junior (composer); Douglas Callen (composer); Edmund Thomas (engraver)

"MUSICAL COPYRIGHTS. To the Editor of . . .", The Sydney Morning Herald (30 June 1863), 8 

SIR, - An impression has been current in this colony that there was no protection for English copyrights, and some persons have been in the habit of publishing in Sydney any piece of music that happened to be popular, quite irrespective of the rights, and much to the annoyance of the English composers and publishers.
Mr. Chappell, the eminent music publisher of Bond-street, London, being anxious to protect his own interests, represented the state of the case to his Grace the Duke of Newcastle, and received the annexed reply, which is so far satisfactory that we have received instructions from our correspondents to proceed against any persons invading their English musical copyrights in future. As the question is of some public importance, we venture to ask your insertion of this letter, and oblige
Your obedient servants,
WILKIE, ELVY, and CO., 321, George-street.
June 26th.

Downing-street, March 31st, 1863.
Sir, -I am directed by the Duke of Newcastle to acquaint you that your representation of the 19th instant was referred for the consideration of the Lords of the Committee of Privy Council for Trade, as it is peculiarly within their lordships' province to consider questions relative to the protection or the invasion of copyrights.
In reply, his Grace has been referred by their lordships to the 15th section of the Act to Amend the Law of Copyrights, 5 and 6 Victoria, cap. 45, which enacts that "if any person shall, in any part of the British dominions, after the passing of this Act, print, or cause to he printed, either for sale or exportation, any book in which there shall be subsisting copyright, without the consent in writing of the proprietor thereof," . . . . "such offender shall be liable to a special action on the case, at the suit of the proprietor of such copyright, to be brought in any court of record in that part of the British dominions in which the offence shall be committed."
By the second section of the same Act, the words "British dominions" are explained to include all the colonies, settlement, and possessions of the Crown.
Their lordships have further pointed out that the provisions of the Act in question, with respect to the importation into a colony of a foreign reprint of a work of a British author, have undergone some modification by the Act 10 and 11 Victoria, cap. 95, but that no alteration appears to have been made in the enactment before quoted.
It is, therefore, presumed that, under that enactment a British author would have his remedy in any colony in Great Britain against piratical publication.
I am, Sir, your obedient servant,
Mr. Thomas Chappell, 50, New Bond-street.

ASSOCIATIONS: Chappell and Co. (London music publishing firm)

[Advertisement], The Sydney Morning Herald (30 April 1864), 10 

ELVY and CO., in announcing that they are now selling MUSIC at one-third less THAN PUBLISHED PRICES,
would invite the attention of the musical public to their catalogues of STANDARD OPERATIC and popular songs, pieces, waltzes, quadrilles, galops, &c.,
containing those beautiful VOCAL GEMS from Lurline, Huguenots, Maritana, and the many other grand operas with which -
thanks to the charming rendering of them by LYSTER'S GRAND OPERA COMPANY -
the lovers of music are now so familiar, and of which E. and CO. will always endeavour to keep a supply.
E. and CO. would also bring under notice their large collection of OPERAS in piano and vocal scores; classical music and studies, masses, oratorios, church services, part music, theoretical works, instruction books for piano, harmonium, &c.;
music folios, manuscript books, paper, &c.
The LATEST MUSICAL NOVELTIES are regularly to hand, and special parcels of them are assorted for ready inspection.
E. and CO.'S establishment is conducted upon the system of the first LONDON HOUSES.
Every facility is afforded their customers for the trial of their music either in E. and CO.'S Piano or Harmonium SHOW ROOMS, or at their own residences.
Country orders are promptly attended to.
E. and CO.'S PIANO SHOW ROOMS are now full of the choicest instruments, from the eminent houses of
S. and P. ERARD
In walnut or rosewood cases.
The beautiful NEW PATTERN Broadwood's, and Collard's (the latter trichords, with lyre desks, and the finest we have yet received), are just unpacked.
The magnificent 7 octave COLLARD, and ERARD ROSEWOOD GRANDS, and all the above, will be sold AT WHOLESALE PRICES.
HARMONIUMS, the best Alexandre's, cheaper than ever.
Elegant stools, canterburies, and whatnots.
Pianofortes and Harmoniums thoroughly tuned and repaired.
Other instruments lent during the repairs.
Pianofortes taken in exchange.
Pianofortes carefully selected to country orders.
SPECIAL ARRANGEMENTS can be made for payment for pianos by instalments.
Wholesale and Retail General Music Warehouse, Pianoforte and Harmonium Sale Rooms, 321, George-street.
Fairy Vision Waltz, 2s. 8d.; songs from She Stoops, My Bud of May, 2s. 6d.; O, Constance, dear, 2s. 6d.; He'll miss me, 2s. 6d.
Harmony, excitement, sensation, and all the other popular galops, 2s. each.
ELVY and CO.

ASSOCIATIONS: Lyster Opera Company (troupe)

"COLONIAL PIANOFORTES", The Sydney Morning Herald (4 June 1864), 4 

It is always a source of pleasure to announce the development of manufacturing enterprise in the colonies, particularly when it promises to lead to permanent results. A short time since we extracted a paragraph from one of the Melbourne journals, announcing the fact that an establishment for the manufacture of pianofortes had been started in Melbourne, and we have seen an instrument made there which is now on view at the music warehouse of Elvy and Co., of George-street; and it may be an object of interest to the musical public to learn that notwithstanding the absence of "protective duties," instruments manufactured there can be sold cheaper than those of a similar quality imported from England. We are informed that it is not the mere setting-up of the material sent loose from England, but as much a purely colonial article as those of Broadwood are English. The instrument, made by Wilkie, Kilner, and Co., of Melbourne, is adapted for hot climates, and guaranteed. The case is made of Victorian blackwood, very rich in hue and of close grain. Though as compared with other instruments this is a low-priced article, the design is chaste, with neatly fluted silk front, and bronze sconces; it has also the French fall, and what is known as the patent key-board, or modern style of rounding the black keys, with a compass of 6 7/8 octaves. The tone, particularly the treble, is remarkably clear and even brilliant. The interior seems also to be finished off with the same neatness observable in pianofortes of London and Paris makes, and all the the improvements to secure strength and durability appear to have been introduced. It is stated that, a suitable colonial woods can be found of which to make the cases, the firm are in a position to turn them out at the rate of thirty per month. We cannot say whether such woods are to be found in New South Wales, but, doubtless, experiments will be made to test the matter - close grained and knotty wood, of a dark colour, is the kind required.

ASSOCIATIONS: Wilkie, Kilner, and Co. (Melbourne pianoforte makers)

"TO THE EDITOR OF . . .", The Sydney Morning Herald (18 March 1887), 9 

Sir, - Will you kindly allow me space in your paper to correct a mistake in paragraph headed as above in Monday's issue? [concerning] Our original Philharmonic (in which, my father and myself took an active part) . . . Should any modern musician wish to see some of the music that has been given here so long as 25 years since, I believe Mr. Elvy, George-street, has a great quantity of music in score belonging to the old Philharmonic . . .

ASSOCIATIONS: Correspondent ("One of the antique") and his father probably Montague and Charles Younger (members); Sydney Philharmonic Society (association)

"DEATHS", The Sydney Morning Herald (24 February 1923), 14

ELVY. - February 23, 1923, at his residence, Tregarth, 68 Raglan-street, Manly (and late of Kent, England) Robert Hammond, aged 92 years.

"LATE MR. ELVY: LEADING COMMERICIAL MAN", The Sydney Morning Herald (28 February 1923), 14

Mr. Robert Hammond Elvy, one of Sydney's oldest commercial men, died recently at his residence, Tregarth, Raglan-Street, Manly, at the age of 93 years. He was the originator and proprietor of the old-established pianoforte and music ware-house bearing his name. His courtesy and wonderful vitality - he only retired a few weeks ago - and his reminiscences of the early days, especially of Victoria, where in 1855 he helped to establish the firm of Wilkie and Elvy, now Messrs. Allan and Co., of Melbourne, made him a popular figure. In 1863 he came to Sydney, and established the firm of Elvy and Co., and was instrumental, with the late Mr. William Lyster, in bringing many operatic artists to Australia. The late Mr. Elvy was born in Kent, England, and had four grandsons on active service during the late war. He has left three sons and two daughters.

"LATE MR. R. H. ELVY", The Sydney Morning Herald (27 April 1923), 6

"DEATHS", The Sydney Morning Herald (5 December 1933), 8

ELVY. - December 3, 1933, at his residence, Navua, Woodland-street, Manly, Filmer William (Fill), beloved husband of Margaret Elvy, aged 70 years. Privately interred, Manly Cemetery, 4th inst.

See also, "MR. F. W. ELVY", The Sydney Morning Herald (5 December 1933), 10

"The Late Mr. F. W. Elvy", Catholic Freeman's Journal [Sydney, NSW] (21 December 1833), 26 

The death of Mr. Filmer William Elvy, managing director of Elvy and Company Limited, the old established musical instrument warehouse, we are sure will be regretted by a great many of the Catholic community. Born at Potts Point, where he lived for 45 years, and the latter 25 years of his life at Manly, he entered his father's business, which was established in 1863, as a young man; he took an active part in its management until shortly before his death . . .

Musical publications to c. 1865 (extant in red bold; non-extant in black bold):

Wilkie, Elvy, and Co. (1863-64):

Sweet and low (song) (Jaffa, 1863)


"NEW SONG", The Sydney Morning Herald (2 April 1863), 4

Tennyson's pretty lines "Sweet and Low" have been set to music by the talented pianiste Madame Jaffa . . . The publishers are F. Mader, and Wilkie, Elvy, and Co., and as a specimen of musical typography the copy before us is very creditable.

ASSOCIATIONS: Rebecca Jaffa (composer); Frederick Mader (musicseller, publisher)

[Advertisement], Empire [Sydney, NSW] (2 April 1863), 1 

Published by F. Mader; Wilkie, Elvy, and Co., Sydney; Wilkie, Webster, and Co., Melbourne; and to be had of all music-sellers.

Manly Beach galop (Callen, 1863)

Manly Beach galop, as performed by the 1st Battalion Sydney Volunteer Rifles, composed by Douglas Callen (Sydney: Wilkie, Elvy & Co.; Melbourne: Wilkie, Webster & Co., [1863]); "Lithographed by J. Degotardi" (DIGITISED)

ASSOCIATIONS: Douglas Callen (composer); John Degotardi (engraver, lithographer, printer); Wilkie, Webster, and Co. (musicsellers, publishers)

[Advertisement], The Sydney Morning Herald (15 April 1863), 8 

JUST PUBLISHED. - The MANLY BEACH Galop, by Douglas Callen, as played by the Volunteer Band in the Botanic Gardens, price 2s. 6d. WILKIE, ELVY, and CO.
NEW GALOP. - We have just published Mr. DOUGLAS CALLEN'S admired MANLY BEACH Galop, beautifully illustrated. WILKIE, ELVY, and CO.
MANLY BEACH GALOP. - Just published, beautifully illustrated, price 2s. 6d. WILKIE, ELVY, and CO.

"NEW MUSIC", Empire (18 April 1863), 5 

Mr. Douglas Callen . . . has just issued "The Manly Beach Galop" . . . The imprint bears the name of Degotardi, a surety that the music is engraved and printed in the best style. The title page exhibits a well executed lithograph of the beach at Manly, from a drawing by Thomas . . . The music is published by Messrs. Wilkie, Elvy, and Co., the well-known firm - the rendezvous of the musical world at Melbourne; they have recently opened a very elegant salon de musique in George-street.

ASSOCIATIONS: Edmund Thomas (artist)

Australia's wedding march (Marsh, 1863)

Advertised only; edition was never issued

[2 advertisements], The Sydney Morning Herald (16 May 1863), 10 

IN THE PRESS, and will shortly be Published, AUSTRALIA'S WEDDING MARCH,
composed in honour of the approaching celebration of the marriage of H.R.H. the Prince of Wales, by HENRY MARSH. WILKIE, ELVY, and CO . . .
WE HAVE made arrangements with Mr. HENRY MARSH for the publishing and sale of his popular Dance Music. WILKIE, ELVY, and CO.

ASSOCIATIONS: Henry Marsh (composer); Edward (prince of Wales)

Marion schottische (Spagnoletti junior, 1863)


[Advertisement], The Sydney Morning Herald (26 May 1863), 6 

MARION SCHOTTISCHE, by Ernesto Spagnoletti, just published, price 2s.. WILKIE, ELVY, and CO.

ASSOCIATIONS: Ernesto Spagnoletti junior (composer)

I'm listening for thy voice love (Frederick Ellard, 1863)

I'm listening for thy voice love (serenade) words by Charles D. O'Connell, esq., composed & dedicated to his friend Mr. Henry Squires, by Frederick Ellard (Sydney: Wilkie, Elvy & Co.; Melbourne: Wilkie, Webster & Co., [1863]) (DIGITISED)

ASSOCIATIONS: Frederick Ellard (composer); Charles Daniel O'Connell (c. 1819-1891, lyricist); Henry Squires (vocalist, dedicatee)

[Advertisement], The Sydney Morning Herald (27 May 1863), 8 

I'M Listening for thy Voice. Love. This beautiful song, composed by F. Ellard, and dedicated to Henry Squires, Esq., will be published in a few days. WILKIE, ELVY, and CO.

[Advertisement], The Sydney Morning Herald (15 June 1863), 1 

PUBLISHED THIS DAY. - I'm listening for thy voice, love; this charming serenado by Frederic Ellard, as sung by Mr. Henry Squires; Price 2s. WILKIE, ELVY, and CO.

The beauty that blooms in Australia (song) (Macdougall, 1863)

The beauty that blooms in Australia, a song, as sung by Madame Flora Harris, words by J. Sheridan Moore, music by W. J. Macdougall, most respectfully dedicated by poet & composer to the ladies of Australia (Sydney: Wilkie, Elvy & Co., 1863); cover: "Allan & Wigley, litho. printers . . ." (DIGITISED)

ASSOCIATIONS: William James Macdougall (composer); Joseph Sheridan Moore (lyrics); Flora Harris (Mrs. Moore, vocalist); Allan and Wigley (printers)

[Advertisement], The Sydney Morning Herald (31 July 1863), 6 

JUST READY, and will be published on SATURDAY, 1st August,
"The Beauty that Blooms in Australia" (a song), being No. 1. of "Australian National Melodies;"
the Words by J. SHERIDAN MOORE, the Music by Macdougall. Price 2s. 6d.
WILKIE, ELVY, and CO., George-street.

Come where my love lies dreaming (Cutolo, first edition, 1863; new edition 1865)

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]), cover: "J. Degotardi" (DIGITISED - 1st edition)

ASSOCIATIONS: Jacob Richard Clarke (musicseller, publisher); Lewis Moss (musicseller, publisher)

[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.

Come where my love lies dreaming, sung by Christy's Minstrels, arranged for the pianoforte, and dedicated to his pupils, by Cesare Cutolo, new edition (Sydney: Elvy & Co., [1865]) (DIGITISED)

[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.
ELLARD'S Song - I'm listening for thy Voice, love, 2s. ELVY and CO.

See also extensive advertisement for Elvy's imported music directly above the cited advertisement

Guiding star waltz [My guiding star; Guiding star waltzes] (Henry Marsh, 1863)

NO COPY OF THIS EDITION IDENTIFIED; but see later edition (c. 1868) (DIGITISED)

[Advertisement], The Sydney Morning Herald (7 November 1863), 4 

JUST PUBLISHED, the GUIDING STAR Waltzes, by Mr. Henry Marsh. Price 3s. WILKIE, ELVY, and CO.

The Australian New Year's march (Sothern, 1864)

The Australian New Year's march, by John Russell Sothern, organist of the Hunter's Hill church, to Lieut. Colonel Kempt, of Her Majesty's 12th Regiment, this composition is respectfully dedicated (Sydney: Wilkie, Elvy, & Co., [1864]); cover: "Clarson, Shallard, & Co, printers" / "A. Grocott, litho." (DIGITISED)

ASSOCIATIONS: John Russell Sothern (composer); John Francis Kempt (dedicatee); Clarson, Shallard, and Co. (printers); Alonzo Grocott (lithographer)

"THE NEW YEAR'S DAY MARCH", The Sydney Morning Herald (31 December 1863), 5 

It is gratifying to notice that our local musicians are turning their attention to composition, and generally with very creditable success. A march, bearing the above title, and composed by Mr. J. R. Sothern, has been published by Wilkie, Elvy, and Co., and has been most favourably spoken of . . . The march is dedicated to Colonel Kempt, and is a very creditable specimen of musical lithography.

[Advertisement], The Sydney Morning Herald (31 December 1863), 6 

JUST Published, the AUSTRALIAN NEW YEAR'S MARCH, by J. R. Sothern. Dedicated to Lieutenant Colonel Kempt, of the XII. Regiment. WILKIE, ELVY, and Co , George-street.

Elvy and Co. (from 1864):

The Electra galop (Miss Stevenson, 1864)


"THE ELECTRA GALOP", The Sydney Morning Herald (27 May 1864), 4 

The above galop, composed by Miss Stevenson, has just been published by Messrs. Elvy and Co., of George street . . . The Electra Galop is dedicated to "Belles of Sydney," which for the sake of those who have pecuniary interest in the publication, we trust will be found a large section of the fair portion of our community.

ASSOCIATIONS: Miss Stevenson (composer)

The new Prince Imperial quadrilles (Henry Marsh, 1864)

The new Prince Imperial quadrilles, composed expressly for the new figures as danced at the public balls, by Henry Marsh (Sydney: Elvy & Co., [1864]) (DIGITISED)

[Advertisement], The Sydney Morning Herald (23 September 1864), 8 

"THE NEW PRINCE IMPERIAL QUADRILLES, just published, price 3s. ELVY and CO.

Canst thou not read this mute appeal? (Cutolo, printed by Boosey, 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)

ASSOCIATIONS: Boyle Travers Finniss (lyrics)

[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.

Oh, gently breathe (Cutolo, printed by Boosey, London, England, 1864)

Oh! gently breathe, souvenir of the Christy Minstrels' visit to Australia, arranged for the piano by Cesare Cutolo (Sydney: Elvy & Co., [1864]) 

ASSOCIATIONS: Cesare Cutolo (composer); Christy's Minstrels (troupe arrived 1863); see also under later cover: (DIGITISED)

"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 . . . 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 (15 October 1864), 10 

CUTOLO'S Oh gently breathe. Come where my love. Trovatore - Can'st thou not read the mute appeal - vocal duet. ELVY and CO.

The irresistible galop [Nervous cures irresistible galop] (Read, 1865)

NO COPY OF THE FIRST EDITION IDENFITIED; but see later Elvy edition:

The irresistible galop for the pianoforte, composed . . . by Mrs. C. Read (Sydney: Elvy & Co., [c. late 1870s]) (DIGITISED)

ASSOCIATIONS: Eliza Read (composer)

[Advertement], The Sydney Morning Herald (16 February 1865), 6 

THE NERVOUS CURES GALOP, by M. Younger, 1s. 6d. W. J. JOHNSON and CO., 232, Pitt-st.
NERVOUS CURES GALOP, now ready, price 2s. ELVY and CO.

"MUSIC AND DRAMA", The Sydney Morning Herald (18 February 1865), 8 

. . . In musical publications there has been little doing beyond a couple of adaptions of the "Nervous cures" for dance - one by Mr. M. Younger, and the other by J. R., - the latter published by Elvy and Co. . . .

The message (Jaffa, 1865)


[Advertisement], The Sydney Morning Herald (18 February 1865), 2 

MADAME JAFFA'S admired Song, "The Message," will be published in a few days. ELVY and CO.

"NEW MUSIC", Sydney Mail (4 March 1865), 2 

We have received a copy of a new song entitled "The Message," the words by the late Miss Adelaide Procton [sic, Proctor], and the music by the talented pianiste Madame Jaffa . . . Another piece - the very opposite to the above in character - has also been forwarded to us, and this is the transformation of the celebrated "Nervous Cures" of the Christy's into an excellent galop, arranged by a well known pianist of this city, who, however, is content, in the present instance, with the extremely modest initials of S. R. . . . Both pieces are published by Elvy and Co., of George-street.

Bibliography and resources:

Prue Neidorf, A guide to dating music published in Sydney and Melbourne, 1800-1899 (M.A. thesis, University of Wollongong, 1999), 163-64 (Elvy and Co.), 243 (Wilkie, Elvy and Co.) (DIGITISED)

ELZE, Mr. C. (Herr ELZE; Mr. ELZE; Mr. C. ELZA; ? Herr ELLYER; ? Herr ELLIOTT) = ? Carl ESTHER

Musician, contra bass player, double bass player

Active Melbourne, VIC, 1853 (shareable link to this entry)


A contra basso player named Elze appeared in John Winterbottom's band in Melbourne in March 1853, and again to play for George Chapman in April.

A Herr Ellyer was also billed to play contra basso with Winterbottom's band in Sydney at the same time in April; and, although the same person could not have appeared in both cities, it is possible that Ellyer and Elze were the same person, and that he only fulfilled one or other engagement.

A Herr Elliott also appeared playing contra bass for Carl Richty in Ballarat, VIC, in August 1857.

However, ruling out Elliott above, could "Elze" correctly be identified as the contra bass player Carl Esther, active in Beechworth, VIC, by March 1857?


Melbourne, VIC (March and April, 1853):

[Advertisement], The Argus [Melbourne, VIC] (12 March 1853), 12 

CIRCUS, Top of Bourke-street, east.
WINTERBOTTOM'S BENEFIT, Monday Evening Next, March 14th . . .
MONSTER CONCERT For which he has engaged the whole of the Musical celebrities in the Colony,
and . . . the entire Band of the 40th Regiment, Conducted by Mr. Johnson.
PROGRAMME . . . PART I. Overture - Zampa - Herold . . .
First time, GREAT EXHIBITION QUADRILLE, By Jullien . . .
PROMENADE CONCERTS . . . will be continued for ONE MONTH LONGER! . . .
Cornet-a-Piston - Signor Maffei.
Contra-Basso - Herr Elze.
Flute - Mr. Thatcher.
Ophecleide - Mr. Hartigan.
Clarionet - Mr. Johnson.
Bassoon - Mr. Winterbottom . . .
Admission - One Shilling. Dress Circle - Half-a-crown.

ASSOCIATIONS: John Winterbottom (conductor); Henry Johnson (musician, master, 40th band); Joseph Maffei (musician); Joseph Hartigan (musician, 40th band); Charles Thatcher (musician); Band of the 40th Regiment (military); Noble's Circus (Melbourne venue)

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

GRAND PROMENADE CONCERT, Circus, Top of Bourke-street, east.
ON MONDAY EVENING, 21st instant. JAMES ELLIS . . . has the honor to announce . . . that his BENEFIT is fixed as above, on which occasion will be given a GRAND MONSTER CONCERT, supported by nearly One Hundred Performers . . .
Principal Instrumentalists . . . Mr. Tucker, violin;
Herr Elze, contra-basso . . .
Dress circle - Five Shillings. Promenade - Half a Crown.
THIS EVENING . . . Conductor, Mr. J. Winterbottom. Admission - One Shilling.

ASSOCIATIONS: James Ellis (proprietor); Edward Tucker (musicians)

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

THE first of a series of Two Concerts will take place at the above Hall, on Monday Evening, 25th inst.,
under the direction of Mr. George Chapman . . . Leader - Mr. Fischer.
The Band will consist of the following talented Performers:
Violins - Messrs. Fischer, Strebinger, and Thomson. Viola - Mr. Thomas.
Basso - Messrs. Elze and Hardman . . .

ASSOCIATIONS: George Chapman (director); Mr. Fischer (violin); Frederick Strebinger (violin); Herbert Thomas (viola); Daniel Hardman (double bass); "Melbourne Philharmonic Society" (association, precursor); Protestant Hall (Melbourne venue)

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

Protestant Hall, THIS EVENING, WEDNESDAY, 27th April . . .
Leader - Mr. F. Fischer. Director - Mr. G. Chapman.
THE Band will consist of the following talented performers: . . .
Basso - Mr. C. Elze and Mr. Hardman . . .

? Herr Ellyer (Sydney, NSW, April 1853):

[Advertisement], The Sydney Morning Herald [NSW] (19 April 1853), 1 

ROYAL HOTEL. GRAND PROMENADE CONCERTS a la JULLIEN, open for the first time on MONDAY next, April 25, for one month only,
SOLO INSTRUMENTALISTS. Pianoforte - Mr. Henry Marsh.
Bassoon - M. Winterbottom. Violin - M. Tucker.
Contra Basso - Herr Ellyer.
Flute - Richardson. Saxhorn - M. Stople Evans.
CORNET-A-PISTON - M. Henri Durant.
CONDUCTOR - M. Winterbottom . . .

ASSOCIATIONS: Henry Marsh (piano); John James Mallcott Richardson (flute); Frederick Evans Sloper (sax horn); Henry Durant (cornet); Royal Hotel (Sydney venue)

? Herr Elliott (Ballarat, VIC, 1857):

[Advertisement], The Star [Ballarat, VIC] (17 August 1857) 3

THIS EVENING - MONDAY, And every evening during the week,
A MONSTER BAND, The solo performers consisting of -
Herr Richty, Monsieur Fleury, and Herr Weideman, 1st violins . . .
. . . Herr Elliott, Contra Bass . . .
Leader of the Band, HERR RICHTY.

ASSOCIATIONS: Carl Richty (leader, violin); Achille Fleury (violin); Traugott Wiedermann (violin); John Gibbs (proprietor); Charlie Napier Theatre (Ballarat venue)


Musician, professor of Music, pianist, arranger, publisher, music retailer

Born London, England, c. 1814 (? 30 January 1814); son of Emanuel EMANUEL (c. 1780-1856) and Julia Rebecca MYERS (c. 1778-1854)
Married Eliza ABRAHAM, Great Synagogue, London, England, 10 May 1836
Arrived Sydney, NSW, 11 June 1841 (per Psyche, from London)
Died St. Kilda, VIC, 6 May 1907, in his 94th year (TROVE tagged by Australharmony) (shareable link to this entry)

EMANUEL, Eliza (Elizabeth ABRAHAMS; Eliza; "Dinah"; Mrs. Abraham EMANUEL)

Musician, vocalist

Born London, England, c. 1818 (? 16 July 1818); daughter of Moses ABRAHAMS and Betsy ?
Married Abraham EMANUEL, Great Synagogue, London, England, 10 May 1836
Arrived Sydney, 11 June 1841 (per Psyche, from London)
Died Ballarat, VIC, 22 March 1872, aged "53/54" (TROVE tagged by Australharmony) (shareable link to this entry)


Amateur musician, vocalist, ? pianist, dentist, dental surgeon

Born London, England, c. 1816; son of Emanuel EMANUEL (c. 1780-1856) and Julia Rebecca MYERS (c. 1778-1854)
Arrived Sydney, NSW, 12 May 1842 (per Bencoolen, from the Downs, 8 January)
Married (1) Caroline ABRAHAMS (d. 1855), Sydney, NSW, 26 April 1843
Married (2) Rosetta SLOMAN, York-street Synagogue, Sydney, NSW, 3 June 1857
Died Surry Hills, NSW, 6 July 1882 (TROVE tagged by Australharmony) (shareable link to this entry)


Amateur musician, vocalist, dentist

Born Exeter, England, c. 1838; son of Abraham EMANUEL and Eliza ABRAHAMS
Arrived Sydney, 11 June 1841 (per Psyche, from London)
Died Sydney, NSW, 27 October 1923, aged "85" (TROVE tagged by Australharmony) (shareable link to this entry)

EMANUEL, Eliza (Elizabeth EMANUEL; Eliza; Miss EMANUEL; Mrs. Morris BENTWITCH)


Born Sydney, NSW, 1842; daughter of Abraham EMANUEL and Eliza ABRAHAMS
Married Morris BENTWITCH, Stephen-street Synagogue, Melbourne, VIC, 27 December 1865
Died London, England, 5 October 1913 (TROVE tagged by Australharmony) (shareable link to this entry)

EMANUEL, Carrie (Caroline; Miss Carrie EMANUEL; Carry; Madame MENDELSSOHN)

Musician, vocalist, teacher of singing

Born Sydney, NSW, 8 May 1849; daughter of Abraham EMANUEL and Eliza ABRAHAMS
Married Emanuel MENDELSSOHN (c. 1850-1910), Bourke-street Synagogue, Melbourne, VIC, 23 December 1874
Died Maida Vale, London, England, 17 January 1915 (TROVE tagged by Australharmony) (shareable link to this entry)


Abraham Emanuel, a former pupil of the pianist and composer John Cohan (himself a pupil of Ferdinand Ries), had recently been in business in Exeter, Devon, as dealer in cigar, stationery and musical instruments, when, in April 1839, then of Bury-street, Bevis-marks, London, he was imprisoned as an insolvent debtor. He was a son of the diamond merchant and jeweller, Emanuel Emanuel, then also in business at 7 Bury-street, Bevis-marks, St. Mary Axe (see also Westgarth 2009, 94-95), and probably also related to (? a cousin of) the Emanuel Brothers (Morris, Michael, and Henry), silversmiths and goldsmiths, of the same address.

Emanuel first advertised in Sydney as a "Professor of the Piano Forte" on 29 June 1841. He and his wife, Eliza, made their first appearances before a Sydney audience at John Philip Deane's concert on 14 July. Eliza sang two solo songs, almost certainly with Abraham accompanying, Hodson's Oh give me but my Arab steed in the first half, and, in the second, Bishop's recitative and romance Orynthia, my beloved from The noble outlaw. According to W. A. Duncan in the Chronicle she:

made her debut with success, and we think she will yet do better. Her voice is good, but her articulation is indistinct, and she wants a little finishing in other respects.

Other reviews were less favourable, and Eliza did not appear again as a public vocalist until 1851. Abraham, however, played again at the Bushelles' concert in September 1841.

In February 1844, Eliza and Rosetta Hartnell, a dancing mistress, opened a seminary for young ladies, with Abraham as music tutor. The school continued to advertise, though without Hartnell, until July.

Abraham appeared again in concert as pianist for the Gautrots in July 1846.

In 1847 he began importing stock for the "Pianoforte and Music Repository" that he opened at 22 Hunter-street.

On 8 May 1849, Eliza gave birth to their daughter, Caroline, who in the early 1870s became the popular and operatic vocalist Carrie Emanuel.

In July and August 1850, Abraham gave a series of three concerts with William Abercrombie Sigmont, featuring a new patent harmonium, which he had recently imported.

Together with Eliza, and Caroline Pyne, as vocalists, and with the assistance of George Hudson and his City Band, Abraham presented a series of weekly "Casino" promenade concerts from March 1851. As further publicity, in August he published The casino polka, "Arrainged [sic] by A. Emanuel" and "Dedicated to the patrons of his fashionable weekly entertainment at the Royal Hotel".

In February 1852, he issued Glover's song A young lady's no from his retail premises, now at 5 Hunter-street.

The Emanuels moved permanently to Victoria in 1864, living in Melbourne until 1871, Ballarat (where Eliza died in 1872) until the early 1880s, and again in Melbourne.

An owner bound album of sheet music, that probably originally belonged to Abraham's brother John Emanuel, is now in the Stewart Symonds sheet music collection, Sydney Living Museums. A copy of James Grocott's 1850 edition of By the sad sea waves is inscribed to John by his sister-in-law, Eliza ("Presented to J. Emanu[el] by Mrs. A. Emanuel . . ."). A copy of The shop on fire, a parody of Russell's The ship on fire, is inscribed "John Emanuel".

DISAMBIGUATION: Louis Emanuel (English composer), a Plymouth-born band master, who from 1845 was music director at Vauxhall Gardens. His song The desert ("composed expressly for Mr. Farquharson") appears in concert programs during the 1860s sung by Robert Farquharson and others. Also by Louis Emanuel, are The syren and friar and The Diana waltz

"TELEGRAPHIC", The Courier [Brisbane, QLD] (7 March 1864), 2


England (to 1841):

[Advertisement], Windsor and Eton Express [Berkshire, England] (23 April 1836), 1 (PAYWALL)

BEG leave to inform the Nobility, Gentry, and Inhabitants of Eton, Windsor, and their vicinities,
that an Establishment now open for the SALE and HIRE of Stodart's Patent PIANOFORTES;
also every Publication of Merit as soon as published London.
Best Italian and English Harps; violin and guitar Strings; also every other article appertaining to Music.
A. E. and Co. also beg to observe, they intend devoting part of their time in giving Lessons on the Pianoforte, Flute, &c.
P.S. An experienced Pianoforte Tuner and Repairer, from Messrs. Broadwood and Stodart's, resides on the premises. - Charge the same as in London -
Squares and Harmonics - 4s. Cabinets - 5s. Grands - 7s.

Marriages, Great Synagogue, London; Synagogue scribes, GSM 314/39 

10 May 1836 / Abraham Emanuel son of [Hebrew name: Menachem Menke Emanuel] / and Elizabeth [Mata] Abraham daughter of [Moshe]

[Advertisement], Western Times [Exeter, Devon, England] (5 April 1838), 3 (PAYWALL)

A. EMANUEL, Professor of the Piano Forte, begs to call the attention of the Nobility, Gentry, and the Musical Public of Exeter, and county of Devon, to his
SPLENDID COTTAGE PIANOS, admirably adapted for singing, which A. E. positively asserts he can offer at 35 per cent. cheaper than any other Establishment in this part of England.
A. E. also begs to observe in offering his Instruments to the Public, that they are not made up to deceive the eye, they are quite first-rate, warranted made of well-seasoned wood, and to stand in tune above concert pitch, which is the greatest proof of their durability, and on the most minute examination and acute judgment, will be found for workmanship, brilliancy of tone and touch, equal to any instruments the kingdom.
A. E. lastly begs to state to those Ladies and Gentlemen who may honour him with their patronage, that from the many years has had giving lessons on the Piano Forte in London, flatters himself competent of facilitating the progress of his Pupils, and that no attention on his part shall be wanting to merit continuance of the same.
Terms for giving Lessons on Piano Forte Six Guineas per Year.
Quadrille Parties attended.
Letters addressed post-paid will be punctually attended to.
SCHOOLS - Four Guineas - Half an Hour each Lesson - Two Lessons a Week.
All the musical publications including all the modern operas, and every musical work of merit as soon as published in London.

[Advertisement], Exeter and Plymouth Gazette [Devon, England] (1 September 1838), 2 (PAYWALL)

THE FOUR CELEBRATED HUNGARIAN SINGERS HAVE the honor to announce to the Nobility, Gentry, and the Public general, of Exeter and its Vicinity, that in consequence of the great applause they have received, and the general satisfaction which has been expressed at their performance at the Clarence hotel, they have been induced to give
A GRAND EVENING CONCERT AT THE THEATRE, Monday Evening next, September 3, 1838, for the gratification the public large; on which occasion they will repeat their celebrated and admired Pieces, and many of their popular National Melodies.
The Hungarian Singers have the pleasure to announce that the Band of the Theatre hare kindly offered their valuable services to play some of their admired Overtures.
Mr. EMANUEL will preside at the Piano Forte . . .

[Advertisement], Western Times (13 October 1838), 2 (PAYWALL)

A. EMANUEL'S Musical Repository, 81, Fore street, Exeter.
A. EMANUEL, Professor of the Piano Forte, begs to call the attention of the Nobility, Gentry, and Musical Public of Exeter, and the Western Counties, to an early inspection of his
SPLENDID COTTAGE PIANOS, that he is now selling at 36 Pounds Each.
6 octave in Rosewood, or Spanish Mahogany Cases, French Polished, not to be purchased at any other Establishment in this part of England, under from 55 to 60 Guineas, thereby insuring the enormous Saving of from 20 to 25 Guineas on each Piano.
These Instruments are warranted made of well seasoned wood, to stand tune up to concert pitch, and for workmanship, brilliancy of tone and touch, not to be surpassed by any Instruments made in the Kingdom.
A. E. also begs to state that from his peculiar connexions in London he is enabled to supply either Cabinets, Grands, or Semigrand Piano Fortes, possessing every beauty of tone and workmanship, and quite equal to any" manufactured, at 40 per cent, lower than any other Establishment in this part of England.
A. E. wishing to show the public his liberal principle doing business, begs to say that any Piano Forte sold by him, if not approved of, by any reasonable fault fairly substantiated, will be readily exchanged or cash returned upon payment of the hire.
N. B. - Terms for giving Lessons on the Piano Forte Six Guineas per annum.
Evening and Quadrille parties attended.

"COURT FOR THE RELIEF OF INSOLVENT DEBTORS. Wednesday the 1st day of May 1839", The London gazette [England] (3 May 1839), 945 (DIGITISED)

Abraham Emanuel, late of Bury street, Bevis-marks, London, out of business, formerly of Exeter, Devonshire, Dealer in Cigars, Stationer, and Dealer in Musical Instruments. - In the Debtors' Prison for London and Middlesex.

"INSOLVENT DEBTORS. Wednesday, May 1, 1839", The jurist (4 May 1839), 352 (DIGITISED)

Abraham Emanuel, Bury-st., Bevis-marks, dealer in musical instruments: in the Debtors' Prison for London and Middlesex.

Sydney, NSW (11 June 1841 to 1 November 1864):

"ARRIVALS", The Sydney Herald [NSW] (12 June 1841), 2

From London, same day [yesterday], the barque Pysche, [Psyche] Captain Somerville, with merchandise. Passengers - Mr. and Miss Solomon, Mr. and Mrs. Emanuel and two children, Mr. Levy, Miss Lee, Mr. Hart, Mr. Phillip, and Mr. Barnett.

[Advertisement], The Sydney Herald (29 June 1841), 3

MR. A. EMANUEL, Professor of the Piano-forte, respectfully informs the Gentry and Inhabitants of Sydney, and its vicinity, that he will be most happy to give instruction in the above art, and trusts by strict attention and punctuality to his pupils to merit a share of their patronage.
For terms apply at his residence in Pitt-street (four doors from King-street), or at Mr. Ellard's Music Saloon, George-street.
Mr. E. will have no objection to attend Seminaries.

ASSOCIATIONS: Francis Ellard (musicseller)

"ORATORIO", The Australian (3 July 1841), 2 

. . . Mr. Deane has announced a Concert for next Friday under most distinguished patronage . . . A lady just arrived in the Colony (Mrs. Emanuel) will assist on this occasion, and from the flattering terms in which we have heard amateurs speak of her singing, we feel extremely anxious to judge for ourselves.

ASSOCIATIONS: John Philip Deane (musician)

"DEANE'S CONCERT", The Sydney Herald (13 July 1841), 2 

Tomorrow evening we perceive by the advertisement that Mr. Deane is to give a grand concert vocal and instrumental at the Theatre, and the programme seems to promise well. Amongst the vocalists we perceive the name of Mrs. Emmanuel. Our musical friends are all, we understand, on the tiptoe of expectation to hear this lady, of whom report speaks highly, and we hope she will exceed all that is expected of her, as we sadly want some good additions to this line, seeing that we can only boast of one prima donna in Sydney - Mrs. Bushelle - though she is not likely soon to be outrivalled . . . The Governor and Lady Gipps will be present.

ASSOCIATIONS: Eliza Bushelle (vocalist); George and Elizabeth Gipps (governor and wife); Royal Victoria Theatre (Sydney venue)

[Advertisement], The Sydney Herald (14 July 1841), 1 

MR. DEANE begs to inform his friends and the Public, that . . .
his CONCERT of Vocal and Instrumental Music, on a very extensive scale, will take place at the Theatre Royal,
on WEDNESDAY, the 11th July, 1841.
VOCAL PERFORMERS - Mrs. Bushelle, Miss Deane, and Mrs. Emanuel (being her first appearance) . . .
Leader of the Orchestra - Mr. Wallace; Conductor - Mr. Leggatt . . .
PART I . . . 1. Song - Arab Steed - Mrs. Emanuel (her first appearance in public) . . .
PART II . . . 5. Song - Orynthia, my beloved - Mrs. Emanuel . . .

ASSOCIATIONS: Rosalie Deane (vocalist, pianist); Spencer Wellington Wallace (leader, violin); Thomas Leggatt (conductor)

MUSIC: Oh give me but my Arab steed (Hodson); Orynthia, my beloved (Bishop, from The noble outlaw)

"MR. DEANE'S CONCERT", Australasian Chronicle (15 July 1841), 2

This entertainment took place last evening in the presence of a full and respectable audience, and went off with the usual eclat that attends Mr. Deane's praiseworthy endeavours to gratify the public. Mrs. Emanuel made her debut with success, and we think she will yet do better. Her voice is good, but her articulation is indistinct, and she wants a little finishing in other respects . . . There was also some good piano playing by Mrs. Prout, Miss Deane, and Mr. Emanuel . . .

ASSOCIATIONS: William Augustine Duncan (reviewer); Maria Prout (pianist)

"THE CONCERT", The Sydney Monitor (16 July 1841), 2

Mr. Deane's Concert, on Wednesday Evening, attracted a numerous and highly respectable audience . . . The Debutante Mrs. Emanuel, has a pleasing voice, which with cultivation may be made effective . . .

"Summary of Public Intelligence", The Sydney Gazette and New South Wales Advertiser (17 July 1841), 3

. . . It is not our intention to offer any lengthened remarks on the various performances of the evening, suffice it to say that as a whole the affair was dull in the extreme. Mr. and Mrs. Bushelle exerted themselves to please, and were encored to their heart's content; in Mrs. Emanuel the audience were disappointed. We have heard it stated that the reason of her failure was owing to the effects of a cold she was labouring under, and which destroyed her powers of execution as a vocalist, which report states are very considerable . . .

ASSOCIATIONS: John Bushelle (vocalist)

[News], The Australian (17 July 1841), 2 

. . . We had, moreover, two first appearances in Mrs. Emanuel and Master Muzio Deane. The lady sang two songs, and her debut, with other circumstances, being taken into account, acquitted herself very creditably. She has unquestionable capabilities as a singer, requiring only a little time for their more favourable developement. We would, however, beg to direct her attention to the obtaining of that indispensable quality in a singer - a clear distinct enunciation. Mrs. Emanuel, with her husband, who we understand is particularly well qualified as a pianoforte instructor, must undoubtedly be considered a desirable acquisition . . .

ASSOCIATIONS: Charles Muzio Deane (violinist)

"DEANE'S CONCERT", The Sydney Herald (17 July 1841), 2 

. . . Next came the debutante of the night, Mrs. Emmanuel [sic], whose good looks gained her more attention than her singing, which we are sorry to say was somewhat of a failure. It is probable, that by hard study she might be able in time to make a tolerable display, though her voice wants both power and compass; but her chief deficiency is in scientific skill. For example, she articulates so unintelligibly that we could scarcely make out a single word of the song, and this alone, if she had a voice like an angel, would in these days of true science, be enough to marr her success . . .
Mrs. Emmanuel, we are sorry to say, did but little justice to Bishop's "Orynthia, my beloved;" it would require her at least twelve months' study to be able to sing this song even tolerably . . .

[Advertisement], The Sydney Herald (20 August 1841), 1 

. . . MR. A. EMANUEL, Professor of the Pianoforte . . . at his residence, Market-street west.

[Advertisement], The Sydney Herald (22 September 1841), 3

. . . FAREWELL CONCERT, Royal Victoria Theatre, WEDNESDAY, 22nd September, 1841,
which day is also appointed for the Horticultural and Floral Exhibition.
MR. AND MRS. BUSHELL will on this occasion make their last public appearance in Sydney . . .
Instrumental Performers - Mrs. Prout, Mr. S. Wallace, Mr. Leggatt, Mr. Deane, Mr. J. Deane, Mr. E. Deane, Mr. Wallace, sen., Mr. Sippe, Mr. Walton, Mr. Emanuel, Mr. Portbury, Mr. Downes, Mr. Pappin, Mr. Westrop, the rest of the Theatrical Orchestra,
and . . . BAND of the 80th REGIMENT, under the superintendence of Mr. Egerton.
Leader, Mr. S. W. Wallace; Conductor, Mr. Leggatt . . .

ASSOCIATIONS: John Deane (violinist); Edward Smith Deane (musician); Spencer Wallace senior (musician); George Sippe (musician); Humphrey William Walton (musician); Benjamin Portbury (musician); Stephen Pappin (musician); Zachariah Westrop (musician); Samuel Edgerton (master, 80th band); Band of the 80th Regiment (military)

[Advertisement], The Sydney Herald (27 October 1841), 3 

. . . Mr. A. Emanuel, Professor of the Pianoforte, Clarence-street.

"SHIPPING INTELLIGENCE. ARRIVALS", The Sydney Herald (14 May 1842), 2 

FROM London, yesterday, having left the Downs, the 8th of January, the barque Bencoolen, Captain McArthur, with merchandise. Passengers . . . Mr. Emanuel . . .

[Advertisement], The Australian (21 June 1842), 3 

ARRIVAL. MR. J. EMANUEL, SURGICAL and MECHANICAL DENTIST, begs to inform the Gentry and Inhabitants of New South Wales, that, having arrived from Paris, he intends practising as above . . .

[Advertisement], Australasian Chronicle (21 June 1842), 3 

. . . Mr. Emanuel, Professor of the Pianoforte, Wyatt's Buildings, Castlereagh-street.

"MARRIED", The Sydney Morning Herald (28 April 1843), 3 

On Wednesday, the 26th April, according to the Mosaic Law, John Emanuel, third son of Emanuel Emanuel, Esq., of Lamb's Conduit-street, London, to Caroline Abrahams, second daughter of Abraham Abrahams, Esq., late of Port Phillip.

[Advertisement], The Sydney Morning Herald (14 February 1844), 3

MESDAMES EMANUEL and HARTNELLE beg leave to inform the elite of Sydney, they have opened a Seminary for Young Ladies, where they hope by unremitted attention to their pupils to meet with a proportionate share of patronage.
Mesdames E. and H., in addition to their general routine of education, henceforth will comprise the French language, without any extra charge . . .
A limited number of Boarders will be received.
N.B. - Mr. A. Emanuel, Professor of Music, will superintend that accomplishment . . .

ASSOCIATIONS: Rosetta Myers Hartnell (teacher, dancing instructor)

[Advertisement], The Australian (1 June 1844), 4 

MRS. A. EMANUEL begs to inform the Gentry and Inhabitants of Sydney, that she continues to receive Pupils at her Establishment as above.
Mrs. A. E. has much pleasure to acquaint her patrons and others, that she has engaged a professional Gentleman of eminent talents, who will instruct her pupils the French Language, Writing, Arithmetic, and Drawing . . .
Mr. A. Emanuel, Professor of Music, will Superintend that department.
A limited number of Boarders will be received at 30 guineas per annum, washing included.

"BIRTHS", The Sydney Morning Herald (22 May 1846), 4 

On the 18th instant, in Prince-street, the wife of Mr. A. Emanuel, Professor of Music, of a son.

ASSOCIATIONS: Benjamin Emanuel (d. 1919)

[Advertisement], The Sydney Morning Herald (29 July 1846), 1 

MONS. AND MDME. GAUTROT have the honour to inform their friends and the residents of Sydney, that their
FAREWELL CONCERT will take place THIS DAY, the 29th instant, in the Saloon of the Royal Hotel . . .
Principal Vocal Performers - Madame Bushelle, Madame Carandini, Madame Gautrot, and Gentlemen Amateurs . . .
Mr. A. Emanuel will preside at the Pianoforte . . .

ASSOCIATIONS: Joseph and Madame Gautrot (violinist and vocalist); Maria Carandini (vocalist); Royal Hotel (Sydney venue)

"IMPORTS", The Sydney Morning Herald (1 November 1847), 2

October 30. - Hamlet, barque, 420 tons, Captain Wilson, from London . . . 3 cases pianofortes, A. Emanuel . . .

[Advertisement], The Sydney Morning Herald (22 December 1847), 3 

has much pleasure to inform the musical public, that he has received, by late arrivals, several Pianofortes direct from the above celebrated makers, which he will be happy to let on hire.
For particulars enquire at his residence, Macquarie-place, at the rear of Reiby House.

[Advertisement], The Sydney Morning Herald (21 January 1848), 1

MR. A. EMANUEL, Professor of the Pianoforte, most respectfully informs the gentry and public of Sydney and its environs, that he has received by the latest arrivals, a fashionable and varied selection of elegantly illustrated New Music, including the most favoured songs of the celebrated Jenny Lind, &c.
Mr. E. trusts his having taught the Pianoforte in this city for the last seven years will suffice that the importation will please the musical taste of the public generally.
Mr. Emanuel begs particularly to observe, that being in regular correspondence with one of the first music publishers in London, he will be happy to take orders for any certain music on receiving half-payment at the time the order is given.
Mr. E will continue to receive quarterly supplies of the newest publications, including every successful Opera, and all musical works of merit.
Pianofortes lent on hire; and repaired, bought, sold, and taken in exchange.
Mr. Emanuel will be happy to receive and effect sales of Pianofortes for those persons wishing to dispose of the same.
His only charge will be five percent, commission.

[Advertisement], The Sydney Daily Advertiser (19 September 1848), 3 

AN ORGAN FOR SALE. - A FIVE Barrelled Organ,
plays four sets of quadrilles from Puritani, Bronze Horse, and La Venittiene [sic, La Venitienne];
eight waltzes, two galloppes, and overture to Massaniello and Market Chorus.
An instrument of this kind would be invaluable to a family residing in the bush.
The quadrilles and waltzes are selected from the most pleasing and celebrated operas.
The lowest cash price, £13; cost £40.
For sale at MR. EMANUEL's Musical Repository, 22, Hunter-street.

[Advertisement], The Sydney Morning Herald (25 November 1848), 1 

MR. A. EMANUEL, Professor of the Pianoforte, respectfully informs his musical friends and the public in general, that he has received ex Volunteer, a case of new and fashionable Music, including an immense variety of charming morceaux, but in consequence of his removal to No. 161, Elizabeth-street, Mr. E. has appointed Messrs. Kern and Mader, of Hunter street, agents for the sale of the same, where it will be on view on Monday next, the 27th instant.

[Advertisement], The Sydney Morning Herald (7 February 1849), 1 

PIANOFORTE FOR HIRE. MR. A. EMANUEL, Professor of the Pianoforte,
wishes to inform the public, that he has constantly on hand first rate instruments for the above purpose.
Further particulars of Mr. E. Terms for instruction on the Pianoforte may be known at his residence, 161, Elisabeth-street, two doors south of Market street.
- For Sale, a superior New Grand Square by Collard and Collard, with patent repeater action.

"BIRTH", The Sydney Morning Herald (9 May 1849), 4

On the 8th instant, at her residence, Elizabeth-street North, the lady of Mr. A. Emanuel, Professor of Music, of a daughter.

[Advertisement], The Sydney Morning Herald (17 December 1849), 3 

MR. A. EMANUEL, Professor of Music,
has pleasure to inform the musical world, that he has just received, ex St. George, his annual supply of new music.
It consists of beautifully illustrated Polkas, Waltzes, Quadrilles, &c.;
Ballads in great variety, German Songs (English version),
and an immense selection of various pianoforte pieces expressly ordered by Mr. E , suitable for the Sydney ladies.
On view at Messrs. Kern and Mader's, stationers, Hunter-street, who are appointed Mr. E.'s agents for the sale of his New Music.
N. B. - Jousse's Pianoforte Instruction Books, 5s. each.

ASSOCIATIONS: Kern and Mader (stationers)

[Advertisement], The Sydney Morning Herald (17 July 1850), 1 

Patronised by the Royal Family. Medal of Honour granted by the Courts of France, Spain, Belgium, and Russia.
MR. A. EMANUEL, Professor of Music, being the importer of the above, with much pleasure begs respectfully to inform the Musical World, that he intends giving a series of Grand Musical Entertainments at the Royal Hotel in conjunction with Mr. Sigmont, who will perform a variety of the most pleasing and popular Music on this delightful and charming instrument, and producing its various effects.
The first entertainment will take place on Wednesday, the 24th instant.
Admission, Two Shillings. Programmes of the performance will be published . . .

ASSOCIATIONS: William Abercrombie Sigmont (musician)

[Advertisement], The Sydney Morning Herald (25 July 1850), 1 

MESSRS. EMANUEL AND SIGMONT'S first Musical Entertainment and grand performance on the Patent Harmonium will take toke place at the Royal Hotel,
THIS DAY, THURSDAY. the 25th instant.
1. Introduction to the grand Opera Norma, March and Prayer, patent harmonium - Mr. Sigmont.
2. Italian Air, Opera, Tancred! - Rossini - Madame Gautrot.
3. The celebrated Pestal Air with variations, duet, harmonium - Messrs. Emanuel and Sigmont.
4. English Ballad - Mr. Sigmont.
5. New Russian Polka (just arrived), pianoforte and harmonium - Messrs. Emanuel and Sigmont.
6. Cavatina - Italian - Rossini - Madame Gautrot.
7. Wild Flower Waltzes - Julien (just arrived), harmonium and pianoforte - Messrs. Emanuel and Sigmont.
1. Chorus - Handel, harmonium - Messrs. Emanuel and Sigmont.
2. Fantasia, pianoforte - Mr. Sigmont.
3. English Ballad - Mr. Sigmont.
4. Beethoven's celebrated Romance Adelaide, wind instrument effects - Messrs. Emanuel and Sigmont.
5. Grand Scena Francais - Herold, violin obligato - Mad. and Mons. Gautrot.
6. New set of Quadrilles, harmonium and pianoforte - Messrs. Emanuel and Sigmont.
7. Comic Song - Mr. Sigmont.
8. The celebrated Drum Polka - Julien, harmonium and pianoforte - Messrs. Emanuel and Sigmont.
Admission 2s. Commence at 8 o'clock.

"CONCERT", The Sydney Morning Herald (2 August 1850), 3 

This evening, at the Royal Hotel, Messrs. Emmanuel and Sigmont give their second concert on that surprising and beautiful instrument, the harmonium.

[Advertisement], The Sydney Morning Herald (10 March 1851), 1

MR. A. EMANUEL, Professor of Music, begs to inform the Musical World that he intends giving a series of the above entertainments at the Royal Hotel, the first to take place on Wednesday, the 19th instant, and be continued weekly during the winter season.
Mr. E. has for the occasions, engaged the City Band, under the able leadership of Mr. Hudson; and also with much pleasure, begs to mention that he has entered into an engagement with Mrs. Pyne, just arrived from the London, Bath, Bristol, and Clifton concerts, who will make her first debut before the Sydney public.
Mrs. Emanuel, by the particular request of many friends, has kindly consented to assist as vocalist and will make her first appearance.
Mr. Emanuel will be happy to give a gentleman with a tenor or baritone voice an engagement for the season.
Apply at his residence, Palmer-street North, ten doors from William-street.

ASSOCIATIONS: George Hudson (musician); Caroline Pyne (vocalist); City Band (association)

[Advertisement], The Sydney Morning Herald (19 March 1851), 1 

This Evening, Wednesday, the 19th Instant, AT THE ROYAL HOTEL.
City Band - Cavatina de Norma - Bellini
Song - Mrs. Pyne, There's no Music like the Drum - Loder
Band - Quadrilles - Les Echo.
Song - Mrs. Emanuel, The Rich Man's Bride by the author of Will you love me Then as Now?
Band - Favourite Polka - Lenter
Song - Mrs. Pyne, Of what is the old Man thinking - Knight
Band - By the margin of fair Zurich Waters
Song - Mrs. Emanuel, Yes, I have dared to love Thee.
* * The JUVENILE ETHIOPIAN SERENADERS will make their first appearance, and go through the following Programme:
Prize Concertante, introducing the Nightingale Polka and Victoria Scotisch, by Banjo, Flutina, Tambo, and Bones.
Favourite Negro Melodies - Dandy Jim of Caroline, Stop dat Knocking, Don't believe in Stephen, Black Eyed Susannah, Dandy Broadway Swell, Oh Susannah.
De ole to conclude wid de neber to be broken down grap vine twist Railway Gallope.
Band - Albert Scottisch
Song - Mrs. Pyne, Love lurks in a laughing eye - Smith
Band - Set of Waltzes from the opera of the Bohemian Girl
Song - Mrs. Emanuel, the Prayer of the Nation - Balfe
Band - Ethiopian Quadrilles
Song - Mrs. Pyne, They tell me Thou'rt the favoured Guest - Balfe
Band - Drum Polka
Finale - God Save the Queen.
Commence at eight o'clock. Admission two shillings; children, half-price.

MUSIC: The rich man's bride (Glover)

"MR. EMANUEL'S PROMENADE CONCERT", Bell's Life in Sydney and Sporting Reviewer (29 March 1851), 2 

We were reluctantly compelled to defer our notice of Mr. Emanuel's concert last week. The performance went off with considerable effect; the announcement of a debutante, in the person of Mrs. Pyne from the English Provincial Concerts, being one of the principal attractions. This lady possesses a soprano voice of moderate compass, and sang very sweetly the touching ballad "Of what is the Old Man Thinking." With a little more confidence, she may become in the course of time a favorite with the Sydney public. Mrs. Emanuel also came forward as an amateur songstress, and sang with much feeling and effect the ballads of "The Rich Man's Bride" and "Yes, I have dared to love thee;" "The Prayer of the Nation" also was done great justice to, and deservedly received an encore. The audience was further entertained by the Juvenile Ethiopian Serenaders - Master Walter Howson on the banjo, Master Wallace on the accordion, and Masters Emanuel on the bones and tambourine. Hudson's very efficient Band was in attendance, and gave general satisfaction. We understand these entertainments will be continued (see advertisement) after the manner of the "Casinos," now held in such repute in London and Paris; dancing being introduced between the songs, in lieu of promenading; and from the fact of the charge for admission for the future being but nominal, we fully expect that a well-filled room will be the reward of Mr. Emanuel's exertions to promote the amusements of the Sydney community.

ASSOCIATIONS: Walter Howson (serenader); Arthur Frederick Wallace (serenader); Moses Emanuel and perhaps Benjamin (b. 1846 above)

"DEATHS", The Sydney Morning Herald (5 April 1851), 5

Mr. John Cohan, a native of this town [Liverpool, England], and a pianiste of great talent, died lately, at his father's residence, South Castle-street, after a brief illness of three days, brought on by extreme study and assiduity in his profession. Mr. Cohan had been for several years resident in London, where his talents procured him many friends and pupils. - Liverpool Times. - This gentleman was for some years the highly esteemed and respected Music Master of Mr. Emanuel, Professor of Music, of this City.

ASSOCIATIONS: John (Isaac) Cohan (c. 1805-1850) had arrived in London from Liverpool by 1831 if not earlier

See, "DEATHS", The gentleman's magazine (December 1850), 675 (DIGITISED)

Oct. 22. At Liverpool, aged 45, John Cohan, the celebrated pianist and composer.

"MUSICAL EVENTS", The illustrated London news (2 November 1850), 354 (DIGITISED)

. . . John Cohan, the pianist and composer, a pupil of Ries, died at Liverpool a few days since . . .

See also, "DEATH OF JOHN COHAN, THE PIANIST (To the Editor of . . . )", The musical world (26 October 1850), 695 (DIGITISED)

DEAR SIR, It is with deep regret I have to announce to you the death of our poor friend John Cohan, who expired on Wednesday last, at his father's residence in Liverpool, after a brief illness of three days. He had left London for Liverpool some time since, for change of air, having been afflicted with a complaint which at times affected his nervous system. Extreme study, and assiduity in his profession, no doubt brought him to this state. Never did creature labour more zealously in his art to render him self worthy of a niche in the Temple of Fame. From morning early till late at night, when it did not interfere with his teaching; in hot or cold weather, he worked away at the piano as if his very existence depended on his immediate exertions. He had acquired great command over the instrument, and was possessed of a good deal of sound natural ability. His talent gained him a large circle of friends, and he had as much teaching as he could possibly devote time to.
No human being, I may safely venture to affirm, was ever more respected and loved in private life than poor John Cohan. He was kind-hearted, simple-minded, and was envious of no man. This should be the epitaph on his tomb. He is deeply lamented by his family, and universally regretted by his friends and acquaintances.
I remain, Sir, yours very truly,
HENRY RUSSELL, 10, Prescott-street, City, Oct. 26.

ASSOCIATIONS: Ferdinand Ries (teacher); Henry Russell (vocalist, musician)

[Advertisement], The Sydney Morning Herald (9 April 1851), 1

1. Introductive Operatic airs - City Band.
2. Vocal duet - "Blow gentle Gales" - Mrs. Emanuel and Mr. Barton - Loder.
3. Song - "Where the Bee sucks" - Mrs. Pyne - Dr. Arne.
4. Song - "Philip the Falconer" - Mr. Barton - Loder.
5. Song - "Tell me my Heart" - Mrs. Emanuel - Loder [sic, Bishop].
6. Song - "My Mother bids me bind my hair" - Mrs. Pyne - Haydn.
7. Song - "Here's to the Maid with the love laughing eye" - Mr. Barton - Macfarren.
8. Song - "Thou art gone from my gaze" - Mrs. Emanuel - Linley.
9. Duet - "The Syren and Friar" - Mrs. Pyne and Mr. Barton - Emanuel.
1. Set of Quadrilles.
2. Polka.
3. Deux Temps Waltz.
4. Scottische.
5. Set of Quadrilles.
6. Polka.
7. Spanish Waltz.
8. Scottische.
9. Set of Quadrilles.
10. Polka.
Doors open at half-past seven. Concert to commence precisely at eight o'clock. Dancing at nine.
Tickets of admission, One Shilling - to be had only of Mr. Sparks, at the Royal Hotel.

ASSOCIATIONS: Mr. Barton (vocalist); John Sparke (proprietor)

MUSIC: Tell me my heart (Bishop); Thou art gone from my gaze (Linley)

[Advertisement], The Sydney Morning Herald (23 April 1851), 1

MR. A. EMANUEL'S PROMENADE CONCERT and Concert Dansante, This Evening, Wednesday, April 23rd, at the Royal Hotel.
PROGRAMME. CONCERT. PART 1. 1. Introduction - City Band
2. Vocal Duet, "I know a Bank" - Mrs. Emanuel and Mrs. Pyne - Horn
3. Song, "The Bonnie Wee Wife" - Mrs. Pyne - Mrs. Miles
4. Cavatina, "Summer" - Mrs. Emanuel. - Blockley
5. Song, "The Old Farm House" . Mr. Barton - Hime
6. Cavatina, "I'll Follow Thee" - Mrs. Pyne - Farmer
7. Song, "The Gipsies' Mystery" - Mrs. Emanuel. - Horn
8. Song, "Old Dobbin" - Mr. Barton - Blockley
9. Song, "The Daisy" - Mrs. Pyne - Glover
1. Polka
2. First Set of Quadrilles
3. Circular Waltz
4. Scottische
5. First Set of Quadrilles
6. Polka
7. Spanish Waltz
8. Scottische
9. First Set of Quadrilles
10. Polka.
Doors open at half-past seven, Concert to commence precisely at eight o'clock. Dancing at nine.
Tickets of admission, One Shilling. To be had only of Mr. Sparkes, at the Royal Hotel.

"IMPORTS", The Sydney Morning Herald (18 April 1854), 4 

April 17. - Harlequin, from London . . . 5 cases pianofortes, A. Emanuel . . .

"DEATHS", The Sydney Morning Herald (31 March 1855), 7 

On the 26th of December last, at her residence, Sloane-street, Belgrave-square, London, aged 76, Mrs. Julia Rebecca Emanuel, the affectionate mother of the Messrs. A. and J. Emanuel, of this city.

"IMPORTS", The Sydney Morning Herald (12 April 1855), 4 

April 11 - Washington Irving, from London . . . 8 cases pianos, A. Emanuel . . .

"DEATHS", The Sydney Morning Herald (6 December 1855), 8 

On Wednesday, the 5th instant, aged 29 years, Caroline, the beloved wife of Mr. J. Emanuel.

"CLEARANCES", Empire (25 December 1855), 4 

December 24. - Vimeria, ship, 1037 tons, Captain J. Green, for London, Passengers - . . . Mr. and Mrs. A. Emanuel, and 4 children . . .

Last will and testament of Emanuel Emanuel, proved London, England, 15 August 1856; UK National Archives, PROB11/2237 (PAYWALL)

This is the last will and testament of me Emanuel Emanuel . . . diamond merchant . . .
out of the aforesaid goods and property unto my two other sons Abraham Emanuel residing at Sydney and John Emanuel now residing at Hobart Town the sum of two hundred pounds each . . .

"DEATHS", The Sydney Morning Herald (27 October 1856), 1 

At his residence, Sloane-street, Belgrave-square, London, on the 1st of August, E. Emanuel, Esq., aged 75 years, the respected father of Mr. J. Emanuel, dentist, of this city.

"SHIPPING . . . [IMPORTS]", The Sydney Morning Herald (7 February 1857), 6 

. . . 13 pianos, 1 case music, and 21 cases furniture, consigned to A. Emanuel, were omitted in the manifest per Europa, from London . . .

"ARRIVALS", The Shipping Gazette and Sydney General Trade List (9 February 1857), 34 

February 5. - Europa, Bremen ship, 1000 tons, Captain Ariaans, from London 23rd October. Passengers - Mr. and Mrs. A. Emanuel and family (6) . . .

And see also, [Advertisement], Empire (12 February 1857), 6 

[Advertisement], The Sydney Morning Herald (2 March 1857), 1 

MR. A. EMANUEL, professor and teacher of the pianoforte (established 1840),
respectfully informs his connexion and friends, that he has returned from England, and resumed the duties of his profession.
39, Harrington-street.

[Advertisement], The Sydney Morning Herald (23 March 1857), 1 

HARP and PIANOFORTE EVENING QUADRILLE PLAYING. - Messrs. EMANUEL and COBLEY are open to receive engagements. JOHNSON and CO.

ASSOCIATIONS: Edwin Harry Cobley (harpist); William Jonathan Johnson (musicseller)

"MARRIAGE", The Sydney Morning Herald (8 June 1857), 1 

On Wednesday, June 3rd, at the Synagogue, York-street, by the Rev. Dr. Hoelzel, Mr. John Emanuel, of this city, to Rosetta, eldest daughter of Mrs. and the late Mr. Morris Sloman, of the city of Cape Town, Cape of Good Hope.

[Advertisement], The Sydney Morning Herald (16 May 1857), 10 

QUADRILLE PIANIST. - Mr. A. EMANUEL, P.M., receives engagements; fee, £2 2s. JOHNSON and CO., Pitt-street.
MR. A. EMANUEL, Teacher of the Pianoforte (established in Sydney 1840), 39, Harrington-street.

[Advertisement], The Sydney Morning Herald (4 September 1858), 8 

MR. A. EMANUEL, Teacher of the Pianoforte and Singing. (Established 1840.) Harrington-street, Church-hill.

"SUICIDE", The Sydney Morning Herald (24 January 1860), 5

A young man named Edward Nathan, aged about twenty years, residing with his uncle, Mr. Emanuel, professor of music, committed suicide by taking poison on Sunday morning. He was called to breakfast at about nine o'clock, and answered "very well." He was called again at about ten, and was then in convulsions from taking strychnine; he expired shortly afterwards. A coroner's inquest was held on the body yesterday, and a verdict of committed suicide by taking poison whilst in a fit of temporary insanity was returned. The deceased was by profession a clerk.

"SYDNEY VOCAL HARMONIC SOCIEY", The Sydney Morning Herald (16 November 1860), 5 

Mendelsshon's oratorio "Elijah" was last night performed in the Castlereagh-street school-room, as an extra concert, by the Vocal Harmonic Society . . . Madame Sara Flower sang the principal alto solos . . . Miss Brady delivered the soprano solo, "Hear ye Israel," in a very pleasing manner, and also joined with Mrs. Cordner and Madame Flora Harris in several trios and quartets . . . Miss Clelia Howson and Miss Emanuel rendered valuable assistance in some of the duetts. The chorusses were on the whole very good . . .

ASSOCIATIONS: Sara Flower (vocalist); Ellen and William John Cordner (vocalist and conductor); Flora Harris (vocalist); Clelia Howson (vocalist); Sydney Vocal Harmonic Society (association); Castlereagh-street School-room (Sydney venue)

[Advertisement], The Sydney Morning Herald (15 December 1860), 1 

MR. A. EMANUEL, Teacher of the Pianoforte and Singing (established 1840), William-street, two doors from Bourke-street.

[Advertisement], The Sydney Morning Herald (2 June 1864), 8 

A CARD. - Mr. A. EMANUEL, Teacher of the Pianoforte and Singing. At Johnson and Co's, 233, Pitt-st.

[Advertisement], Empire (20 October 1864), 7 

THIS DAY, Thursday, October 20, at 11 o'clock. At Apollo Villa, Snail's Bay, Balmain.
12 STOP HARMONIUM. by Alexandre . . .
MESSRS. BRADLEY and NEWTON have been favoured with instructions from Mr. A. Emanuel,
to sell by auction, at his residence, THIS DAY . . .
The whole of his household furniture and effects, prior to his departure from the colony.
Terms, cash.

"CLEARANCES. - NOVEMBER 1", Empire (2 November 1864), 4 

CITY OF MELBOURNE, steamer, 1000 tons, Walker, for Melbourne. Passengers . . . Mr. A. Emanuel, Mrs. A. Emanuel, Miss Emanuel, Miss J. Emanuel, Miss E. Emanuel, Mr. B. Emanuel . . .

Melbourne and Ballarat, VIC (from November 1864):

[Advertisement], The Argus [Melbourne, VIC] (7 November 1864), 8 

A CARD. - Arrival Mr. A. EMANUEL, PROFESSOR of the PIANOFORTE and SINGING, 6 Victoria-parade.

[Advertisement], The Argus (21 November 1864), 6 

MUSICAL EDUCATION Mr. A. EMANUEL, PROFESSOR or the PIANOFORTE and SINGING (20 years' practical experience),
begs respectfully to inform the gentry, inhabitants, and his friends of Melbourne,
that he has commenced the practice of his profession, and will be happy to receive pupils.
Terms at Mr. E's residence, Glass cottage, Victoria-parade.

[Advertisement], The Argus (8 June 1865), 7 

PIANO FORTES - Mr. Emanuel's Show Rooms, 11 Victoria-parade. Cheapest house in Melbourne for high class London made pianos.
PIANOFORTES, best makers. Purchasers save 20 percent selecting from Mr, Emanuel's stock. 11 Victoria-parade . . .
PIANOFORTES HIRED, new and second-hand, easy terms of purchase Mr. Emanuel, repository, 11 Glass cottage, Victoria-parade.

"MARRIAGES", The Argus (30 December 1865), 4 

BENTWITCH - EMANUEL. - On the 27th inst., at the Synagogue, Stephen-street, Melbourne, by the Rev. Mr. Rintel, M. Bentwitch, Esq., of 21 Collins-street, to Eliza, the eldest daughter of A. Emanuel, Esq., of Glass Cottage, 11 Victoria-parade, late of Sydney. No cards.

[Advertisement], The Argus (2 May 1867), 8

PIANOFORTE INSTRUCTION - Mr. EMANUEL, professor of pianoforte, 25 years' practical teacher. Glass-cottage, 11 Victoria-parade.

[Advertisement], The Argus (6 May 1869), 7

HALF-PRICE, new, best MUSIC, first publishers, extensive stock (catalogues).
Mr. Emanuel's music repository, 11 Victoria-parade.

"A NEW AUSTRALIAN SOPRANO", Empire (9 July 1870), 3

We perceive by the Ballarat papers that Miss Emanuel made her debut at an operatic concert given by the members of the Ballarat Harmonic Society, in the Alfred Hall, on the 17th of last month, in the character of Lucrezia Borgia. Miss Emanuel is a native of Sydney, and daughter of Mr. Emanuel who for many years was a teacher of music in this city, and latterly with Mr. Johnson, of Pitt-street. The Courier, in noting the event, observes with regard to Miss Emanuel: -
"Of the prima donna it is only necessary to say that her rendering of the music was highly artistic showing a pure and cultivated organ which in quality is everything and in power will gain with time, for the lady is young - besides that this is the first occasion wherein she has sung in public. From the first song, "Holy Beauty," the audience was with her; but in the second attempt, immediately following, her wonderful flexibility was for the first time displayed."
The Evening Mail says: -
"Miss Emanuel fairly sustained the role of Lucrezia, spite of its weight and difficulty. Miss Emanuel's voice is a pure soprano, with extended compass and great power of florid execution. Her ornamentation is particularly good, especially in the trying matter of the vocal shake. The shake in this instance seems to be almost if not quite a natural one, reminding the listener of the thrilling warble in the feathered throat of a canary bird. Her songs were rendered with graceful ease."

ASSOCIATIONS: Ballarat Harmonic Society (association)

[Advertisement], The Argus (17 December 1870), 7

Terms, Music Academy, 121 Gertrude-street Fitzroy.

[Advertisement], The Ballarat Star [VIC] (18 April 1871), 3 

Mr. A. EMANUEL, Professor of Music (thirty years' practice),
has the honor to announce his arrival in Ballarat to permanently reside, will be happy to receive pupils
in conjunction with his daughter, Miss EMANUEL, professional Pianist and Vocalist.
Terms at Apollo Cottage, 31 Raglan street south.

"DEATHS", The Argus [Melbourne, VIC] (27 March 1872), 4

EMANUEL. - On the 22nd inst., at her residence, 35 Raglan-street, Ballarat, in the 54th year of her age, after a suffering and protracted illness, Eliza, the beloved wife of A. Emanuel, professor of music, leaving an affectionate husband and large family to mourn their irreparable loss.

[Advertisement], The Ballarat Star (1 February 1873), 3 

BALLARAT MUSIC ACADEMY, Pianoforte and Singing Instruction. -
Principals - Mr. EMANUEL, Professor of Music, 30 years Practical Music Master;
and Miss EMANUEL, Professional Pianist and Vocalist.
N.B. - Private Lessons at Pupils Residence.
PIANOFORTE AND. SINGING INSTRUCTION - Mr. A. EMANUEL respectfully announces to his Pupils and others,
that he will RESUME Professional Duty on or about the 1st of February next.

"Dramatic and Musical Review", Australian Town and Country Journal [Sydney, NSW] (1 February 1873), 16 

. . . Certainly, we have not had for some time so much interest aroused as by the two concerts given by Miss Emanuel, who appears before us quite unheralded by fame, as she has not, I believe, been heard elsewhere in public before making her appearance in this her native city, whether she comes to us after a sojourn of some years in the sister city of Melbourne, where she has received such musical training as she possesses. Miss Emanuel's family is well known in Sydney; her father was for very many years one of our most esteemed and most respected teachers of music, and a partner in the firm of W. J. Johnson and Co., music-sellers, of Pitt-street; but for some years past he has been settled in Melbourne with his family. Another of Mr. Emanuel's daughters sang formerly at many of our concerts; and several of our musical people, who remembered the name, were under the impression that this was the same young lady; it is, however, a younger sister, Miss Carrie Emanuel.

The first concert of this debutante having taken place during my absence, I must confine my notice to the second one, of Thursday last. This entertainment was attended by a very crowded audience, - in reality, - as was, I hear, its predecessor, and not, according to the usual newspaper acceptation of the term, meaning a half filled room. The programme was remarkably well chosen, not only as regards the pieces for the heroine of the evening, but also in the items for the other assistants. The former included selections well calculated to display the talents of a singer, and the qualities of a good voice, - the cavatina "Com, e bello" with its usually omitted second part "Si voli," (Donizetti's Lucrezia), an exceedingly graceful English ballad by Walter Maynard, "Oh, say once more I love thee," the whole of the series of airs knows as the "Mad Scene," from Lucia, "Casta Diva" (Norma), the Sonnambula scena, finale, "Ah non credea," with its finale "Oh non giunge," and with Mrs. Miles, the duet from Semiramide "Giorno d'orrore." In addition there was, an an encore, a charming waltz-song by Tito Mattei. Nor did the vocalist confine herself merely to the airs of the different pieces; she sang the whole of the recitatives throughout. It is, of course, impossible to dwell on the peculiarities of style displayed by Miss Emanuel in each of these items (the "Lucia" scene being rendered especially difficult for her by reason of the absence of the flute obligato accompaniment, which has to echo many of the passages;) for general readers a few lines respecting the ability of the singer to do justice to these several pieces will be sufficient. Now, there is nothing so damaging to the lasting success of a debutante, especially of one who aspires to the rank of a professional artiste, as injudicious and fulsome flattery without actual criticism. She should beware of it as the most noxious poison. It will, I think, be conceded that if a native Australian vocalist who has not been out of the country possessed the voice of a Grisi, a Jenny Lind, a Malibran, or a Patti, allied to all possible natural talent, she still could not be a finished artiste; for we have here no school which can give a finish and correct scholastic style, nor have we any but second rate models, and these only casually and occasionally. And it is just on this point of "School" that Miss Emanuel's defects are noticeable. Her talents are those of nature. Be it therefore well understood that my remarks apply to her only as an Australian vocalist - one who has not had the benefit of close European training at the hands of great masters. Miss Emanuel has a voice of most extended compass; the upper register is that which nature has given; the higher the notes the sweeter and rounded they are, without one atom of shrillness. Indeed, the singer appears to be frequently restraining her powers and to sing sotto voce; and I am inclined to think that she is not yet fully aware of them, and that good training would develop a far greater richness, power, and compass. There are some few fine and firm lower notes; the middle notes have evidently been made by practice; the management of this part of the voice requires greater care, and it is the least satisfactory, being rather thin and uneven; but the singer runs up and down the length of her musical scale with great facility. The voice is also powerful and durable, showing scarcely a sign of fatigue even after such efforts as the Lucia and Sonnambula scenes, the latter of which though last in the programme I liked the best, being sung with the most taste and purity.

Miss Emanuel is evidently a musician by nature; she has a soul for music, and consequently a just conception of the method for its rendition. Her execution is remarkably brilliant, but now and then a shade out of tune; this was noticeable in the recitatives before the "Ah bello a me ritorna," and in one passage at the finale. She has a natural shake, and the more florid the music the greater seems to be her delight in its execution. Indeed, she carries this to excess, making constant use of the tremolo and the swell for exacting sympathy almost unconsciously. In this and in one or two other points, the ear marks the absence of correct and severe training. With this and instruction in the dramatic art, for which she has also evident talent, Miss Emanuel may become a fine lyric actress. She is evidently remarkably quick at picking up what she has heard and found to bs good in others; she possesses a rather peculiar mode of phrasing some passages, as though she wished to throw aside the conventionalities of other singers, and to adopt a style of her own. I would, however, caution the young lady against an excessive use of dramatic style on the concert platform; for the latter the utmost placidity should be practised; the voice alone (with mobility of feature) must convey impassioned warmth, as Pasta and Jenny Lind exemplified; and I would, in all friendliness, advise this artist (for an artist she is by nature) to endeavour to conquer certain little mannerisms when on the platform which might, if continued, militate against her ultimate success. I have said so much in praise of Miss Emanuel's voice and natural abilities that I shall not be accused of injustice by mentioning these points. My notice having extended to this length, I can but say of the rest of the programme, that Mrs. Miles and Mr. Fairfax contributed some of the most charming of the vocal collections in good style, and were severally encored; that Mr. Anderson played most uniquely a number of piano solos, including some pretty little tricks of airs from "La Grande Duchesse," delightfully strung together, something in the manner of those given us by Giorza (and he also was of course encored), and that he displayed great tact as an accompanyist, a quality which many great musicians (unless Benedict and many others) think it infra dig. to possess . . .

ASSOCIATIONS: Henry Neville Montagu (reviewer, "Biron"); Ellen Miles (vocalist); Andrew Fairfax (vocalist); Alfred Anderson (pianist, accompanist); Paulo Giorza (composer); Julius Benedict (English composer and conductor)

"THE STAGE", Weekly Times [Melbourne, VIC] (8 February 1873), 9 

. . . Miss Carrie Emanuel has been singing in Sydney, the town of her nativity, with great success. Her critics have treated her very fairly, acknowledging her natural abilities, and kindly pointing out some of her mannerisms and defects. She re-appeared there after an absence of many years, and the New South Welshmen scarcely know where she comes from. For the benefit of our neighbours, let me say that she been a sojourner in Victoria, principally at Ballarat, in which town she was the primo soprano, and had a host of admirers. More recently she has sung in Melbourne acceptably. Her father has, I believe, he entire superintendence of her musical education. - FIGARO.

"Marriage", The Argus (28 December 1874), 1

MENDELSSOHN - EMANUEL. - On the 23rd inst., at the Bourke street Synagogue, by the Rev. Mr. Benjamin, assisted by the Rev. Mr. Goldstein, Emanuel, fifth son of Isaac Mendelssohn, of Boombery [Bromberg], Prussia, to Caroline, youngest daughter of Abraham Emanuel, professor of music, Ballarat. Sydney and Ballarat papers please copy.

"Deaths", The Sydney Morning Herald (8 July 1882), 1 

EMANUEL. - At his residence, 205, Albion-street, Surry Hills, Dr. John Emanuel, dentist, aged 65 years.

[Advertisement], The Telegraph, St Kilda, Prahran and South Yarra Guardian [VIC] (6 January 1883), 3 

PIANO LESSONS. MR. A. EMANUEL, PROFESSOR OF MUSIC (30 years Practice in Melbourne and Sydney,)
receives pupils at his residence, "Brighton Villa," Havelock Street, St. Kilda.

[News], The Herald [Melbourne, VIC] (18 December 1883), 2 

At 11 o'clock this forenoon Mr. Abraham Emanuel reported to the Fitzroy police that the articles named below were stolen out of a furniture van while being conveyed to his residence in Brunswick-street: -
8 books of music for pianoforte only; one full volume, about 150 pages, sacred music; one do same size, miscellaneous pieces, published by Nowello [Novello]; six Boosey and Chappell's complete operas, one half bound in boards. The whole valued at L10.

"DEATHS", The Sydney Morning Herald (9 May 1907), 6

EMANUEL. - May 6, at St. Kilda, Melbourne, Abraham Emanuel, Professor of Music, in his 94th year. Father of Moses Emanuel, of Torquay, 25 Underwood-street, Paddington, and Mrs. Mendlessohn (nee Carrie Emanuel), of London. "After life's fitful fever he sleeps well."

"PERSONAL", The Sydney Morning Herald (9 May 1907), 7 

Mr. Abraham Emanuel, an old-time resident of Sydney, died in Melbourne on Monday at the great age of 94 years. Deceased arrived In Sydney in 1841, and took a prominent part in musical matters. The members of his family include Mrs. Mendlessohn, who, as Miss Carrie Emanuel was a singer of note, and Mr. M. Emanuel of Paddington.

"Victoria", The Hebrew Standard of Australasia [Sydney, NSW] (10 May 1907), 11 

Mr. Abraham Emanuel passed sway at 6 Carlisle-street, St. Kilda, where he had been residing, on Monday evening last. The deceased gentleman was well-known in earlier years as a Teacher of Music, and was ninety-three years of age at the time of his death. Mrs. Mendelson of England, and Mrs. H, Matthews of St. Kilda are two of his surviving daughters and Mr. M. Emanuel of Sydney, is a son.

Will and probate, Abraham Emanuel; Public Record Office Victoria (DIGITISED - WILL) (DIGITISED) (DIGITISED)

"DEATHS", The Argus [Melbourne, VIC] (12 November 1913), 1 

BENTWITCH. - On the 5th October, at a nursing home, Elizabeth, widow of the late Morris Bentwitch, of Melbourne, and dearly beloved mother of Lizzie (of 17 Dover street, Piccadilly, London), and of Nathan Bentwitch (of Johannesburg). Deeply mourned, and beloved by all.

"MUSIC AND DRAMA", The Sydney Morning Herald (20 March 1915), 8

News has been received here by Mr. Moses Emanuel of the death in London of his sister, Mrs. Mendelssohn, who sang under that name, and also as "Carrie Emanuel," throughout Australia and the East forty years ago. This lady was the first to introduce Wilhelm Ganz's "Sing, Sweet Bird," by which audiences at break-up concerts have suffered severely ever since. She was herself, by all accounts, an artist of brilliant attainments, and sang in 1873 under Lyster's management, both here and in New Zealand, in "Norma," "The Rose of Castille," and other works, before which she gave a series of vocal concerts at the Sydney School of Arts with Mrs. Cordner Miles, who still lives here. In 1871 Mme. Agatha States, Signor Cecchi (the tenor who trained Mme. Melba in her youth), and Signor Orlandini (baritone) arrived here, and remained on this side a considerable time. After her marriage Mrs. Mendelssohn and her husband Joined Orlandini's party, and toured Batavia and the East. The Mendelssohns afterwards visited South Africa, and settled there, eventually retiring on their fortune to London. The deceased artist possessed a high soprano of great fluency, and was famous for the spontaneous character of her art in coloratura music.

See also "THE STAGE: NOTES", The Queenslander (3 April 1915), 20

"MR. MOSES EMANUEL DEAD", The Sun (28 October 1923), 2 

After a long illness Mr. Moses Emanuel, who was believed to be the oldest dentist in the State, died yesterday at the age of 85. The late Mr. Emanuel, who was born in Exeter, England, came to Australia in 1842 [sic, 1841], and settled with his parents at Ballarat where his father, Professor Emanuel, was well-known in musical circles. A few years later he came to Sydney and took up dentistry with his uncle. For many years he carried on an extensive practice in Wynyard-square. He took a great Interest in music and possessed a fine baritone voice, which was heard at many amateur recitals. Not long after his arrival in Australia his sister, Miss Carrie Emanuel, came out from England, and took the name part in the first production in Australia of Lucia di Lammermoor. This opera was staged by the late Mr. Emanuel at the Opera House, Melbourne. The funeral will leave Kinsela's parlors, Oxford-street, city, at 9.45 a.m., to-morrow.

"Bequest Assists Two Universities", The Australian Jewish Herald [Melbourne, VIC] (16 December 1955), 3 

The Victorian Friends of the Hebrew University, Jerusalem, have just been informed by the Equity Trustees Co. of Bourke Street, Melbourne, as Executors of the estate of the late Miss Lizette Bentwitch, well remembered as the late Miss "Lizzie Bentwitch," of the first distribution from this estate. This distribution will consist of £5,000 each to the University of Melbourne and the Hebrew University, Jerusalem . . . the income from this worthwhile bequest is to be used for a scholarship or scholarships in memory of her beloved parents, Maurice and Elizabeth Bentwitch, and to bear the name "Lizette Bentwitch". Such scholarships shall be awarded to students of the respective Universities from time to time for Music or any other branch of the Humanities as the authorities of the respective Universities shall determine . . .

ASSOCIATIONS: In 1958 Peter Sculthorpe (composer) was first recipient of the University of Melbourne's Lizette Bentwitch Travelling Scholarship

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

The casino polka (1851)

The casino polka, arrainged [sic] by A. Emanuel dedicated to the patrons of his fashionable weekly entertainment at the Royal Hotel (Sydney: Published by Messrs. Kern and Mader, [1851]) (DIGITISED)

ASSOCIATIONS: Kern and Mader (publishers); Royal Hotel (Sydney venue)

[Advertisement], The Sydney Morning Herald (19 July 1851), 1 

. . . NEW MUSIC, Just Published, "My Presence Still in Calm or Storm," the celebrated romance . . . price 2s.;
also, the Casino Polka, arranged by A. Emanuel, and dedicated to the patrons of his fashionable weekly entertainment, at the Royal Hotel, price 1s.
May be had of Messrs. KERN and MADER, Stationers, Hunter-street, on Tuesday next.

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

My fatherland (1848)


Our parting is near (Donizetti, 1848)

Our parting is near [by] Donizetti (Sydney: Published & sold by G. Hudson . . . also by Mr. A. Emanuel, Teacher of the Pianoforte and Musical Repository, 22 Hunter Street, [1848]) (DIGITISED)

ASSOCIATIONS: George Hudson (musicseller, publisher)

[Advertisement], The Sydney Morning Herald (6 March 1848), 1 

JENNY LIND'S SONGS. - Just published, two Ballads, entitled My Fatherland, and Our Parting is Near, sung by the Swedish Nightingale with unbounded success and universal admiration at the Theatres Royal in London and Paris.
These charming melodies need only once be heard to delight the musical ear, and yet so simple that a child of ten years might sing them with the greatest facility.
To be had at Mr. A. EMANUEL's, Musical Repository, 22, Hunter-street; and G. HUDSON, Music Seller, Pitt-street. Price Two shillings each.

A young lady's no (Glover, 1852)

A young lady's no, sung by Miss Poole, composed by the author of Will you love me then as now?, The rich man's bride, &c., &c. [Charles Glover] (London: Duff and Hodgson; and may be had at A. Emanuel's Pianoforte and Music Repository, 5 Hunter Street, Sydney, [1852]) (DIGITISED)

ASSOCIATIONS: Elizabeth Poole (English vocalist); despite the names of the London musicsellers and publishers, Duff and Hodgson, the copyright owners, appearing on the cover, and the claim in the advertisement below that it was a "London Publication", this was a pirate edition, entirely engraved and printed in Sydney;
see also, slightly later, from the same plates, the Woolcott and Clarke edition

"NEW SONG", The Sydney Morning Herald (14 February 1852), 5 

Mr. Emanuel, of Hunter-street, has recently brought out a very pleasing new song, by the author of Will you love me then as now?, entitled, A young lady's No. The melody is exceedingly good, though simple, and the words very expressive of that arch hesitation, vorrei e non vorrei, in which young maidens are apt, at a particular period of their sweet existence, to respond to the ardent protestations of love-sick swains. The song is one which must become popular in the drawing room; and is well deserving of a place in every musical album.

[Advertisement], The Sydney Morning Herald (14 February 1852), 1 

NEW SONG - LONDON PUBLICATION. A YOUNG LADY'S NO, by the author of Will you Love me then as now; the Rich Man's Bride, &c., &c. Price, 2s.
Sent by post to any part of the colony, on the receipt of twenty-four penny stamps.
This arch and pleasing Ballad, just introduced, most successfully, by Miss Poole, is likely to become one of the most popular songs of the day; both words and music possess that point which will insure effect. - Illustrated London News, September 12, 1851.
The above delightful Song may be had at A. Emanuel's, Australian Pianoforte and Music Repository, 5, Hunter-street, Sydney.

[Advertisement], The Sydney Morning Herald (3 April 1852), 1 

Sung by Madame CARANDINI, at the Victoria Theatre, with unbounded applause, and rapturously encored . . .
The above delightful Song may be had at A. EMANUEL'S, Australian Pianoforte and Music Repository, 5, Hunter-street, Sydney.

ASSOCIATIONS: Maria Carandini (vocalist); Royal Victoria Theatre (venue)

Other musical sources:

A bound album of sheet music songs, c. 1830-60, with some contents originally belonging to the Emanuel family; Stewart Symonds sheet music collection; Museums of History NSW 

A privately bound collection of scores chiefly for voice and piano.
On the top right hand corner of a copy of Henry Russell's "The ship on fire" is John Emanuel's signature.
An inscription on top of Julius Benedict's "By the sad sea waves" reads "Presented to J. Lucas[?] by Mrs. A. Emanuel . . ."

Bibliography and resources:

Prue Neidorf, A guide to dating music published in Sydney and Melbourne, 1800-1899 (M.A. thesis, University of Wollongong, 1999), 165 (Emanuel), 184 (W. J. Johnson and Co) (DIGITISED)

Mark Westgarth (ed. by David Jones), A biographical dictionary of nineteenth century antique & curiosity dealers (Glasgow: The Regional Furniture Society, 2009), 93-94 (Emanuel Emanuel)

John Levi 2013, These are the names . . . 2nd ed., 232 (PREVIEW)

EMERY, John William (John William EMERY; J. W. EMERY)

Concert and music venue proprietor, publican, hotel keeper

Born USA, c. 1812/20
Arrived Melbourne, VIC, 30 March 1853 (per Dolores, from Valparaiso, via Tahiti)
Naturalised Ballarat, VIC, 23 December 1856 (aged "36")
Married Elizabeth EVANS (WILDS), VIC, 1866
Died Ballarat, VIC, buried 17 October 1887, aged "75" (TROVE tagged by Australharmony) (shareable link to this entry)

ASSOCIATIONS: Criterion Concert Hall (Ballarat venue, Criterion Hotel)


"SHIPPING INTELLIGENCE. ARRIVED", The Argus [Melbourne, VIC] (31 March 1853), 4 

March 30.- Dolores, barque, 437 tons, C. Throop, from Valparaiso, via Otahite, December 23rd. Passengers - cabin . . . J. W. Emery, F. Merzener, F. N. Cazarani [Caranzani], E. Lebeseffe, J. Gravier, W. Cabieses, Dr. J. H. Blount . . .

ASSOCIATIONS: Felix Caranzani (musician)

[Advertisement], The Star [Ballarat, VIC] (22 July 1856), 3 

JOHN WILLIAM EMERY, IN presenting his thanks to the public for past favors and his claims for future support, begs respectfully to inform his friends and patrons, that he has just returned from Melbourne, where he has succeeded in securing the services of several eminent artists, who will perform every evening on different instruments, from six until ten.
It also affords J. W. Emery great pleasure to announce that he has replenished his stock of wines, spirits and malt liquors, from the choicest samples in the market.
The restaurant is conducted on the most liberal scale, and furnished daily with every delicacy which can be had from 6 a.m. to 12 p.m.
The comfort of every guest carefully at tended to, and the charges exceedingly moderate.

[News], The Ballarat Star (17 October 1887), 2 

The funeral of the late J. W. Emery, of 11 Latrobe street, takes place to-day. Deceased was an old identity of '5l, and formerly of the United States and Washington hotels, Main road. He leaves a widow and son in comfortable circumstances.

EMILIA, Signorina (Signorina EMILIA) = Emilia DALLE CASE

ENDE (Mr. Von ENDE) = Charles William VON ENDE

ENGEL, John Alexander (Johann Alexander ENGEL; John Alexander ENGEL; J. A. ENGEL; Alexander ENGEL; A. ENGEL)

Musical amateur, amateur vocalist, printer, compositor, music printer

Born Frankfurt am Mein (Germany), 14 November 1818; son of Johann Ludwig ENGEL and Anna Clara KISSNER
Arrived Adelaide, SA, 1850 (per Midlothian, from Plymouth, 21 March)
Married Maria Catherine WINGENDER (c. 1832-1902), St. Andrew's church, Sydney, NSW, 25 May 1854
Active Sydney, NSW, as Engel and Gelbrecht (firm, 1856-57)
Died Sydney, NSW, 21 September 1883, aged "65" (TROVE tagged by Australharmony) (shareable link to this entry)


Baptisms, Evangelische Kirche Frankfurt (Main), 1818; Evangelisches Kirchenbuchamt Hannover, 341742/531;532 (PAYWALL)

Nr. 951 / Engel / Johann Alexander / [Born 14 November 1818] / [Baptised 27 Nov 1818] / [son of] Johann Ludwig Engel [and] Anna Clara Kissner

Certificate of arrival, port of London, no. 178-81, 28 February 1850; UK National Archives, HO2/195/178-81 (PAYWALL)

28th Feb'y 1850 / Johann Alexander Engel with Anna Catherina Engel, Dorothea Engel, Louise Diehl / [from] Rotterdam . . .

"SHIPPING INTELLIGENCE", Adelaide Times [SA] (27 June 1850), 2 

June 26. - The barque Midlothian, 414 tons, Gibson, master, from London, 12th March, and Plymouth, 21st March, for Adelaide and Port Phillip . . .
Passengers per Midlothian . . . Louisa Deipl [sic], Charles Edwards, Alexander Engel, Dorothy ditto . . .

"MARRIED", The Sydney Morning Herald (15 January 1852), 3 

At the Temporary German Evangelical Church, Jamison-street, January 14, by the Rev. Matthias Goethe, Mr. George Peter Engel, of Francfort on the Main, to Miss Josephine Louise Diehl, of Strasburg.

ASSOCIATIONS: John's elder brother, George Peter Engel (1820-1900), who arrived in Sydney in 1849, married Josephine Louisa Diehl (1820-1883), as see above

? Names and descriptions of passengers per Bonnie Doon from Melbourne, 7 April 1853, for Sydney; Public Record Office Victoria (DIGITISED)

. . . A. Engel / 22 [sic] / German . . .

? "SHIPPING INTELLIGENCE. ARRIVALS", Empire [Sydney, NSW] (16 April 1853), 2 

April 15. - Bonnie Doon, barque, 800 tons, Captain Tutty, from Melbourne, in ballast. Passengers . . . Nicholas, Backhausen, Engel . . .

1854, marriage solemnized in the parish of St. Andrew, Sydney; NSW BDM, M1854/145/vol. 41; Biographical database of Australia (BDA) 

25 May 1854 / John Alexander Engle of the parish of St. Philip bachelor / and Maria Catherine Wingender of this parish spinster / were married in this church by banns . . .

[Advertisement], The Sydney Morning Herald (30 November 1855), 1 

DEUTSCHER LIEDERKRANZ. - Freitag den 30 November, findet grosse Abendunterhaltang in dem Vereins locale (Custom Hume Hotel) statt. T. A. ENGEL, Sec. [sic]

[Advertisement], The Sydney Morning Herald (21 December 1855), 8 

DEUTSCHER LIEDERKRANZ - Freitag, den 21 December, findet grosse Abendunterhaltung im locale (Custom House Hotel) statt. J. A. ENGEL . . .

Certificate to naturalize John Alexander Engel, 21 April 1856; State Records Authority of NSW (PAYWALL)

WHEREAS . . . John Alexander Engel of Sydney . . . a native of Frankfurt of Maine [sic] Germany . . . thirty eight years of age . . . having arrived by the ship Midlothian in the year 1850 . . . is now residing in Kent Street Sydney and wishing to possess landed property and avail himself of the privileges of a British subject . . .
GIVEN . . . this [21 April 1856] . . .

[Advertisement], Empire [Sydney, NSW] (4 July 1856), 1 

DEUTSCHE SYDNEY PRESSE (German Newspaper.) - The first number of the above-named German Newspaper is to be issued on
SATURDAY, the 5th July, by ENGEL AND GELBRECHT, Pitt-street, 47, near Brougham-place.

ASSOCIATIONS: Frederick Gelbrecht (business partner); Engel and Gelbrecht (firm, 1856-57)

[Advertisement], The Sydney Morning Herald (18 April 1857), 7 

DISSOLUTION OF PARTNERSHIP.- By mutual agreement, and in the most friendly terms, the undersigned have dissolved TO-DAY partnership, Mr. F. Gelbrecht becoming the sole proprietor of the Printing and Publishing business, carried on hitherto under the name of Engel and Gelbrecht. All accounts due to the said firm have to be paid to the said Mr. F. Gelbrecht, who, on the other hand will settle all liabilities. F. GELBRECHT, A. ENGEL. Witness, WM. BAUER. Sydney, April 15. 1857.

"MUSIC AND DRAMA", Sydney Mail (3 January 1863), 4 

MADAME JAFFA'S MATINEE MUSICALE. - On Wednesday afternoon, Madame Jaffa, long favourably known in the musical world of Sydney as an excellent pianiste, gave a grand day concert to a numerous and fashionable audience in the hall of the Australian Library, in Bent-street. The programme was of a varied and comprehensive character, the talent of some of the best of our resident musical artists (both vocal and instrumental) being called into requisition upon the occasion. The concert commenced with "The Prayer," from the Weber's Opera of Der Freischutz, which was very pleasingly sung by Messrs. Ellard, Sussmilch, McDougal, and Engel . . . Mr. T. V. Bridson was the accompanyist . . .

MR. MARSH'S CONCERT. - A concert, under the direction of Mr. Henry Marsh, came off on Tuesday evening at the Masonic Hail. The services of the most popular artistes in Sydney, as well as several talented amateurs, had been engaged for the occasion, and the attendance was numerous and highly respectable . . . One of the best of the vocal performances was a glee, "The Greeting" (from the German), the parts in which were sustained by Mesdames Sara Flower and Flora Harris, Mr. Sussmilch, and Mr. Engel . . .

ASSOCIATIONS: Rebecca Jaffa (pianist); Frederick Ellard (vocalist); Christian Bernhard Sussmilch (vocalist); William James Macdougall (vocalist); Thomas Vicary Bridson (pianist, accompanist); Henry Marsh (pianist); Sara Flower (vocalist); Flora Harris (vocalist); Australian Library (Sydney venue); Masonic Hall (Sydney venue)

[Advertisement], Empire (7 November 1863), 1 

SCHOOL OF ARTS. WEDNESDAY, FRIDAY, and MONDAY, November 11th, 13th, and 16th, 1863,
A GRAND CONCERT Will be given by MADAME HAIMBERGER (late Kramer) AND MADEMOISELLE KRAMER, The celebrated Alpine and Tyrolese Minstrels;
and JULIUS HAIMBERGER, Violin Solo Player . . .
Mr. A. ENGEL and Mr. B. SUSSMILCH, Of the German Glee Club, have most kindly consented to give their assistance.
1. Vocal Quartett (Swiss Volkslied) - "Come, come, my dearest," arranged by - F. Kucken
8. Vocal Quartett (Tyrolese Volkslied) - "The trees are all budding" - arranged by F. Kucken
1. Vocal Quartett - "An Old Romance, in three parts" (from the German of Heine) - Mendelssohn
8. Vocal Quartett (Swiss Volkslied) - "There's one that I love dearly" - Arranged by F. Kucken

ASSOCIATIONS: Margeritta and Julius Haimberger (vocalist and violinist); Marie Kramer (vocalist); German Glee Club (association); William Stanley (pianist, accompanist); School of Arts (Sydney venue)

[Advertisement], The Sydney Morning Herald (24 November 1863), 1 

A GRAND CONCERT will be given by Madame HAIMBERGER (late Kramer), and Mademoiselle KRAMER the celebrated Alpine and Tyrolese Minstrels, and Mr. JULIUS HAIMBERGER . . .
Pianist - Mr. E. H. COBLEY.
Mr. A. ENGEL and Mr. B. SUSSMILCH, of the German Glee Club, have, most kindly consented to give their assistance.
1. Vocal Quartett, "Yes, my dearest, we must part" - Madame Haimberger, Miss Kramer, Mr. A. Engel, and Mr. Sussmilch - Swiss Volkslied . . .
6. Vocal Quartett, "The trees are all budding" - Madame Haimberger, Miss Kramer, Mr. A. Engel, and Mr. Sussmilch - Tyrolese Volkslied . . .

"CONCERT", Sydney Mail (28 November 1863), 2 

A grand concert was given on Monday at the School of Arts to a large and select audience by Madame Haimberger, Mademoiselle Kramer (the celebrated Alpine and Tyrolese minstrels), and Mr. Julius Haimberger. The programme embraced many vocal gems. Mr. Sussmilch and Mr. A. Engel, of the German Glee Club, took part in the quartettes, and Mr. Cobley presided at the pianoforte.

"Deaths", The Sydney Morning Herald (22 October 1883), 1

ENGEL. - September 21, after a long and painful illness, John Alexander Engel, aged 65 years.

"Latest Telegraphic News . . . SYDNEY, Monday", Glen Innes Examiner and General Advertiser [NSW] (23 October 1883), 4 

Mr. J. A Engel, printer, and one of the oldest German residents of Sydney, died yesterday.

Musical publications (select to c. 1870 only) (extant in red bold; non-extant in black bold):

Psalms and songs [Hymns and songs] (Horn, 1857)


[Advertisement], The Sydney Morning Herald (29 January 1857), 8 

MUSIC - Psalms and Songs (English and German),
1st part, simply arranged for two and three voices, for the use of schools,
by Dr. H. HORN, senior master of modern languages and music at King's the School, Parramatta.
Published by Messrs. ENGEL and GELBRECHT, 47, Pitt-street. Price 2s.

"HYMNS AND SONGS", The Sydney Morning Herald (30 January 1857), 2 

Dr. Hermann Horn, the master of modern languages and music in the King's School, Parramatta, has just published the first part of a series of English and German Hymns and Songs. They are intended for the use of his pupils, but they will be found useful to the public generally. Part first contains the following: God save the Queen, Psalm 100, Hymn, O Sanctissima, Psalm 149, Hymn (Beethoven), Forget me not, Gloria, Schwerdtlied, Long long ago, Vaterland, Hymn (Howard's), Wanderlied, Loreley.

ASSOCIATIONS: Charles Hermann Horn (editor, compiler)

Australian musical bouquet (January 1861)

The Australian musical bouquet : a collection of choice popular songs, operatic airs &c. for the voice and pianoforte edited by Edwin H. Cobley . . . January (Sydney: James C. Fussell, [1861]); cover: "J. A. Engel, general printer" (DIGITISED)

CONTENTS: The volunteer's polka mazurka (Cobley); Lost Marguarite (music by Glentworth Addison; works by Henry Halloran); Nativity (Christman hymn) [Hark the herald angels sing, attr. Burney]

ASSOCIATIONS: Edwin Harry Cobley (editor); Glentworth Addison (composer); Henry Halloran (poet, lyricist); James Fussell (publisher); Australian musical bouquet (series)

"THE AUSTRALIAN MUSICAL BOUQUET", The Sydney Morning Herald (25 February 1861), 5 

The January number of the Australian Musical Bouquet - a collection of popular songs, operatic airs, &c., for the voice and the pianoforte, edited by Mr. Edwin H. Cobley, professor of music, Glebe Point Road - has been published by the proprietor, Mr. James C. Fussell, of Prince-street. The contents are: - A Volunteer Polka Mazurka, composed by the editor, Mr. Cobley; and a new Song, "Lost Marguerite," words by Mr. Henry Halloran, and music by Mr. Glentworth Addison. The third and last piece of music in this number (very neatly engraved by Mr. Engel) is a Christmas Hymn, as sung at Christ Church, in this city. The music and poetry of this elegant little serial are colonial; the whole thing is very prettily got up, and the price reasonable.

ASSOCIATIONS: The music was almost certainly not "engraved" by Engel, but in the workshop of John Degotardi

Gesangbuch der Deutschen Evangelischen Gemeinde in Sydney (1866)

Gesangbuch der Deutschen Evangelischen Gemeinde in Sydney, auf Ansuchen des Kirchenraths zusammengestellt von A. L. Heyde, derzeitigem Prediger der Gemeinde, Druck und Verlag von Johann Alexander Engel (Sydney: Guttenberg Printing Office, 1866) 

See Ferguson, Bibliography of Australia 6, 487-88 (DIGITISED)

Tell me Mary how to woo thee (by George Hodson, arr. Horsley, 1868)

Tell me Mary how to woo thee, sung by Armes E. Beaumont, newly edited and arranged by C. E. Horsley (Sydney: J. R. Clarke, [1868]); cover: "J. A. Engel, printer." (DIGITISED)

ASSOCIATIONS: Armes Beaumont (vocalist); Charles Edward Horsley (arranger); Jacob Richard Clarke (publisher)

"NEW MUSIC", Empire (11 September 1868), 2 

Mr. Clarke, of Hunter-street, has published a new sheet of music got up in excellent style by Mr. J. A. Engel, of York-street, "Tell me, Mary, how to woo thee," as sung by Mr. Armes Beaumont, of the Lyster Opera Troupe, to the delight of the musical circles of the Australia. - The present edition has been newly edited and arranged, in his usual effective and pleasing style, by Mr. C. E. Horsley; and the copies are embellished with cabinet, vignette, and other photographic portraits of the celebrated tenor to suit the taste or choice of purchasers. These illustrations are very creditably executed.

Up in a balloon galop (Rice, 1870)

Up in a balloon galop by Walter J. Rice, conductor of orchestra, Prince of Wales Opera House (Sydney: J. R. Clarke, [1870]) (DIGITISED)

ASSOCIATIONS: Walter John Rice (composer, arranger)

"NEW GALOP", Evening News (6 January 1870), 2 

Mr. Walter J. Rice, the talented conductor of the orchestra at the Prince of Wales Opera House, has brought out a delightful galop for the musical public. It is published by Mr. J. R. Clarke, of Hunter-street, and the executant is Mr. J. A. Engel, of York-street. The theme may be gathered from a description of the title page, which represents a select party "Up in a Balloon," sailing round about the stars and gentle moon. The engraving is neatly executed, and the colours are well brought out, while the music printing may vie with the best productions of Europe . . .

Other publications:

Die Deutsche Sydney presse (1856) (DIGITISED - No. 25 - 8 November 1856)

Bibliography and resources:

Prue Neidorf, A guide to dating music published in Sydney and Melbourne, 1800-1899 (M.A. thesis, University of Wollongong, 1999), 165-66 (DIGITISED)

Heather Lemaire, "John Alexander Engel", Australian prints + printmaking (posted 2010) 

ENGEL, Nikolaus (Nikolaus ENGEL; Nicolas ENGEL)

Musician, master of a German band, miner

Born Adenbach, Odenbach, Bavaria (Germany), 1827; son of Nikolaus ENGEL and Elisabeth GILLMANN
Married (? 2) Maria Elisabetha HOERSCHEN, Reipoltskirchen, Odenbach, Bavaria (Germany), 1 November 1852
Arrived (? 2) Melbourne, VIC, 21 March 1858 (per Tornado, from Liverpool, 17 December 1857)
Departed Melbourne, VIC, 12 December 1873 (per Northumberland, for London)
Died Pittsburgh, Pennsylvania, USA, 5 March 1903, aged "75 years 8 months 15 days" (TROVE tagged by Australharmony) (shareable link to this entry)

ASSOCIATIONS: ? Jacob Schmidt (musician, died Ironbark, VIC, 1860)


Marriage, Reipoltskirchen, Bavaria, 1852; Germany, Select marriages (PAYWALL)

1 November 1852 / Nicolum Engel / [son of] Nicolii Engel [and] Elisabeth Gillmann / [married] Maria Elisabetha Hoerschen

BDM VIC record the following children of Nikolaus Engel and Marie Elizabeth Hoerschen: -
Unnamed female [Elizabeth], New Chum Gully, 1858; Jacob Peter, Ironbark, 1860 (died 1861); Karl Nikolaus 1862; John George Joseph, Sandhurst, Francis Peter, Sandhurst, 1870

Electoral roll, Sandhurst, VIC, c. 1856; Public Record Office Victoria (PAYWALL)

. . . 261 / Engel, Nicholas / miner, Bendigo flat / miner's right // 262 / Engel, Karl / miner, Bendigo flat / miner's right . . .

Names and descriptions of passengers per Tornado from Liverpool, 17 December 1857, for Melbourne; Public Record Office Victoria (DIGITISED)

. . . Nicholas Engel / 30 / [Farmer] // Elizabeth [Engel] / 29 / Marr. // John [Engel] / 9 . . .

The Victoria Post Office directory (1866), 239 (DIGITISED)

[Sandhurst] . . . Engel, Nicholas, German bandmaster, Bridge st

"COUNTY COURT. Friday, 8th November", Bendigo Advertiser (9 November 1867), 3

. . . Orth v. Gerber. The plaintiff sought to recover L25, damage sustained by defendant removing fruit trees and fences from off land in Irishtown . . .
Nicholas Engel deposed to witnessing the removal and afterwards buying four of the trees . . .

Index to naturalisation certificates, VIC; Public Record Office Victoria (PAYWALL)

Nikolaus Engel / Miner / Sandhurst / Age (on date of naturalization) 40 / Native Place - Adenbach, Bavaria / Date of certificate - [4 December 1868]

"DONATIONS OF GOODS TO THE EASTER FAIR", Bendigo Advertiser [VIC] (10 April 1871), 3 

. . . N. Engel, 2 pannikins, 2 flower pots . . .

Names and descriptions of passengers per per Northumberland, from Melbourne, 12 December 1873, for London; Public Record Office Victoria (DIGITISED)

. . . Nicholas Engel / 46 / Miner / Mrs. Engel / 45 / Wife //
Eliz. Engel / 14 // Charley Engel / 11 // Johnny Engel / 7 // Francis Engel / 3 . . .

USA census, Allegheny, Pittsburgh, Pennsylvania, 1880; United States Federal Census (PAYWALL)

135 Virginia Street / Engel Nikolaus / 54 / Teacher of Music / [born] Bavaria
Lizzie / 49 / Wife / [born] Bavaria //
Lizzie / 21 / Daughter // Charles / 18 / Son // John / 16 / Son / [all born Australia]
Frank / 10 / [born] / Prussia

Death registration, 1903, Pittsburgh, Pennsylvania (PAYWALL)

Nicholas Engel / 75 years 8 months 15 days / Died March 5th 1903 / Widower / [no occupation given] / Apoplexy / [parents' names unknown] / Birthplace Germany . . .

ENZER, Madame (Madame ENZER)


Active Melbourne, VIC, 1852 (shareable link to this entry)


"THE WEEKLY CONCERTS", The Argus [Melbourne, VIC] (17 June 1852), 5 

The following is the programme for the concert of this evening:
PART I. Overture - Tancredi.
Song - Sweet Mary a-cush-la-macree, Mr. Walton.
Violin Solo - Airs, with variations, Mr. Snelling.
Song - In happy moments, Mr. Cogdon.
Song - Italy, Madame Enzer.
PART II. Overture - Men of Prometheus.
Song - Old England, I live but for thee, Mr. Witton.
Cornet a' Piston - The Standard Watch, Mr. Wheeler.
Song - When the merry dance prevails, Madame Enzer.
Song - I see thine eyes still beaming, Mr. Cogdon.
Finale - God save the Queen.
It will be perceived that a considerable change has been made in the corps musicale, to whom the public has latterly looked as forming the principal staff in connexion with these popular entertainments. Recent circumstances affecting these concerts require the most marked attention of that part of the public which takes any interest in the subject of intelligent and harmless recreation. We shall have more to say upon the matter shortly. Meantime we beg to bespeak for that portion of the Committee which has worked so hard and done so much to carry them on with vigour and spirit, the most grateful and indulgent consideration from the audience to whom they have so often afforded enjoyment in a very rational mode and at a very reasonable charge.

ASSOCIATIONS: Thomas Walton (vocalist); Mr. Cogdon (vocalist); Henry James Witton (vocalist, musician); James Morris Snelling (violinist); Stephen Thomas Wheeler (cornet); Thursday Concerts (series); Mechanics' Institution (Melbourne venue)

ERSON, Thomas William I' = Thomas William I'ERSON


Musician, soprano / mezzo-soprano vocalist, Lyster's opera company

Born Springfield, Massachusetts, USA, 4 January 1829; daughter of Luther GRANT and Lorinda WILLIAMS
Arrived Melbourne, VIC, 1 March 1861 (per Achilles, from San Francisco, 8 January)
Departed Sydney, NSW, 29 August 1868 (per Alexander Duthie, for San Francisco)
Married Henry SQUIRES (1825-1907), New York, USA, 21 June 1870
Died Paris, France, 26 November 1895 (TROVE tagged by Australharmony) (Wikipedia - EN) (Wikipedia - DE) (shareable link to this entry)


Lucy Escott; photo by Edwin Dalton (Sydney, c. 1862); National Portrait Gallery, Canberra

Lucy Escott (photo by Edwin Dalton, Sydney, 1862); National Portrait Gallery, Canberra (DIGITISED)

ASSOCIATIONS: Edwin Dalton (photographer)

[Advertisement], The Sydney Morning Herald (23 December 1862), 6 

Local Personages . . . At 5s., photographed by Dalton, W. C. Wentworth, Henry Squires, Lucy Escott . . . J. R. CLARKE, 356, George-street.


"MUSIC IN BROOKLYN. SECOND PHILHARMONIC CONCERT", Music review and gazette (25 December 1858), 403 (DIGITISED)

THE second concert of the Brooklyn Philharmonic Society was given on Saturday evening, the 12th, and was under the able direction of Mr. Carl Bergmann, who will henceforth act as conductor. The attendance was larger, the talent displayed greater, and the concert passed off more satisfactorily than on any previous occasion. The opening piece, the Pastorale Symphony of Beethoven, was given with precision . . . The symphony was followed by the aria, "Softly sighs the voice of evening," by Miss Lucy Escott, a name unfamiliar to a Brooklyn audience, but as an American lady educated in Europe, she now seeks the applause of a home audience. In the piece above named, she appeared at disadvantage, but fully recovered herself in the Venzano Waltz, which was enthusiastically received . . .

"SHIPPING INTELLIGENCE . . . ARRIVED. MARCH 1", The Argus [Melbourne, VIC] (2 March 1861), 4 

Achilles, ship, 553 tons, Henry T. Hart, from San Francisco 8th January. Passengers - cabin: Madame Lucy Escott, Miss Rosalie Durand, Miss Georgia Hodson, Mrs. Ada King, Messrs. A. Reiff, H. Squires, F. Trevor, W. S. Lyster, F. Lyster, W. Lloyd, D. Fries Hagelsea. Holmes, White, and Co., agents.

ASSOCIATION: Lyster Opera Company (troupe)

[News], The Argus (2 March 1861), 5

The ship Achilles, which arrived from San Francisco yesterday, has brought to these shores a "complete operatic troupe," comprising the names of Madame Lucy Escott, and Miss Rosalie Durand, sopranos; Miss Georgia Hodson, contralto; and Madame Ada King, as seconda donna. The tenor, Mr. Henry Squiers [sic], is supported by Mr. Frank Trevor, as second tenor. The baritone is Mr. F. Lester [sic]. Mr. A. Reiff is the conductor; and the whole are under the supervision of Mr. W. L. Lester [sic]. The agent of the troupe is Mr. W. Lloyd. Arrangements are being made for the appearance of the new company at the Theatre Royal, and we understand they will produce both tragic and comic opera.

"MADAME LUCY ESCOTT", Illustrated Sydney News [NSW] (16 June 1865), 8 

OF the varied forms of public amusements, musical entertainments, if not the most popular, are certainly the highest and most elevating; and of these the finest and most intellectual are to be found on the operatic stage. Tragedy, drama, and farce have alike been subject to severe criticisms, and held up to public abhorrence as pandering to vitiated tastes, but no such objections are ever raised to the opera. Indeed the celebrated Cromwell, famous for the fanatical zeal with which he proscribed theatrical representations, expressly countenanced the opera, which he said could not corrupt the morals of the people. It is not, therefore, to be surprised that wherever there is a refined public taste, the opera has been fostered. Any one of the Australian colonies is yet unable to effectively support an opera company, but their combined efforts have for the past four years been sufficient to retain the services of the most complete and talented company to be found outside the cities of London, Paris, and perhaps Berlin. Of this company the greatest favorite with the public is the gifted prima donna, whose portrait we now present.

Madame Lucy Escott is a native of Springfield, Massachusetts. While a child she evinced musical talents of so high an order that her parents decided to afford her an opportunity of cultivating them under the guidance of the best masters available, and for this purpose despatched her to the traditional home of the muses - to sunny Italy - where she became a pupil of the celebrated Maestro Romani, who, in later years was the tutor of Miss Lucy Chambers. On completing her studies, Madame Escott made her first appearance on the stage at Florence, in Il Barbiere, with such unequivocal success as to secure for her a most lucrative engagement at Naples, where she sang for four seasons, and created so high a reputation that Mercadante, the celebrated composer, wrote the opera of La Violetta expressly for her. On leaving Italy, Madame went to England, and made her first appearance in London at Drury Lane, where she played most of the principal characters in her repertoire with great eclat. Shortly after her return to her native land she was engaged by Mr. Lyster, accompanied his troupe to California, and played at the Opera House, San Francisco, with continued success, until the company left for Australia, where they arrived some four years ago, and from that time to the present she has been playing in the colonies.

Madame Escott's voice is a mezzo-soprano, very pure in the lower notes. What it is deficient in range is more than compensated for by brilliancy of execution, which must have taken years of study to acquire. To say that as a lyric actress Madame Escott has at the present day no rival on the stage, is but reiterating the oft expressed criticisms of numbers who have had an opportunity of comparing her performances with the operatic stars of the old world. We do not mean to assert that her Norma is equal to Grisi's; that her Lucia is the Lucia of Persiani; or even that her ballad singing is as exquisite as that of Kate Hayes. No, Madame Escott's fame rests on the versatility of her talent, and on the wonderful manner in which she adapts her voice and acting to every variety of performance; rather than peculiar excellence in one particular character . . .

"CLEARANCES. - AUGUST 28", The Sydney Morning Herald (29 August 1868), 4 

Alexander Duthie, ship, 1159 tons, Captain Douglass, for San Francisco. Passengers - . . . Mr. and Mrs. W. S. Lyster and servant, Mr. and Mrs. Lloyd and 2 children, Mr. and Mrs. De Antoni, Madame Escott, Miss Warden, Mrs. Andrews, Mrs. King, Messrs. Squires, Beaumont, Symons, Sutcliffe, Baker, Habbe, Kitts, Buchrach, Nathanson, Swift, Timms, and 17 in the 2nd cabin.


To the younger generation of playgoers the announcement of the death of Lucy Escott will probably convey nothing more than would the mention of the passing away of a perfect stranger; but many persons in the whole of these colonies will feel a revival of some old and very pleasant memories and will associate her name with what was undoubtedly the most brilliant period of grand opera in Australasia. We had previously been visited by stars like Catherine Hayes and Madame Anna Bishop, and we had had excellent singers like Sara Flower, Miss Octavia Hamilton, M. M. Conlon and Laglaise, but it was not until the arrival of the late Mr. W. S. Lyster with a complete company from California that it was possible to produce the great works of Mozart, Meyerbeer, Rossini, Donizetti, Bellini, Verdi, and other classic composer in a manner worthy of those masters. With a tenor like Mr. Henry Squires, a soprano like Miss Lucy Escott, a contralto like Miss Georgia Hodson - who is still living among us - a baritone like Mr. Wharton, and a basso like Mr. Farquharson, reinforced by Miss Rosalie Durand, Madame Simonsen, Mr. Armes Beaumont, and Mr. Frederick Lyster, not to speak of an orchestra largely composed of capable soloists and conducted by a true musician in the person of Mr. Reece [recte Reiff], such operas as "Don Juan," "Le Nozze di Figaro," "Le Prophete," "Les Huguenots," "L'Africaine," "Norma," "Lucrezia Borgia," "La Favorita," "Maritana," "Martha," "Traviata," "Il Trovatore," "The Barber of Seville," and twenty others were produced in rapid succession, and with an efficiency, taken of the whole, such as has never been excelled in these colonies. And in all the performances Lucy Escott was the untiring, versatile, and ever-ready prima donna, as much at home in lyric tragedy as in comic opera, and putting into everything she did a power of work, a dramatic fire, an elasticity of spirits, and a cheerlulness and good humour which seemed incapable of abatement.

Lucy Escott, whose real name was Lucy Evans Grant, was a native of Springfield, in Massachusetts, U.S.A., where she was born 68 years ago. Nature had endowed her with a fine voice, which was sedulously cultivated by Professor Romani, in Italy, where she received her first operatic engagement. Mercadante was so much pleased with her when he heard her sing in Naples that he wrote an opera expressly for her. After acquiring experience and confidence in the various opera-houses of Italy, her ambition led her to London, where she was engaged to create the part of Eleanora in "Il Trovatore," on the occasion of its being produced for the first time at Drury-lane Theatre. This stamped her reputation, and after singing in the principal cities of the United Kingdom she visited the United States, and was enthusiastically received by her countrymen as a leading vocalist in the companies of Maurice Strakosch and Mareczsk. Mr. Lyster then engaged her for an extended tour, and she reached here to towards the end of 1860 [recte 1861] and remained in these colonies for eight years. With a repertoire of 50 operas, with a beautiful and well-trained voice and rare histrionic powers, she became an immense favourite in Melbourne and continued so to the end. Light or heavy, Italian or English, operas were all the same to her, and one of her most memorable triumphs was on the night of her benefit, when she took the part of Azucena in "Il Trovatore," and electrified the house by her splendid singing and acting, to say nothing of the compass of her voice.

Lucy Escott retired from the stage after leaving Australia, and was married about 27 years ago to Mr. Henry Squires, the handsome tenor of the company. They took up their abode in Paris, where Mrs. Squires devoted herself to the study of painting and sculpture with as much energy as she had previously infused into her operatic work; and the married life of the two vocalists was an ideally perfect one. Mrs. Squires died of pneumonia supervening on an attack of quinsy on the 26th of November last, and by her own desire her body was cremated in the cemetery of Pere la Chaise.

See also "THE LATE MADAME LUCY ESCOTT-SQUIRES. A RECOLLECTION. BY F.", The Age (8 February 1896), 11 

Lucy Escott, Sydney, 1861; drawn by Edmund Thomas (Sydney: J. R. Clarke)

Lucy Escott, Sydney, 1861; drawn by Edmund Thomas; on cover of The Lucy Escott polka (below) (Sydney: J. R. Clarke, [1861]); "Lith, J. Degotardi" (DIGITISED)

ASSOCIATIONS: Edmund Thomas (artist); John Degotardi (lithographer)

Associated musical editions:

The Lucy Escott polka (William James Macdougall; publ. Sydney, 1861);

The Lucy Escott polka, composed & dedicated to Madame Escott by Mercadante, and arranged for the pianoforte with variations by W. J. Macdougall (Sydney: J. R. Clarke, [1861]); cover: "Lith, J. Degotardi" (DIGITISED)

ASSOCIATIONS: William James Macdougall (composer); Jacob Richard Clarke (publisher)

Other sources:

Letters of Lucy Escott, 1863-64, to her brother Luther Grant; National Library of Australia, MS 10333 

Bibliography and resources:

Harold Love, The golden age of Australian opera: W. S. Lyster and his companies 1861-1880 (Sydney: Currency Press, 1981), 1-8, 46-49, 187, 275-77 

Alison Gyger, Civilising the colonies: pioneering opera in Australia (Sydney: Pellinor, 1999), 115-153 passim 

George Martin. Verdi at the Golden Gate: opera and San Francisco in the gold rush years (Berkeley: University of California Press, 1993), 296 (PREVIEW)

Kurt Ganzl, Victorian vocalists (New York: Routledge, 2017), 219-23 (PREVIEW)

Descendants of John Miner and Elizabeth Boothe, Sixth Generation; family history 

2705. Luther GRANT born in 16 Nov 1797 (Twin) in Tolland, Tolland, Connecticut. He died on 29 Dec 1834. He was buried in Springfield, Massachusetts.
Luther married Lorinda WILLIAMS on 4 May 1821 in Hartford, Hartford, Connecticut.
Lorinda was born on 9 Aug 1796 in of Hartford, Hartford, Conn.. She died on 30 Jun 1866 in Dansville, New York. They had the following children.
5972 M i Luther GRANT Jr. was born on 6 Feb 1822.
5973 M ii Calvin GRANT was born on 6 Feb 1822 in Springfield, Massachusetts. He died on 6 Feb 1822 in Springfield, Massachusetts.
5974 F iii Lucy Evans GRANT was born on 4 Jan 1832 [sic, recte 1829] in Springfield, Hampden, Massachusetts. She died on 26 Nov 1895 in Paris, France.
Lucy married Henry SQUIRES on 21 Jun 1870 in Manhattan, New York, New York, United States . . .
5975 F iv Caroline GRANT was born on 4 Jan 1832 in Springfield, Hampden, Massachusetts. She died on 4 Jan 1832 in Springfield, Massachusetts.


The Lucy Escott variations (1963), for harpsichord or piano, by Hans Werner Henze, commemorates her early London appearances, and is based on "Come per me sereno", from Bellini's La sonnambula.


Musician, teacher of music, musical instrument importer and retailer, musicseller

Born Berlin, Prussia (Germany), 14 January 1821; baptised Sankt Georgenkirche, Berlin, 28 January 1821; son of Gottfired Heirnich ESSELBACH and Henrietta Wilhelmine BOLLE
Married Wilhelmine Sophia Susanna POTHE (1828-1896), Sankt Georgenkirche, Berlin (Germany), 14 March 1849
Arrived Adelaide, SA, 7 August 1849 (per Princess Louise from Hamburg, 26 March, via Rio de Janeiro)
Died Stepney, SA, 2 June 1885, aged "64" (TROVE tagged by Australharmony) (shareable link to this entry)


Baptisms, Sankt Georgenkirche, Berlin, 1821; Evangelische Kirche, Berlin, 191/1, page 311-12 (PAYWALL)

No. 82 / Gustav Louis / [born] 14 Jan. [1821] / [baptised] 28 Jan. [1821] / [son of] Gottfried Heinrich Eselbach [and] Henrietta Wilhelmina Bolle . . .

Marriages, Sankt Georgenkirche, Berlin, 1849; Evangelische Kirche, Berlin, 191/1, page 144 (PAYWALL)

No. 92 / Gustav Louis Esselbach / [son of] Gottfried Heinrich Eselbach / [Aged] 28 / [born] [14 January 1821] / [and] Wilhelmine Sophie Susanne Poth / [married] 14 Mar. 1849

"SHIPPING INTELLIGENCE. ARRIVED", South Australian Register [Adelaide, SA] (8 August 1849), 4 

Tuesday, August 7 - The ship Princess Louise, 356 tons, Bahr, master, from Hamburg and Rio Janeiro. Passengers . . . Dr. C. Mucke . . . Erzelbade and wife . . . Tadt . . . Linger . . .

ASSOCIATIONS: Carl Muecke (cleric); Emil Hermann Todt (musical amateur, sculptor); Carl Linger (musician)

"SHIPPING NEWS . . . IMPORTS", The South Australian Advertiser (23 November 1859), 2 

Cargo of the Ceasar and Helene, from Hamburg - . . . 1 [package], L. Eselbach . . .

ASSOCIATIONS: Import lists hereafter regularly report otherwise unidentified packages and cases for Esselbach

[Advertisement], South Australian Register (16 January 1861), 1 

FOR SALE, a good Second-hand COTTAGE PIANO. Apply to Mr. Esselbach, Stepney.

[Advertisement], The Adelaide Express (23 December 1864), 4 

FOR SALE, an Excellent COTTAGE PIANO, treble strings and action, at Mr. Esselbach's, Stepney.

[Advertisement], South Australian Register (20 January 1866), 1 

FOR SALE, an exquisite PIANO, Treble Strings and Double Action, at Esselbach's, Stepney, Magill-road.

[Advertisement], South Australian Register (4 April 1868), 1 

FOR SALE, an Exquisite PIANO, by Biese, at Esselbach's, Stepney.

ASSOCIATIONS: Wilhelm Biese (Berlin pianoforte maker)

"LATEST SHIPPING . . . IMPORTS", The Express and Telegraph (20 September 1869), 2 

CAESAR GOEFFROY, from Hamburg - 7 cases harmoniums, 3 do. pianos, F. Witkowski . . . 2 cases pianos, C. Wallmann; 10 do. pianos, silks, and confectionery, G. Kindermann . . .
2 cases pianos, G. L. Esselbach . . .

"Latest Shipping . . . IMPORTS", Evening Journal (22 October 1870), 2 

WANDRAHM, from Hamburg - . . . 2 pianos, L. Esselbach . . .

[Advertisement], Evening Journal (12 December 1870), 1 


"DEATHS", The Express and Telegraph [Adelaide, SA] (3 June 1885), 4 

ESSELBACH. - On the 2nd June, at his residence, Louis-street, Stepney, Gustav Louis Esselbach, in his 64th year.

"MUSIC AND MUSICIANS. REMINISCNCES FROM 1868 [I. - By P. A. Howells]", The Register (5 October 1918), 10 

My recollections of the musical world of Adelaide dates from September 17, 1868, when I entered the service of S. Marshall, founder of the well-known musical firm of S. Marshall & Sons. In the first 10 years - that is to 1878 - the musicians I remember in Adelaide were instrumentalists and teachers of music - Misses Senner [? Chinner], Thwaites, Phillips, Congreve, Crabb, Shawyer, West (who afterwards became Mrs. Cawley . . .), and Tilney; Mesdames Sibree, Evans, and Wastell; Messrs. George Loder, O. Esselbach [sic], von Reyher . . .

ASSOCIATIONS: Philip Arthur Howells (memoirist); Samuel Marshall (musicseller); George Loder (musician); Oscar Reyher (musician); Oscar Esselbach (1853-1936, cafe proprietor) was his son


Within the next four years Mr. Charles Cawthorne will celebrate the jubilee of his entry into the musical world. He is now in his 62nd year, and can look back upon an interesting and a varied musical career, which began at the early age of 14. He is a native of Adelaide and has spent his whole life in this city. From his mother he inherited a musical temperament, and it was she who directed his footsteps into the profession in which he has been so long and honorably known. His mother, who studied under Madame Cranz - a teacher of note 50 years ago - was an uncommonly good pianiste and a friend of Mr. Linger . . . Reared in a musical family and moving in musical society, it was but natural that the boy Cawthorne should study music at an early age. When he began to learn violin playing, however, he had no idea of taking up music as a profession. He made his debut as a violin soloist at a concert in the exchange room of the Adelaide Town Hall. To this day the memory of that important event remains clear in his mind. Once started on his musical career he never looked back. He studied the pianoforte under Mr. Esselbach, and violin playing under Mr. Draeger, the head of the once well-known Draeger family and a very clever musician . . .

ASSOCIATIONS: Charles Cawthorne (pupil); Mathilde Cranz (musician); Carl Linger (musician); Ferdinand Draeger (musician)

ESTALL, William Henry (William Henry ESTALL; W. H. ESTALL)

Musical amateur, builder, plasterer, modeller, publican, school master

Born Tower Hill, London, England, 1804; baptised St. Mary, Whitechapel, 26 February 1804; son of Thomas ESTALL and Sarah ?
? Married (? 1) Eliza DAVIS (d. 1848 [sic]), St. John The Evangelist, Lambeth, Surrey, England, 13 March 1828
Married (? 2) Caroline JONES (d. 1879), St. Botolph Bishopsgate, London, England, 19 August 1833
Arrived Sydney, NSW, 27 April 1835 (per Ann, from London, 10 December, and the Downs, 16 December 1834)
Arrived Melbourne, VIC, 20 August 1847 (per Christina, from Sydney)
Active Geelong, VIC, c. 1850-60
Died Mount Gambier, SA, 3 May 1879, aged "75/76" (TROVE tagged by Australharmony) (shareable link to this entry)


Baptisms in February Anno Domini 1804, St. Mary, Whitechapel; register 1792-1812; London Metropolitan Archives, P93/MRY1/012 (PAYWALL)

[1804 February] 26 / William Henry Estall, Son of Thomas & Sarah Estall, Brace's Buildings

? Marriages solemnized in the district of St. John the Evangelist Lambeth in the county of Surrey in the year 1828; register 1825-33, page 164; London Metropolitan Archives, P85/JNA3/026 (PAYWALL)

No. 491 / William Henry Estall of this Parish Bachelor and Elza Davis of this Parish Spinster
were married in this Church by Banns this [13 March 1828] . . . [witnesses] Thomas Estall

? Baptisms solemnized in the parish of St. Margaret Westminster in the county of Middlesex in the year 1831; register 1830-32, page 115; Collegiate Church of Saint Peter in Westminster, Registers and Books of St. Margaret's Church, MA/01/02/011 (PAYWALL)

No. 916 / [1831] April 10th / Born 19 Feb 1831 / Edwin Davis [son of] William Henry & Eliza / Estall / John Street / Modeller . . .

Marriages, St. Botolph Bishopgate, London, 1833; England, select marriages (PAYWALL)

19 August 1833 / William Henry Estall / Caroline Jones

"SHIPPING INTELLIGENCE. ARRIVALS", The Sydney Herald (30 April 1835), 2 

From London, on Monday last, having sailed from thence the 16th December, the ship Ann, 312 tons, Captain Robert Wainwright, with merchandise. Passengers, Mr. William Goodman, merchant; Mr. William Henry Estall, Mrs. Estall . . .

NOTE: In the passenger manifest Estall is listed as a "builder"; insolvent in Hamilton, VIC, in 1868 he was listed as a plasterer

Publican's licence, East Maitland, NSW, 1836; State Records Authority of NSW (PAYWALl)

No. 36/173 / Sydney, 4th July 1836 /
. . . William Henry Estall . . . Tradesman's Arms at East Maitland . . .
Amount of Duty Received £25 - 0 - 0 . . . granted . . . at Maitland [27 June 1836] . . .

Publican's licence, Paterson, NSW, 1842; State Records Authority of NSW (PAYWALL)

No. 279 / Sydney 27 June 1842 /
W'm H'y Estall . . . Victoria Inn at Paterson . . . /
Amount of Duty Received £30 . . . granted . . . at Paterson [date illegible]

"Shipping Intelligence. ARRIVED", The Melbourne Argus [NSW (VIC)] (24 August 1847), 2 

August 20 - Christina, brig, 149 tons, Saunders, master, from Sydney. Passengers . . . (steerage) . . . W. H. Estall and wife . . .

[Advertisement], Geelong Advertiser [VIC] (28 November 1850), 2 

OBJECT. FIRSTLY, to awaken the latent taste for harmonics in the rising generation.
Secondly, to foster, and encourage the active taste and incite it to a proper appreciation of the beautiful creations of our divine composers.
Thirdly. And as a natural sequence, by the soothing influence of music to modify and correct what is gross in nature by infusing into the soul a love of all that is good and ennobling in man.
A meeting of gentlemen, amateur performers, is convened for Friday evening, at the private residence of G. T. Lloyd, Esq., Ryrie-street, at half-past seven o'clock, when the attendance of all persons favorable to the project is respectfully invited.
W. H. ESTALL, Sec. pro tem.

ASSOCIATIONS: George Thomas Lloyd (musical amateur); Geelong Amateur Harmonic Society (organisation)

[Advertisement], Geelong Advertiser (5 December 1850), 1 

Any person having one for sale, if sound and perfect, stating price, will please communicate the same by letter, to the Secretary of the Geelong Harmonic Society.

"CONCERTS. To the editor of the . . .", Geelong Advertiser (25 July 1851), 2 

July 21st, 1851.
SIR, - My attention was drawn, yesterday, by one of your establishment, to a letter inserted in your paper of the 14th instant, signed 'Musicus,' reflecting rather sweepingly, and drawing rather untimed comparisons between the Geelong Harmonic Amateur Society, and one of a similar nature in Melbourne. I have been so much in harness lately that I have had no time to read newspapers, and if I had I am too poor in pocket to take it in at present, or I might now and again see something that would cause me to draw a quill from my favourite porcupine, i.e., (Mental Magazine.) To be just with Musicus, his letter puts me in mind of a sublime reflexion often made use of by the immortal Dr. Watts, that is, "that truth never comes in a lump," and so it is with the letter of Musicus, it contains truth as well as exaggerations - the exaggerations we care not for, but the truths we do. We long since expected to give concerts, not for our own pockets or the pockets of professionals, but ostensibly for charities; and charities only, such for instance, as the New Hospital, and such like, when it would be the bounden duty of every citizen to assist with his heart, not his shoulders, (if a man's heart is not to the wheel, I do not want his shoulder). The mechanics of the town, I know too well, would assist it to a man, their health is their fortune, and when they look at a building like the new hospital, this reflection must naturally pass through their mind, "if any thing happens to me, that building with the science of the faculty attending it will be my place of refuge, and I must support it with my mite and might," - my long experience among mechanics tells me that their hearts are the first to open in cases of charity, but this is not the question with Amicus, (Musicus, I beg his pardon). - Musicus wants to know why we have not given concerts before this, and if we are asleep.

I can assure him there is not a sleepy headed character amongst us - I can also assure him that there is too much of the pure Saxon in us to let so benevolent an institution drop to the ground. Why our little president would stop both ears at the sound of a whisper of the kind. Now, let's out with the truth, that noble simplicity of the pure English character, the truth is, our own internal weakness, and want of support from the public, - we are hanging on in safety among ourselves till we get more strength from Sydney, (my second home) which will not be long first, we are holding fast what we have, and such as it is it will be given to the public ere long for better or worse. A generous public will look at our intentions, and not any mishaps, the mishaps of Amateurs especially when they work for nothing, but the benefit of charities. This is so far among ourselves.

The next truth is, Musicus and the public have no demands upon us, for we have never received one stiver from the public to buy instruments or music, we have not even had a piece of music lent to us to copy from, we have neither had a donation of money or music, yet although we have been at about forty pounds expenses for instruments and music among ourselves, independent of the printer who is not paid yet, but who will be paid with sovereigns as well as silver notes in due season, and had it not been for the earnestness in the matter, of our warm hearted little President, who, in colonial parlance, is always THERE, when wanted, we should have been water logged long since. However to wind up the matter, circulars one hundred and upwards have been distributed by letter post paid throughout the town, calling for support, but my being engaged principally in the suburbs lately, has deterred me from calling on any one. I expect to have his Excellency's name at the top of the list in a few days, and now that I have time I shall proceed to make a Geographical tour through the human families of Geelong and its suburbs, not forgetting his Worship the Mayor, who I know is also THERE, when wanted, from him through the bench of magistrates, and bench of bishops if I could find one, then through the merchants great and small, shopkeepers and tradesmen, lucky somebodies, and lucky nobodies, my net will be like Peter's, all fish that come to it, not forgetting Amicus, (Musicus I mean) if I can find him, at the end of my exploration. I shall give a geographical map of many travels, giving the name in full of every locality I have been through, shewing in figures the nature of the different mines whether gold, silver, pinchback, promissory, copper or lead ore, having the motto engraved on the end of my boring machine or shaft, "he that giveth quickly giveth twice."

Will Musicus let me know by post where he lives, never mind the postage, because I shall show him and the public till I have been through the town that neither him nor them have any demand upon our paper notes, and more, our paper currency will I assure him not be passable to the public till then, and not till then, when I promise him and them, they shall draw in notes of the most fluid and silvery nature to the full amount of their deposits in our Treasurer's hands, W. Weire Esquire, to whom, and to G. T. Lloyd, Esquire, J. A. Gregory, Esquire, or your humble servant, deposits, may be made at any corner they may meet them, and receipts and rules will te given them in return. The rules of our society, can at all times be had at G. T. Lloyd's Esq., Malop-street.

There is one thing Mr. Editor I am surprised at, and that is, there are in Geelong about the same number of amateur singers as there are of us instrumentalists, that is 10, now I wonder they do not unite and make up a madrigal glee and catch club, they can at all times have an assistance in performance or the loan of music on their nights of practice: there are the Kaweravss [sic], Walton, Spinster, Boyle of Kildare, Hunt of Kildare, Donohue of New Town, and some of our own party, these might make a very good little society, or they can hitch themselves on to us if they like, it would be very much to their credit to do so. If they want advice and assistance they have only to call on G. T. L. Malop-street, or meet our officers at his house, which is at all times open for such purposes; three of the above named persons have no fear from their foreign accent; if they are correct in their Sol Fa, and follow the others, there is no fear, choosing their music from the Scores of the old masters, and keeping strictly to the old English catch and glee, the public would be sure to appreciate their motives in their true sense, when before them.

I cannot promise Musicus any more of my time, nor further explanations yet awhile, but beg of him to bide his time; a thing well done, is twice done; subscribing myself his and your Obedient servant,
Secretary to the Geelong Amateur Harmonic Society.

ASSOCIATIONS: George Thomas Lloyd (musical amateur); Theodore and Frederick Kawerau (members); Thomas Walton (musician)

Teacher record, William Henry Estall, 1858-60; Public Record Office Victoria (DIGITISED)

William Henry Estall / born 1805 in London / Kildare Nat. / 1 Jul. '58 to 30 Jun. '60


The examination at the Police-office to-day of William Henry Estall, teacher of the National School, Ashby, who was charged with committing a capital assault on the person of a fine intelligent girl named Mary Anne Smith, eight years of age, resulted in the prisoner being remanded till tomorrow. The bench refused positively to accept bail.
The examination lasted upwards of three hours; the witnesses called being the girl herself, her mother, and Dr. Sparkes. The evidence of the girl was given in a very straightforward manner, and she detailed the most abominable series of filthy actions on the part of the prisoner I ever listened to. Mrs. Smith, the girl's mother, a respectable-looking woman, stated that after she had made the discovery of her daughter being injured, the prisoner called on her and begged of her not to prosecute the charge against him, as his character was all he had to depend upon. From the nature of the doctor's testimony, it is possible Estall may escape conviction on the capital charge.

"GEELONG", The Argus (16 July 1860), 6 

. . . Now that Estall has been convicted, there can be little or no harm in mentioning that his filthy propensities in this way have been the subject of general conversation for some time. The late case of Mary Anne Smith is not the first, second, or third of the kind that has been laid to his charge; and had it not been that the parents of the poor children shrunk from the disgrace that would attend a public investigation, Estall would have been where he now is before to-day . . . Mr. Estall's abominable conduct has been the subject of conversation among the parents of the children and others in his locality for the last two years . . . Mr. Estall's antecedents, even in Geelong, were of such a nature that he was a totally unfit man to be entrusted with the education of children . . . several parents have had to take their children from Mr. Estall's school rather than allow them to run the risk of contamination which threatened them in that establishment - placed under the guardianship of such a man as Estall . . .

Register of male prisoners, no. 5181, William H. Estall, convicted 10 July 1860; Public Record Office Victoria (DIGITISED)

. . . Sentence - Ten years Roads . . .

[Advertisement], The Age [Melbourne, VIC] (21 January 1868), 3 

NO. 11,391. - In the Insolvent Estate of WILLIAM HENRY ESTALL, of Hamilton, in the Colony of Victoria, Plasterer . . .

"PRISONER DISCHARGED FROM YATALA LABOR PRISON", The South Australian Police Gazette (22 September 1875), 151

William Henry Estall, tried at Circuit Court, Mount Gambier, on the 16th October, 1872, for indecent assault upon Phoebe and Sarah Hutchinson, at Glenburnie, near Mount Gambier; sentenced to four years' hard labor; a native of Tower Hill, London; a schoolmaster; born, 1803; height, 5ft. 7in; complexion, fresh; hair, auburn; eyes, blue; two fingers of right hand off at second knuckle; vaccine marks both arms; cupping marks upper part of spine; ruptured in two placed; large breasts; gun carriage went over both feet, taking off toe nails, horns grown instead; large belly. Freedom due 25th September, 1875.

See also, "MOUNT GAMBIER POLICE COURT . . . Monday, October 7", Border Watch [Mount Gambier, SA] (9 October 1872), 2 

See also, "A CASE FOR THE EDUCATION BOARD", Evening Journal (9 November 1872), 3 

"DIED", Border Watch [Mount Gambier, SA] (15 March 1879), 2 

ESTALL. - On 7th March, Caroline Estall, beloved wife of William Henry Estall, after a short illness of four days; aged 68. Her end was peace.

Bibliography and resources:

William Henry Estall, Find a grave 


Musician, double bass player, piccolo player, butcher, hotel keeper, publican

Born Allstedt, Saxony (Germany), c. 1832
? Arrived Melbourne, VIC, 14 August 1855 (per Arabian, from Liverpool, 28 May)
Married Caroline KOCH (d. 1883), VIC, 1857
Active Beechworth, VIC, by 1857
Died Beechworth, VIC, 30 April 1886, aged "54" (TROVE tagged by Australharmony) (shareable link to this entry)

ASSOCIATIONS: Charles Kierath's 1914 recollection suggests that Esther arrived in Victoria in 1855; however, if he had in fact arrived earlier, he was perhaps the double bass player Elze (above) who appeared in Melbourne in 1853.

ASSOCIATIONS: Music in Beechworth district (VIC) (general)

Carl Esther's Alliance Hotel, Beechworth, c. 1870

Carl Esther (with moustache), with his wife and daughter, outside his Alliance Hotel, Beechworth, c. 1870 (from Nobblers and lushingtons) 

For another photograph of Esther, c. 1860s, see Beechworth


Names and descriptions of passengers per Arabian, from Liverpool, 21 May 1855, for Melbourne; Public Record Office Victoria (DIGITISED)

ASSOCIATIONS: Neither Kierath nor Esther appears in the passenger list; however, they may well have come as musicians in the crew

[Advertisement], Ovens and Murray Advertiser [Beechworth, VIC] (16 March 1857), 3

IN aid of the Funds for Building a Presbytery and Catholic Church in Beechworth, to be held in
Conductor - Mr. Hurley
Leader - Mr. Osborne
Violin Primo - Mr. Osborne
Violin Secundo - Herr Weichmann
Violin Secundo - Herr Carll
Harp - M. Zeplin
Pianoforte - M. Carne
Contra Basso - Herr Esther
Picolo Solo - Mr. Hurley
Clarionet - Mr. Fowriere
Cornet a Piston - Mr. Barlow
Trombone - Sig. Rangoni . . .

ASSOCIATIONS: J. P. Hurley (conductor, piccolo); Ferdinand Osborne (violin, leader); Heinrich Weichmann (violin); George Frederick Zeplin (harp); John Bolton Barlow (cornet); Antonio Rangoni (trombone)

[Advertisement], Ovens and Murray Advertiser (17 March 1858), 3

St. Joseph's Catholic Church, BEECHWORTH.
GRAND HIGH MASS, With Orchestral Accompaniments.
Mr. G. Griffiths, First Violin
" Weichman, Second Violin
" J. P. Hurley, Flute
" W. Radford, Viola
" Mr. Barlow, Cornet
" Jenkins, Sax Tuba
" Wright, Violincello
Herr Esther, Double Bass

ASSOCIATIONS: George Griffith (violin); ? Charles Jenkin (sax tuba); William Radford (viola)

Index to naturalisation certificates, Karl Esther, 1865; Public Record Office Victoria (PAYWALL)

Karl Esther / Butcher / Beechworth / Age (on date of naturalization) 33 / Native Place - Allstedt, Saxony / Date of Certicate - [20 March 1865]

[Advertisement], Ovens and Murray Advertiser (28 January 1868), 3 

GRAND VOCAL AND INSTRUMENTAL CONCERT Will be given, on the above date, in aid of the funds for the erection of a
Monument to the Memory of the late Herr Schmidt.
The BAND will comprise the following gentlemen, who have kindly volunteered their services:
1st Violins - Herr WEINBERG and VAN DEN BERG
2nd Do - Herr BAUSCHMAN and Mr. WATTS
Tenor - Mr. E. S. RUSSOM
Violincellos - Mr. MORRIS and Herr OTTO
Contre Basses - Herr ESTHER and GERKE
Cornets - Herr SCHMIDT and BURKE
Clarinet - Herr VORHEN
Flute - Herr BUSSE
Flageolet - Mr. Henri RUXTON
Cornos - Messrs. PALMER and GEORGE
Trombone - Herr HARTMAN
Drums - Herr RUDOLPH
Conductor, Herr SCHLUTER.
Assisted by Ladies and Gentlemen Amateurs and the German Vocal Union . . .

ASSOCIATIONS: Herr Schmidt (musician); Henry Weinberg (violin); Jacob Van den Berg (violin); August Borschmann (violin); James Watts (violin); Edward Stephenson Russom (viola); Heinrich Gerke (double bass); Peter Constantine Burke (cornet); Herman Vorherr (clarinet); Frederick Busse (flute); Henri Ruxton (flageolet); Daniel Richard Palmer (cornet); August Hartmann (trombone); Adolph Schluter (conductor); Star Theatre (Beechworth venue)

"BALL AND SUPPER", Ovens and Murray Advertiser (9 June 1868), 2 

We perceive that Mr. Carl Esther intends to give a ball and supper at the Alliance Hotel, Beechworth, on Friday evening next. Mr. Esther always provides good music, being a musician himself, and that is one half the battle.

"DEATH", Ovens and Murray Advertiser (1 May 1886), 4 

Esther. - At his late residence, corner of Camp and High-streets, Beechworth, Carl Esther, aged 54 years.

"DEATH OF MR. CARL ESTHER", Ovens and Murray Advertiser (1 May 1886), 4 

Old residents of the district will regret to learn of the removal from amongst them by the hand of death of yet another of their number, Mr. Carl Esther, who for many years was the proprietor of the Alliance Hotel, Beechworth. Mr. Esther had been in failing health for some months past, and on Friday last he quietly passed away to "the land of shadows." His loss will be more particularly deplored by a large circle of German friends, and the funeral, which takes place this afternoon, will no doubt be largely attended.

"Colonielle Angelegenheiten", Australische Zeitung (5 May 1886), 1 

Aus Beechworth in Victoria wird uns mitgetbeilt, dass Herr Carl Esther dafelbst am 23. April gestorben ist und am Tage darauf unter zahlreicher Theilnahme zur Ruhe bestattet wurde. Herr Esther war ein sehr geachteter alter Kolonist und seit langen Jahren ein wackerer Agent dieser Zeitung. Er ruhe sanft!

Will and probate, Carl Esther; Public Record Office Victoria (DIGITISED - WILL) (DIGITISED) (DIGITISED)

"HOTEL CHANGES IN BEECHWORTH", Ovens and Murray Advertiser (11 September 1886), 2 

. . . Then we come to the old Alliance Hotel - a house once famous as the head quarters of the Germans of the district - which has passed into new hands, consequent on the death of Mr. Carl Esther. It was from this house that Field-marshal Probst and Colonel Schlichtweg led the glorious army of Germans "on to battle" at the Beechworth carnivals of the old days. When will these soul-stirring events be repeated? . . .

"MANY HAPPY RETURNS OF THE DAY", Rutherglen Sun and Chiltern Valley Advertiser (9 January 1914), 5

On Monday, 5th January, Mr. Charles Kierath, of Cornishtown, celebrated his 85th birthday . . . Mr. Kierath is also one of the pioneers of the North-Eastern District; he arrived in Victoria by the ship Arabia [sic], from Liverpool, in the year 1855. He is a native of Brunswick, Germany. In the year '55 he formed a band of eight, musicians for the purpose of visiting England, and then Australia. After a short time in England, and having arranged for the passage of the members of his band to Australia, he was joined by his wife, and the party of young Germans set sail for the Southern Cross lands. On arrival at Melbourne the members of the band gave a series of open air concerts, and also accepted engagements; they also visited Ballarat and Bendigo. On his return to Melbourne he learnt of the Ovens goldfields, and it then became a question whether it would be Beechworth or Sydney. A Mr. Johnston engaged four members of the band, who went to Sydney, our esteemed resident going to Beechworth where, with the late Carl Esther, he commenced a green-grocery business, but also accepting engagements as musicians . . .

ASSOCIATIONS: Charles Kierath (musician)

"EIGHTY-FIVE, NOT OUT", Ovens and Murray Advertiser (10 January 1914), 2 

On Monday last, 5th inst., Mr. Chas. Kierath, of Cornishtown, near Chiltern, celebrated his 85th birthday . . . A native of Brunswick, Germany, he arrived in Victoria in 1855. In England he formed a band of eight musicians for the purpose of visiting Australia. On arrival in Melbourne the members of the band gave a series of open-air concerts, and also visited Ballarat and Bendigo. On returning to Melbourne they learnt of the Ovens goldfield. Four of the members of the band proceeded to Sydney, but Mr. Kierath came on to Beechworth where, with the late Mr. Carl Esther, he commenced a green-grocery business, but also accepting engagements as musicians . . .

Bibliography and resources:

Richard Patterson, Nobblers and lushingtons: a history of the hotels of Beechworth and the Ovens district (Beechworth: Endymion, 2009) 

Carl Esther, Find a grave 

EVANS, Edward (Edward EVANS, Mr. E. EVANS; Mr. EVANS)

Musician, harp player, professor of music, "the celebrated Welsh harpist"

Born NSW (or ? Wales), c. 1836
Arrived VIC, 1857
Died Timor Station, near Maryborough, VIC, 11 March 1876, aged "40" (TROVE tagged by Australharmony) (shareable link to this entry)


[2 advertisements], Mount Alexander Mail [Castlemaine, VIC] (4 December 1857), 5 

. . . AUSTRALIAN HOTEL, Forest Creek . . .
Who has just arrived in the colony, will play every evening up to the end of the year.

THEY will give a CONCERT this Evening, at MOORE'S HOTEL, Fryerstown,
and on Saturday evening at the RED HILL HOTEL, Forest Creek.

ASSOCIATIONS: John Williams (harpist)

? [Advertisement], Bendigo Advertiser (17 December 1857), 1 


"SPORTS OF THE SEASON", Mount Alexander Mail (21 December 1857), 2 

Australian Hotel, Forest Creek. - Wrestling for prizes from £20 to £3; a running match, a dancing match, and a skittle-match for a gold watch. Mr. Evans, the Welsh harpist, is also engaged to day.

"THE WELSH NATIONAL EISTEDD-FOD", The Star [Ballarat, VIC] (30 December 1862), 3 

The fifth annual meeting of the above institution was held on Christmas and Boxing Days, in the hall of the Mechanics' Institute . . . throughout the whole of the first day, and the morning of the second, the audience were delighted by exquisite performances on the harp, by Mr. E. Evans, of the Royal Hotel . . .

[News], Mount Alexander Mail (25 December 1857), 4

. . . the various sports to come off in the neighbourhood during the Christmas holidays . . . Australian Hotel, Forest Creek. - Wrestling for prizes from £20 to £3; a running match, a dancing match, and a skittle-match for a gold watch. Mr. Evans, the Welsh harpist, is also engaged to play . . .

[Advertisement], Mount Alexander Mail (8 July 1864), 3 

A CONCERT WILL be held by the Welsh Union Choral Society, on Monday, July 11th, at the Mount Alexander Hall, Chewton.
Harpist, Mr. E. Evans.
Admission - Front Seats, 2s.; Back Seats, 1s.
Tickets may be had of Messrs. Jones (Bootmaker, Forest Creek), Barnes and Jeffries, Chewton.
For further particulars, see programmes.

[Advertisement], Mount Alexander Mail (30 July 1864), 3 

A CONCERT WILL be held by the Welsh United Choral Society,
Harpist: - Mr. E. Evans.
Admission - Gallery, 2s 6d; Front seats, 2s. Pit, 1s.; Tickets to be had at the Royal Hotel, and of Mr. Jones, Forest Creek.

"Castlemaine Christmas Sports. GATHERING OF THE CASTLEMAINE NATIONAL SPORTS ASSOCIATION . . . THE WELSH EISTEDDFOD", Mount Alexander Mail (28 December 1864), 2 

. . . Mr. Williams, the blind harpist, then played "Merch Megan" (Megan's daughter). The Sebastopol choir sang "Come give the last token," which was encored . . . Mr. John Rosser sang to a harp accompaniement, the most ancient of Welsh airs extant, called "Nos Galan," (New Year's Eve.) Mr. D. R. Prichard, also sang "Glan Medd-dod Mwyn," another air of the same period, and Mr. W. Thomas gave the "Grey-headed Harpist." The harpists played together "Megan's Daughter," with variations . . . In the evening the entertainment opened with "Arhyd y nos," played upon the harp, the whole audience joining in the chorus. All the competitors for singing "Penillion" with the harp accompaniment, were called upon by the President, and out of 14, Mr. W. Thomas was awarded the prize . . . "Ar hyd y nos," on the harp by Mr. Williams, was followed by the adjudication of Mr. Huge, on the poetry . . .

This meeting was resumed yesterday morning at ten o'clock. The President having taken the chair, called on Mr. Williams, the harpist, who played " Codiad yr Chedydd," with variations. The Sebastopol choir then, sang "Ys Gwanwyn," with great expression . . . Three ladies having competed in the solo, "Y Deignyn olaf" (The last Tear), the prize was awarded to Mrs. Evans; Mr. J. Rosser accompanied the harp with a song "Ar hyd y nos," after which the Sebastopol choir sung "Duw-Sydd noddfa," as a specimen of a Welsh anthem of twenty years ago, which was well rendered . . .

The competition extended over the three last meetings. Mr. E. Evans won the prize as harpist . . . Mrs. Abraham und Mrs. F. Jones, for the best singing with the harp, won prizes . . .

The concert in the evening was, if possible, more numerously attended than any other part of the two days entertainment . . . The concert commenced with a fantasia on the harp, by Mr. Williams, after which the united choirs sang the "Ballaarat prize glee," and the "Prize Anthem" . . . The Forest Creek choirs sang "Every star" most effectively, and this performance was followed by "Cader Idris" (Idris' chair) on the harp, by Mr. William . . .

ASSOCIATIONS: Sebastopol Welsh Choir (organisation)

MUSIC: Cader Idris (Arthur's seat)

"CHRISTMAS DAY AND BOXING DAY . . . THE WELSH EISTEDDFOD", The Ballarat Star [VIC] (27 December 1867), 2 

The Welsh people celebrated the first day's session of their annual gathering at the Theatre Royal . . . We see a harp in the front of the stage, and the Sebastopol Welsh Choir is there under the leadership of Mr. Lloyd, and in one of the stage boxes there sat a gentleman who took notes and made occasional awards. This was Mr. Lewellyn, the judge in music. Hard headed looking men and handsome women were plentiful among the audience, and nothing of what passed on the stage seemed to escape their notice. The music by the choir, the harp music by Mr. Evans the harper, the reading of the poems and essays, and the criticisms of the judges were all listened to attentively . . . Mr. E. Evans, harp - "Llwyn onn" - Ash grove . . .

ASSOCIATIONS: David Lloyd (conductor)

MUSIC: Llwyn Onn (The ash grove)

"ST. DAVID'S DAY BANQUET", The Ballarat Star (2 March 1870), 3 

. . . Before the banquet a procession passed through the streets of Sebastopol towards Cobblers, and back' to the Town-hall. The procession was headed by a buggy, in which the harpist was seated. After, this came several Druids in costume. The Druids were followed by about 150 persons, and we must not omit to state that in the buggy was the inevitable goat. The company sat down to the banquet at about eight o'clock . . . Mr. E. Evans was harpist, and delighted his audience . . .

[News], The Kyneton Observer [VIC] (29 August 1872), 2 

The vocal and instrumental concert in the Mechanics' Institute, last night, passed off amazingly well, and was a financial and musical success. The entertainment was given in aid of the family of William Cook, a miner who has been permanently disabled through an accident . . . Miss Gourlay, Miss Golden, Mrs. Smith, Mrs. Trevens, and Mr. Robertson (comic singer), and Mr. Evans (Harpist) particularly distinguished themselves, and contributed largely to the amusement of the evening. Without making any invidious distinctions where so much talent was displayed, we append the following programme . . .
Harp - Selections of Irish Airs, Mr. Evans . . .
Harp - Selections of Welsh Airs, Mr. Evans . . .

[Advertisement], The Kyneton Observer (22 April 1873), 3 

BEGS to announce to the Public of Kyneton, and surrounding districts, that he has taken up his residence in Kyneton,
and will give LESSONS on the HARP and attend CONCERTS, BALLS,
QUADRILLE and PRIVATE PARTIES on the most reasonable terms.
ADDRESS: - E. EVANS, Professor of Music, Wedgwood's Hotel, Kyneton.

"PRESBYTERIAN BAZAAR", The Kyneton Observer (13 May 1873), 2 

The bazaar opened last night at the Mechanics' Institute, in aid of St. Andrews Church building fund, reflected the utmost credit on all those ladies and gentlemen concerned in getting it up . . . During the evening the Volunteer Band played a selection of music in front of the hall. Within, Mr. Evans, the harpist, gave Welsh and other airs with his well known ability . . .

Inquest, Edward Evans, Timor, VIC, 13 and 14 March 1876; Public Record Office Victoria (DIGITISED)

An inquisition . . . at Timor . . . on the body of Edward Evans . . . that on Saturday night, 11th instant, at Timor deceased died of disease of the heart.

Deposition of witness . . . Esther Lark: I am a spinster living at the Miner's Arms Timor. Know deceased and identify his body as that of Edward Evans, have known him for the last three years, he has all this time been a great drunkard but of late has reformed. He was a Harpist & used to travel from one Public House to another. - His apparent age was 40 years. He was a native of New South Wales [sic] . . .

"TELEGRAMMATA. RURAL. MARYBOROUGH", The Herald [Melbourne, VIC] (15 March 1876), 3 

Evans, the Welsh harpist, died suddenly at Chinaman's Flat on Saturday night. An inquest was held yesterday, when the body was examined by the jury. A verdict of died from disease of the heart, was returned.

[News], Avoca Mail [VIC] (17 March 1876), 2 

Evan Evans [sic], the well known Welsh harpist, died suddenly at Chinaman's Flat, of disease of the heart, on Saturday.


Amateur musician, cornet player

Active Launceston, TAS, 1854 (shareable link to this entry)

ASSOCIATIONS: Perhaps Henry Evans (landlord, Coach and Horses Inn, died 30 July 1886, aged "56")


"EXHIBITION OF FIREWORKS", The Cornwall Chronicle [Launceston, TAS] (4 March 1854), 5

The exhibition of fireworks, for the benefit of the Tasmanian Band, took place in the Horticultural Gardens, on Thursday evening last. The symphonies in "Ben Bolt," arranged by Mr. G. W. Walker, were much admired, and his execution on the piccolo and clarionet were highly spoken off. Mr. H. Evans played exceedingly well on the cornet a piston. Under the superintendence of Mr. Walker, the Tasmanian Band must improve.

ASSOCIATIONS: George William Walker (amateur musician); Tasmanian Band (ensemble)

EVANS, Richard A'Beckett (Richard Beckett EVANS [sic]; R. B. EVANS; Mr. A'Beckett EVANS; ? "WOTTON")

Actor, comedian, vocalist, stage manager, prompter, playwright

Born Chester, Cheshire, England, 1819; baptised St. John the Baptist, Chester, 13 October 1819; son of Richard EVANS and Mary BECKETT
Arrived Adelaide, SA, by 1841
Arrived Melbourne, NSW (VIC), by late 1845
Married (? 2) Eliza Frances DAVIES, VIC, 1852
Active Hobart, TAS, 1853-54
Arrived Geelong, VIC, 1855
Died VIC, 1870, aged "51" [BDM VIC 8942/1870]'Beckett+Evans+1819-1870 (TROVE tagged by Australharmony)'Beckett (shareable link to this entry)

EVANS, Eliza (Eliza Frances DAVIES; Mrs. Richard A'Beckett EVANS)


? Active as "Mrs. Evans" ? by c. 1848, ? before 1852
Married Richard A'Beckett EVANS, VIC, 1852
Active VIC, until c. 1871'Beckett+Evans+actor (TROVE tagged by Australharmony) (shareable link to this entry)


Contary to the supposition of "Major Grosvenor", writing in 1903 about Melbourne in the 1840s, that Evans's real name was Wotton, birth, marriage, and death records agree that he was Richard (a)Beckett Evans, the first child of Richard Evans and Mary Beckett, born in Chester, England, in 1819.

He was billed first as one of the company at the Queen's Theatre, Adelaide, in January 1841; and again as the "R. B. Evans" billed as stage manager at the otherwise unknown "Adelphi Theatre" in September 1841 and again on 20 December 1843 for the opening of Adelaide's shortlived Olympic Theatre, as well as singing two songs in the interlude.

Two years later, as "Mr. a'Beckett Evans", he made his debut at the Queen's Theatre, Melbourne.

He was prompter at the Theatre Royal, Geelong, across the summer of 1849-50. He married Eliza Davies, who was probably already an actor, and who had perhaps previously identified as Mrs. Evans, in Victoria in 1852, and from May 1853 the couple then spent almost two years in the company of the Royal Victoria Theatre, Hobart.

They had returned to Geelong in 1855, and thereafter appear to have settled in central Victoria. Richard died in 1870, and after 1871 Eliza disappears from record.


"Marriages", Chester Courant [Cheshire, England] (22 December 1818), 2 (PAYWALL)

Yesterday, at St. John's Charch, by the Rev. W. Richardson, Mr. Richard Evans, (late ot Carmarthen), to Mary, youngest daughter of Mr. Saml. Beckett, cheese-factor, of this city. - Subsequently to their returning from church, the happy pair left this city, in a coach-and-four for Wardle, where they passed the day. They were greeted with a merry peal from the bells ef St. John, immediately after the celebration of the nuptial ceremony.

Baptisms solemnized in the parish of Saint John the Baptist in the City and Diocese of Chester in the year 1819; register page 200; Cheshire Archives and Local Studies (PAYWALL)

No. 1593 / 1819 13 Oct. / Richard Beckett Son of / Richard & Mary Evans / Foregate Street / Bookseller . . .

Adelaide, SA (c. 1841-45):

[Advertisement], South Australian Register [Adelaide, SA] (2 January 1841), 2 

THE Gentry and Public of Adelaide and its vicinity are most respectfully informed that the above elegant Theatre being now completed will open for the season,
ON MONDAY, JANUARY 11, 1841, Under the exclusive Direction of Mr. Lazar (late Manager of the Victoria, and Theatre Royal, Sydney) . . .
The Company will consist of - Mr. Lazar, Mr. Arabin, Mr. Cameron . . . Mr. Buckingham (From the Victoria Theatre Sydney)
Mr. Evans, Mr. Hall, Mr. Pettitt, Mr. G F. Lacy, Mr. Crosby, Mr. H. J. Lacy,
Mrs. Cameron, Mrs. Arabin, Miss Lazar, From the Victoria Theatre, Sydney. Mrs. Rainsford, Mrs. Pettitt, Miss Good . . .
Leader of the Orchestra - Mr. Bennett . . .

ASSOCIATIONS: John and Rachel Lazar (actors, father and daughter); Samson and Cordelia Cameron (actors); Gustavus and Frances Arabin (actors); George Buckingham (actor); Jane Brown Rainsford (actor); Queen's Theatre (Adelaide venue); Royal Victoria Theatre (Sydney venue)

"THE THEATRE", Adelaide Chronicle and South Australian Literary Record (27 January 1841), 3 

Two new pieces have come out since our last. The Castle of Nestle we have not seen; but we have been informed by those who were present that it was very well got up and equally well received. The ball scene in the One Hour was very tastefully done and had an excellent effect. Miss Lazar's dance in this scene was good enough as a dance, but it was rather too much to pass it off as the Highland Fling. Last week in alluding to the Irish character in His First Champagne we said it was played by Mr. Crosby - it should have been Mr. Evans.

[Advertisement], Adelaide Independent and Cabinet of Amusement (9 September 1841), 2 

On Friday Evening, September 10, 1841,
The Favorite Melo-Drama of THE BANDIT HOST!!!
To conclude with THE CONSCRIPT.
Monday Evening, September 13, 1841,
Wednesday Evening, September 15, 1841.
GIOVANNI IN IN LONDON!!! Don Giovani - Mrs. Arabin.
To conclude with THE DEAD SHOT.
Principal Characters by Messrs. Arabin, Evans, Hayward, Crosby, Allen, and Pettitt.
Mesdames ARABIN, Courtenay, and Pettitt.
R. B EVANS, Manager.
Vivat Regina!
N.B. A Grand Comic Pantomime in active preparation.

[Advertisement], The Examiner [Adelaide, SA] (13 January 1842), 1 

On Monday, January 17th, 1842 . . . THE KING'S FOOL; OR, THE OLD MAN'S CURSE . . .
Francis I (King of France) - Mr. Arabin.
Marquis dela Tour Landry - Mr. Evans.
Viscount de Piende - Mr. Lane.
TRIBOULET (the King's fool) MR. LAZAR . . .

[Advertisement], Adelaide Observer [SA] (16 December 1843), 4 

THE public is most respectfully informed that the above Theatre will open on Wednesday, the 20th instant, with the celebrated burletta of the "Wreck, or the Buccanier's Bride."
Song - "The Groves of Blarney," Mr. Evans. Naval Hornpipe, Mr. Hall. Song - "We'll follow the Drum," Mr. Evans.
To conclude with the "Two Thompsons, or, Which is He."
R. B. EVANS, Stage Manager.
G. Rogers, Sole Proprietor.
Vivat Regina!

MUSIC: The groves of Blarney (same tune as The last rose of summer)

Melbourne, NSW (VIC) (by December 1845):

"THE QUEEN'S THEATRE", Port Phillip Gazette and Settler's Journal [Melbourne, NSW (VIC)] (17 December 1845), 2 

Mr. a'Becket Evans, late of the Adelaide Theatre, made a most successful debut at the "Queen's" on Monday evening, in the parts of "Levingstone" and "Dr. O'Toole."

ASSOCIATIONS: Queen's Theatre (Melbourne venue)

"THE QUEEN"S THEATRE", The Melbourne Courier (17 December 1845), 2 

A new aspirant for theatrical fame made his appearance on Monday evening, in the person of a Mr. Evans, from the Adelaide Theatre. Mr. Evans is an acquisition, in the present state of the company in the genteel comedy line, but he must not think in future of attempting any thing so utterly beyond his reach as Dr. O. Toole, in the Irish Tutor.

PIECES: The Irish tutor (Butler)

[Advertisement], The Melbourne Courier (12 January 1846), 2 

Queen's Theatre Royal.
ON MONDAY EVENING. January 12, 1846, the performance will commence with the celebrated Drama, in three acts, entitled, VICTORINE, THE ORPHAN OF PARIS; or I'LL SLEEP ON IT.
Favorite Song, Mrs. Rogers. Comic Song, Mr. Evans.
To conclude with TOM AND JERRY; or LIFE IN LONDON.

ASSOCIATIONS: Emma Rogers (vocalist, actor); George Coppin (actor, manager)

"THE QUEEN'S THEATRE", The Melbourne Courier (23 January 1846), 2 

. . . The great want of the company is an efficient corps of actresses . . . We think too a wider scope might be given to Evans for the exercise of his abilities . . .

[Advertisement], The Port Phillip Patriot and Morning Advertiser (26 January 1846), 3 

NOTICE. MR. R. B. EVANS has been authorised to collect all debts due to me, and his receipt will be a sufficient discharge.
MICHAEL McNAMARA. Queen-street. January 24, 1846.

[Advertisement], Geelong Advertiser and Squatters' Advocate [VIC] (18 February 1846), 4 

Will be produced the celebrated Drama of JOAN OF ARC; OR, THE MAID OF ORLEANS . . .
Richemont - Mr. Evans . . .

ASSOCIATIONS: Theatre Corio (Geelong venue, Samson Cameron, above, manager)

"THE THEATRE", Port Phillip Gazette and Settler's Journal (21 February 1846), 2 

. . . During the past week we have contrived to "steal an hour" from our usual routine of duty, and have visited the "Queen's" twice, attracted thither by an announcement from the management, that a "Grand Comic Pantomine" [sic] was to be produced . . . In the afterpieces on the above nights, Mr. and Mrs. Coppin, Mr. Rogers, and Mr. Lee contrived to send the audience home in right good humour; but such wretched "sticks" as Mr. a'Beckett Evans, whom we never saw before, only mars the efforts of good actors . . .

ASSOCIATIONS: George Herbert Rogers (actor); John Herman Selwyn Lee (actor)

"THE THEATRE", Port Phillip Gazette and Settler's Journal (13 May 1846), 2 

Wenlock of "Wenlock," a melo-dramatic monstrosity, was produced with tolerable success on Monday evening, with all its concomitants of "demons," "combats," "red fire," and "grand tableau" . . . Does Mr. A. Evans suppose, that ill-timed buffoonery, and a painted face a la clown, constitutes a commedian; if so, he most egregiously mistakes his profession, he is a young man of some ability, and it is therefore to be regretted he does not endeavour to perform his parts naturally - though grimace, and such vulgarism may please the "gods," the more discriminating portion of the audience will have none of it . . .

"GROSS ASSAULT ON THE CONSTABULARY", Port Phillip Gazette and Settler's Journal (14 June 1847), 3 

On Saturday, Mr. Thomas Pinkerton was placed at the bar of the police office . . . for violently assaulting the constables while in the execution of their duty . . .
Richard Beckett Evans, (member of the corps dramatique) swore - I was walking up Bourke-street at the time the above occurred; I saw the row; I saw Roach come up to quell the disturbance; I saw Pinkerton strike him with the butt end of a whip; I know Pinkerton, he struck me also that morning (it was nearly one o'clock on Friday morning;) he also struck two other parties who were with me . . .

"QUEEN'S THEATRE. OPENING NIGHT", Port Phillip Gazette and Settler's Journal (3 July 1847), 2 

After a more than usually protracted recess, this fashionable place of amusement re-opened for another season on Wednesday evening last . . . The entertainments of the evening wound up with a musical farce in two acts entitled Amateurs and Actors. It is rather a good little piece. Mr. Hambleton sustained the part of Wing, a poor country actor, a reckless devil me care sort of fellow, terribly out at the elbows and awfully hard up for a dinner, while Geoffrey Muffincap, who is the butt, scapegoat, and errand boy of the place, found an excellent representative in Mr. Evans, whose song in this character elicited a hearty round of applause. The piece met with great success, and will surely not be laid on the shelf for some time to come, for it is admirably adapted to the resources of the company - and well suited to the taste of a great majority of the frequenters of the Queen's . . .

ASSOCIATIONS: John Hambleton (actor)

PIECES: Amateurs and actors (Richard Brinsley Peake); Song (Geoffrey) Molly Popps (One morn, whilst I was brewing)

[Advertisement], Port Phillip Gazette and Settler's Journal (15 September 1847), 3 

Second night of "Don Giovanni."
ON WEDNESDAY EVENING, SEP. 15, The performances will commence with a celebrated Operatic Extravaganza, entitled -
In the course of the piece the following songs -
Songs by Mrs. Clarke:
Air - Come along, 'tis just the hour.
" Pray Goody.
" I've kissed, and I've prattled.
" Round about the Maypole.
" Gentle Fairies, see me languish.
Chorus by the Company - From our Regions Infernal.
Glee - We are three Jolly Widowers.
Songs by Mr. Evans -
Air - He lived in Spain as stories tell.
" A master I had wicked and sly.
Glee - Away with fight and quarrel.
Trio - Your love she lives.
Air - If in London Town you live.
" Had I a heart.
Duetto - Oh, remember the time.
" Will you dance with me.
" Thou wert born to please me.
" O where, and O where.
ACT 2.
Song - Our ground we have taken.
Duetto - Merrily every bosom.
Chorus - O laugh at the hour.
Air - Giovanni is leading.
" I gave her kisses one.
" I knew by the wigs.
" What's this gay town to me.
" Duns that give Giovanni trust.
" Giovanni leaves the Girls alone.
Finale - Here's success to Don Giovanni.
Highland Fling (in character) Miss Clarke.
Song "Rory O'More" - Mrs. Clarke . . .
Prompter - Mr. Howard.
Leader of Orchestra - Mr. Megson.
J. T. SMITH, Proprietor.

ASSOCIATIONS: Anne Clarke (junior) (dancer); Anne Remens Clarke (actor, vocalist); Joseph Megson (violinist, leader); John Thomas Smith (manager)

PIECE: Giovanni in London (W. T. Moncrieff)

"THE THEATRE", Port Phillip Gazette and Settler's Journal (27 September 1847), 2 

Novelty is still the order of the day at the Queen's Theatre - a new piece on Monday, another on Wednesday, and two others on Friday. "Another and another yet succeeds." The production, however, most worthy of mention is the old favorite operatic play of LOVE IN A VILLAGE, the part of Rosetta by Mrs. Clarke, who introduced several favorite airs and sang them delightfully; nor were the other members of the company behind in their efforts to make the piece go off well - indeed Elrington played Justice Woodcock, Evans Hodge, and Mrs. Griffiths Madge, capitally. The only matter of regret to us was, that a large portion of the piece was omitted, and however much we may approve of judicious curtailments in some pieces, we cannot think the management acted advisedly in cutting out any part of a play which in England has for so many years deservedly stood the test of public opinion. The same piece will we observe be repeated on Monday. It is, however, worth seeing in any shape, and wo should recommend our friends not to lose the opportunity. On Wednesday evening LOVE IN A VILLAGE was followed by DON GIOVANNI, which was incomparably better performed than on the prior representations. Mrs. Clarke sang the songs beautifully, and Evans (who had recovered all his vivacity) played Leporello admirably . . . We must again mark our sense of approbation of the way in which the orchestra is conducted. Mr. Megson deserves the thanks of the musical world here for his indefatigable exertions - it is in fact worth all the entrance money to hear the manner in which the music is performed.

ASSOCIATIONS: Richard Goodall Elrington (actor); Ann Griffiths (actor); Joseph Megson (musician, leader)

PIECE: Love in a village (with music arranged by Arne)

"QUEEN'S THEATRE", Port Phillip Gazette and Settler's Journal (1 December 1847), 2 

For nearly three weeks the members of the company will be taking their benefits - and that they may be really substantial benefits, and not things that will dissolve into thin air, is our ardent wish, for with but few exceptions the members of the Melbourne Company exhibit an amount of talent and industry which may be equalled but not surpassed in any other Theatre in the colonies. Mr. Evans, who at present stands A 1 on the comic list takes his benefit on Friday evening when a real legitimate treat may be confidently expected. The last piece will be the "Dancing Barber," and it is to be hoped that the knight of the tonsure will "poll" a good "crop."

? "THE THEATRE", Geelong Advertiser [VIC] (28 March 1848), 2 

This place of amusement was opened last evening for the benefit of Mrs. Evans. The house was very full both in the pit and boxes; later in the evening it was crowded almost to inconvenience. The principal feature in the management of Mr. Hambleton, is in producing dramatic pieces, adapted to the strength and talent of the corps dramatique and during the intervals of the principal performances, entertaining the company with excellent comic songs in character, and descriptive dances en costume. Such was the kind of entertainments given last evening, and were received by an orderly and well conducted house.

"EMBELZZLEMENT", Geelong Advertiser (20 May 1848), 2 

Mr. William Clarke appeared at the Police Office on Thursday morning to prefer a charge of embezzlement against Mr. Richard a'Becket Evans, who was a collector in his employment. The case was postponed for hearing until this morning, in order to allow time for witnesses to be subpoenaed to give evidence.

But see also, "HONORABLE ACQUITTAL", Geelong Advertiser (24 May 1848), 2 

"VERY CLEVER", Geelong Advertiser (24 May 1848), 2 

Mr. T. A. Evans, a comedian, lately attached to the Geelong corps of theatricals, applied through his solicitor on Saturday morning last, at the Police Office, for permission to make an affidavit, in order to remove, and render invalid, the power of a writ of execution, which was then placed in his house under an order issued from the Melbourne Court of Requests. If Mr. Evans' statement was correct, the circumstances under which the writ was attempted to be enforced were peculiar and unprecedented. About four months back the applicant came to Geelong and entered into an engagement with Mr. Hambleton, the lessee of the theatre, to perform for a certain period. Whether the applicant was free to make this engagement did not transpire; but it appears that his services as an actor was required among the theatrical troop at Melbourne; and in order to cause him to break the agreement entered into here, and, if possible, to secure his services there, the following ruse was played off, which certainly exhibited as great an amount of skill and ingenuity as any Old Bailey counsellor would be proud to own, and a fortune for him to possess. Among the Melbourne company of the sock and buskin was an individual whose name bore a striking similarity in sound to that of Mr. Evans, the present applicant. This person it appears contracted a debt with a tradesman named Kirk, to the amount of four pounds some odd shillings. Professional theatricals are not notorious for being good marks, and this person so happened to exemplify the fact in himself, that Mr. Kirk felt compelled to file a plaint against him in the Small Debts Court to recover the amount. Now, it so happened that when the bailiff, whose duty it was to serve the summons, enquired among the professionals for a Mr. Avins, he was directed to Mr. Evans. This latter gentleman was shown to be stopping in Geelong; the summons was therefore forwarded down, and duly served. When Mr. Evans received the document into his hands he was puzzled how to act, for so far from owing Mr. Kirk an amount of money, he was not even acquainted with him, either personally or by dealings. To have gone to Melbourne to defend the debt, would have incurred a greater expense than he was willing to allow himself to be at for a claim he never contracted, and he would likewise have to break his agreement, and probably through it lose a lucrative season of employment. The summons was therefore not attended to; Mr. Evans imagined the mistake would be detected, before the term of the Court of Requests' sitting would arrive. The subject was dismissed from his thoughts until last Saturday, when a bailiff intruded himself into Mr. Evans' house, presented a writ of execution, and talked about immediate preparations for selling all off. At the time, Mrs. Evans only was at home, Mr. E. being confined in the watchhouse on a charge on which he was subsequently acquitted . . . The affidavit was allowed to be made, and the bailiff on being shown the attesting document, took his departure from the applicant's premises.

ASSOCIATIONS: Julia Avins (actor, wife of Henry Stacey Avins, who also occasionally appeared at the theatre); New Victoria Theatre (Geelong venue)

"VERY STRANGE", Geelong Advertiser (3 June 1848), 2 

Our readers will probably remember seeing in a late issue of the Geelong Advertiser, a paragraph headed "Very Clever," in which Mr. Evans, a comedian, lately attached to the Geelong theatre, applied through his solicitor, to be allowed to make an affidavit before Mr. Eyre, a Commissioner of the Supreme Court, in order to stay the proceedings on a writ of execution, which was then in force on his premises at the suit of a Mr. Kirk, of Melbourne . . . But now comes another version of the story: Mr. Kirk has arrived in Geelong and with him a witness to prove that Mr. Evans is the man, and that Mr. Avins is not. As Mr. Kirk is about taking legal proceedings in the matter, we forbear to enter into further particulars in this rather singular affair. There is most assuredly a great mistake, and "no mistake," between the parties.

"THEATRE", Geelong Advertiser (10 June 1848), 2 

In consequence of the "improvements contemplated and in progress" (so speaks the bills of announcement), the opening of this place of amusement which was to have taken place on Thursday last is postponed until Monday next. Mr. Hambleton, the former lessee of the theatre, is not to have any further connexion with it; Mr. Hassett the proprietor having made arrangement with Mr. Evans to take the management of the theatrical department, under his superintendence. To the original force of the corps dramatique will be added Mr. Saville and also one or two favorites from the Van Diemen's Land companies. The season is at present any thing but favorable for such speculation in Geelong; whatever might be wished for the sake of the proprietor, it is not very probable he will meet with any success.

ASSOCIATIONS: Charles Faucit Saville (actor)

[Advertisement], Geelong Advertiser (17 October 1848), 2 

NOTICE. IF RICHARD A' BECKETT EVANS, Comedian, does not call and pay me £4 4s. 6d. for Board and Lodging, and take his theatrical dresses and sundry articles within fourteen days from this date, I shall cause them to be sold by auction, and likewise pay for this advertisement.
JAMES ARCHBOLD. Yarra Street. October 16, 1848.

[Advertisement], Geelong Advertiser (14 November 1849), 1 

The scenery, decorations, machinery, and appointments, have been expressly provided,
and the most scrupulous care taken to render it the most superb representation ever attempted in Geelong . . .
the dances and ballet arranged by Mr. Chambers;
music and chorusses by Mr. Stainsby (from Rodwell and Auber);
the whole under the direction of Mr. Evans.

ASSOCIATIONS: Joseph Chambers (dancer); Robert Stainsby (musician, leader); Theatre Royal (Geelong)

[2 advertisements], Geelong Advertiser (28 November 1849), 1 

NOTICE. THE PUBLIC are respectfully informed, in consequence of the inclemency of the weather, the further continuance of performances will be POSTPONED UNTIL FRIDAY EVENING, NOV. 30, when the Entertainments announced for This Evening will be performed.
- For the Proprietor, R. A'B. EVANS, Prompter.
Theatre Royal, Wednesday, Nov. 28.

Song - Mr. Miller. FAVORITE DANCE - MR. CHAMBERS . . .
Proprietor - Mr. H. ELMES. Prompter - Mr. EVANS. Leader of Orchestra - Mr. STAINSBY . . .

ASSOCIATIONS: Henry Elmes (proprietor)

[Advertisement], Geelong Advertiser (18 March 1850), 1 

Dennis O'Trott - Mr. Evans (His last appearance on any stage.)
Mary (wife to Harry Helm) - Mrs. Mereton . . .
To be followed by . . . The Unfortunate Man's Last Appearance, By MR. EVANS . . .

ASSOCIATIONS: Christiana Mereton (actor)

MUSIC: The unfortunate man (song)

[Advertisement], Geelong Advertiser (16 May 1850), 3 

MR. RICHARD A'BECKETT EVANS' connexion with the Melbourne Morning Herald, as agent at Geelong, ceases from this date . . .

? [Advertisement], Geelong Advertiser and Intelligencer (22 November 1852), 2 

NOTICE to Mr. J. B. EVANS [sic], supposed to be at the diggings.
Unless your MARE & FOAL are removed before the 1st January, 1853, and all expenses on them paid (including the cost of this advertisement) by that date they will be sold by auction immediately after.
GEO. D. MERCER. Weatherboard, Nov. 17th, 1852.

Hobart, TAS (1853-54):

[Advertisement], The Courier [Hobart, TAS] (27 May 1853), 2-3 

IN preparation two Dramas of intense interest, entitled THE LEAR OF PRIVATE LIFE, and a MAIDEN'S FAME.
in which Mr. F. B. Watson, Mr. and Mrs. A'Beckett Evans, from the Sydney and Melbourne Theatres, will appear . . .

ASSOCIATIONS: Feltham Bold Watson (actor, manager); Royal Victoria Theatre (Hobart)

[Advertisement], The Hobart Town Advertiser (9 July 1853), 2

THE LAST OF THE FAIRIES. After which . . .
Comic Duet - "THE GOLD DIGGER'S RETURN," (original) Mr. and Mrs. A'Beckett Evans . . .

"Public Amusements. UNCLE TOM'S CABIN. MRS. EVANS'S BENEFIT", The Courier (12 October 1853), 3 

This benefit takes place on Friday next, under the patronage of our worthy Speaker, R, Dry, Esq., and his lady. Our lovers of the stage will long ere this have made up their minds that Mrs. Evans is a praiseworthy actress. She is the "better half" of our Tasmanian Keeley, Mr. A'Beckett Evans, who has so often contributed to the amusement of the Hobart Town playgoers . . . The drama will, we believe, be rendered effective by the introduction of the whole of the Music; the Nubian Minstrels giving, during the progress of the piece, the original glees, melodies, and choruses, introduced when the "Cabin" was dramatised at home . . .

"Public Amusements. ROYAL VICTORIA THEATRE", The Courier (15 October 1853), 2 

Our anticipations as to the strength of the attendance at Mrs. Evans's benefit have been fully verified: it was the fullest house of the season. Shortly before seven o'clock the Hon. R. Dry, Esq., Speaker of the Legislative Council, and his lady, arrived, and were ushered into the box which is generally appropriated to patronage of such a distinguished character, and it was highly satisfactory to notice that the reception of the "Head Commoner" of the colony was flattering one. The "National Anthem" was struck up by the orchestra, and after a favourite overture the curtain rose for the representation of a new piece arranged by Mr. Evans, bearing the title and mainly founded upon Mrs. Stowe's inimitable work, "Uncle Tom's Cabin."

Our apprehension during the first scene was that the version of so exceedingly popular story would not meet popular approbation there was a degree of flatness about it, which the spirited choruses of a band of the so named Nubian Minstrels failed effectually to remove. Nor was that flatness dispersed until the plot became more fully developed; the actors, male and female, seemed somewhat at a loss until the appearance of Arabin as George Harris, who made some effectual points. The tyrant Legree, who in the drama now produced is first brought out to fill the character of the Slave speculator, Haley, was evidently misconceived. The brutality of Logree did not consist in bullying and banter alone-his cold-blooded cruelty would have been better represented if characterised by loss theatrical swagger. Nor can we approve of Mrs. Upton's Aunt Chloe we do not recollect that this dignified negress is ever recorded to have tripped the light fantastic toe. Mr. Gardiner's Uncle Tom was, as far as the role went, ably sustained: in fact, he can at times assume a solidity of pathos which evidences a careful study and proper appreciation of his text. The restless activity or Mr. Evans is not either suited to the imperturbable Phineas, but the audience were well pleased, and for ourselves we felt some satisfaction at the result of the attempt.

Some of the groupings were very effective, the Plantation Scene, (slaves picking cotton) the opening of the third act, being the liveliest of the whole; the painting, the work of Mr. Lewis, being very creditable. The minstrels performed their parts admirably, and some of the incidental songs and choruses were effectively rendered; - of these it is but proper to mention the affecting episode when the faithful Tom is sold by Shelby, and the "Tear" upon his death. We may say that the piece would not have succeeded well if they had not had a Hand in it. It would be needless to run through the piece, and beyond expressing some surprise why, why, and without any apparent object, Phineas appeared on the ship and in Legree's house, we shall make no further stricture.

It is due however to state, which we may do almost the same terms as Mr. Evans, who was cause for at the fall of the curtain, that every one of the [3] company exerted themselves to the highest degree to render the piece successful. Mr. Evans also took the opportunity, in acknowledging the kind patronage he had received, of announcing that he had decided upon making his permanent residence in Van Diemen's Land, and that while he had the honour to appear before them he would never do anything which would disgrace the profession to which he belonged for the honourable patronage which had been conferred on him upon this occasion.

A variety of singing and dancing intervened, followed by a series of Ethiopian Melodies by the Minstrels of Mozambique from the Melophonic Concert Room; among these were several which were vociferously redemanded, and cheerfully given. "I would I were a boy again," an old-established favourite, was sweetly sung by one of the melodies.

State Secrets, or The Tailor of Tamworth, concluded the entertainments, the brunt of which rests upon Thimblewell (Mr. A'Beckett Evans.) He looked the perfect personification of a softish fraction of humanity, and his philosophy was so rich as to keep the house in the best of humours until nearly one o'clock in the morning . . .

ASSOCIATIONS: Richard Dry (politician); Gustavus Arabin (actor); Joseph Gardiner (actor); Melophonic Concert Room (Hobart venue)

"THE PAY OF AN AUTHOR", The Courier (26 December 1853), 3

The version of the play "Uncle Tom's Cabin," written by G. L. Aiken, of the city, and which has drawn at least $100,000 in New York city and Troy, brought the author just twenty five dollars! The reputed adapter of the Hobart Town version, Mr. A'Beckett Evans, made a much better thing of it; we guess he netted five hundred.

"ROYAL VICTORIA THEATRE. The First Night of the Season. First Appearance of Madame Ferdinand Strebinger", The Courier (20 April 1854), 3 

The coming season opened under very auspicious circumstances last evening with "The Broken Sword." As the maiden effort of the new stage manager, Mr. A'Beckett Evans, it should in justice be stated that it was brought out very well, and gives promise of further activity in this important department of the theatre. The chief attraction of the evening was, however, the appearance of the accomplished danseuse, whose name appears conspicuously not only at the head of this paragraph, but at the head of her profession, Madame Ferdinand Strebinger . . .

ASSOCIATIONS: Therese Ferdinand Strebinger (dancer)

"ROYAL VICTORIA THEATRE", The Courier (4 July 1854), 2 

On which occasion the following artists will appear: Mr. Kemble Mason, Mrs. Brougham, Madame Carandini, and Mr. John Davies, who has kindly volunteered his aid.
Mr. A'Beckett Evans will appear in three favorite characters. Under the patronage of the Licensed Victuallers . . .
The performances will conclude with the celebrated farce of MARRIED AND BURIED,
Benjamin Bowbell, with the original song, Mr. J. Davies; Gimbo, with its original song, Mr. A'Beckett Evans . . .
F. B. WATSON - Lessee. Musical Director, MR. L. H. LAVENU.
A'B. EVANS - Stage Manager.

ASSOCIATIONS: Emma Brougham (actor); Maria Carandini (actor, vocalist); John Davies (amateur, licensee of the Waterloo Hotel); Lewis Henry Lavenu (musical director to Maria Carandini)

PIECE: The illustrious stranger (or, Married and buried); song (Gimbo), Dicky Dolus (music by Isaac Nathan)

Geelong, VIC (by October 1854):

"THEATRE ROYAL GEELONG", Geelong Advertiser and Intelligencer (11 October 1854), 4 

During the short recess, the enterprising manager of this popular place of amusement has re-decorated, cleansed, and beautified the interior of the house, in a manner certain to call down commendation from all his supporters . . . The pieces produced upon the opening night were "Civilization," and "The Laughing Hyena" . . . Mr. A'Beckett Evans, Mrs. Evans, and Mr. Ray maintained their parts with carefulness and attention . . .

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

THEATRE ROYAL. Sole Lessee - Mr. H. Deering. Stage Director, Mr. Clarance Holt . . .
Assistant Manager, Mr. A'Beckett Evans. Leader of the Band, Mr. Frederick Coppin.

ASSOCIATIONS: Clarance Holt (actor, manager); Frederick Coppin (musician, leader)

"The Albert Theatre", Mount Alexander Mail [Castlemaine, VIC] (22 December 1856), 3 

This theatre was opened on Saturday night; the pieces selected were, a drama entitled "Honesty is the best policy," and the short farce of "Hercules, King of Clubs." The characters in each were sustained by Mrs. A'Beckett Evans, Miss Montrose, Messrs. A'Beckett Evans, Ryan, Melville, Smith, and Wright. The large room was crammed, and frequent applause by the audience testified their delighted approval of the performances. Between the pieces several songs were given by Miss Montrose and Mr. Smith. The theatre will be open every night, and it will doubtless meet with very extensive patronage . . .

[Advertisement], Bendigo Advertiser (16 October 1857), 3 

RE-OPENING, - New Scenery, Machinery, and Appointments,
On SATURDAY NIGHT Next, OCTOBER the 17th, 1857 . . .
Music Composer and Director, Mr. Salaman. Leader of the Band, Mr. Andrew Moore . . .
Stage Director, Mr. a'Becket Evans, late Manager of Coppin's Olympic and Theatre Royal, Melbourne . . .
MR. and MRS. a'BECKET EVANS, from the Theatres Royal Sydney and Melbourne, Haymarket, Saturday night next.

ASSOCIATIONS: Edward Salamon (conductor, pianist); Andrew Moore (leader, violinist); Haymarket Theatre (Bendigo)

"FRYER'S CREEK (FROM OUR OWN CORRESPONDENT), Monday, September 2", Mount Alexander Mail (5 September 1860), 2 

The dramatic company of Mr. A'Beckett Evans give performances on Friday and Saturday next, at the Cumberland Hotel.

[Advertisement], The Age [Melbourne, VIC] (3 August 1861), 1 

COMPLIMENTARY BENEFIT, And Last Appearance on the Stage, of MRS. CHESTER,
For many years a member of the Theatres Royals Drury Lane, Covent Garden, Dublin, &c., &c.;
also of the Royal Victoria Theatre, Sydney, and the Theatre Royal, Melbourne,
In consequence of the prolonged indisposition of the above lady . . .
To conclude with TEDDY THE TILER . . .
Tim - Mr. R. A'Beckett Evans.
Lady Dunderford - Mrs. Chester . . .
Julia - Miss R. A'Beckett Evans [sic] . . .

ASSOCIATIONS: Marian Maria Chester (actor, vocalist); Theatre Royal (Melbourne venue)

"THE PEEP O' DAY. TO THE EDITOR OF . . .", The Argus (26 August 1862), 7 

Sir, - As an old colonist of nearly twenty years' experience, I feel confident that you would not knowingly publish a mistatement. Your journal for England this day contains a dramatic notice that Falconer's drama of the above name is being played at Marsh's Lyceum. Mr. Falconer's drama, if I am rightly informed, is a manuscript, and could not by any means have found its way to the antipodes. The drama now, playing at Marsh's is entirely original - so far as it is possible for a dramatist to be original now a-days. The ground-work of the drama is taken partly from Captain Bernard Burke's story of '98, and partly from Banim's novel, taken from the Tales of the O'Hara Family, but the language is principally original. I am deeply indebted to Mr. Marsh for many valuable suggestions, I freely admit, but the conduct and development of the drama is entirely the work of a very old dramatic servant of the public.
Author of the drama of "Fashion and Famine."
N.B. - I should most certainly have announced myself in the bills, but for fear that a colonial dramatist, as a matter of course, could write or do anything but what would fail.

[Advertisement], Geelong Advertiser (12 June 1863), 4 


"NEWS AND NOTES", The Star [Ballarat, VIC] (28 December 1863), 2 

. . . We report elsewhere the proceedings at the annual gathering of the Buninyong Highland Society on Boxing-day at the society's reserve. From 1500 to 2000 persons were present, and the whole programme was disposed of very successfully. During the day a Mr. A'Beckett Evans, on the part of the Olympic Dramatic Company offered a silver cup as a prize to the best piper of the day, the prize to be given on the stage of the theatre in Buninyong at that evening's performance.


[News], Avoca Mail [VIC] (3 June 1871), 2 

The performances of the Maryborough Garrick Club for the District Hospital there, which took place at the Victoria Theatre, Avoca, on the evening of Monday last, were marked by undoubted excellence, so far as the acting was concerned . . . the comedy of "Time tries all" was played . . . Fanny Fact, Mrs. A. Beckett Evans. All the "parts" are good . . .

"THE ROMANCE OF OUR FIRST CENTURY. BY MAJOR GROSVENOR", Healesville and Yarra Glen Guardian [VIC] (21 November 1903), 3 

[Melbourne] . . . For the amusement of those inclined to histrionic diversion, there was a theatre, which stood near the place now occupied by the Bull and Mouth hotel. At first the actors were drawn from the people themselves. A tailor named Bellan was a prominent performer: a tinsmith named Richard Batters, with the voice of a bull, naturally depicted the tragic muse, and a little man with a grotesque face, and an insatiable thirst was the low comedian. His name was Wotton: but he called himself A'Beckett Evans. So far as the writer's memory serves, the wife of this last performer was the leading lady . . .

ASSOCIATIONS: Richard Batters (actor, tinsmith); Pavilion Theatre (Melbourne venue)

EVANS, William (William EVANS; Mr. W. EVANS; Mr. W. Evadne EVANS)

Actor, vocalist, Irish and Ethiopian delineator, "Congo minstrel", serenader, manager, agent

Born Enniskillen, Ireland, c. 1829; son of Richard EVANS and Sarah MORRIS
Married (1) [name unknown], by 1850
Active Geelong, VIC, by January 1850
Married (2) Elizabeth NELSON (Mrs. HARPER), St. Peter's, Melbourne, 22 March 1880 [sic]
Died Fitzroy, VIC, 23 March 1880, aged "51" (TROVE tagged by Australharmony) (shareable link to this entry)

EVANS, Mrs. W. Evadne (? [name unknown]; Mrs. William EVANS; Mrs. W. Evadne EVANS)

Actor, vocalist

Married William EVANS, by 1850
Active Geelong, VIC, by January 1850
Died ? NSW / VIC, 1864 (TROVE tagged by Australharmony) (shareable link to this entry)

ASSOCIATIONS: Her forename was probably not Evadne; rather she apparently took it as stage name from Shiel's play, Evadne; or, The statue (see 25 August 1855 below)

DISAMBIGUATION: There may be some confusion with the actor and comic vocalist Richard A'Beckett Evans, who was prompter at the Theatre Royal, Geelong, late in 1849, and possibly also with his "wife" or partner, "Mrs. Evans"; the earliest reliable identification of William and his wife is in Adelaide in 1850, when they were advertised as being "from the Melbourne and Geelong Theatres", and performing in blackface songs and duets billed for the first time as "Congo minstrels", with which William especially was later identified


"SHIPPING INTELLIGENCE. CLEARED OUT", The Argus [Melbourne, VIC] (11 December 1849), 2 

December 10. - "Tamar," schooner, 119 tons, James Skey, master, for Adelaide, via Portland. Passengers (cabin) - . . . W. Evans and wife . . .

Adelaide, SA (1850):

"LOCAL INTELLIGENCE", South Australian Register [Adelaide, SA] (8 January 1850), 3 

"Therese, the Orphan of Geneva," was produced at the Theatre last evening, in which a Mrs. Evans, from the Melbourne and Geelong Theatres, appeared as the heroine. This lady has a good voice, a tolerable figure, and a correct conception of the character, which is a difficult one. Lazar played the villain Carwin, and the rest of the characters were respectably sustained by the company. The fair debutante was well received, and the melodrama gave great satisfaction to a good house. The extravaganza of Billy Taylor followed, in which the lovers of a hearty laugh were amply gratified by the drolleries of Lazar, Douglas, and Mrs. Lambert.

ASSOCIATIONS: John Lazar (actor, vocalist, manager); Harriet Lambert (actor, vocalist); New Queen's Theatre (Adelaide)

PIECES: Therese, the orphan of Geneva (Payne)

"QUEEN'S THEATRE", South Australian (15 January 1850), 2 

The very interesting drama "Victorine, or I'll sleep on it" was produced last night, with Mrs. Evans for the heroine. She is pleasing in appearance, and plays the part fairly, but was not perfect in the dialogue, nor was Mrs. Lambert, who acted Elise . . .

[Advertisement], South Australian (22 February 1850), 3 

NEW QUEEN'S THEATRE. Open this Evening, Friday.
THIS Evening, Friday, February 22, 1850, will be presented an operatic comedietta,
entitled the FLOWER SHOW. Hodge - Mr. Coppin. Madge - Miss Lazar.
Song - Mr. Evans . . .
To conclude with the musical extravaganza THE ETHIOPIAN SERENADERS.
With all the original melodies. Jim Chalot - Mr. Coppin.

ASSOCIATIONS: George Coppin (actor, manager); Rachel Lazar (actor, dancer)

[Advertisement], Adelaide Times (1 April 1850), 2 

MR. COPPIN in THREE PIECES. This evening, Monday. April 1, 1850 . . .
To conclude with the Burlesque Extravaganza of BOMBASTES FURIOSO.
King Artoxomenous - Mr. Lazar; Bombastes - Mr. Coppin; Distaffina - Miss Lazar . . .

ASSOCIATIONS: Dorothea Richards (vocalist)

"AMATEUR THEATRICALS", Adelaide Times (18 March 1850), 3 

The members of the Amateur Dramatic Society made their first appearance at the New Queen's Theatre, on Wednesday evening last, in Moreton's celebrated comedy of "Speed the Plough," and, as an afterpiece, the farce of the "Village Lawyer." The house was crowded with a highly respectable audience, including his Excellency the Governor . . . Mrs. Evans, in particular, looked and acted her character to perfection, and never appeared to such advantage before on the Adelaide stage. It fully showed what she is capable of performing when well supported . . .

[Advertisement], South Australian Gazette and Mining Journal (28 March 1850), 1 

NEW QUEEN'S THEATRE; - BOXES 3s, PIT 1s 6d; No Half-price.
MR. AND MRS. EVANS Beg to announce that their BENEFIT will take place
This Evening, Thursday, March 28, upon which occasion they trust that the entertainments selected will ensure them the support of their friends, which will ever be their anxious study to merit.
- The entertainments will commence with (for the first time in this colony) a Domestic Drams of intense interest, in two acts, entitled
THE TEMPTER, Or the Old Mill of St. Denis.
Mr. and Mrs. Evans will appear as the Congo Minstrels in the favourite song of "Where did You come from?" accompanying themselves on their bone castinetts.
Song - Mr. Webster.
[REDACTED] Polka - Mr. and Mrs. Evans.
Song - Mrs. Richards.
To conclude with THE MILLINERS' HOLIDAY.

ASSOCIATIONS: Sampson Marshall Webster (actor, vocalist)

[Advertisement], Adelaide Times (1 April 1850), 2 

MR. COPPIN in THREE PIECES. This evening, Monday, April 1 . . .

[Advertisement], Adelaide Times (3 April 1850), 2 

NEW QUEEN'S THEATRE . . . Thursday, April the 4th.
For the BENEFIT OF MRS. LAMBERT . . . THE Evening's entertainment will commence with . . .
BATTLE OF AUSTERLITZ, Or, The Soldier's Bride . . .
(Young Farmers) Messrs. Evans, Lambert, and Coppin . . .
Ernest (a Soldier) Mr. Evans . . .
THE ETHIOPIAN SERENADERS Will sing the following Favourite Melodies -
Accompanying themselves on the
Violin - Mr. Coppin; Banjo - Mr. Smith;
Bones - Mr. Evans; Triangles - Mr. Lambert
Tambourine - Mr. Webster . . .

ASSOCIATIONS: Harry Lambert (actor, serenader)

"LOCAL NEWS", South Australian (23 April 1850), 3 

We were happy to see the Theatre well attended last night: it was kindly lent free of charge for the benefit of Mrs. Richards, who in consequence of her husband's illness has for some time depended solely on herself for the support of her young family. The company rendered their gratuitous services on the occasion, and Tobin's fine play, "The Honeymoon" was performed with great success. We have before spoken of Lazar in the Duke: he was well supported by his daughter in Juliana. Mrs. Evans is an excellent comic actress, and appeared to great advantage in the gay laughter-loving Volante. Mrs. Lambert as Zamora, introduced the beautiful song "Love Not," in which she was warmly applauded.

"QUEEN'S THEATRE", Adelaide Times (12 August 1850), 3 

Mr. and Mrs. Cameron, so well known on the Adelaide stage some years ago, having returned to the colony and engaged the Theatre for three nights, performed on Monday and Thursday nights to tolerably numerous audiences. The principal performance of Monday night was "The Stranger" . . . The principal piece of Thursday night was "Jane Shore" . . . Mr. Lazar, and Mrs. Evans performed exceedingly well in the latter piece, and the rest of the company, with one or two exceptions, sustained their parts creditably . . .

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

Positively for this night only. This Evening, Monday, August 19, 1850 . . .
The Scottish Drama of ROB BOY . . . (With the original music.)
[REDACTED] Song - MR. EVANS . . .

ASSOCIATIONS: Samson and Cordelia Cameron (actors, vocalist)

Melbourne, VIC (by October 1850):

[Advertisement], The Melbourne Daily News [VIC] (23 October 1850), 3 

Queen's Theatre . . . THIS DAY, OCTOBER 23rd, 1850 . . . COMIC SONG, Mr. EVANS . . .

ASSOCIATIONS: It is not completely certain that William was the Mr. Evans billed here, and regularly until January 1851, as giving a comic song; but it was probably more likely William than Richard A'Beckett Evans, above, who had only recently announced his last appearance "on any stage"; Queen's Theatre (Melbourne venue)

? [Advertisement], The Argus [Melbourne, VIC] (21 January 1851), 3 

Dance - Mrs. Young. After which Mr. Purdon will appear on THE SLACK ROPE.
Comic Song - Mr. Evans . . .

ASSOCIATIONS: Jane Eliza Young (dancer)

"KILMORE [FROM OUR OWN CORRESPONDENT]", The Argus (11 February 1851), 2 

Thursday the sixth day of February, in the year or our Lord, one thousand eight hundred and fifty-one, shall aye, be a black day in our calendar, not all the fabled powers of the waters of Lethe being of sufficient potency to steep our senses in forgetfulness to the overwhelming destruction which has fallen upon this, with many other devoted portions of Victoria . . . A company of Thespians, consisting of Mr. and Mrs. Evans, Mr. Elrington and Mr. Moss en route for Sydney with a cart filled with the necessary paraphernalia for their vocation, which they intended following at the various towns upon their journey, were surprised by the flames on the Big Hill, and the whole of their wardrobe, &c. was destroyed. The only articles snatched from the burning being a cornopean and a violin. Such have been the results of the fire hereabouts . . .

ASSOCIATIONS: Black Thursday bushfires (VIC, 6 February 1851); Richard Elrington (actor)

[Advertisement], The Melbourne Daily News (11 February 1851), 3 

QUEEN'S THEATRE. Unprecedented attraction - Concentration of talent.
Under the immediate patronage of the R. U. O. C.
MR. & MRS. EVANS have the honour to announce that their first JOINT BENEFIT
will take place on Wednesday, 12th February, 1851 . . .
THE Performances will commence with a Grand Romantic and Historical Drama of intense interest (never before performed in these colonies,) and entitled the
DRAGON KNIGHT, or the Admirable Crichton & the Queen of Beauty.
After which, in conclusion, MR. MORTON KING (who has in the kindest manner accorded his services on this occasion) will appear, for the last time in Melbourne, in the favorite farce called SYLVESTER DAGGERWOOD, or, The Mad Actor . . .

ASSOCIATIONS: Morton King (actor)

[Advertisement], The Melbourne Daily News (8 March 1851), 3 

a splendid serious Ballet, entitled THE MOUNTAIN SYLPH.
Eiola, the Mountain Sylph - Mrs. Young.
Pas Suel - Mrs. Young.
Comic Dance - Mr. Evans.
Highland Reel - By the Characters.
To be followed by Comic Duet - Mr. and Mrs. Evans . . .

[Advertisement], Geelong Advertiser (27 March 1851), 3 

Theatre Royal, GEELONG . . . will open for
The Winter Season, On Monday Evening, 31st March, 1851,
The Theatre having been taken under a Lease by MR. LOCK . . .
The performances will commence with the much admired Drama of the
ADVOCATE; OR, THE Maiden of Geneva.
THERESE - the orphan of Geneva, Mrs. W. Evans.
(Whose recent performances in Melbourne have been hailed with the most enthusiastic applause, by crowded audiences) . . .

[Advertisement], Geelong Advertiser (4 April 1851), 4 

Theatre Royal, GEELONG . . . On FRIDAY, APRIL 4, 1851 . . .
The Interlude will consist of MR. W. EVANS, the celebrated Congo Minstrel,
will sing one of his Rombo Sombo [REDACTED] Melodies, with Bone Accompaniments . . .

[Advertisement], Geelong Advertiser (7 April 1851), 3 

Theatre Royal, GEELONG . . . On MONDAY, APRIL 8, 1851 . . .
The interlude will consist of
Comic Irish Song - Mr. W. Evans.
Pas de Deux - Miss Howard and Mrs. Stubbs.
[REDACTED] Melody - Mr. W. Evans.
Dance, Mazourka - Mrs. Stubbs . . .
J. H. S. LEE, Manager; W. LOCK, Lessee.

ASSOCIATIONS: John Herman Selwyn Lee (actor, manager)

[Advertisement], The Melbourne Daily News (26 November 1851), 3 

LADY OF LYONS; OR Love and Pride.
The interlude will consist of A COMIC DUET Mr. and Mrs. EVANS . . .

Sydney, NSW (1852):

[Advertisement], Empire [Sydney, NSW] (3 January 1852), 2 

The public are respectfully informed that Mrs. W. Evans, from the Queen's Theatre, Melbourne,
will make her first appearance at this Theatre on Monday, January 5, 1852,
in the drama of WALTER TYRREL, in which Mr. Nesbitt will also appear.

ASSOCIATIONS: Francis Nesbitt (actor); Royal Victoria Theatre (Sydney)

"THE VICTORIA THEATRE", Empire (10 January 1852), 3 

On Monday evening Mrs. Evans made her first appearance as Editha, in Walter Tyrrell . . . Mrs. Evans played the heroine admirably. She threw into the part an energy, a pure native pathos, a variation of moods. She subdued with a very fine judgment the more extravagant points of a somewhat extravagantly-conceived character. She showed, every where, a consummate knowledge of stage-effect. Our only objections are of trivial character, and point to a fancy, somewhat absurd, we fancy, in a role of the kind, of permitting her hair to float about her shoulders, and to a fixed Lady Macbethish expression of countenance. Her success was complete, and her appearance before the curtain at the close of the piece, was greeted with most enthusiastic applause . . .

[Advertisement], The Sydney Morning Herald (29 January 1852), 2 

WILL be produced the opera of CINDERELLA, or THE LITTLE GLASS SLIPPER.
Prince Floridor, Mr. J. Howson; Dandini, Mr. F. Howson; Baron Pomposa Il Magnifico, Mr. Rogers;
Pietro, Mr. Howard; Cinderella, Madame Sara Flower; Clorinda, Mrs. Gibbs; Thisbe, Madame Carandini; Fairy Queen, Mrs. Guerin;
Dancing Fairies, Mrs. Hart, the Misses Griffiths and Hart, and Mrs. Evans . . .

ASSOCIATIONS: John Howson (vocalist); Frank Howson (vocalist); George Herbert Rogers (vocalist); Sam Howard (actor); Sara Flower (Mrs. Howard, vocalist); Eliza Gibbs (vocalist); Maria Carandini (vocalist); Theodosia Guerin (vocalist, actor); Augusta Hart and daughter or daughters (actors, dancers); Fanny and/or Emily Griffiths (dancers)

"THE VICTORIA THEATRE", Empire (7 February 1852), 2 

Scarcely anything novel has been produced at the Theatre during the past week. Mr. Nesbitt played Gambia in The Slave, on Monday evening; and played it to perfection. The drama had an advantage seldom conferred on the pieces recently brought out, that of having the heavier female parts sustained by our two leading actresses, Mrs. Guerin and Mrs. Evans . . .

"THE VICTORIA THEATRE", Empire (1 March 1852), 3 

The Foundling of the Forest was produced on Monday evening. Mr. Nesbitt recovered, we are happy to say, from his recent illness, appeared as Count de Valmont . . . Mr. Frank Howson made a capital L'Eclair; his song "a Landlady of France" was given with a good deal of raciness. Mr. Arabin was respectable in Bertrand. Miss E. Griffiths sustained Rosabelle, and with very decided promise of stage talent. She sang the duet "Tell me, soldier, tell me truly," with Mr. Frank Howson very prettily - though we fancy her abilities do not naturally lean in the direction of vocal music. Geraldine was represented by Mrs. Evans, and, in the last act of the play, particularly, with very considerable feeling . . .

ASSOCIATIONS: Gustavus Arabin (actor)

[Advertisement], Empire (16 March 1852), 2 

ROYAL VICTORIA THEATRE . . . THIS EVENING (Tuesday,) March 16, 1852,
will he produced, the admired Opera of THE NIGHT DANCERS. Albert, Mr. J. Howson; Godfrey, a miller, Mr. Rogers; Giselle, Mrs. Guerin; Mary, Madame Carandini; Duke of Silesia, Mr. Willis; Fridolin, Mr. F. Howson; Bertha, Madame Sara Flower; Gretchen, Miss E. Griffiths;
Myrtha, the Queen of the Wilis, Miss Hart; Corella, 1st Wili, Madame Carandini; Astra, Miss A. Hart; Unda, Miss F. Griffiths; Myrrah, Mrs. Evans; Una, Miss E. Griffiths; Wilis, Mrs. Hart, &c. . . .

ASSOCIATIONS: Thomas Charles Willis (actor)

[Advertisement], The Sydney Morning Herald (1 April 1852), 2 

WILL be performed the admired Opera of THE ENCHANTRESS.
Duke D'Aquila, Mr. Rogers; Galeas, Mr. Arabin; Don Sylvio, Mr. J. Howson;
Doctor Mathanasius, Mr. Douglass; Barber, Mr. F. Howson;
Stella, the Enchantress, Madame S. Flower;
Ladies, Greek Slaves, &c., Mesdames Gibbs, Carandini, Evans, Hart, and the Misses Griffith and Hart . . .

ASSOCIATIONS: William Henry Douglas (actor)

"SHIPPING INTELLIGENCE . . . DEPARTURES", Empire (2 April 1852), 2 

April 1. - Lavinia, barque, 233 tons, Captain McPhee, for Tahiti and San Francisco. Passengers . . . W. Evans and wife . . .

California, USA (by August 1852 to 1 August 54):

"THEATER", Sacramento Daily Union [CA, USA] (31 August 1852 ), 2 

Richard the Third was repeated last night at the American, before a pretty full house, Mr. Booth as Richard. To-night, the play of the Stranger will be presented. Mrs. Evans appears for the first time before a Sacramento audience, as Mrs. Haller.

[Advertisement], Sacramento Daily Union (6 September 1852), 3 

THIS (Monday) EVENING September 6th, 1852, Will be performed the tragedy of RICHARD III . . .
Duke of GLoster - J. B. Booth, Jr. Richmond - Edwin Booth.
After which, Mrs. Evans will sing a favorite Irish Song . . .

ASSOCIATIONS: Edwin Booth and Junius Brutus Booth junior (actors, brothers)

[Advertisement], Nevada Journal [USA] (15 October 1852), 3 

Dramatic Hall. MR. WALLER, having rented the above establishment . . .
Mrs. WALLER; Mrs. EVANS, from the Haymarket Theatre, London . . .
On Saturday evening, October 16th, will be presented Kotzebue's Play of THE STRANGER, with a good caste.
After the Play, Mr. EVANS will make his first appearance, and sing the celebrated Irish Song of That Darling Ould Stick . . .

ASSOCIATIONS: Daniel and Emma Waller (actors, vocalist)

"Mr. Waller's Benefit. HAMLET", Nevada Journal (12 November 1852), 2 

On Wednesday evening last the Dramatic Hall was filled with a large and appreciative audience, to honor Mr. Waller, and to witness his performance of Shakspeare's great character of Hamlet . . . Mr. Booth was honored with Mr. Waller at the close of the piece by a call before the curtain, for his magic touches in Laertes . . . Mrs. Evans played the queen with much grace and appropriateness. She has the true conception of her part, and save some slight faults in accent which care would remove, is an admirable actress. Mr. Tulhill's "Ghost" was too near the audience for full effect as a sight, but as a delineation, it was excellent . . .

ASSOCIATIONS: Henry Tuthill (actor)

"Relief from Nevada", Sacramento Daily Union [CA, USA] (17 November 1852), 3 

We have been furnished by Judge J. A. Read, with the following letter addressed to him by the gentlemen undersigned, who accompanied it with $473 50, the proceeds of a theatrical benefit in behalf of the sufferers by the late conflagration in this city . . .
D. W. Waller, Lessee, Wm. Barry, Hy. Tuthill, Manager,
D. V. Gates, Mrs. Emma W. Waller, Orrin D. Howard,
Mrs. William Evans, Wm. Evans, Mrs. Kate Madden, Jos. Akerman, Edwin Booth . . .

ASSOCIATIONS: Sacramento great conflagration (2 November 1852)

[Advertisement], Daily Alta California [San Francisco, CA, USA] (17 September 1853), 3 

AMERICAN THEATRE [Sansome street . . .] . . . SATURDAY EVENING, Sept. 17 . . .
the Comic Pantomime of the MILLINERS. Characters by the Sisters Rousset, Miss M. Chapman,
Mrs. Evans, Mr. Evans and Mr. Rand . . .

? [Advertisement], Daily Alta California [San Francisco, CA, USA] (20 November 1853), 3 

AMERICAN THEATRE . . . This (Sunday) Evening, Nov. 20 . . .
The performance to commence with the play of AVENGER; Or, the Moor in Sicily.
The Moor - Mr. C. R. Thorne. Stella de Procida - Mrs. C. R. Thorne.
Valentina - Mrs. Evans . . .

"THEATER", Sacramento Daily Union [CA, USA] (19 January 1854), 2 

In view of the attractions presented last evening at the Theater, we were prepared for and not disappointed in the character and number of the audience in attendance. The announcement of the tragedy of the "Corsican brothers" should of itself be sufficient to draw, and when presented with such an array of personal merit as graced the occasion, there could not but be a generous response on the part, of the public . . . Mrs. Evans made her first appearance as Madame Franchi with credit. If we mistake not this lady supported the lamented Booth when he first appeared on the California stage, and won from him many complimentary notices . . .

"THEATRICAL DEPARTURES", Sacramento Daily Union (3 August 1854), 2 

Mr. and Mrs. Evans sailed on Tuesday for Sydney in the bark M. A. Jones. They came from that place some two years since, and have been performing as actors in California during most of the intervening time.

"SHIPPING INTELLIGENCE. ARRIVAL", Empire [Sydney, NSW] (12 October 1854), 4 

October 11. - M. A. Jones, American brig, 225 tons, Captain E. T. Barnes, from San Francisco August 1. Passengers - . . . Miss Laura Keene, Mr. and Mrs. Evans . . . Messrs. Joseph A. Rowe, E. Booth, D. C. Anderson, C. Devier [Devere], J. Milne [George Milne] . . .

ASSOCIATIONS: Laura Keene (actor); Edwin Booth (actor); Joseph Andrew Rowe (equestrian, circus proprietor); James Milne (actor)

"THEATRICALS", Empire (12 October 1854), 5 

Our reputation as a gold country, and the hearty recognition we have bestowed upon worthy members of the theatrical profession, as evidenced by the reception of the Starks, the Wallers, and the present company from California now playing at the Royal Victoria, seem to attract to Sydney all the "bright particular stars," who have lately shone in our sister "El Dorado" of the North Pacific. By the the arrival yesterday, of the M. A. Jones, we have received a considerable accession to the histrionic talent heretofore available. Amongst the passengers is Miss Laura Keene, a lady distinguished in comedy, and who formerly played with great success at the Lyceum, and Sadler's Wells, London . . . Another lady who is not a stranger to the Sydney public, has also arrived - Mrs. W. Evans, who two years ago, was accustomed to perform with the celebrated Nesbitt. She was at that time most favourably known, and her travels and practice since cannot but have enlarged her capabilities to portray the deep emotions of the soul . . .

Melbourne and Geelong, VIC (by 17 October 1854):

Names and descriptions of passengers per London, from Sydney 7 [11] October 1854, for Melbourne; Public Record Office Victoria (DIGITISED)

. . . Wm. Evans / 24 // [Mrs. Evans not listed] . . .

"SHIPPING INTELLIGENCE. ARRIVED", The Argus [Melbourne, VIC] (18 October 1854), 4 

October 17. - London, steamship, 500 tons, Wm. Watts, from Sydney 14th inst. Passengers - saloon: . . . Mr. and Mrs. Evans . . .

"THE THEATRE", Geelong Advertiser and Intelligencer [VIC] (1 November 1854), 4 

On Monday evening, Mr. Charles Kemble Mason made his first appearance to a Geelong audience in the character of Richelieu . . . Mrs. Evans, after a long sojourn from the Geelong boards, appeared as Julie, the orphan ward of the Cardinal, and acquitted herself respectably. She possesses a fine voice with a pleasing figure, yet, to our humble judgment, she showed too much of her art, and lacked that pathos and reality necessary to divest the spectator's mind of the unreality of the representation . . .

ASSOCIATIONS: Charles Kemble Mason (actor

[Advertisement], Geelong Advertiser and Intelligencer (8 November 1854), 4 

The performances will commence with the celebrated musical drama of ROB ROY MACGREGOR.
Rob Roy MacGregor Campbell - Mr. C. K. Mason.
Helen MacGregor - Mrs. W. E. Evans.
Favourite Interlude by the Ethiopian Minstrel, MR. W. EVANS . . .

"THE THEATRE", Geelong Advertiser and Intelligencer (9 November 1854), 4 

Yesterday evening the musical drama of Rob Roy was acted at the Theatre. The part of Rob Roy was taken by Mr. C. Kemble Mason, who delineated the character of this bold, but at the same time honorable freebooter, with much force and effect. Mrs. W. Evadne Evans personated Helen Macgregor, and portrayed with much ability the masculine daring combined with feminine softness, which formed the two principal features in the character of Macgregor's wife. The Baillie Nicol Jarvie of Mr. Chapman was a most excellent piece of acting, and was well sustained throughout. Mr. Elrington as Rasleigh Osbaldistone, most correctly conveyed to the mind of his audience the deep cunning and villany of which the character of Rasleigh is composed. Mr. Clement White as Francis Osbaldistone, acquitted himself satisfactorily in several songs which he sang. The rest of the characters were creditably sustained. The evening's amusements concluded with the farce of "Whirligig Hall."

ASSOCIATIONS: Henry Chapman (actor); Richard Goodall Elrington (actor); Clement White (actor, vocalist)

"THE THEATRE", Geelong Advertiser and Intelligencer (25 November 1854), 4 

. . . Mr. W. Evans, the well known singer of negro melodies, sung a song with respect to the late trial of Mackay V. Harrison, in which the matter was dealt with in a very clever, pungent, witty manner. The song was received with continued bursts of applause.

ASSOCIATIONS: James Harrison (editor of the Geelong Advertiser); on the case, see "SUPREME COURT, MELBOURNE", Geelong Advertiser and Intelligencer (15 November 1854), 4 

And for a song on the case, perhaps even the song in question, see
"ORIGINAL POETRY", Geelong Advertiser and Intelligencer (11 December 1854), 5 

Sydney and regional NSW (1855-57):

"THE VICTORIA THEATRE", Bell's Life in Sydney and Sporting Reviewer (3 February 1855), 2 

. . . On Monday evening Mrs. William Evadne Evans will appear as Margaret Elmore in George Lovell's play of "Love's Sacrifice" - being this lady's first appearance on the Sydney boards during the last three years [sic]. Mrs. Evans has visited this city after a most successful tour through California and the colonies; and the many amongst us who have had the pleasure of previously witnessing her performances will, as a matter of course avail themselves of the opportunity, now afforded, of renewing acquaintance with so accomplished and versatile an actress . . .

[Advertisement], The Maitland Mercury and Hunter River General Advertiser [NSW] (28 February 1855), 3 

MRS. EVADNE EVANS, whose success at the Royal Victoria Theatre has been pronounced perfect.
MRS. HOWARD, from the Royal Victoria Theatre.
MR. BRUTON, from ditto ditto.
MR. STEWART, from ditto ditto.
MR. HAMMOND, from ditto ditto.
MR. RUSSELL, from ditto and California.
MR. WM. EVANS, from ditto.
THE above Artistes, from the Royal Victoria Theatre, have the honor to announce to the inhabitants of East and West Maitland, and its vicinity, that they will give
THREE THEATRICAL PERFORMANCES, at the Rose Inn, Maitland, the first of which will take place on
THURSDAY, THE 1ST MARCH, when will be presented the Nautical and Musical Comedy of
THE WATERMAN. Tom Tug - Mr. Stewart. Mr. Bundle - Mr. Hammond. Robin - Mr. Bruton.
Theatrical Performances, AT THE "ROSE INN," MAITLAND . . . .
The whole to conclude with a new Burlesque Extravaganza, written expressly for Mr. W. E. Evans, entitled
"Sambo Hit-em-hard," a black pot boy, cast from nature in Bronze; Mr. Wm. Evans.
"Sphinx," Mr. Steward. Rest of Characters by Company . . .
In preparation for Saturday, "Black Eyed Susan," and other novelties . . .

ASSOCIATIONS: ? Richard Stewart (vocalist, actor); J. W. Bruton (actor, vocalist)

"ASHTON'S ROYAL AMPHITHEATRE", The Sydney Morning Herald (20 July 1855), 6 

This evening, Mr. W. Evans, the active agent of this establishment, takes his benefit, on which occasion he has selected a variety of most attractive entertainments . . .

ASSOCIATIONS: James Ashton (proprietor); Ashton's Circus (troupe)

"ASHTON'S CIRCUS", Freeman's Journal [Sydney, NSW] (18 August 1855), 10 

This popular place of amusement draws a large concourse of spectators who appear highly delighted with the wonderful feats of horsemanship performed there. On Wednesday night last [15 August], Mr. W. Evans (late agent to Mr. Ashton), took his benefit, when he was greeted by a crowded house. This gentleman proceeds shortly to Bathurst for the purpose of establishing a Theatrical Company in that important town, in which undertaking we wish him every success.

ASSOCIATIONS: James Ashton (circus proprietor)

[Advertisement], Bathurst Free Press and Mining Journal [NSW] (25 August 1855), 3 

Royal Prince of Wales Theatre, BATHURST.
First appearance of MRS. W. EVADNE EVANS, The Celebrated Tragic Actress, from the London and American Theatres.
MR. WILLIAM EVANS, the Lessee respectfully directs the attention of the inhabitants of Bathurst and its vicinity to a continuation of attraction hitherto unattempted here.
This evening, THURSDAY, AUGUST 30th, 1855, will be presented Richard Lalor Shiel's sublime Tragedy in five acts, entitled
To conclude with laughable farce entitled
TO THE PUBLIC. Mr. William Evans begs most respectfully to announce to the inhabitants of Bathurst and its Vicinity, that he has leased the above popular place of amusement and begs to assure them, that no exertion or expense will be spared to render the entertainment worthy the support of the Public.
Acting Manager, Mr. W. EVANS; Stage Manager, MR. T. HALL;
Leader of the Orchestra, MR. G. CHITTENDEN, Jun. . . .

ASSOCIATIONS: George Chittenden junior (musician)

PIECE: Evadne; or, The statue (Richard Lalor Shiel)

[Advertisement], Bathurst Free Press and Mining Journal (13 October 1855), 3 

Prince of Wales Theatre. Monday Evening, October 15th, 1855.
Under the Patronage of the United Irishmen of Bathurst.
For the Benefit of MR. WILLIAM EVANS. Great Combination of Talent.
The Prince of Wales, and Fairchild's Company in one night.
The Ethiopian Serenaders and Creole Beauties will also appear.
THE Entertainments will commence with the Musical Vaudeville, entitled

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

[Advertisement], Bathurst Free Press and Mining Journal (17 November 1855), 3 

SOFALA. THE Residents on the TURON are respectfully informed, that
Will give two farewell performances at MR. MENDELL'S SOFALA INN,
On Saturday & Monday, Nov. 24th & 26th, When will be produced the laughable Farce
Frank Fresco (A poor Painter) - Mr. F. Sams.
Florette (A Wax Flower Maker) - MRS. W. EVADNE EVANS.
O'Flaherty (Hibernian Specimen) - Mr. W. Evans.
An interval of 15 minutes.
The Entertainments to conclude with the performances of the SABLE MINSTRELS.
Overture - Medley - Band.
Opening Chorus - Hither we come, (from the Opera of the Enchantress) - Mr. Evans & Company.
Burlesque - Picayune Butler - Mr. F. Sams.
Ballad - Sukey Dear - Mr. Chittenden.
Song - Nancy Till - Mr. Evans.
Operatic Selection - The Lost Child - Mr. F. Sams.
Song - Buffalo Gals - Mr. Chittenden.
Extravaganza - Whar did you come from - Mr. Evans.
Song - Dinah's Wedding - Mr. F. Sams.
Refrain - Turon Girls - Mr. Evans.
To conclude with the celebrated RAILWAY GALOP.
Doors open at 7, commence at 8. - Admission 3s.

ASSOCIATIONS: Frederic Sams (vocalist)

Bathurst Free Press and Mining Journal (12 January 1856), 2 

Bathurst is at length favoured with a dramatic company of superior pretentions, both as regards respectability of character and talent . . . and in introducing Miss Fanny Young, Messrs. Russell, Daniels, Jones, and King to those of our readers who have imbibed a relish for the drama, we can assure them that we prefer appealing to their judgment rather than to their sympathies. The first appearance of these artistes before a Bathurst audience look place on Thursday last, the pieces selected being "A Kiss in the Dark," "Perfection," and the "Dead Shot" . . . The female characters were effectively represented by Mrs. Evans and Miss Fanny Young . . .

ASSOCIATIONS: Fanny Young (actor, dancer, vocalist); J. B. Russell (actor); George Washington Daniels (actor); Charles King (actor); Benjamin Napthali Jones (actor)

[Advertisement], Bathurst Free Press and Mining Journal (22 March 1856), 3 

PRINCE OF WALES THEATRE, Mrs. Whitton's, Commercial Hotel. Saturday Evening, March 22.
Favorite Song - Mrs. King
Popular Song - Miss Fanny Young
[REDACTED] Melody - Mr. Evans
The whole to conclude with (for positively the last time this season) the Musical Extravaganza entitled the INVISIBLE PRINCE . . .

[Advertisement], Bathurst Free Press and Mining Journal (12 April 1856), 3 

PRINCE of WALES THEATRE, AT MRS. WHITTON'S. This (Saturday) Evening, Apl. 12.

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

[Advertisement], Bathurst Free Press and Mining Journal (19 April 1856), 3 

On which occasion, MISS A. M. QUINN AND MR. JAMES H. VINSON, Have kindly volunteered their services . . .
MRS. FRANK ANDREWS, Who has kindly volunteered in a choice selection of favorite Songs.
New Negro Melody - Mr. W. Evans . . .

ASSOCIATIONS: Mrs. Frank Andrews (vocalist)

"PRINCE OF WALES THEATRE", Bathurst Free Press and Mining Journal (17 May 1856), 2 

On Thursday, the 8th inst. a performance was given at this Theatre for the benefit of Miss A. M. Quinn and Mr. J. H. Vinson . . . After some songs by Mrs. Andrews, Miss Stewart, Miss Fanny Young, and Mr. Evans, which were received with great applause, Miss Quinn came forward and delivered the following address: -
"Music, be hushed! let catgut cease to trill;
I come to speak a Prologue if you will . . .

ASSOCIATIONS: Eliza Stewart (Ellis) (vocalist)

[Advertisement], Bathurst Free Press and Mining Journal (31 May 1856), 4 

NOTICE. VILLAGE OF PEEL. MR. W. EVANS' travelling Theatricals, from the Prince of Wales theatre, Bathurst, purpose giving a few performances, at Mr. W. H. Suttor's Woolshed, during the races, (12th and 13th June next), where he hopes to see many of his friends.

[2 advertisements], Bathurst Free Press and Mining Journal (14 January 1857), 3 

MR. W. EVANS will appear as Clown; also in a daring act of Horsemanship, first time in Bathurst . . .

For the Benefit of Mr. D. F. BOLEY, (Late of the Backus Minstrels) . . .
MR. JAMES ASHTON, has gloriously consented to repeat his elegant Drawing-Room ENTERTAINMENT . . .
Second night of the successful Burlesque Negro Opera of OH HUSH! or NEGRO ASSURANCE,
in which that established favourite MRS. W. EVADNE EVANS (who has again volunteered her valuable assistance) will sustain the part of Rose.
The Orchestra will be under the able direction of Mr. Chittenden . . .
As played by the Backus Minstrels, throughout the United States and the Colonies.
Hamlet - W. A. Porter; Ghost - D. F. Boley; Queen - T. P. Brower; Polonious - Dave Casson . . .

ASSOCIATIONS: William Alonzo Porter (serenader); Dorrel Fair Boley (serenader); Thomas Palmer Brower (serenader); Dave Carson (serenader); Backus Minstrels (troupe)

Regional VIC (by late 1857):

[Advertisement], Portland Guardian and Normanby General Advertiser [VIC] (21 December 1857), 2 

Positively the last night. MRS. EVADNE EVAN'S BENEFIT . . .
[REDACTED] Song, (Portland Gals) - MR. W. EVANS . . .
J. T. STREETON, Manager. W. EVANS, Responsible Agent . . .

[Advertisement], Mount Alexander Mail [Castlemaine, VIC] (23 July 1858), 5 

the Star Company having arrived, comprising the following artistes -

ASSOCIATIONS: Kate Warde (actor, vocalist); William Cull (actor); Thomas Wright Fawcett (actor); Red Hill Music Hall (venue)

"CLUNES (From our own Correspondent), 8th June", The Star [Ballarat, VIC] (12 June 1860), 4 

Last evening a company of theatricals from Back Creek made a very successful effort to amuse us, at least as far as those who paid them a visit were concerned. Mrs. Evadne Evans, Miss Eliza McDonald, Messrs. J. Selby, Bendall, Neilson, C. O'Brien, Gardiner, were the performers, and merited the applause they obtained in their rendering of "Time tries all," and "Nan the Good for Nothing." In the latter piece Mrs. Evadne Evans was particulary excellent. Mr. W. Evans gave a few Ethiopian allusions by way of an interlude and obtained a deserved encore. Mr. Clarke, however, fairly astonished us by his performances on the violin - the solo of "The Cuckoo" was rendered admirably and duly appreciated by his hearers. Mr. Evans announced that he would visit Clunes again on Tuesday and Wednesday next . . .

"CLUNES (From our own Correspondent), 2nd August", The Star (7 August 1860), 2 

. . . This evening at the Lyceum Theatre, Mrs. Evadne Evans, Messrs. Dale, Evans, and Clarke, appeared; Mr. Murray, whose none appeared on the bills, was detained on Back Creek by influenza. The company, small as it was, judiciously gave us a hearty good laugh at some of the absurdities written by Buckstone and Clytie. The farces were well rendered, and met with the effect aimed at. Mr. Evans's Irish songs and negro delineations were multiplied to the tune of half a dozen at least . . .

ASSOCIATIONS: Robert Baldwin Dale (actor)

[Advertisement], Ovens and Murray Advertiser [Beechworth, VIC] (19 January 1861), 3 

A Grand Theatrical Performance will take place at the Star Theatre on Saturday, January 19th, 1861 . . .
When the following talented Artistes will appear . . .
MR. EVADNE EVANS, The celebrated Irish Comic Singer . . .
MR. B. RICKARDS, From the Melbourne Theatres
MRS. EVADNE EVANS, From the United States . . .

ASSOCIATIONS: Benjamin Ricards (actor); Star Theatre (Beechworth venue)

"EVANS' DRAMATIC TROUPE", Ovens and Murray Advertiser (23 January 1861), 2 

This company are now on a tour through this district, and from the high encomiums passed on the merits of Miss Albertine and Mrs. Evadne Evans, by the Colonial and American Press, we feel assured that their talents will be appreciated in the various localities they intend to visit.

ASSOCIATIONS: Miss Albertine (actor, dancer, vocalist)

"Local Intelligence", Ovens and Murray Advertiser (26 January 1861), 2 

Mr. Evans's Dramatic Company will again perform this evening, when a more successful performance may be anticipated than that of last week, considering the difficulties under which they labored. The company has been re-organised, and a decided success may be expected.

"SUDDEN DEATH OF AN ACTOR", The Age [Melbourne, VIC] (25 March 1861), 7 

Yesterday morning, a little after nine o'clock, Mr. Benjamin Ricards, lately one of Evans' Dramatic Company, expired suddenly while in the act of conversation with Mr. Nicholas, the brewer. From the evidence furnished at the magisterial inquiry, held in the afternoon before John Phillips, Esq., J.P., at the Court-house, it appeared that the deceased had determined to leave his dramatic friends and remain in Deniliquin, hoping to be able to establish a school and obtain a livelihood in a more settled mode than heretofore. He had called on Mr. Nicholas, and was in conversation on the subject, when he suddenly fell backwards, and, being instantly raised, was found to be dead. Mr. Noyes, the medical practitioner, was immediately sent for, and as quickly attended, but the vital spark was irrevocably quenched, and the poor player's life-drama finished. Mr. W. Evans deposed that he had known the deceased since 1849 [sic, ? 1859]; he had been witness's partner; and said that deceased had complained for the last three weeks of a pain in his chest, but he had been somewhat better since he had been in Deniliquin. He was a married man, but had been living separate from his wife for some time. At Wahgunyah, where they had played lately, deceased heard that his wife, whom he supposed had gone to England, was still residing in Melbourne. From that time deceased appeared gradually to break down. Deceased, he believed, came originally from Bath, where in 1850-52 he carried on the business of an auctioneer. Witness thought deceased had lived somewhat fast during his life. The above was corroborated by other members of the theatrical company . . . Pastoral Times, March 22nd.

"ROYAL LYCEUM THEATRE", The Sydney Morning Herald [NSW] (27 September 1862), 6 

Mr. Charles Gardiner has determined to prolong the circus season for six more nights, during which, in addition to the usual performances of the equestrians, acrobats, rope dancers, and the other great attractions of his strong and well-organised troupe, he purposes to bring out dramatic pieces, in which the cooperation of the members of his own company, and of the late dramatic company will be rendered available. On Monday the piece so produced will be Timour the Tartar, in which the whole of Mr. Gardiner's splendid stud, and the grace and agility of his numerous practised equestrians of both sexes will be displayed in the performance. Mrs. Evadne Evans will then make her debut as Zorilda - a leading equestrian and speaking part . . .

"MECHANICS' INSTITUTE. MR. PAYTONS BENEFIT", The Ballarat Courier (21 August 1878), 2 

There was another good house to the Glassblowers exhibition last night, and those who attended it had a very pleasant evening . . . To-night will be the last of the season, and it is announced as the benefit to Mr. William Evans, sometimes styled "The Irish King;" their well-known and popular manager. Mr. Evans is an old Ballarat identity; he was known to the theatre-going public of Ballarat twenty-five years ago as the finest Irish comedian and negro character delineator of his time, and we hope that his old friends, and new ones too, will on this occasion show that they have not forgotten an old favorite.

"ATTEMPTED SUICIDE", Bendigo Advertiser (4 March 1880), 3 

The Melbourne correspondent of the Geelong Times says: - William Evans, the well-known theatrical agent, cut his throat on Monday, while suffering from indisposition, presumed to be caused by free living. His condition is critical.

"POLICE. FITZROY. MONDAY", Mercury and Weekly Courier (20 March 1880), 2 

William Evans - Attempted suicide. Discharged to the care of his wife.

Marriage solemnized in the parish of St. Peter, Melbourne, in the year 1880; register, 1878-83; St. Peter's Eastern Hill (PAYWALL)

No. 3069 / [22 March 1880] at 30 Gertrude St. / William Evans / Widower [since] 1864 / [no children by former marriage] / [born] Inniskillen Ireland / Agent / [age] 51 / Fitzroy / [son of] Richard Evans / Serjeant, [and] Sarah Morris
and Elizabeth Harper / Widow [since] 1873 / [3 boys by previous marriage] / [born] Donegal Ireland / 48 / Fitzroy / [daughter of] Robert Nelson, Mechanic, [and] Fanny Barr . . .

"Funeral Notices", The Argus (24 March 1880), 8 

THE Friends of the late Mr. WILLIAM EVANS, theatrical manager, and the brothers of Mistletoe Lodge, and the order in general, U.A.O.D., are respectfully invited to follow his remains to their last resting place, the Melbourne General Cemetery. The funeral procession is appointed to move from his late residence, 38 Gertrude street, Fitzroy, THIS DAY (Wednesday, 24th), at a quarter to 2 o'clock punctually . . .

"NEWS AND NOTES", The Ballarat Star (26 March 1880), 2 

One of the oldest identities in the theatrical world, and one who in his his day had seen ups and downs innumerable, has just passed away and joined the great majority. Mr. William Evans, singer, actor, and manager, better known amongst the profession as "The Irish King," died on Tuesday in the Melbourne Hospital, after a lingering illness. Poor Evans' last engagement was with Miss Ella Carrington and C. H. Taylor's "Stay Leaves [sic, Stray Leaves] Combination," lately on tour in New Zealand, where the deceased gentleman had to leave them through ill health. On his return to Melbourne, his illness so increased, both mentally and bodily, that he was taken to the care of the Hospital authorities. He was buried at the Melbourne Cemetery yesterday afternoon. The primary cause of Mr. Evans's sickness was a domestic affliction, which so unhinged his mind that he attempted to take his life by cutting his throat.

EVELYN, Alexander John (Alexander John EVELYN; A. J. EVELYN)

Journalist, poet, lyricist, songwriter

Born ? Ireland, c. 1828
Arrived Sydney, NSW, by May 1853
Died Sydney, NSW, 19 February 1857, aged "29"; buried Newtown, 21 February (TROVE tagged by Australharmony) (AustLit) (shareable link to this entry)


"ASSAULT ON THE COLONIAL SECRETARY", Empire (15 October 1856), 5 

Alexander J. Evelyn appeared, on bail, to answer the charge of having in the Domain, on Monday last, assaulted Henry Watson Parker, Esq., Colonial Secretary, with a horsewhip . . . The defendant was then committed to take his trial for the assault on Mr. Parker, at the next Court of Quarter Sessions. Bail was allowed, the defendant in £100, with two sureties of £50 each.

ASSOCIATIONS: Henry Watson Parker (Colonial Secretary)

"NEW SOUTH WALES", The Age [Melbourne, VIC] (6 December 1856), 5 

We have Sydney papers from Monday to Wednesday last. They contain nothing of special interest. Mr. A. J. Evelyn, the young man who assaulted Mr. Parker, the Premier, in the street some time ago, has been convicted and sentenced to six months' imprisonment.

"DEATHS", The Sydney Morning Herald (20 February 1857), 1 

At half-past 1 p.m , on Thursday, the 19th February instant, at 68, Macquarie-street, after a long and painful illness, borne with great fortitude, Alexander John Evelyn, late of Trinity College, Dublin, aged 29 years.

"DEATH OF MR. EVELYN", Empire (20 February 1857), 5 

It is with feelings of peculiar pain that we announce the death of Mr. A. J. Evelyn, the gentleman whose name was before the public, a short time ago, in a prosecution for an assault on the Colonial Secretary. Mr. Evelyn arrived in the colony three or four years ago, and was engaged as editor of a weekly paper, the Illustrated Sydney News, during the best days of that publication. In that capacity he became acquainted, with a few gentlemen of literary tastes who discovered beneath a cold reserve of character many excellent qualities of mind and heart which attached them to him in ties of enduring friendship. After the publication of the Illustrated News ceased, Mr. Evelyn obtained employment in the Survey Office, which appears to have been most unsuited to his habits and character. Oppressed by the feeling that he had been sorely aggrieved in connection with that department, he unhappily committed the assault for which he was tried at the Central Criminal Court, and sentenced to six months' imprisonment. Persons, who knew his proud spirit and fragile constitution, feared for the result of this confinement; and in about a fortnight from his conviction the generous sympathies of the present Attorney-General were enlisted on his behalf, and he was liberated. The mischief, however, was done; Mr. Evelyn never rallied in spirit again, and towards the close of January he took to his bed where yesterday he died. Mr. Evelyn was a true poet; many of his bursts of feeling in this way were of the most delicate beauty. We give one of the last - some lines written in Darlinghurst gaol, and placed in our hands a short time afterwards: -


One Greek struck down ten Persians here,
Upon this narrow sea-washed plain -
Well! why keep wondering, and fear
The like will ne'er be done again?
Whoso, whene'er the invader's cry
Rolls landward with the rolling foam,
Is fixed to beat him back or die,
May make a Marathon at home.

When Moses, on the sacred hill,
Beheld the living tree on fire,
The miracle was great - but still,
We, too, to wonders may aspire.
Whoso, as Nature's priest, doth stand
With reverend mind and feet unshod, -
To him the world is holy land,
And every bush burns with the God.

The young poet had no friends in the colony, but though dying of a wounded spirit among strangers, he was affectionately attended in his last moments by Mr. Stenhouse, Dr. Woolley, Mr. T. G. Rusden, M.P., Mr. Dyer, of the School of Arts, and some other gentlemen. Mr. Evelyn was twenty-nine years of age.

ASSOCIATIONS: Joseph Dyer (secretary, Sydney Mechanics' School of Arts); John Woolley (professor, Sydney University)

Works (selected):

English Alice (1852)

English Alice, a poem in five cantos by Alexander John Evelyn (London: William Pickering, 1852) (DIGITISED)

[Review], Tait's Edinburgh magazine (August 1852), 510 (DIGITISED)

By Murray's banks (1854)

"ORIGINAL POETRY", Illustrated Sydney News (17 June 1854), 5 

By Murray's banks I met her first,
Gath'ring the sweet wild flowers,
Herself the sweetest flower that grows,
In all Australian bowers.
And by the crystal Murray's banks
Should you e'er chance to rove,
Then haply you may meet her too
The little girl I love . . . [3 more verses] . . .

By Murray's banks, an Australian ballad, the poetry by Alexander John Evelyn, the music composed, and dedicated to Captain Cadell, by S. H. Marsh (Sydney: Marsh, [1854]) (DIGITISED)

ASSOCIATIONS: Stephen Hale Marsh (composer); Francis Cadell (explorer, in 1853 was one of the first to navigate the Murray River from its mouth to Swan Hill in a steamer)

[Advertisement], The Sydney Morning Herald (29 July 1854), 1 

NEW SONGS. - By Murray's Banks, and When the Swallows. Just published. H. MARSH and CO.

ASSOCIATIONS: Henry Marsh (musicseller, publisher, pianist, composer)

[Advertisement], Empire (9 November 1854), 8 

BAZAAR, ROYAL HOTEL. Programme for THURSDAY, November 9 . . .
PART II . . . New Australian Song, Mr. J. Fairchild, "By Murray's banks" - S. H. Marsh . . .

ASSOCIATIONS: Joseph Fairchild senior (vocalist)

[Advertisement], Empire (2 March 1855), 1 

MR. HENRY MARSH'S Soiree Musicale, at his Private Concert Rooms, George-street, on SATURDAY, 3rd March, 1855 . . .
PROGRAMME . . . PART II . . . Song - "By Murray's Banks," Signor Spagnoletti. - S. H. Marsh . . .

ASSOCIATIONS: Ernesto Spagnoletti senior (vocalist)

Eden-land (posthumous)

"EDEN-LAND [AN UNPUBLISHED BALLAD BY THE LATE A. J. EVELYN", The month, a literary and critical journal 1/1 (1858), 29-30 (DIGITISED)

ASSOCIATIONS: Joseph Sheridan Moore (editor, The month)




CHITTY, Robert (Robert CHITTY)

Gallows hymn singers, bushrangers

Executed Sydney, NSW, 16 March 1841 (shareable link to this entry)


"EXECUTION", Australasian Chronicle (18 March 1841), 3 

On Tuesday morning the six bushrangers, James Everett, Robert Chitty, John Marshall, Richard Glanville, John Shea, and Edward Davies, who were convicted at the last criminal sittings of the wilful murder of John Graham, at Scone, on the 21st December last, all paid the forfeit of their lives by expiating their offences on the scaffold. An immense crowd was collected to witness the last awful scene of these men's career . . . At a few minutes past nine o'clock the wretched men were conducted from their cells to the area in front of the drop, where they knelt for some time in the exercise of their devotions. Chitty, Everett, Marshall, and Glanville, were attended by the Rev. Mr. Cowper and the Rev. John Elder; Shea by the Very Rev. Mr. Murphy; and Davies, being of the Jewish persuasion, was attended by Mr. Isaacs, the Jewish Rabbi . . . After about ten minutes spent in devotion they arose, and Everett in a very hurried manner ran up the steps leading to the scaffold, and was followed by Chitty, Glanville, and Marshall; they all four in a loud and clear voice sung the first verse of the hymn commencing "Awake my soul, and with the sun" . . . A few minutes more were spent in devotion, and then the ropes were adjusted and the caps drawn over their faces; they still continued (particularly Everett and Glanville) in loud and apparently fervent prayer till the bolt was drawn, and they were launched into the presence of their Maker. They all died almost without a struggle.

EWART, Thomas (Thomas EWART; Mr. EWART; Tom EWART)

Musician, tenor vocalist, musical amateur, professional musician, choral conductor, shipping agent

Born Cumberland, England, ? 1825/26; ? 1827; baptised St. Cuthbert, Carlisle, 13 May 1827; son of Robert EWART (d. 1845) and Margaret ROUTLEDGE (d. 1836)
Arrived Melbourne, VIC, 15 October 1852 (per Delta from Liverpool, 22 July, aged "27")
Married Katherine ANDERSON (Mrs. GARRIQUES), St. James's cathedral, Melbourne, VIC, 29 October 1857
Died (suicide) Melbourne, VIC, 14 November 1878, aged "53" (TROVE tagged by Australharmony) (shareable link to this entry)


Thomas Ewart's birth record identified his place of birth as Cumberland, and his parents as Robert Ewart and Margaret Routledge, who married at Stapleton, Cumberland, on 7 June 1808, confirming his identity as documented below. Thomas was their youngest recorded surviving son. His next eldest brother, William (1822-1874) also settled in Melbourne.

Although his baptism was recorded in 1827, other records consistently give his age as one or two years older.

After arriving in Melbourne, he was first documented singing at the opening of the new organ at St. Francis's cathedral, in November 1853. He was a founding member of the Melbourne Philharmonic Society, and its regular tenor soloist until mid 1861, when he was succeeded by Edwin Exon. The committee had noted their thanks for his previous service at the general meeting in January 1861, probably in response to his apparently recent decision to pursue singing professionally.

In this, however, he was largely unsuccessful, and was insolvent in November 1861, from want of employment. He continued to take public engagements, however, serving as choirmaster of St. Andrew's Presbyterian Church, Carlton, occasionally appearing in popular concerts in Melbourne, as well as in oratorio and concerts in Geelong, Ballarat, and central Victoria. For several years in the early 1870s he was associated with the choir of SS. Peter and Paul Catholic church, Clifton Hill.


Baptisms, St. Cuthbert, Carlisle, Cumberland, 1827; England, select births and christenings (PAYWALL)

13 May 1827 / Thomas son of / Robert and Margaret / Ewart

England census, 6 June 1841, St. Cuthbert, Carlisle, Cumberland; UK National Archives, HO107/175/8/7/5/4 (PAYWALL)

King St. / Robert Ewart / 55 / ? Carrier / [born in the county]
William [Ewart] / 15 [sic, born 1822] / Blacksmith / [born in the county]
Thomas [Ewart] / 15 / Cotton ? Shiner / [born in the county]

England census, 30 March 1851, Liverpool, Lancashire; UK National Archives, HO107/2183/120/24 (PAYWALL)

31 Brown Street / Alexander Nicol / Head / Married / 35 / Coach Builder [with] 11 men / [born] Scotland [and wife and family]
Thomas Ewart / Visitor / Unmarried / 26 / Book Keeper / [born] Carlisle Cumberland

Melbourne, VIC (from 15 October 1852):

Names and descriptions of passengers per Delta from Liverpool, 22 July 1852, for Melbourne, 15 October 1852; Public Record Office Victoria (DIGITISED)

. . . Thomas Ewart / 27 / Clerk . . .

[Advertisement], The Argus [Melbourne, VIC] (14 October 1853), 7 

MELBOURNE CHORAL SOCIETY. - At a meeting convened by advertisement and attended by upward of fifty persons, held in the Mechanics' Hall on Saturday, 8th October, 1853, Chares Vaughan, Esq., J. P., in the chair; the following Resolutions were passed unanimously: - 1. That the meeting constitute itself an Association for the cultivation of Choral Music, Sacred and Secular, to be called the "Melbourne Choral Society." 2. That new members be admitted on the following conditions:- A written recommendation signed by two members. Ability (if a vocalist) to sing correctly a part in a plain Psalm tune; if an instrumentalist) to perform "part music" readily. Engagement to observe the Rules of this Society. 3. That the following gentlemen be appointed a Committee to frame Rules tor the government of the Society: - Messrs. Goold, Russell, W. G. Dredge, Ewart, Walker, Henry Smith, and John Matthew Smith, with a request that they submit the same to a meeting of members now present, to be held in the Mechanics' Institution, on Saturday, 15th inst., at eight o'clock p.m.
(Signed) CHARLES VAUGHAN, Chairman. Mr. Vaughan having been moved from the chair, and Mr. Russell voted thereto, the cordial thanks if the meeting were presented to the former gentleman for his kindness in presiding on the occasion.

ASSOCIATIONS: Charles Vaughan (member); Thomas Green Goold (member); John Russell (member); William Gilpin Dredge (member); Henry Smith (member); John Matthew Smith (member); "Melbourne Choral Society" was the first proposed name of the organisation that at the next meeting became the Melbourne Philharmonic Society (association)

[Advertisement], The Banner (15 November 1853), 1 

Opening of the New Organ in St. Francis's Cathedral, LONSDALE STREET.
THIS Magnificent Instrument, just erected by Mr. Henry Smith, will be opened on TUESDAY Evening, 22nd inst., with a Grand Selection of Sacred Music from the works of Handel, Haydn, Mozart, Mendelssohn, Rossini, &c.
Mrs. Testar, Miss Mirabella Smith, Miss Martin,
Mr. T. Ewart, Mr. Henry Smith, Mr. Loughnan, Mr. Hacket,
Assisted by a Chorus of Fifty Voices, several Members of the Philharmonic Society having kindly offered their services on this occasion . . .

ASSOCIATIONS: Elizabeth Testar (vocalist); Meabella Smith (vocalist); Charlotte Martin (vocalist); Henry Loughnan (vocalist); Mr. Hackett (vocalist); St. Francis's cathedral (Melbourne)

[Advertisement], The Argus (5 October 1854), 8 

UNDER the patronage of His Excellency the Lieutenant-Governor, and Lady Hotham.
A Concert of Sacred Music will be given in the Church of England School, Prahran, on Monday, the 9th of October, 1854, in aid of the Building Fund.
Principal Vocalists: - Mrs. Testar, Miss Edwards, Mrs. Goodliffe, Mr. Hackett, Mr. T. Ewart, and Mr. H. Smith.
Who will be assisted by several members of the Melbourne Philharmonic Society, who have kindly volunteered their services.
PROGRAMME. PART I . . . Quartette - "O come, everry one" (Elijah), Mrs. Testar, Mrs. Goodliffe, Mr. T. Ewart, and Mr. Smith - Mendellsohn
PART II. Duet - "Now we are Ambassadors," (St. Paul) Messrs. Ewart and Smith - Mendelssohn . . .
Air - "The Lord is my Shepherd" (David) Mr. Ewart - Horsley . . .

ASSOCIATIONS: Charles and Jane Hotham (governor and wife); Miss Edwards (vocalist); Mrs. Goodliffe (vocalist)

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

There were 598 visitors to the Exhibition on Saturday. Of these only 190 were season-ticket holders. The receipts for the day amounted to £163 13s. In the evening a grand military concert took place under the efficient conduct of Mr. Johnson. The different pieces, announced in the programme, already published, were admirably performed. A vocal and instrumental concert will take place this evening; - Mrs. Testar, Miss Edwards, Mr. Ewart, and Mr. Hackett are the vocalists. Herr Strebinger, Messrs. King, Cooze, and Reed are among the instrumentalists. Mr. H. Smith is conductor. The programme includes a number of those songs the brilliant execution of which by the artistes named is to some extent familiar to Melbourne audiences. The instrumental music is selected with equally good taste. There can be no doubt but that these concerts would be numerously attended were the price of admission to them lowered. The returns show that 188 individuals only were present on Saturday evening. To lower the price of admission would, we are convinced, have an immediate effect in vastly increasing the attendance. Instead of the number present on Saturday evening, it might be expected that 600 or 800 would avail themselves of the opportunity afforded them in the Exhibition of listening to music of the highest character, performed in circumstances so favorable to its full enjoyment as this beautiful building furnishes . . . The effect of a musical performance is to a great extent lost when the audience is manifestly far short of the capacity of the building. There is a deadening influence produced on both the performers and the audience, of which neither can rid themselves. Besides, the Exhibition is a national enterprise. Such arrangements should be made as will admit of every one's enjoying the benefit it is intended to bestow . . .

ASSOCIATIONS: Henry Johnson (master, 40th band); Band of the 40th Regiment (military); Frederick Strebinger (musician); Edward King (musician); William Joseph Cooze (musician); Thomas Reed (musician); Victorian Exhibition 1854-55 (event); Exhibition Building (Melbourne venue)

"EXHIBITION ORATORIO", The Age (27 October 1854), 5 

Last evening selections from Handel's grand oratorio of Judas Maccabeus, was performed by the members of the Philharmonic Society, assisted by Mrs. Hancock, Miss Edwards, and Messrs. Hackett, Ewart, and King . . .

ASSOCIATIONS: Mary Ellen Hancock (vocalist); Henry John King (vocalist)

"EXHIBITION CONCERTS", The Age (6 November 1854), 5 

Handel's oratorio, the Messiah, was performed by the Philharmonic Society, on Friday evening, in the Exhibition Building to a numerous, and highly respectable audience. The cast of the orchestra was the same, as at the former concert, with some additions in the solo department . . . The allegro movement in the overture was taken a little too fast: when this is the case, it is apt to throw the audience off their guard, and in a measure deprive them of the power of properly appreciating the announcement in the opening recitative, "Comfort ye my people;" this and the following air, "Every Valley" was sung by Mr. Ewart, in his usual manner . . .

"GRAND CONCERT AT THE EXHIBITION", The Argus (18 November 1854), 5 

The Philharmonic Society's Concert last evening was in every way a great triumph. The attendance amounted to no less than 1100 persons, being much greater than on any previous occasion. Upwards of forty performers assisted. Mr. Jos. Griffiths was leader, and Mr. John Russell was conductor. The principal vocalists were Mrs. Testar, Mrs. Hancock, Mr. Hackett, Mr. Ewart, Mr. Lyell, and there were no less than thirty-three instrumentalists, among whom were some of our best artists. We need not say that the effect was magnificent. The number of visitors for the first time was extraordinary, and it was quite refreshing to hear their remarks upon the building, the exhibition, and the performances. It was quite evident that they had not believed such a scene was possible in the southern hemisphere. The performances consisted of selection from Handel's Serenata, "Acis and Galatea," with a miscellaneous selection of secular music, which were exceedingly well executed. The attendance included a very large proportion of our principal men and other citizens with their families; and from all we could learn the proceedings of the evening gave universal and unqualified satisfaction.

ASSOCIATIONS: Joseph Griffiths (violin, leader); Charles Lyall (vocalist)

"THE PHILHARMONIC SOCIETY", The Age (12 January 1855), 5 

The Annual Meeting of this Society took place at the Mechanics' Institute, on Tuesday evening, and was well attended . . . The elections were next entered into and the result is appended.
- President, His Honor, Mr. Justice Barry; Vice-Presidents, Mr. Jno. M. Smith and Reverend William Jarrett;
Conductor, Mr. Jno. Russell; Secretary, Mr. J. Patterson; Treasurer, Mr. J. J. Blundell;
Librarian, Mr. J. C. Stead; Assistant do, Mr. F. B. Hood;
Committee, Messrs. J. Edwards, T. Ewart, J. Griffiths, - Gould [sic, Goold], G. B Hailes, W. P. Walker, and W. H. Williams . . .

ASSOCIATIONS: Redmond Barry (president); William Jarrett (vice-president); James Paterson (secretary); James John Blundell (treasurer); George Button Hailes (member); William Henry Williams (member); Mechanics' Institution (Melbourne venue)

"PERFORMANCE OF SACRED MUSIC", The Argus (14 March 1855), 5 

Last evening a subscription concert was given at the Mechanics' Institution, by the Philharmonic Society . . . The programme of the evening consisted of selections from Handel's "Samson," the solo parts being sustained by Mrs. Testar, Mrs. D'Alton, Mr. Ewart, Mr. Biggs, and Mr. Hackett . . . The bass songs, belonging to Manoa and Harapha, were divided between Mr. Hackett and Mr. Biggs; those of Samson being sung by Mr. Ewart, whose tenor is of an excellent quality. "Total Eclipse," and "Thus, when the Sun," were tendered admirably . . . Mr. Russell conducted the choruses with great precision. They all went off well, surpassing the expectations of every one. Mr. Goold presided at the organ (which, by the way, sadly wanted tuning) very efficiently, and the band was ably led by Mr. Griffith.

ASSOCIATIONS: Mrs. D'Alton (vocalist); Jesse Biggs (vocalist)

"PHILHARMONIC SOCIETY'S CONCERT", The Age (18 April 1856), 4 

On Wednesday evening the Philharmonic Society held their second subscription Concert for the year to a brilliant audience of about six hundred. The Exhibition building never presented a more animated appearance . . . The two works produced on this occasion have not hitherto been heard in Australia - probably not south of the equator - . . . Spohr's Last Judgment . . . [and] . . . Mendelssohn's gem "As the Hart Pants" . . .
The principal soloists were our old favorite Mrs. Testar, Mrs. Goodliffe, Mr. Ewart, and Mr. Kaye, who have all secured for themselves a solid reputation in sacred music. In the "Last Judgment" Mrs. Testar shone especially in the solo, "O, thou art God alone," in the delivery of which she was visibly affected; and in conjunction with Mr. Ewart, in the beautiful duet, "Oh Lord, remember my affliction," won deserved plaudits for the feeling manner in which it was delivered. The quartett, "Blessed for ever," was a perfect gem of vocalisation, in which this accomplished vocalist divided approbation with Mrs. Goodliffe, and Messrs. Ewart and Kaye . . .

ASSOCIATIONS: Samuel Kaye (vocalist)

"THE PHILHARMONIC SOCIETY", The Age (2 August 1856), 3 

The Philharmonic Society held the third subscription concert for the year, in the Theatre Royal, on Friday evening. The attendance was good but not crowded, a result we hoped to have seen considering the attractive character of the oratorio selected for the occasion - Judas Maccabaeus. It is exactly one hundred and ten years since Handel wrote this splendid oratorio . . . The heavy duties at the opera throughout the week prevented Mons. Laglaise from getting up his part as Judas Maccabaeus so satisfactorily as he would wish. He therefore felt himself compelled to decline it, and Mr. Ewart at the last moment kindly took the duty. His exceedingly creditable treatment of the difficult part assigned to Judas, received a hearty recognition from the audience. Equally successful was he in the duet with Madame Bishop, "From the dread scene" . . .

ASSOCIATIONS: Jean-Baptiste Laglaise (vocalist); Anna Bishop (vocalist); Theatre Royal (Melbourne venue)

"MELBOURNE PHILHARMONIC SOCIETY", The Argus (4 March 1857), 6 

The Melbourne Philharmonic Society gave their first subscription concert for the year last night in the Exhibition Building. The audience, though not so numerous as on the occasion of the performance of the Messiah (a circumstance for which the rain may satisfactorily account), was still large, and the presence of his Excellency and Lady Barkly lent increased eclat to the evening . . . Beethoven's Grand Mass in C formed the first part of the concert, and was listened to with marked attention. The soloists were Mrs. Testar, Mrs. Goodliffe, and Messrs. Ewart, and Farquharson. The sublime and magnificent strains of the Gloria in excelsis were more effectively given, the beautiful phrases of the qui tollis peccata mundi miserere nobis, especially so. The quoniam tu solus concluded the whole with great spirit, the chorus deserving unqualified praise. The Credo, the Sanctus, and the Agnus Dei were equally commendable . . .

ASSOCIATIONS: Henry and Elizabeth Barkly (governor and wife); Robert Farquharson (vocalist)

"PHILHARMONIC SOCIETY'S CONCERT", The Age (25 June 1857), 5 

Mendelssohn's great sacred work "Elijah" was produced for the first time in Melbourne, on Tuesday [23 June], evening, by the members of the Philharmonic Society . . . Mr. Ewart gave with great feeling and effect the tenor solos. Those in which he most distinguished himself were the "If with all your hearts" and "Then shall the righteous" . . .

"THE PHILHARMONIC SOCIETY", The Argus (25 June 1857), 4 

The third subscription concert of the season took place in the Exhibition building on Tuesday evening, when Mendelssohn's "Elijah" was performed . . . Mr. Ewart's voice was effective in the tenor recitatives, but we cannot say that his rendering of the two difficult airs "If with all your hearts" and "Then shall the righteous" gave complete satisfaction. We believe, however, that practice and proper training would put him on an equality with the best interpreters of sacred vocal music . . .

"MARRIED", The Argus (30 October 1857), 4 

On the 29th inst., at St. James's Cathedral, by the Rev. John Freeman, Thomas Ewart, Esq., of Melbourne, to Katherine, eldest daughter of the late John Anderson, Esq., of Liverpool, and relict of Francis John Garriques, Esq., of Jamaica.

"THE PHILHARMONIC SOCIETY", The Age (7 January 1858), 5 

The Philharmonic Society gained new laurels on Tuesday evening [5 January] by their admirable interpretation of Mendelssohn's grand oratorio "Elijah" . . . The tenor parts were most ably sustained by Mr. Ewart, who sang with great fervor, the recitative of Obadiah "Ye people rend your hearts," and the lovely air which immediately succeeded it "If with all your hearts ye truly seek me." This gentleman adds to excellent taste, the results of a careful course of training, which have rendered one of the best exponents of the tenor parts of sacred writings, whom we possess . . .


Last night the Melbourne Philharmonic Society performed the oratorio of "Judas Maccabaeus," in aid of the Indian Relief Fund, under the Patronage of His Excellency the Governor, and Major-General Macarthur. It might have been expected that the occasion and the magnificent composition awaiting them, taken together, would have drawn the public of this city in large numbers to the Exhibition Building; but, strange to say the audience was one of the smallest, if not the smallest, which we have ever seen within it. Whatever may have been the cause of their scanty patronage, all lovers of music who were not present have reason to regret the fact, for the performance as a whole was most satisfactory, and reflects great credit upon the Society. All the soloists, including Mrs. Hancock, Miss Octavia Hamilton, Madame Vitelli, Mrs. Fox, Messrs. Ewart, Angus, Cook and Mr. Farquharson, gave their services gratis. The band likewise, which was strengthened by several members of the band of the 40th Regiment, gave their assistance voluntarily . . . Mr. Ewart gave the famous "Sound an alarm" with more energy than we had given him credit for. His voice seems to be improving, and he is earning for himself a legitimate reputation . . .

ASSOCIATIONS: Edward Macarthur (patron); Octavia Hamilton (vocalist); Annie Vitelli (vocalist); Sarah Hannah Fox (vocalist); Charles Cook (vocalist); Silvanus Angus (vocalist)

"MELBOURNE PHILHARMONIC SOCIETY", The Argus (31 March 1858), 5 

The Melbourne Philharmonic Society gave their first subscription concert for the year last night, in the Exhibition Building. The audience was large, nearly twelve hundred persons being present, among whom were Major-General Macarthur, his Honor Judge Barry, President of the Society, and several members of Parliament. The concert, which consisted of Mozart's Twelfth Mass, and Beethoven's "Christus" - or as it is now generally styled in England, the "Engedi, or David in the Wilderness," was in every respect worthy of the character of the society . . . [in "Mozart's Twelfth Mass"] The tenor solos were taken by Mr. Ewart, a gentleman of whom we have had the pleasure of speaking on more than one occasion, and who appears to improve every time we hear him. His voice is powerful and, generally speaking, of good quality, especially in the middle register. He is, perhaps, a little deficient in style and finish, but with the organ he evidently possesses, these are excellences which, with due cultivation, time will furnish. The "Sanctus" and the "Agnus Dei" were very meritoriously rendered. In the "Engedi," Mr. Ewart appeared to still more advantage, especially in the opening recitative, "Jehovah! hear, oh hear me," and the expressive air, "My heart is sore within me" . . .


The second subscription concert of this society for the current year was held at the Exhibition Building last evening, when Sphor's "Last Judgment" and Rossini's "Stabat Mater" were performed . . . The "Stabat Mater," that most perfect specimen of modern continental sacred music, formed the third portion of the concert . . . The solo singers were, Miss O. Hamilton, Mrs. Hancock, Mr. Ewart, and Mons. Coulon . . . Mr. Ewart's "Cujus Amicus" [sic, Cuius animam] was carefully and cleverly delivered . . .

ASSOCIATIONS: Emile Coulon (vocalist)

"PHILHARMONIC SOCIETY", The Argus (27 December 1858), 5 

The performance of the "Messiah" by this society on Christmas eve has now grown into a custom . . . The tenor passages were sustained by Mr. Ewart, whose useful services to the society are deserving of much praise. This gentleman, though neither a brilliant nor a finished vocalist, is painstaking and correct in the highest degree. His chief fault is the negative one of not imparting a due proportion of emphasis where required; but even in this particular he has much improved . . .

"SATURDAY NIGHT CONCERTS", The Age (31 January 1859), 5 

The success which attended the concert, given at the Mechanics' Institution on Saturday evening, ought to justify the projectors, Messrs. E. King, Megson, and S. Chapman in continuing similar entertainments once a week, for the benefit of a large body of the citizens of Melbourne, who are anxious to listen to the performances of first-class music at a moderate expense . . . As may be seen from the subjoined memorandum, the programme was sufficiently varied to please all tastes: - . . .
Song - The White Squall (Mr. Ewart) - Barker . . .
Song - Tom Bowling (Mr. Ewart) . . .
Duett - I've Wandered in Dreams (Miss King and Mr. Ewart) - J. A. Wade . . .
The vocal element in the concert was supported by Miss Juliana King and Mr. Ewart. The former had the advantage of a good instrumental accompaniment, and sang as encores to her songs "I am a merry Zingara," and "Bessie Gray." With Mr. Ewart she sang Wade's pretty duett, "I've wand'red in dreams," and for an encore engaged with him in a comic duett. Mr. Ewart must not let his desire to be useful and accommodating tempt him to imperil his deserved repute as a vocalist, by the repetition of any similar miscalculation. This gentleman sang very pleasingly as an encore to his "Tom Bowling," Shield's touching little air "The Thorn" . . .

ASSOCIATIONS: Joseph Megson (musician); Samuel Chapman (musician); Juliana King (vocalist)

MUSIC: The white squall (Barker); Poor Tom Bowling (Dibdin); The thorn (Shield); I've wandered in dreams (J. A. Wade)

"THE PHILHARMONIC SOCIETY", The Argus (16 March 1859), 5 

Handel's "Israel in Egypt" was performed last night, for the first time in Melbourne . . . Mr. Ewart, whose connection with this association dates from its commencement, and who, without any pretension to distinction, has exhibited a progressive improvement at every fresh meeting of the society, undoubtedly secured to him last night the chief portion of credit. He gave the opening recitative not only with care, but with much more expression than he has been in the habit of displaying; and in the delivery of the inspiriting air "The enemy said I will pursue" he employed a dramatic earnestness which astonished those who have had occasion to regret his ordinarily almost mechanical intonation. He was very unanimously encored in this air . . .

"OLYMPIC THEATRE", Bell's Life in Victoria and Sporting Chronicle (10 September 1859), 2 

Last Monday evening Mr. Fred. Younge took his benefit, the entertainments on the occasion consisting of the comedy of "Weak Points," a very pleasing musical melange, in which Miss Octavia Hamilton, Mrs. Younge, and Mr. Ewart took part, and the good old farce of "The Windmill" . . .

ASSOCIATIONS: Frederick and Emma Younge (actor and vocalist); Olympic Theatre (Melbourne venue)

"THE PEOPLE'S CONCERT", The Age (19 September 1859), 6 

The second People's Concert, held on Saturday evening in the Trades' Hall, Lygon street, on Saturday evening, was reasonably well attended. The programme contained several novelties, and though not numerous in its items, it was nearly doubled by encores. The artistes engaged in its interpretation were Miss Hamilton, Miss James, Mr. Ewart, and an efficient glee party. One of the novelties of the evening was the singing by Mr. Ewart of Linley's song "Riflemen Form!" - founded on the well known words by Tennyson. As an encore, Mr. Ewart sung the fine old air "The Thorn," written by Shield, which he trolled forth with the happiest effect . . .

ASSOCIATIONS: Marie James (vocalist); People's Concerts (Melbourne series)

"PHILHARMONIC SOCIETY'S CONCERT", The Argus (8 December 1859), 6 

Mendelssohn's oratorio "Elijah" . . . To the interpretation of such a work . . . did the Philharmonic Society on Tuesday evening [6 December] address themselves . . . The solos and concerted music were allotted to Miss Hamilton, Mrs. Hancock, Madame Sara Flower, Mr. Ewart, and Mr. Farquharson, assisted by one or two members of the orchestra [sic, choir] . . . Mr. Ewart's delivery of the air, "Then shall the righteous shine," as well as his excellent declamation in "Man of God," showed that he had made the tenor role of "Elijah" the subject of careful study . . .

ASSOCIATIONS: Sara Flower (vocalist)

MELBOURNE (From our own Correspondent) Saturday, Dec. 31, 1859", Geelong Advertiser (3 January 1860), 2 

The Military Concert given this afternoon in aid of the funds of the Lying-in-Hospital is a success of a most marked character. The Botanical Gardens on no previous occasion has been so patronised, this being due in some measure to the season of the year. The concert commenced at three o'clock, and was proceeding when this report closed. The vocalisation of Mr. Ewart in the song of "The White Squall," the grand duet from "Il Trovatore," by Miss Hamilton and Mr. Farquharson, and the trio from the opera of the "Mountain Sylph," "This Magic Wove Scarf," by Miss Hamilton and Messrs. Farquharson and Ewart were rapturously applauded . . .

ASSOCIATIONS: Botanic Gardens (Melbourne venue)

[Advertisement], The Argus (26 January 1861), 8 

CARD. - MUSICAL ACADEMY, Mr. and Mrs. EWART, Cecil-street south, Emerald Hill.

"MELBOURNE PHILHARMONIC SOCIETY", ,The Argus (31 January 1861), 5 

The adjourned annual meeting of the Philharmonic Society was held at the Mechanics' Institution yesterday evening . . . Tho secretary read the report, from which, we make the following extracts: . . . the committee acknowledge the valuable services rendered to the society by Mr. Ewart . . .

[News], The Argus (10 April 1861), 4 

The Melbourne Philharmonic Society gave their first subscription concert for the year in the Exhibition Building last night [The creation] . . . Mr. Ewart was in good voice, and sang the air, "In native worth," very satisfactorily . . .

[Advertisement], The Herald (24 July 1861), 8 

THEATRE ROYAL. Solo Lessee and Director, Mr. W. S. Lyster.
On which Occasion the Superb Oratorio of ELIJAH Will be given in a Style never before attempted in the Colony . . .
PRINCIPAL VOCALISTS . . . Mr. Henry Squires - Tenor
Mr. Williams - Tenor
Mr. Ewart - Tenor
Mr. Farquharson - Bass
Mr. Angus - Bass
Honorary Conductor, Herr Elsasser.
Honorary Organist, Mr. Louis L. Lewis.
Wednesday, 31st July, HAYDON'S CREATION
Will be given in the same Style of Magnificence and with all the abovenamed Artists,
which will positively be the Last Appearance of the OPERA COMPANY, prior to their Departure for Sydney, on Thursday, 1st of August.

ASSOCIATIONS: Henry Squires (vocalist, Lyster's troupe); Charles Elsasser (conductor, Philharmonic); Louis Lucas Lewis (organist, Philharmonic); Lyster Opera Company (troupe)

"POLICE. CITY COURT, SATURDAY, AUGUST 3 . . . DRUNKENNESS", The Argus (6 August 1861), 1 supplement 

William Smith, Euphemia Thompson, Eliza O'Flaherty, and Thomas Ewart, were fined 5s. each.

"INSOLVENT COURT", The Argus (13 November 1861), 6 

Thomas Ewart, of Emerald Hill, musician.
Causes of insolvency - Want of employment and pressure of creditors.
Assets, £25; liabilities, £402 7s.; deficiency, £377 7s.
Mr. Shaw, official assignee.

[News], The Argus (16 January 1863), 5 

The "Royal Italian and English Opera Glee Company," formed of the minor members of Mr. Lyster's opera troupe, gave a concert at the Prahran Town-hall last evening. Although the audience was not so numerous as could have been wished, there was a good deal of merit in the performance. None of the performers excepting Mr. T Ewart appeared to be familiar with a concert-room, but this did not affect their singing, which was marked throughout by well-sustained precision. The majority of the pieces were selections from operas, the soloists being Messrs. T. Ewart, Herr Sprinckhorn, and Messrs. Baker, Nathanson, and Ramsden. The pianist, Her Stockmeyer . . .

ASSOCIATIONS: Johann Sprinckhorn (vocalist); William Francis Baker (vocalist); Gottfried Nathanson (vocalist); Richard Ramsden (vocalist); Adolphus Stockmeyer (pianist); Prahran Town Hall (Melbourne suburban venue)

[News], The Argus (5 September 1865), 4 

The third concert this season of the Philharmonic Society will take place, at the Exhibition-building, to-night, when "The Creation" will be performed. The principal vocalists are Miss Bertha Watson, Mrs. Fox, Mr. T. Ewart (who takes the place of Mr. Exon), Mr. C. Blanchard, and Mr. S. Angus.

ASSOCIATIONS: Bertha Watson (vocalist); Edwin Exon (vocalist); Charles Blanchard (vocalist)

"DEATHS", The Australasian (17 February 1866), 8 

EWART. - On the 8th inst., at 6 Carlton-street, Margaret Jane, infant daughter of Thomas and Katherine Ewart, aged five months.


. . . Throughout the evening the proceedings were pleasantly enlivened by the performance of sacred music. Mr. Bohn presided at the harmonium; and the choir of St. Andrew's Church, presided over and led by Mr. Ewart, "discoursed music" most successfully . . .

"NEWS OF THE DAY", The Age (12 May 1873), 2 

The first anniversary of the opening of SS. Peter and Paul's Church, Emerald-hill, was celebrated yesterday by high mass, and a sermon which was preached by the Rev. T. O'Callaghan, one of the pastors. The music performed by the choir was Haydn's sixteenth mass . . . The musical arrangements were under the direction of Mr. M. O'Gorman, upon whom they, reflected the highest credit. Mr. T. Ewart acted as conductor . . .

ASSOCIATIONS: Michael O'Gorman (musical director)

"DEATHS", The Record and Emerald Hill and Sandridge Advertiser [VIC] (17 September 1874), 2 

EWART. - On the 11th inst., after a long and painful illness, of heart disease, at his residence, Brittania Hotel, Clarendon-street, Emerald Hill, William Ewart, millwright and engineer, late of Her Majesty's dockyard, Portsmouth, aged fifty-two years.

Inquest, Thomas Ewart, 15 November 1878; Public Record Office Victoria (DIGITISED)


Mr. Candler yesterday held an inquest at Emerald-hill upon the body of Thomas Ewart, who died in the hospital on the previous day from the result of self-inflicted injuries. The deceased was a musician, over fifty years of age, and he lived at the Hit or Miss Hotel, Clarendon-street. On the previous day he cut his throat, making a large wound. He admitted that he had cut it himself with a razor found in the room. The deceased had been drinking heavily lately. Mr. A. Murray, resident surgeon of the Melbourne Hospital, deposed that when deceased was admitted to the hospital he was very weak, and died three hours afterwards. The cause of death was disease of the lungs, accelerated by the wound in the throat. The jury returned a verdict to the effect that deceased committed suicide whilst of unsound mind.

"TOWN TALK", Geelong Advertiser (21 November 1878), 3 

Referring to the recent suicide in Melbourne of a man named Thomas Ewart, the Ararat Advertiser says: - He was a well-known vocalist. To those who remember the Philharmonic Society's concerts at the old Exhibition building, in William-street, when Octavia Hamilton was the soprano, Sarah Flower contralto, and Farquharson the basso, the tenor needs no naming, but to other readers and the younger colonists he may have been heard of as Tom Ewart. At the time of his fame he was unequalled in Victoria in his particular line, but a series of misfortunes followed his career year after year until they appear to have culminated of late in transactions that evidently unhinged his mind. In the hey day of his prosperity his genial qualities made him hosts of friends, but, as usual, adverse circumstances led to their alienation, and pecuniary difficulties for a lengthened period preceded his death.

"THE MELBOURNE PHILHARMONIC SOCIETY", The Argus (25 December 1878), 6 

. . . The first performance was given in the hall of the Mechanics Institution on Christmas Eve, 1853, the performance being a selection from Handel's "Messiah." Mr. Russell conducted, Mr. Ashton, organist of the Wesleyan Chapel, Collins street, was organist, playing on an instrument lent to the society for three months by Mr. J. T. Charlton. The principal vocalists were Mrs. Testar, who for many years was the favourite leading soprano, and whose voice enabled her on the same evening to sing "He was despised" and "I know that my Redeemer liveth," Mrs. Hancock, a pupil of Sir George Smart, and one who has had few rivals here for the refined interpretation she gave to whatever she undertook, poor Tom Ewart, who lately added to the number of "rashly importunate," but who in those days was a trustworthy tenor, and Mr. Henry Loughnan . . .

ASSOCIATIONS: Michael Ashton (organist); John Thompson Charlton (amateur)

"Philharmonic Societies", The Sydney Mail and New South Wales Advertiser (10 October 1885), 767 

. . . The Melbourne Philharmonic Society has existed for more than 31 years of the 50 which mark the life of the colony of Victoria. One at least of its founders still lives, the tenor singer, Mr. G. F. Smith, who sang "The Death of Nelson" when the Metropolitan Liedertafel visited Sydney, about four years ago. In 1853, as on one Sunday morning a gentleman was walking through the bush track from Sandridge, past what is now Emerald Hill, on his way to church, in Collins-street, he heard some one singing "Comfort ye," in a tent; made his way to the spot, and found a young man with "Messiah" in hand, a recent arrival from England. This was Mr. Thomas Ewart, afterwards for many years the principal tenor at the society's concerts. During the rest of his walk the gentleman had visions of musical glories for Melbourne. After the service he spoke with the organist upon the subject; and as Dance originated the London Philharmonic, so W. G. Dredge, at whose house the first meeting was held, was one of the founders of the Melbourne Philharmonic. Mr. T. J. Sumner and Charles Vaughan were among the original members, and the difficulty of finding a room for rehearsal was arranged by each member becoming a member of the Mechanics' Institute, and receiving in exchange the use of the hall once a week . . .

ASSOCIATIONS: George Frederick Smith (member); Theodotus John Sumner (member)

Bibliography and resources:

W. A. Carne, A century of harmony: the official centenary history of the Royal Melbourne Philharmonic Society (Melbourne: Royal Melbourne Philharmonic Society, 1954), passim (DOWNLOAD PDF TRANSCRIPT FROM PANDORA)

EWENS, William (William EWENS; W. EWENS; Mr. EWENS)

Amateur vocalist, coach-maker, publican

Born Chichester, England, c. 1810
Married Sarah SPILLER (1812-1860), St. George's, Bloomsbury, London, 21 October 1832
Arrived Adelaide, SA, 26 September 1839 (per Prince Regent, from London, 6 June)
Died Adelaide, 6 July 1848, aged "38" (TROVE tagged by Australharmony) (shareable link to this entry)


Ewens and his family arrived in South Australian with his father-in-law, Robert Spiller (1790-1847), and young brother-in-law Emanuel Spiller. Also on the ship was George Bennett, and he and Ewens were billed as both recently arrived "from Chichester" when they assisted at Charles Platts's lecture on music in October 1839.

Ewens then appeared for Platts and Bennett at what was billed as the first professional concert in Adelaide in February 1840, joining William Edwards in singing glees and catches, and giving as a solo Rodwell's Maiden, I will ne'er (from Paul Clifford).

While licensee of the Plough and Harrow in Rundle-street, he continued to sing regularly at concerts and public dinners until shortly before his death in 1848.

The Register noted that there was no music at his funeral:

we were disappointed . . . as, we confess, we expected the members of the Choral Society would have sung a requiem over the body of one who had so often infused the soul of harmony into their proceedings.


? Baptisms in 1810, St. Peter the Less, Chichester, Sussex; register 1769-1812; West Sussex Record Office, Par 45/1/1/3 (PAYWALL)

William, son of Charles & Mary Ewens, November 1st . . .

Marriages solemnized in the Parish of St. George, Bloomsbury, in the County of Middlesex in the Year 1832; register 1826-37, page 96; London Metropolitan Archives; (PAYWALL)

No. 291 / William Ewens of this Parish and Sarah Spiller of this Parish
were married in this Church by Banns this [21 October 1832] . . .

Baptisms solemnized in the Parish of St. Pancras Chichester in the County of Sussex in the year 1838; register 1813-38, page 104; West Sussex Record Office (PAYWALL)

No. 827 / Feb'y 11th / Walford / [son of] Will'm & Sarah / Ewens / St. Pancras / Coach builder . . .

Adelaide, SA (from 26 September 1839):

Extracts from a letter from William Ewens, Tam-O'Shanter Place, Adelaide, 13 October 1839, to his mother and brother, Chichester, England; transcribed Ewens 1960, 9-10 (DIGITISED)

. . . We embarked at 4.30 p.m. on Thursday, 6th June, 1839, at St. Katherine's Dock, Blackwall, and dropped anchor in Holdfast Bay 26th September. We saw no land from Lands End Cornwall till Kangaroo Island, and spoke no ship all the way.

Many of our passengers were sorely disappointed that the Captain did not put in anywhere; now we feasted our eyes with the sight of land and all wanted to write to their friends.

We landed on the 28th at the Port Landing place and had our first dinner next day, St. Michaelmas Day. We had roast pork, new potatoes, greens, turnips and beefsteaks. Ships at anchor on our arrival were Anna Robertson, Recovery, Asia, City of Adelaide and Somersetshire, the Lady Lilford and the Dumfries have arrived since. The Dumfries you will remember was lying just behind the jetty when we were in Katherine Docks.

Here we are, thank God in the land of South Australia and most of us in pretty good health and spirits. We suffered a good deal on board; the children had the measles and then followed a fever which carried off 22 of the nursling children and we had two grown persons die. Our Doctor was a very young man.

Our poor children suffered very much on the voyage, but they are now getting over it fast. Poor Billie (aged 6) has been very ill, he can scarcely walk but now is gaining strength quickly. How I felt for you knowing you would expect to hear from us and at the same time I wished you could see us sailing along so beautifully till we passed the Cape of Good Hope; for certain the boat would have lived all the way to the Cape, it was so fine; but afterwards from the Cape to our destination we had some very rough weather, but we had a little fine too, it was then early in the Spring. I kept a log of the voyage but I have had part of it torn out when in a few days sail of our new country. Dear Mother you shall always have a letter on the water to you and in my next you shall have an account of our passage from England.

It is most certainly a beautiful country and the town is far more built upon than I expected to find it. There are some very nice houses built, and many building; in time it will certainly be a fine town and the views of the country are really beautiful. No gentleman's park can look so handsome; we have most beautiful views of the hills. Mt. Lofty is just in front of our house and a range of beautiful hills as far as we can see.

We are as yet doing nothing in the way of business as our goods are to arrive in the William Barras before we can set about much business and then we shall open a storehouse to get rid of our goods, but we are about buying a piece of land to put us up a house and store. Land is very dear in the town; quarter of an acre in any inconvenient part is worth £100. There are a great many gigs and small carriages out here already and no one to repair them or do them up.

It won't do for people to run headlong into business when they first arrive in Adelaide, there are any amount of sharpers looking out to catch the flats, but they must get about, hear and learn and gain information; and that you may get in any company almost from the rich man to the bullock driver; all are talking about property and business. There is great gain to be made in sheep and all sorts of cattle.

We have found great many of our English acquaintance out here; some of them doing very well. I want to procure some flower seeds to send to you for Miss Hawkins as I promised. Most certainly there are some beautiful flowers here and shrubs. Also there are Turkey, Ducks, Quail, Widgeon, parrots and birds of all sorts. Parrots are so beautifully feathered. I have already seen several snakes and have killed two of them. We have plenty of fish of all sorts, they are the cheapest thing we can buy. Here the herbage is famous for cattle, a bullock taken from the Drays, worn out with scarcely a whole skin on his bones, turn him out this time of the year and he will be fat for the butcher in a month or 5 weeks. The meat is good here, plenty of beef, veal, lamb, mutton, pork and fowls, but they keep the price up so high, 5/- for a single fowl. People here will hardly thank you for your custom, they take no notice of you laying out a pound with them. Everybody seems very independent of one another.

We all went to (Trinity) Church, some in the morning and some in the evening. The Clergyman (Mr. Howard) seems to be a very good disposed kind gentle sort of man. I have been to his home with Geo. Bennett; some of the congregation wanted to establish a choir, but many he said liked rather congregational singing. Mr. Bennett has fair promise of doing well with his teaching. Both of us sang at a lecture given on Music (by Mr. C. Platts) and we have promised to sing at a Concert to be given for the benefit of the Adelaide Infirmary.

[Ewens 1960 note]: To this letter his young friend, George Bennett, added a footnote, asking that Mr. Ewens' mother would oblige him by letting his friends in Chichester know of his safe arrival, and saying that he was well, and already had a pupil or two.

ASSOCIATIONS: George Bennett (musician); Charles Platts (musician)

"MECHANICS' INSTITUTE", South Australian Register [Adelaide, SA] (19 October 1839), 4

On Friday week, Mr. Platts gratified the members of the Literary Association by delivering a lecture on the Music of the 17th century. He was duly assisted by Messrs. Bennett and Ewens who have recently arrived from Chichester. We congratulate the colony upon this accession of musical talent. Mr. Platts, after an interesting narrative of the progress of the science at that period, illustrated his subject by several beautiful performances, among which we may particularise
- "Non Nobis Domine"
- the duet "Could a man be secure"
- a beautiful concerto from Corelli
- Purcell's song "Mad Tom"
- and "God save the Queen."
The company was extremely numerous and respectable, and repeatedly evinced their gratification with the performance. At the close of the lecture, the Secretary suggested the propriety of having an amateur concert for the benefit of the Infirmary. We hope that our fellow colonists may encourage the project, and have frequent opportunities, in the present dearth of public amusement, of enjoying the innocent and intellectual recreation derived from music.

[Advertisement], Adelaide Chronicle and South Australian Advertiser (18 February 1840), 2 

CONCERT - at Mr. SOLOMON'S Rooms, in Currie-street.
Programme of Messrs. PLATTS and BENNETT's Concert, Wednesday Evening, 19th instant: -
Part First.
OVERTURE - "Samson" - Handel.
GLEE - A LADY; Messrs. EWENS, BENNETT and EDWARDS, "Here in cool grot." - Mornington.
SONG - Mr. EDWARDS, "Mariners of England - Neukomm.
SOLO - Violin, Mr. BENNETT - Mori.
DUETTO - A LADY and Mr. PLATTS, - "E fia Fer" - Mercadante.
GLEE - A LADY, Messrs. EWENS and PLATTS, "The Wreath." - Mazzinghi.
OVERTURE - "Henry the Fourth." - Martini.
Part Second.
OVERTURE - "Men of Prometheus." - Beethoven.
ROUND - A LADY, Messrs. EWENS, PLATTS and EDWARDS, "Yes, 'tis the Indian drum" - Bishop.
SONG - Mr. EWENS, "Maiden, I will ne'er." - Rodwell.
DUETT CONCERTANTE - Violin and Piano, Messrs. PLATTS and BENNETT, "Air from Zelmira" - Herz & Lafont.
CATCH - Messrs. EWENS, PLATTS, BENNETT, and EDWARDS, "Would you know." - Webbe.
FINALE - "God save the Queen."
Tickets, 7s. each, to be hail at the newspaper offices, and of Messrs. Platts and Bennett, Crippen-street, near the church.

ASSOCIATIONS: "A lady" = Caroline Elliot (vocalist); William Povall Edwards (vocalist)

MUSIC: Maiden, I will ne'er deceive thee (Rodwell)

"FIRST PROFESSIONAL CONCERT", South Australian Register (22 February 1840), 4

The first professional concert given in Adelaide on Thursday night was so successful, and so numerously attended by the most respectable inhabitants, that we confidently look forward to an early repetition of the attempt. Making due allowance for the embarrassment of first appearances, we can conscientiously say that the whole affair was worthy of most, and superior to many, similar entertainments which are "got up" in the provincial towns of England, boasting of a population double that of Adelaide. The concerted pieces were perhaps the most defective. Instrumental music admits of no mediocrity; but the songs were very respectably given . . . Mr. Ewens, who is a steady, and evidently a good musician, sustained his part in several glees, and sung a very sweet English song by Rodwell, the name of which we forget at this moment, with great simplicity and taste . . .

"DINNER TO DAVID McLAREN, ESQ.", South Australian Register (2 January 1841), 3 

MR. McLAREN, for four years Colonial Manager of the affairs of the South Australian Company, being about to return to England, a numerous body of the colonists addressed a requisition to him, that he would accept of a public dinner as a testimonial of their goodwill ere he left the colony. Mr. McLaren accepted the invitation, and it was fixed that the dinner should take place on Thursday, the 31st December. Accordingly, on Thursday evening a splendid dinner was laid in a room of the Company's new buildings in Rundle-street, which was tastefully fitted up for the occasion with flags, evergreens, &c. . . . At one end of the room an orchestra was fitted up. Mr. George Bennett was conductor of the music, and Mr. Edwards, Mr. Ewens, and two or three others, lent their able assistance. The music, songs, glees, &c., were executed in such a manner that several of them were rapturously encored . . .
After removal of the cloth, "Non nobis Domine" was sung in fine style by Messrs. George Bennett, Edwards, and Ewens . . .
Glee - "With a jolly full bottle" . . .
Song - "The Cossack's Adieu," sung in a very manly style by Mr. Ewens . . .
Glee - "By Celia's arbour" . . .
Glee - "Mynheer Van Dunk" . . .
Glee - "To all you Ladies now on Land" . . .
Glee - "Breathe soft ye winds" . . .
The Gipsy's Glee.
Glee - "Willie brew'd a peck o'maur," - Messrs. Edwards, Ewen[s], and Bennett . . .
Glee - "The Chough and Crow" . . .

ASSOCIATIONS: David McLaren (guest of honour); South Australian Company (association)

MUSIC: The cossack's adieu (by Alfred Bennett, cousin of George above)

[Advertisement], Southern Australian (9 February 1841), 1 supplement 

BEG respectfully to inform the Gentry and Public of Adelaide and its vicinity, that their
CONCERT will take place in the large room in the South Australian Company's Building, Rundle-street, on
WEDNESDAY, February 10, 1841.
The principal Performers will be -
No pains will be spared to render the Orchestra as complete as possible . . .
The Programme will be given at the room . . .

ASSOCIATIONS: Philip Lee (musician); Henry Elliot (musician)

[Advertisement], South Australian (13 August 1841), 1

Under the immediate Patronage of His Excellency the Governor.
MESSRS. EDWARDS AND BENNET Beg to announce their intention of giving a
CONCERT OF SACRED MUSIC, In the large Room of the South Australian Company's buildings, Rundle-street.
ON FRIDAY, AUGUST 13th, 1841.
Principal Performers: Mrs. ELLIOT, and a Lady Amateur.
Messrs. EDWARDS, EWENS, LEE, POOLE, ELLIOT, and BENNETT, assisted by Gentlemen Amateurs.
QUARTETT - Mrs. Elliot, Messrs. Edwards, Ewens, and Poole - Thou art gone to the Grave - GREATOREX.
AIR - Mr. Ewens - I know that my Redeemer liveth - HANDEL . . .
CHORUS - And the Glory - HANDEL.
PART 2nd . . .
ANTHEM - Lady Amateur and Mr. Ewens - Hear my Prayer - KENT . . .
TRIO - Messrs. Edwards, Ewens, & Bennett - Disdainful of Danger - HANDEL.
GRAND CHORUS - The Heavens are telling - HAYDN . . .

ASSOCIATIONS: George Grey (governor); Mr. Poole (vocalist)

"THE PUBLIC DINNER TO EDWARD JOHN EYRE, ESQ.", Southern Australian (27 August 1841), 2 

LAST evening, a public dinner was given to Edward John Eyre, Esq., the enterprising explorer into the interior of Australia, by the colonists of South Australia, in the South Australian Company's Buildings, Rundle-street, in commemoration of his return from his late important and disinterested expedition . . . The dinner was in Mr. Edwards' first-rate style, and the wines of the very best quality. Music was provided, and Messrs. Edwards, Bennett, Ewens, and Hayward, did their very best to entertain the company after the various toasts.
The cloth having been removed, Non nobis Domine was sung in excellent style . . .
ANTHEM - God save the Queen . . .
Glee - Life's a Bumper . . .
GLEE - "Dame Durden" . . .
GLEE - Chough and Crow . . .

ASSOCIATIONS: Edward John Eyre (explorer); Hayward probably = Thomas Harward (vocalist)

[Advertisement], Southern Australian (28 September 1841), 2 

CONCERT. MESSRS. EDWARTS AND BENNETT beg to announce their intention of giving a
Concert of Miscellaneous Music, on Thursday next, the 30th instant,
in the Large Room of the South Australian Company's New Buildings, Rundle-street.
Programme: PART 1 . . . DUETT - Messrs. Edwards & Ewens - Sound the Trumpet boldly - I PURITANI - BELLINI . . .
GLEE - A Lady, Messrs. Edwards, Ewens and Poole - If this delicious grateful Flower - HAWES.
PART II . . . SONG - Mr. Ewens - The Land of the West - LOVER . . .
DUETT - A Lady and Mr. Ewens, The Butterfly - SALE.
FINALE - God Save the Queen . . .

MUSIC: If this delicious grateful flower (Hawes); The land of the west (Lover); The butterfly (J. B. Sale)

"ST. ANDREW'S DAY", Southern Australian (3 December 1841), 3 

YESTERDAY, being St. Andrew's Day, was celebrated by the Scottish portion of the community by a public dinner. The dinner took place in the new Music Saloon, adjoining the Sportsman's Inn, in Gouger-street . . . The cloth having been removed . . .
Glee - "Here's a health to all good lasses," by Messrs. Edwards, Bennett, and Ewens . . . Some good songs were sung during the evening by Messrs. Edwards and Bennett, also a few glees with great effect.

"AMATEUR CONCERT", South Australian Register (25 June 1842), 2 

The Amateur Concert, for the benefit of the Adelaide Infant School (not the Trinity Church Sunday School as erroneously stated in our last), took place on Tuesday evening. The room was crowded by a highly respectable assembly, and the whole concert "went off" most creditably for a first attempt. The overtures to Zampa and Fra Diavolo, in particular, were played with much spirit. Some disappointment, as well as considerable disadvantage to the vocal harmony, accrued from the desertion of the ladies who had promised their valuable assistance on the occasion. Notwithstanding their defection, however, the fine glees "Hark the Lark," "Bragela," and "Here in-coot grot," were sung with great sweetness . . . Among the amateurs, to whom the orchestral effect was principally owing, we may mention Mr. F. S. Dutton, who presided at the piano forte . . . Messrs. Bennett, Poole, and Ewens also contributed their valuable assistance on the occasion . . . The whole concert, in short, spoke highly of the musical talent of Adelaide, and is calculated, we hope, to lead to many similar agreeable entertainments. The proceeds to the benefit of the Infants' Schools amounted, we believe, to about twenty-five pounds.

ASSOCIATIONS: Francis Stacker Dutton (amateur)

[News], South Australian Register (15 April 1843), 2-3 

An opening dinner was given by Mr. T. Hornsby of the Victoria Hotel, Hindley-street, late of the Royal Oak, Adelaide, and Lincolnshire Hotel, Willunga, successor to Mr. W. Williams, on Thursday last, on the occasion of the Hotel's changing hands. It has seldom fallen to our lot (and never in South Australia) to witness a convivial meeting on an occasion of this sort, which passed off with so much decorum and unanimity of feeling. About seventy private gentlemen and tradesmen of Adelaide sat down to a sumptuous dinner given by "mine host," Mr. T. Hornsby, in his usual liberal style . . .
The usual toast of "The [3] Queen," "Commerce of Adelaide," [&c.] . . . were successively drunk, some with musical honours.
In the interim of these toasts several songs were sung, particularly (among others) a glee, "The Glorious Appolo," by Messrs. Ewen, Bennett, and Bottomly;
Mr. Williams's favorite, by himself, with fistivocalic accompaniments;
"Sailor's Grave," by Ewens; "Jolly Friar," by Waters;
"Nine Cheers for the Girl I love," by Fuller; "Maid of my Soul," by the same;
"The Bugle," "Set of Threads," and the "Tenement," by Attwood.
Indeed, the enthusiastic manner in which Mr. Hornsby was greeted by the friends who rallied round him on this occasion, and who seemed to via with each other in demonstrations of personal respect, augers well for his success as innkeeper in town again.

"DINNER TO J. B. MONTEFIORE, ESQ.", Southern Australian (2 June 1843), 2-3 

YESTERDAY a dinner was given to this gentleman, at the Shakespeare Tavern, as a testimony of gratitude and respect for his eminent services to the Colony since its first institution . . .
The cloth having been removed Non nobis Domine was sung by the band [sic] . . .
SONG. - Cossacks Adieu, by Mr. Ewens . . .
GLEE. - Glorious Apollo . . .
GLEE. - When Arthur First . . .
SONG. - She Wore a Wreath of Roses, by Mr. Ewens . . .
GLEE. - Here's a Health . . .

ASSOCIATIONS: Jacob Barrow Montefiore (merchant)

"PUBLIC DINNER TO MR. JACOB MONTEFIORE", South Australian Register (3 June 1843), 3 

. . . On the removal of the cloth, "Non nobis Domine" was sung by Messrs. Ewen, Bennett, and Hayward, Mr. Bennett at the same time accompanying the vocal music with the piano forte. The Chairman then gave "The Queen and Prince Albert," which was drunk with all the honours, and with great enthusiasm.
AIR - "God save the Queen," by Messrs. Bennett, Ewen, and Hayward . . .
Glee - "Fill the bowl with rosy wine" . . .
A Glee by Messrs. Ewens, Bennett, and Harwood . . .
GLEE - "Glorious Apollo" - Messrs. Ewen, Bennett, and Hayward . . .

"LOCAL AND PROVINCIAL INTELLIGENCE", Adelaide Observer (26 August 1843), 5 

An Oratorio will shortly take place at Gawler-place Chapel, when a choice selection of sacred music will be performed by the elite of our vocal and instrumental professors. Messrs. Bennett, Ewens, and Moss, have promised their assistance; and the strength of the choral society, together with many other distinguished amateurs, have kindly determined to afford their talented support upon the occasion, so that the admirers of sacred harmony may expect an unusual treat.

ASSOCIATIONS: Wesleyan chapel, Gawler-place (Adelaide); Adelaide Choral Society (association)

"RE-OPENING OF THE WESLEYAN CHAPEL, GAWLER PLACE", Southern Australian (8 September 1843), 2 

THIS place of public worship, which for the last few weeks had been undergoing repairs, was opened again for Divine service on Sunday last . . . On Tuesday evening, a public tea meeting and concert of sacred music was held in the same building . . . We cannot commend too highly the excellent manner in which the musicians performed their parts. We have not been able to obtain a correct list, or we should give the name of each performer. We cannot, however, avoid to mention the superior execution of Mr. Bennett, who led on the violin, and Mr. Poole's performance on the violoncello . . . Of the vocal performers, Mr. Ewens' solo, "Every Valley shall be Exalted," was decidedly the most masterly performance of the evening. Mr. Ewens is, however, so well known in the colony as a singer, that it is almost unnecessary to do more than refer to him, but we cannot withhold noticing the command he has over his voice, and the grace and ease with which he sings, making it doubly pleasurable to listen to him . . . The other vocal performances were very creditable, and the whole entertainment was quite equal to many in the mother country. We particularly admired the manner in which the hallelujah chorus was performed at the conclusion . . .

"AMATEUR CONCERT", South Australian Register (11 November 1843), 3 

On Tuesday [7 November] a vocal and instrumental concert, of which we had a short notice in our last, was given by several amateurs in Messrs. Lambert's new auction-rooms. The doors were opened at half-past seven, and nearly the whole of the seats were occupied by eight o'clock, at which time his Excellency the Governor and Mrs. Grey arrived. They were received with every demonstration of respect, and the concert almost immediately commenced with Auber's Overture to Masaniello . . . Dr. Calcott's beautiful glee, "The Red Cross Knight," followed, by Drs. Kent and Wyatt, and Messrs. Ewens and Howard [sic, Harward], accompanied on the pianoforte by Mr. Bennett. In our very humble opinion, the effect was rather injured by its being sung too fast: it had the appearance of being hurried over, and many of the best points were lost. Still, this is a matter of taste, and probably ours may be peculiar . . . The beautiful glee, "The Chough and Crow," was given in excellent style . . . We should suppose about two hundred persons were present . . .

ASSOCIATIONS: Benjamin Archer Kent (amateur); William Wyatt (amateur)

"MR. BENNETT'S CONCERT", Southern Australian (5 January 1843), 3 

On Wednesday evening we had the pleasure of attending a concert given by the above gentleman. To our agreeable surprise, we found that Drs. Kent and Wyatt had given their valuable aid, and they, of course, contributed in no small degree to the harmony of the evening. Several excellent overtures and glees were performed n a manner which gave great satisfaction, and it was remarked that there was a decided improvement as the performances proceeded. "The Breath of the Briar," by Mrs. Murray, Messrs. Ewens, Harward, and Poole, was beautifully executed; and, in the second part, "Mary of Argyle," a very sweet song was sweetly sung by Mrs. Murray, and deservedly encored. The Glee, "The Merriest Time of all the Year," also elicited universal applause. The little catch, "Ah! how, Sophia," was successfully performed by Messrs. Ewens, Harward, and Bennett. It is celebrated for its puns, having been expressly composed for cockney singers . . . Altogether, this, we should say was one of the best concerts we have had in Adelaide. His Excellency the Governor and Mrs. Grey were present. The attendance was pretty good, consisting of about 100 ladies and gentlemen, and will, we trust, encourage Mr. Bennett again to favor the public with a similar gratification at no distant period.

ASSOCIATIONS: Georgiana Murray (vocalist, pianist)

"LOCAL AND PROVINCIAL INTELLIGENCE", Adelaide Observer (6 January 1844), 5 

Mr. Bennett's concert took place on Wednesday evening, under the auspices of the Governor, who was present with his suite; the audience consisted of upwards of 80 persons . . . Bishop's glee, "the Boatie rows," was sang with precision, but it was destitute of that fulness and sustaining of tone so necessary in glee singing. Mr. Harward's voice is a good deep bass and with a little more cultivation will form a powerful addition to our vocal corps. We were much delighted with the melody of the "Cossack's Adieu," but Mr. Ewens's nasal intonation of n's reminded us of Barney in Oliver Twist, and destroyed any connection that the words might have with the music . . . The succeeding glees as well as some of the instrumental pieces, received valuable assistance from some gentlemen amateurs. The catch "Ah! how Sophia" was encored: it was sung correctly, but of the part "I'm but a lodger" we could not hear a syllable. The concert was wound up with the National Anthem, and as it seems to be a customary conclusion of all concerts here, there is no excuse for the want of pre-arrangement which characterised its execution.


The Brethren of the Hope Lodge of Odd Fellows of the Manchester Unity celebrated the festival of New Year's Day by a dinner at their Lodge-room, at Host Payne's, Auction Mart Tavern . . . The first toast . . . It was, of course, "The Queen," and was responded to most heartily by the Loyal and Independent Order. Mr. Ewens sang "God save the Queen" in his usual sweet style . . .
"Glorious Appollo" . . .
"She wore a wreath of roses," Mr. Ewens . . .

"LOCAL AXD PROVINCIAL INTELLIGENCE", Adelaide Observer (23 March 1844), 5 

Last week the Adelaide Choral Society's Second Concert took place to a respectable, but limited audience. The chorus "And the glory of the Lord" was sung with much spirit. Mrs. Jones's rich voice told to great advantage in "He shall feed his flock;" the same may be said of Mr. Harward in "Why do the nations so furiously rage together?" Mr. Ewens delighted the audience with "Comfort ye my people." He appears quite in his element in sacred music, possessing a sweet voice but marring the effect of the words by singing in his throat. We trust to see a crowded room at the Society's next Concert. The projectors of such a rational mode of amusement, (which is not "got up" without, considerable expense), deserve better encouragement at the hands of the public.

ASSOCIATIONS: Mrs. Jones (vocalist)

"LOCAL AND PROVINCIAL INTELLIGENCE", Adelaide Observer (11 May 1844), 5 

The Independent Order of Odd Fellows is so much on the increase that the opening a third lodge in Adelaide, besides the one at the Port, has been found indispensible. Host Athorn, of the Albion Hotel, in Morphett-street, having recently added suitable apartments to his previous accommodations, the new lodge (to be called the Albion Lodge), has been established under Mr. Athorn's roof, which will surely be called a hospitable one by all who had the privilege of invitation to the opening supper . . . Several glees and songs were sung by Messrs. Ewens, Bennett, Harward, and other gentlemen, and the company parted at a late (query, early?) hour, highly pleased with their entertainment.

"ANNIVERSARY OF THE HOPE LODGE OF ODD FELLOWS", South Australian Register (16 April 1845), 3 

The anniversary of the Hope Lodge was held last night in the Lodge-room, Freemasons Tavern, Pirie-street, Dr. Nash in the chair. About one hundred and twenty persons sat down. The cloth having been withdrawn, Non nobis Domine was sung with great effect by Messrs. Ewens, Bennett, Kent, &c. . . .
"The Cossack's Adieu," by Brother Ewens . . .
Song - "Glorious Apollo" . . .

"THE AGRICULTURAL SOCIETY'S PLOUGHING MATCH", South Australian (8 August 1845), 2

YESTERDAY, the above ploughing-match took place at Mr. Cook's farm, near Hindmarsh . . . In the evening, a number of the members and friends of the Society dined at Mr. Payne's Tavern, when the prizes were distributed. Many good toasts were given, and songs sung; among which, we should not omit to mention some beautiful glees by Messrs. Ewens, Harward, and Bennett . . .

"THE AGRICULTURAL SOCIETY", Adelaide Observer (9 August 1845), 5-6

. . . Song, Mr. Ewens, "God Save the Queen" . . .
Musical honours by Mr. Ewens, and "one cheer more" . . .
Glee by Messrs. Ewens, Bennett, and Harward - "Push the red wine about" . . .
The Chairman then proposed "The successful competitors," which was warmly greeted with "For they are jolly good fellows," by Mr. Ewens and the whole company . . . [6]
Glee, by Messrs. Ewens, Bennett, Payne, and Harward - "Glorious Apollo" . . .
Glee, Messrs. Ewens, Bennett, and Harward, "Mynheer Van Dunk" . . .
Glee, Messrs. Ewens, Bennett, and Harward - the whole of the company joining - "Here's a health to all Good Lasses" . . .
The entire evening was spent in the most cheerful manner. Several gentlemen, besides Messrs. Ewens, Bennett, and Harward, contributed their vocal talents to the harmony of the meeting . . .

"ODD FELLOWSHIP", South Australian (7 November 1845), 2-3 

ON Wednesday the anniversary of the Hope Lodge of the Odd Fellows' Society was celebrated by a sumptuous dinner in a new hall which has been built by Mr. Robinson, of the Free Masons' Tavern, behind his hotel. About 170 members and friends of the Order attended . . . After the cloth was removed . . . [3]
Song by Brother Ewens - "So I'll be an Odd Fellow" . . .
Glee - "Foresters, sound the cheerful horn" . . .

"HOPE LODGE (ODDFELLOWS') ANNIVERSARY", Adelaide Observer (8 November 1845), 3-4 

. . . The musical department was under the management of Mr. Bennett, a member of the lodge, whose services were gratuitous, as were those of his friends, Messrs. Ewens, Harward, Hornabrook, and Yems. Dr. Kent and Captain Tolmer also kindly assisted, and we may truly say, that the anniversary festivities included a concert of no mean pretension, as well as a dinner.
After the cloth was removed, and Non nobis Domine sung by Dr. Kent, Messrs. Bennett, Ewens, &c. . . .
Glee - "The Boatie rows" . . .
Glee - "Mighty Conqueror" . . .
Glee, "Ye Mariners of England" . . .
Glee - "The Red-Cross Knight" . . .
Glee - "Here in cool Grot" . . .[4]
Glee - "Foresters, sound the cheerful horn" . . .
Song, "The White Squall," by Mr. Ewens . . .

ASSOCIATIONS: John Hornabrook (vocalist); James Yems (vocalist); Alexander Tolmer (violinist)

MUSIC: The white squall (Barker)

"MR. BENNETT'S CONCERT", South Australian (2 January 1846), 3 

On Tuesday evening [30 December], Mr. Bennett, assisted by the best musical talent in the colony, gave a concert in the large room behind the Free Masons' Tavern. The concert was attended by considerably more than two hundred persons, including a large number of country gentlemen, with their families, and of the haut ton and respectability of the city. His Excellency the Governor, who was kind enough to patronise the concert, arrived shortly after eight, and the performances immediately afterwards commenced. The principal performers, besides Mr. Bennett, were Mrs. A. J. Murray, Messrs. Ewens, Harward, Mitchell, Yems, and Hornabrook. Mr. Lee also gave his able assistance with the violin. The concert fully supported the reputation previously acquired by the various performers. We remarked that they played very well in time, which is a high excellence. The performances commenced with, the overture "Otello," by Rossini, which was followed by a number of glees and songs . . . The catch "Would you know my Celia's Charms," was uncommonly well performed, and was loudly encored . . .

"THE HOPE LODGE OF ODD FELLOWS", South Australian (17 November 1846), 5-6 

THE anniversary of the establishment ot the above popular and influential lodge of Odd Fellows was celebrated on Wednesday, by a grand dinner, to the members and friends of the Lodge, in the great room, behind the Freemasons' Tavern. About 170 gentlemen sat down to dinner . . . After the usual toast . . .
Glee - "Here in cool grot" . . .
Glee - "To all you Ladies" . . .
"Forresters Sound the Cheerful Horn" . . .
Comic song, by Mr. Coppin . . .
Glee - "Willie Brewed a Peck o' Maut" . . . [6]
Song, Brother Ewens - "The Cossack's Adieu" . . .
Glee - "Life's a Bumper" . . .

ASSOCIATIONS: George Coppin (vocalist)

"MRS. MURRAY'S CONCERT", South Australian (2 March 1847), 4 

We regretted that we were compelled in our last to omit a notice of this concert, which was beyond dispute the best we have had in this colony. Mrs. Murray, the leading performer, the star of the evening, was in excellent voice, and notwithstanding the extreme heat, executed the numerous pieces with which she favored the company with uncommon taste and very considerable power. Among the many performers of great skill who assisted Mrs. M., we must particularize Mr. Bennett and Mr. Ewens as having equalled, if not surpassed any of their previous efforts. Mr. Witton, a new performer, was also a great acquisition. Messrs. Mitchell, Harward, Yems, and Hornabrook, sung, in their several parts, in good tune and with great taste. And altogether, we repeat, that at no former concert have we been so much pleased. The intense heat, we are sorry to say, prevented many parties from attending . . .

ASSOCIATIONS: Henry James Witton (musician)

"MRS. MURRAY'S CONCERT", South Australian (9 April 1847), 3 

On Tuesday evening, Mrs. Murray gave another Concert of Vocal and Instrumental Music. She was assisted by Messrs. Bennett, Horncastle, Ewens, Mitchell, Harward, Yems, Hornabrook, Richards, father and son, and Smith; but we regretted much to perceive the miserable attendance, not more than fifty persons being present . . . Without intending to be invidious, we may mention, in particular, Mrs. Murray's songs - The glee, "Breath of the Briar," and the overtures, "Fra Diavolo," and "Guillaume Tell," as having been admirably performed. The Cockney catch, "Ah! how Sophia," by Messrs. Ewens. Mitchell, and Harward, was sung with much spirit, and deservedly encored.

"ODDFELLOWSHIP", Adelaide Observer (15 May 1847), 2 

On Tuesday evening last, the third anniversary, of the "Loyal Albion Lodge" of Oddfellows was celebrated in the great room of thte City Bridge Hotel, kept by Host P. G. Williams . . . That nothing might be wanting to add to the harmony and hilarity of the evening, Brother Bennett presided at the pianoforte, and several appropriate, songs and glees were chaunted by Messrs. Ewens, Mitchell, and Howard [sic, Harward] . . .

"LOCAL INTELLIGENCE", Adelaide Observer (28 August 1847), 5 

We (Adelaide Observer) were present at the [Choral] Society's second concert, last night. Mrs. Murray's absence from indisposition, and the consequent silence of the organ were much to be regretted. The pieces performed were selected from, the works of Handel, Haydn, Mozart, Beethoven, &c. The quartette, "Judge me, O Lord," was sung with great Judgment by Messrs. Ewens, Burford, Harwood, and Mrs. Jones, and the supplicatory, plaintive tone, in which the solemn appeal was expressed, was truly touching. In the choral part of the same piece, the joyously triumphant notes of gladness, in which the Psalmist is made to exhibit his confidence and happiness, were well expressed . . .

ASSOCIATIONS: William Henville Burford (vocalist)

[News], South Australian Register (13 October 1847), 3 

The amateur performance for the benefit of the Oddfellows school came off last night in the New Queen's Theatre, which was crowded to excess, there being no less than 500 persons present. The performances, upon the whole were far better than had been anticipated from the multiform description of the intended actors; the thronged audience appeared unanimously to be highly pleased with the evening's amusements; and Mr. Deering deserves great credit for his judicious arrangement of such anomalous materials. Two glees - "Here in Cool Grot," and "Mynheer Vandunk," were sung with admirable taste by Messrs. Ewens, Mitchell, Yems, Harwood, and Hornabrook, accompanied in first-rate style by Mr. Bennett, who very kindly volunteered his able assistance on the occasion. Mr. Tolmer performed a solo on the violin with exquisite sweetness; and Mr. Thomson another on the violencello which gave full satisfaction. The proceeds of the evening were reckoned to be about £70.

ASSOCIATIONS: Henry Shinton Deering (actor, manager); John Charles Thompson (musician); New Queen's Theatre (Adelaide venue)

"ANNIVERSARY DINNER OF THE (O. F.) HOPE LODGE", South Australian (12 November 1847), 3 

ON Tuesday evening, the Officers and Brothers of the Hope Lodge of Odd Fellows celebrated the anniversary of the formation of their lodge by a grand dinner in the large room of the Freemasons' Tavern . . . he company was highly respectable, and numbered about 120 members and friends of the Order . . . The company were greatly indebted to Mr. Bennett, who presided at the piano, to Messrs. Ewens, Mitchell, Harward, Yems, and Hornabrook, for many delightful pieces of music, and to Br. Tolmer, for some delicious airs on the violin . . .

"DINNER TO CAPTAIN KIRSOPP, R.N., OF THE 'JUNO' STEAMER", South Australian Gazette and Mining Journal (13 November 1847), 3 

On Wednesday evening an entertainment was given at the Club House to Capt. Kirsopp, by the friends of that officer and others desirous to celebrate the commencement of steam communication with the eastern colonies of Australia. Above forty gentlemen attended . . . Messrs. Ewen, Mitchell, Yems, Harward, and Hornabrook contributed their vocal powers, and throughout the evening executed in first-rate style numerous glees appropriate to the toasts . . .

"LOCAL INTELLIGENCE", South Australian Register (15 December 1847), 4

St. John's Church was reopened last Sunday morning, by the Rev. Mr. Bagshaw, who preached from John iv., 24, and chiefly rested on the origin and utility of the book of common prayer. The congregation was but small, owing to the extreme heat of the day, and Trinity Church not being closed, as had been at first arranged. The music was magnificently conducted by Mr. Bennett, with his rich-toned harmonia, and the singing finely performed by Messrs. Ewens, Mitchell, Yams, Harward, and Hornabrook, who kindly volunteered their services for the occasion. The public of Adelaide are certainly indebted to these accomplished singers for the numerous instances in which they have aided benevolent purposes by their talents . . .

"DIED", South Australian Register (8 July 1848), 2

On Friday morning at his residence Unley, of consumption, after a lingering illness, Mr. William Ewens, aged 38 years, leaving a widow and large family to lament his loss. The deceased was a native of Chichester, and a chorister of the Cathedral for several years; he was also an old and much respected colonist, and has died greatly regretted by a large circle of friends. His funeral will take place on Sunday morning, when it is the intention of his brother Odd Fellows, and the members of the Choral Society to follow him to the grave.

ASSOCIATIONS: Chichester Cathedral (place of worship)

"LOCAL INTELLIGENCE", South Australian Register (12 July 1848), 2

The funeral of Brother Ewens, of the Hope Lodge of Oddfellows, M.U., took place on Sunday last, as arranged by the District Officers. A strong muster of brothers attended at half-nast nine in the morning, at the Lodge Room, and after the usual ceremonies started for the residence of the late brother in Unley. P.G.M. Wicksteed, supported by D.P.G.M. Dyke and C.S. Hillier, headed the melancholy procession, which, under the guidance of the District Marshal, P.G. Ashton preserved throughout a propriety befitting the solemn occasion. The remains of the deceased brother were conveyed in a hearse to St. John's Church, the brothers following, where, we confess, we were disappointed, as we expected the members of the Choral Society would have sung a requiem over the body of one who had so often infused the soul of harmony into their proceedings. Brother Woodcock read the burial service in his most impressive manner, and the procession then followed the body to the Cemetery. The Rev. Jas. Farrell and several other gentlemen joined on the way. The oration was read at the grave by the P.G.M., who appeared to be deeply affected. The funeral arrangements were calculated to reflect great credit oh the Order, and we noticed several strangers who seemed struck with the number (between 80 and 100) and evident respectability of the brethren in procession.

"LOCAL NEWS OF THE WEEK", South Australian Gazette and Mining Journal (15 July 1848), 2 

The most numerous and respectable concourse of persons probably ever assembled in the colony for the purpose of paying the last sad tribute of respect to a deceased friend, accompanied the remains ot the late Mr. Ewens to his final resting place on Sunday last. The Choral Society, of which he was a distinguished member, were in attendance to a man; and the Oddfellows manifested even more than their ordinary respect for a deceased member by an attendance of more than one hundred brothers.

"ADELAIDE CHORAL SOCIETY", Adelaide Times (26 February 1849), 2 

The Concert of the Adelaide Choral Society took place on Friday evening, and was very well attended . . . We believe the Society could have had the assistance of efficient tenor singers . . . We know a tenor singer of quiet unassuming manners, good voice, and considerable musical acquirements, who would have done much to have filled up the void left by the late Mr. Ewens, but who was treated so uncourteously that he withdrew from the Society . . .

[Advertisement], South Australian (27 April 1849), 3 

o the Friends of the late Wm. Ewens, and the Public generally.
MRS. EWENS BEGS to inform her friends and the public, that in consequence of their kind promises of support she is induced to give a Public Dinner, which will take place on Thursday, the 3rd May, in the Concert Room of the Freemasons' Tavern, as the uncertainty of the weather may render it inconvenient to the majority of her friends to attend at Unley . . .

Bibliography and resources:

L. J. Ewens, Prince Regent: The barque Prince Regent, 395 tons, Capt. Evans, London to Port Adelaide, South Australia, June-September 1839; a record of some early South Australian colonists, her passengers (Adelaide: The Pioneers' Association of South Australia, 1960) (DIGITISED)

[9] Extracts from a letter dated 13th October, 1839, written by William Ewens, from Tam-O'Shanter Place, Adelaide, soon after the arrival of the PRINCE REGENT . . . [see transcript in Documentation above]

[17] . . . William Ewens, with his wife, the eldest daughter of Robert Spiller, and three small sons, came from Chichester, and with his wife's parents and their two sons and a daughter, made a double family of ten persons, in some ways acting as a unit in their emigration. Within a few months the families divided, and Ewens opened his carriage-making business on Acre No. 80, in Rundle Street, near King William Street, where he erected a 60 ft. by 25 ft. workshop, with smithy and paint room and his residence. He brought with him a painter, named William Bush, who continued to live in with, the family for some time. A sister of Bush's, Charlotte, also came as a domestic, but she left to get married within six months.

In the Colonial financial troubles of 1841, William Ewens wrote that Governor Grey was a foolish young man who was ruining the Colony. His, as he wrote, was a middling business, so he was not overset as many others were. In 1844, however, he retired from the carriage-making and took a lease of the Plow and Harrow Hotel, and held the licence with an improving business for three years, when he sold out and bought two acres of land on the Unley Road with the idea of resuming his old trade. However, he immediately built the Unley Inn next to the previously licensed old Thatched Cottage. He took out a licence, but within four months he died at the age of 37. He left his widow with seven children, the eldest fifteen. Mrs. Ewens left the Inn and lived [18] privately with her family until her death thirteen years later. George Bennett, the Music Master, was almost a protege of William Ewens, and had great encouragement from him in his vocal enterprises. Mr. Ewens, from his remarkable voice training as leader of a Cathedral choir and his easy delivery, was Bennett's greatest standby in public concerts and dinners, while in the singing of excerpts from Handel's Messiah and other classical work he stood far above any others in Adelaide. Ewens and Bennett joined the Oddfellows Society in 1842, and this fraternity did a great deal towards improving the musical appreciation of the settlers, Bennett's trio in particular being in very frequent demand. The Ewens family worshipped at Trinity Church until St. John's was opened in 1842, when William Ewens wrote "Bennett and I still attend Church there and give a hand in the singing." He was buried from St. John's Church, the Reverend Mr. Farrell and the Reverend Mr. Woodcock both officiated at the West Terrace Cemetery, where Frederick Wicksteed, Grand Master of the Oddfellows recited the Oration to the assembled brethren. Four grandsons of William Ewens enlisted for service in the Boer War, 1899-1902, one being killed in the field on his first day in action. In the Greater Wars since then many of his descendants took a proper part, one great great grandson was lost with H.M.A.S. Sydney. Some of his descendants have attained success as Vocalists and in Radio, and a great grandson in Canberra is the Acting Solicitor-General to the Commonwealth . . .

EWING, Alexander (Alexander EWING; Alick EWING; A. C. EWING [sic]; Rex EWING)

Musician, pianist, composition competition judge, composer, commissariat officer

Born Aberdeen, Scotland, 3 January 1830; son of Alexander EWING and Barbara McCOMBIE
Arrived Adelaide, SA, 24 May 1857 (per R. M. Mills, from London, 9 February)
Departed Adelaide, SA, 19 May 1860 (per Young Australian, for Hong Kong)
Died Taunton, Somerset, England, 11 July 1895 (TROVE tagged by Australharmony) (Wikipedia) (WorldCat identities) (shareable link to this entry)


Alexander Ewing (1830-1895) is best known musically as composer of the famous hymn tune assigned to Jerusalem the golden in the 1861 first edition of Hymns ancient and modern. He had composed it Aberdeen in 1853, for another J. M. Neale translation, "For Thee, O Dear, Dear Country," originally in 3/4 time, and he is said to have objected to the 1861 assignment, being completely unsuited, "pathetic, not triumphant".

In his late twenties, Ewing spent 3 years in Adelaide, as a member of the Commissariat staff, from May 1857 to May 1860. Evidently a capable pianist, he was first documented as appearing in public, playing with fellow amateur pianist and professional public servant Francis Dutton in Osborne's Grand duo on subjects from Les huguenots (1849), and with violinist Richard Baxter White in Vieuxtemps's Fantaisie caprice (1842), in a "grand concert" on 10 June 1858 for the Indian Relied Fund, with also featured visiting artists Maria Carandini and Lewis Lavenu, and other members of their company.

He next performed, again with Dutton and White, at a meeting of the South Australian Institute on 28 July 1858, and he and Dutton were probably also the "amateurs" referred to as performing at another meeting of the institute in September.

Ewing's name was among the published list of patrons for Cesare Cutolo's Adelaide concert on 15 June 1859. But his most important lasting contribution to South Australian music was to serve as one of the judges for the 1859 Gawler Institute music prize. On 4 November 1859, he and fellow judges Dutton, William Holden, and George Chinner, awarded the first prize to Carl Linger for his setting of The song of Australia, as well as choosing 2 other settings by Linger, and one by Cutolo as runners-up.


"SHIPPING INTELLIGENCE", South Australian Register [Adelaide, SA] (26 May 1857), 2

ARRIVED . . . Sunday, May 24 . . . The ship R. M. Mills, 874 tons, N. P. Sturges, master, from London February 9. J. Stilling and Co, agents. Passengers - Mr. R. B. Lucas, Mrs. Lucas, family, and servant, Deputy Assistant Commissary-General Monek, and Mr. A. Ewing, Commissariat Staff, in the cabin . . .

[Advertisement], South Australian Register (9 June 1858), 1 

To be held in WHITE'S ROOMS, on the EVENING of THURSDAY, June 10,
for which occasion all the available MUSICAL TALENT has been secured,
including the Members of the Choral Society,
Madame Carandini, M. Laglaise, Signor Grossi, Mr. Lavenu, Mr. R. B. White, and some Gentlemen Amateurs.
PROGRAMME. PART 1 - SACRED MUSIC. Conductor - Herr Linger . . .
PART 2 - SECULAR MUSIC. Conductor - Mr. Lavenu.
1. Grand Duett, for the Pianoforte - On subjects from Meyerbeer's Opera, "Les Huguenots," the Hon. F. S. Dutton, and A. Ewing, Esq. Commissariat Staff - Osborne . . .
3. Solo, Violin - "Fantaisie Caprice," Mr. R. B. White, Pianoforte, A. Ewing, Esq. - Vieuxtemps . . .

ASSOCIATIONS: Richard and Blanche Madconnell (governor and wife); Francis Dutton (amateur); Richard Baxter White (violinist); Maria Carandini (vocalist); Jean-Baptiste Laglaise (vocalist); Enrico Grossi (vocalist); Lewis Henry Lavenu (conductor); Carl Linger (conductor); Adelaide Choral Society (association); White's Rooms (Adelaide venue)

MUSIC: Fantaisie caprice (Vieuxtemps)

"CONCERT IN AID OF THE INDIAN RELIEF FUND", South Australian Register (11 June 1858), 3 

This entertainment, given under the patronage of His Excellency the Governor-in-Chief and Lady Macdonnell, took place on Thursday evening at White's Rooms. The promoters of the concert had determined on a somewhat bold experiment in devoting the first put of the programme to sacred music, and the second put to secular music. This would not have been attempted probably under ordinary circumstances, but us in this case it was highly desirable to secure all the available musical talent that could be got, the combination was excusable.
. . . An interval of 10 minutes followed this part of the entertainment. That having expired, the Hon. F. S. Dutton and Mr. A. Ewing, played a duet from the "Huguenots" on the pianoforte. Their execution was perfect, the latter named gentleman proving himself to be a master of the instrument to an extent seldom looked for and rarely met with in an amateur. On being encored, the overture to "Zampa" was substituted and played brilliantly. It is impossible to notice everything deserving of notice in this part of the evening's performance. A fantasia on the violin, by Mr. R. B. White, however, demands especial mention, Miska Hauser himself would not have disowned itit . . .

ASSOCIATIONS: Miska Hauser (violinist)

"SOUTH AUSTRALIAN INSTITUTE", Adelaide Observer (31 July 1858), 5 

The concert and lecture, which were held at White's Assembly Room on Wednesday evening [28 July], under the auspiccs of the Governors of the South Australian Institute, formed perhaps the most successful of the many charming reunions with which those gentlemen have enlivened the ordinary dulness of life in Adelaide . . . The musical portion of the entertainment was divided into two parts, the lecture intervening. The two gentlemen amateurs announced to perform the duo-piano - the Overture to "Massaniello" - were the Hon. F. S. Dutton, Commissioner of Crown Lands, and Mr. Ewing. They were quite competent to do justice to Auber's brilliant music, and their accomplished instrumentation elicited not only an enthusiastic round of applause, but an earnest encore, which was kindly responded to by those gentlemen giving with, if possible, still greater spirit the Overture to "Oberon" by C. M. von Weber. The same gentlemen gave, as a duet on the piano, Schuloff's Victoria Waltz, and each took pianoforte part in duets, with Mr. R. B. White on the violin. While Mr. White drew repeated plaudits for his masterly execution on the violin in an arrangement of the airs from "La Sonnambula" and variations of "Auld Lang Syne," Messrs. Dutton and Ewing were equally and as deservedly applauded for their exquisite performance in the same pieces on the piano . . .

ASSOCIATIONS: South Australian Institute (association)

"SOUTH AUSTRALIAN INSTITUTE", South Australian Register (23 September 1858), 2 

On Wednesday evening last [22 September] the periodical conversazione, in connection with the South Australian Institute, took place at White's Assembly Room. His Excellency the Governor presided. There were also on the platform the Hon. the Treasurer, the Hon. the Commissioner of Crown Lands, the Hon. C. Davies, Mr. H. Mildred, M.P., the Dean of Adelaide, Mr. J. H. Clark, Mr. Commissariat Ewing, and Mr. N. Hailes, Secretary to the Institute . . . The musical portion of the entertainment consisted of a choice variety of compositions, in which two gentlemen amateurs played prominent parts by their finished performances on the piano . . .

[Advertisement], The South Australian Advertiser (15 June 1859), 1 

Under the Patronage of His Excellency Sir R. G. Macdonnell . . . A. C. Ewing, Esq. . . .

ASSOCIATIONS: Cesare Cutolo (pianist)

"GAWLER MUSIC PRIZE", South Australian Register (5 November 1859), 2 

The Judges who had undertaken to decide upon the music set to the "Song of Australia" met yesterday, and, after due examination, agreed to the following report: -

"The Judges appointed to award the prize for the best musical composition set to the words of the prize song, entitled "The Song of Australia," met on Friday, the 4th November - present, Messrs. Dutton, Ewing, Chinner, and Holden. Twenty-three compositions were examined, and the prize was unanimously awarded to the composition bearing the motto "One of the Quantity." Those bearing the mottoes "Long Live our Gracious Queen," "Garibaldi," and "Con Amore" so nearly equalled the prize composition in merit that the Judges had great difficulty in coming to a decision.

"Francis S. Dutton.

"A. Ewing.

"Geo. W. Chinner.

"Wm. Holden."

Immediately upon receiving this report we telegraphed to the Secretary of the Gawler Institute to ascertain the name of the successful competitor, and we find from his reply that the composer who has thus distinguished himself is Mr. Carl Linger.

ASSOCIATIONS: Gawler Institute music prize (1859); William Holden (judge); George Chinner (judge)

MUSIC: The song of Australia (by Carl Linger)

"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 "Conamore" 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.

"No. 115. Military and volunteer sub-estimates. Ordered by the House of Assembly to be printed, 27th July 1860", Proceedings of the Parliament of South Australia 3 (1860) (DIGITISED)

. . . the saving is effected . . . by reducing the number of Privates from 96 to 65, and departure of one of the Commissariat Staff (Ewing) . . .

[Obituary], The Times [London] (16 July 1895); copied Dundee Evening Telegraph (17 July 1895), 2 (PAYWALL)

Lieutenant-Colonel Alexander Ewing, Staff-Paymaster, who died Taunton on the 11th inst., was the only son Alexander Ewing, M.D., of Tartowie and Aberdeen, was born in 1830. After studying at Heidelberg, where he devoted himself chiefly to music and the German language, he decided to join the Commissariat Department on the outbreak of the Crimean War, and was sent out to Constantinople. Here his abilities as a linguist rendered his services very useful. Bishop Alexander Ewing, of Argyle and the Isles, was his father's cousin, and assisted his relative on Dr. Ewing's death. It may be interesting to some readers to mention the fact that during Alexander Ewing's absence abroad the Bishop sent his cousin's well-known setting of the hymn "Jerusalem the Golden" to the editors of "Hymns Ancient and Modern," and, owing to the cousin's bearing the same Christian name, the Bishop was commonly credited with having composed the tune. He next served during the campaign in the North of China, 1860, and received the China medal. He also served in the operations against the Taeping rebels near Shanghai in 1862, and was present at the taking of the stockade of Nahzain . . .

[Obituary], The Bookman [London] (1895), 130

The death is announced of Lieut.-Col. Alexander Ewing, whose first wife was Juliana Horatia Gatty, the famous author of "The Story of a Short Life." Lieut.-Col. Ewing was himself a notable man. In an article in the Aberdeen Free Press, by Mr. William Carnie, it is mentioned that in the fifties Ewing began law in a firm - Messrs. J. & A. Blaikie - then well-known over the whole north of Scotland. "But it was not in this connection that 'Alick' (as he continued to be fondly called) won popularity and held special place. Daily to be seen in Union Street, his slim, daintily-dressed figure, cane in hand, claimed admiring attention from the initiated, for, as he appeared at concerts, he early obtained and justly sustained he early obtained and justly sustained the reputation of being the most talented young musician in the city." He composed a tune which was published in "Hymns Ancient and Modern," and is sometimes called "Ewing," and at other times "Argyle." It is generally set by editors to the verses "Jerusalem the Golden," also it perhaps brings out with finer feeling the section of the same Latin hymn beginning "For thee, O dear, dear country." Ewing eventually decided to join the Commissariat Department of the army, and went out to Constantinople in 1855, during the Crimean war. He afterwards served in China and South Australia. He returned to England in 1866, and in 1867 married Miss Gatty . . .

Musical works:

Ewing (hymn tune, 1861)

Hymn tune "Ewing", Hymns ancient and modern . . . [first edition] (London: J. Alfred Novello, 1861), no. 142 (DIGITISED)

Jerusalem the golden (arr. from the above, 1863)

Jerusalem the golden, the poetry by Bernard De Morlaix, translated by J. M. Neale; the music composed by Alexander Ewing (London: John Blockley, [1863]) 

[Advertisement], Illustrated London News [England] (14 March 1863), 15 (PAYWALL)

Blockley's only authorised edition of this popular Hymn, beautifully Illustrated, 2s. 6d.
Composed by ALEXANDER EWING. Inscribed to the Lord Bishop of Argyll.
Published by J. BLOCKLEY, Park-road, Hampstead; Cramer, 201, Regent-street.

ASSOCIATIONS: Alexander Ewing (cousin, bishop); John Blockley (composer, music publisher)

Bibliography and resources:

R. G. McCutchen, Our hymnody: a manual of the Methodist Hymnal (New York: Abingdon Press, 1937), 513

. . . At the close of a meeting of the Aberdeen Harmonic Choir, Mr. Ewing approached Mr. Carnie, its distinguished leader, and told him he had been trying his hand at hymn-tune writing, asking that the tune be sung by the choir. This was done, and it was found acceptable. He had set the tune to the part of Bernard's hymn beginning "For thee, O dear, dear country," not "Jerusalem the golden," the part of the same hymn to which it is now universally sung. It was written in 3 time . . .

Thomas E. Blom (ed.), Canada home: Juliana Horatia Ewing's Fredericton letters, 1867-1869 (Vancouver: University of British Columbia Press, 1983) (PREVIEW)

EWING, Robert Kirkwood (Robert Kirkwood EWING; the Rev. R. K. EWING)

Musical amateur, amateur musician, songwriter, cleric, Congregational minister, Presbyterian minister, Anglican priest

Born near Glasgow, Scotland, c. 1823; son of John EWING and Elizabeth YOUNG
Arrived Sydney, NSW, 1839
Married (1) Letitia BLAKEMORE (d. 1873), St. James's church, Sydney, NSW, 2 January 1841
Married (2) Frances SANDEN, South Yarra, VIC, 13 January 1873
Died Lismore, NSW, 10 April 1899, aged "76" (TROVE tagged by Australharmony) (NLA persistent identifier) (shareable link to this entry)


"PHILHARMONIC SOCIETY", Launceston Examiner [TAS] (7 February 1857), 2 

The Fourth Quarterly Concert of the Launceston Philharmonic Society came off last evening at the Cornwall Assembly Rooms. There was a large attendance, and late comers had much difficulty in securing seats. The pieces selected were of a pleasing character, and were given with a spirit and taste which reflect much credit upon the Conductor and the Society generally. Considering the short time the society has been in existence, it is evident that considerable labor on the part of Mr. Adams and diligent practice by the members must have been necessary to produce so pleasing a result. There were voices distinguishable last evening which promise well to repay the trouble of cultivation. Between the second and third parts his Worship the Mayor, by special request, conveyed to the President, and through him to the members of the Society generally, the thanks of the visitors for the intellectual treat they had experienced. The Rev. R. K. Ewing acknowledged the compliment, and said that though the Society had made considerable progress, they were not yet in a position to practice the kind of music to which they aspired - such as Handel's Oratorios. The Society required considerable augmentation before pieces of that character could be effectively given, and he appealed to the visitors for assistance in carrying out the objects of the Society which had been established more for the good of the community than for the Individual gratification of its members. The Rev. Mr. Brooke ably presided at the piano on this occasion.

ASSOCIATIONS: Warren Auber Brooke (cleric, pianist); Launceston Philharmonic Society (association)

"TASMANIAN ANTHEM", The Cornwall Chronicle [Launceston, TAS] (10 February 1858), 2 

Words by the Rev. R. K. Ewing. - Music by John Adams.

All hail to thee, our Island home,
Bright skies unmatched thy glories dome,
Inviting back, where'er we roam,
Star of the Southern Sea.
All beauty spreads thy woodland's o'er,
Each wave that breaks against thy shore,
Shouts to the world, with glad uproar,
Thou art, and shalt be free.

God guard from foes our native land,
And help us bravely to withstand,
The might and skill of those who band
To crush Tasmania;
And sheltered by the parent arm
Of British power from every harm,
We'll sing, of loyalty the charm,
God bless Victoria.

May peace thy future ages grace,
High Justice ever find a place,
To save thy laws from foul disgrace,
And ever make thee smile.
Religion o'er thy sons preside,
And humble worth, not wealthy pride,
For ever in their midst abide,
God bless Tasmania.

ASSOCIATIONS: John Adams (composer)

[Editorial], The Argus [Melbourne, VIC] (13 July 1858), 4 

A remarkable ecclesiastical trial has just been brought to a temporary conclusion, in Launceston. The Rev. C. K. EWING, a clergyman in connection with the Presbytery of Tasmania, has been virtually deposed from his ministerial duties - virtually, not yet actually. The Presbytery have held certain charges against him sustained, and called on him to show cause why he should not be degraded. In the course of these proceedings, a large amount of evidence was adduced. The report of the trial fills a supplement to the Launceston Examiner, consisting of twenty-eight columns. The impression left on the mind, after the perusal of the whole, is one of profound astonishment at the phenomena of religious society across the Straits . . .

See "PRESBYTERY OF TASMANIA. - ST. ANDREW'S CHURCH, LAUNCESTON", Launceston Examiner (3 July 1858), supplement 

"PROFESSOR ANDERSON IN AUSTRALIA. TO THE EDITOR OF THE ERA", The Era [London, England] (12 September 1858), 10 (PAYWALL)

Theatre Royal, Melbourne, July 10th, 1858.
Sir, - A letter from your old friend, the Wizard, sent from the other end of the world, may not be unacceptable . . .
The drama, however, meets with its enemies in the shape of narrow-minded bigots, as much so in this new country as in some places in the old. There is the report of a most scandalous illustration of this fact in the Melbourne Argus of to-day [sic, 13 July above]. It is the case of a Presbyterian minister of the name of Ewing, at Hobart-Town, who is brought before the Presbytery charged with various misdemeanours in the eyes of his reverend judges, and among others are the heinous ones of his having lectured at a Mechanics' Institute, become secretary to a Sacred Harmonic Society, and gone once to a theatre in thirty-five years, in order that he might receive a lesson in elocution from Mr. G. V. Brooke. For these deeds his judges have deemed him to be unfitted for his holy office. It appears that his intention to go to the theatre was suspected, that he had to go in disguise, that he was followed and detected by one of his over-righteous congregation. The Argus very justly observes that - "If the notions of clerical propriety, upon which this Presbytery have acted, prevail throughout the churches of Tasmania, it need not be wondered at that the office of the Christian minister is denuded of social influence" . . .

With every good wish, and never forgetting past favours, believe me, dear Sir, yours most faithfully,

ASSOCIATIONS: John Henry Anderson (magician)

"MUSIC FOR THE MILLION", The Cornwall Chronicle [Launceston, TAS] (21 May 1859), 5 

Sir, - I herewith send you a copy of our first song, which our conductor says is from the pen of the Rev. R. K. Ewing. Surely Mr. Adams could get some one to write us something better than this trash, without either rhyme or reason, which any schoolboy of ten years old ought to be ashamed to own. Could you ask the author of "Yowyang" to furnish us with something in the shape of Poetry? -
Yours, &c.,
Launceston, May 19.

A fair day's work for a fair day's wage
We gladly give, we ask no more,
Dividing life between weary toil,
And time to think when toil is o'er,
Chorus- So labor on: when day has gone
Our hopes and joys we'll chant and sing,
Friendship sweet, we'll merrily meet,
And leisure make pure pleasures bring . . . [2 more verses] . . .

(We confess the above is as concentrated rot, as we have ever seen in the shape of doggrel. - ED. C. C.)

ASSOCIATIONS: William Lushington Goodwin (editor, Cornwall Chronicle); Music for the million (movement)

"OBITUARY. CANON R. K. EWING", Launceston Examiner [TAS] (12 April 1899), 5 

The Sydney telegrams appearing in yesterday's issue contained brief intimation of the death of Canon Ewing, for many years incumbent of Inverell. This is the Rev. Robert Kirkwood Ewing, for 19 years connected with the Presbyterian Church in Launceston. A native of Scotland, deceased came early in life to the colonies, landing in Sydney when he was only sixteen. In the 40's he settled in Tasmania, and prior to coming to Launceston was an Independent minister at Green Ponds. Later he was induced to join the Presbyterian Church, and about 1847 took the position of assistant to, and eventually succeeded, Rev. J. Anderson at the old kirk in Charles street, where now stand Mr. Walden's offices and stores. His ministrations were so successful there that the capacity of the building was so over-taxed as to render it necessary to erect a larger edifice. In 1850 the foundation-stone of St. Andrew's was laid, and the large sum of £4000 expended in its erection. The pastor threw himself heart and soul into the work, and such was his energy and so indefatigable his efforts in devising and carrying out ways of raising funds that in about 18 months the whole of the cost of the new building was defrayed. For 19 years in all deceased occupied the pulpit of first the old and then the new church, and was succeeded by the Rev. John Gardner. He then crossed over to Melbourne, taking the control of Scott's Private College, and ultimately went to Beechworth, joining the ranks of the Church of England, and being subsequently appointed to Inverell (N.S.W.). He was a canon and rural dean of the Episcopalian Church. Deceased was characterised by marked ability and unbounded energy. He pursued his ministerial labours with great devotion, and especially in the important branch of Sunday-school work. He was a man of many parts, and talents too. An effective orator, it was always a pleasure to listen to what fell from his lips; in addition to which he was a poet, musician, and brilliant conversationalist. The canon some months back paid a visit to Launceston, of which his widow was a resident, being a daughter of Mr. Sanden, Windmill Hill.


The mode of conducting the praise of God in Presbyterian churches by Alfred Priestley and the Rev. R. K. Ewing (Launceston: Printed by Charles Wilson, 1858) 

Bibliography and resoures:

Stefan Petrow, "Ewing, Robert Kirkwood (1823-1899)", Australian dictionary of biography supplement (2005) 

EWINS, Mary Louisa (Mary Louisa EWEN [sic]; Mrs. William EWINS; Mrs. W. EWINS)

Musician, pianist, composer

Born Sydney, NSW, 14 April 1840; daughter of James EWEN (d. 1881) and Ann DUNN (d. 1852)
Married William EWINS, Armidale, NSW, 17 January 1859
Died Coburg, VIC, 29 November 1906, aged "66" (TROVE tagged by Australharmony) (shareable link to this entry)


"MARRIAGES", The Sydney Morning Herald [Sydney, NSW] (31 January 1859), 1 

On the 17th Instant, at Armidale, by the Rev. J. T. Dunne, R.C.M., Mr. William Ewins, of Armidale, to Mary Louisa, daughter of Mr. James Ewen, late of Sydney.

ASSOCIATIONS: Her father, a cabinetmaker, and later a publican, mother, and older siblings had arrived in Sydney as bounty immigrants on the Palamban in January 1833

[Advertisement], The Armidale Express and New England General Advertiser [NSW] (8 February 1873), 5 

The Day's Proceedings will be closed by a VOCAL and INSTRUMENTAL CONCERT . . .
Mrs. W. EWINS will preside at the Pianoforte . . .

[Advertisement], The Sydney Morning Herald [NSW] (19 August 1874), 1

MRS. EWINS, accomplished Pianiste, receives pupils.
Practice allowed Also engagements at private parties, &c.
274, Forbes street, and H. Buist, tobacconist, King-street.

"DEATHS", The Age (30 November 1906), 1 

EWINS. - On the 29th November, at Coburg, Mary Louisa, beloved wife of Wm. Ewins, aged 66 years.

Musical work:

The Armidale galop (1875)

The Armidale galop, for the piano forte, composed by Mrs. W. Ewins, dedicated to friends (Sydney: Published by the composer, [1875]) (DIGITISED)

COVER: "This galop has been - prior to publication - played by its Composer, in the circles of the elite, in different parts of New England and elsewhere, and has ever proved a favorite."

[Advertisement], The Sydney Morning Herald (28 September 1875), 2

JUST PUBLISHED, "THE ARMIDALE GALOP" by Mrs. W. Ewins. Price 2s 6d, by post 2s 8d. To be had of all musicsellers.

[News], The Sydney Morning Herald (29 September 1875), 5

. . . We have also to acknowledge the receipt of the "Armidale Galop," composed by Mrs. W. Ewins. The piece is not very difficult, and could be learnt with a little practice by a pianist of ordinary ability . . .

[Advertisement], The Armidale Express and New England General Advertiser (1 October 1875), 5 

Price, 2s. 6d.; by Post, 2s. 8d. Any Orders for Copies sent to
Mrs. W. EWINS, 227, Palmer-street, Sydney, will receive prompt attention.

"CHURCH OF ENGLAND TEMPERANCE SOCIETY", Hawkesbury Chronicle [NSW] (13 December 1884), 3

. . . Miss Lily Perry played a pianoforte solo, "Armidale Galop," and deserved all the applause she got, for her playing was quite brilliant . . .

EXON, Edwin (Edwin EXON; E. EXON; Mr. EXON)

Musician, tenor vocalist, orphanage school superintendent and music teacher, librettist, poet

Born Bath, Somerset, England, 5 March 1833; baptised St. James's, Bath, 24 March 1833; son of Richard EXON and Elizabeth SANDFORD
Married Frances Judith (Fanny) CHAPPLE (1826-1896), Bath, England, 26 July 1852
Arrived Melbourne, VIC, 20 January 1853 (per Winchester, from Bristol, 10 August 1852)
Died Hampton, Melbourne, VIC, 18 May 1910, aged "77" (TROVE tagged by Australharmony) (NLA persistent identifier) (shareable link to this entry)

Edwin Exon (photograph, detail, of oil portrait, unveiled at Melbourne Orphan Asylum, 1910); State Library of Victoria

Edwin Exon (photograph, detail, of oil portrait, unveiled at Melbourne Orphan Asylum, 1910) 


Baptisms solemnized in the parish of Saint James Bath in the county of Somerset in the year 1833; register 1827-45, page 100; Somerset Archives, D\P\ba.ja/2/1/14 (PAYWALL)

No. 794 / March 24th / Edwin son of / Richard & Elizabeth / Exon / Gallagher's Buildings / Cordwainer . . .

England census, Trinity, Bath, Somerset; UK National Archives, HO107/1943/85/4 (PAYWALL)

4 Kingsmead St. / Hannah Chappel / Wife / Mar. / 21 / Straw Bonnett Maker / . . .
Richard Chappel / Son / 1 . . .
Elizabeth Exon / Widow / 48 / Straw Bonnett Maker / . . .
Edwin Exon / Son / Unm. / 18 / Porter / [all born Somerset Bath]

Names and descriptions of passengers per Winchester, from Bristol, 10 August 1852, for Melbourne; Public Record Office Victoria (DIGITISED)

. . . Exon Edwin / 20 / Clerk // [Exon] Francis J. / 26 . . .

[Advertisement], The Argus [Melbourne, VIC] (14 September 1853), 1

EXON. - Mrs. Exon, who came out by the Winchester in January,
will hear from her brother by enclosing her address to H. J. Chapple, Post Office, Melbourne.

ASSOCIATIONS: Henry John Chapple (1834-1869)

[Advertisement], The Argus (15 September 1853), 1 

HENRY CHAPPLE, who came out in the Roxburgh Castle, may hear of his sister by calling upon Mr. Exon, at Mr. Pepper's, 4, Victoria Commercial Chambers, Flinders lane, west.

"BIRTHS", The Argus (10 March 1855), 4

On Thursday, 22nd ult., at Prahran, the wife of Edwin Exon, late of Abbey-street, Bath, of a daughter.


. . . I remain, Sir, your obedient servant,
E. EXON, Corresponding Secretary, Prahran Mechanics' Institution, 26th March, 1856.

ASSOCIATIONS: Prahran Mechanics' Institute (association)

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

The New Building will be opened on Monday, 26th inst., at 8 p.m., by his Excellency Sir H. Barkly.
The entertainment will comprise a grand concert, at which Mrs. Testar, Mr. John Gregg, Mr. White, and other vocalists will assist.
Brief addresses will be delivered by several leading members of the Legislature. Tickets, 7s 6d. For particulars see programme.
S. WEBB, E. EXON, Secretaries.

ASSOCIATIONS: Henry Barkly (governor); Elizabeth Testar (vocalist); John Gregg (vocalist); ? Thomas White (pianist, ? vocalist)

"MELBOURNE HOSPITAL DINNER", The Argus (8 February 1859), 7 

The first annual dinner of the governors of and subscribers to the Melbourne Hospital took place yesterday evening at the Criterion Hotel. His Excellency the Governor occupied the chair . . . About 100 gentlemen sat down to the dinner. Mr. Terry officiated a toast-master, and the musical arrangements were under the charge of Mr. Mackie; Messrs. Radcliffe, Ewart, Exon, and Blanchard forming the glee party . . .
Glee - "Winds Gently Whisper" . . .
Glee - "The Red Cross Knight" . . .
Duet - "The Tented Field" . . .
Duet - "Here Shall Soft Charity" . . .
Glee - "Hail, smiling morn" . . .
Glee - "The winds whistle cold" . . .
Glee - "Lubzow's wild haunt" [Lutzow's wild hunt] . . .
Glee - "Here's a health to all good lasses" . . .

ASSOCIATIONS: Robert Mackie (musician); Charles Radcliffe (vocalist); Thomas Ewart (vocalist); Charles Blanchard (vocalist)

[Advertisement], The Age (8 November 1861), 1

On FRIDAY, 8th NOVEMBER, When Selections from Handel's Oratorio, JUDAS MACCABEUS, will be performed . . .
Recitative - "So willed my father, now at rest" - Mr. Exon.
Trio - "Disdainful of danger" - Master Cook, Mr. Exon, and Mr. Richardson . . .

ASSOCIATIONS: John James Cook (vocalist); Albert Richardson (vocalist); Melbourne Philharmonic Society (association); Victorian Exhibition 1861 (event); Exhibition Building (Melbourne venue)

"THE MESSIAH. THE PHILHARMONIC", The Argus (26 December 1862), 5

The Philharmonic Society gave their tenth annual performance of the people's oratorio, as the "Messiah" has been not inaptly termed, at the Exhibition Building, on Wednesday night . . . The principal vocalists, were Miss Hamilton, Mrs. Batten, Mr. Farquharson, Mr. Exon, and Mr. Angus, and the generally careful manner in which the solo music had been worked up was highly creditable to the performers . . . The tenor part was divided between Messrs. Jackman and Exon, whose careful rendering of the music entrusted to them showed clearly that they had spared no labour in preparing for the performance . . .

ASSOCIATIONS: Octavia Hamilton (vocalist); Mrs. Batten (vocalist); Robert Farquharson (vocalist); Silvanus Angus (vocalist); Thomas John Jackman (vocalist)


The fourth subscription concert for the year 1862 by the members of the Philharmonic Society came off on Wednesday evening at the Exhibition Building, when Handel's sublime oratorio, the Messiah, was produced. This was the tenth Christmas eve performance of Handel's great work by the members of the Philharmonic Society. Each year improvement has been most visible, and the number of performers has been increased, but on no previous occasion has there been such a numerous or able chorus and orchestra as appeared on Wednesday, nor has the oratorio ever been given in the colony with more complete effect. There was a very large attendance, notwithstanding that the same oratorio was represented elsewhere. The hall of the Exhibition was crowded, about 900 persons being present . . . The conductor was Mr. C. E. Horsley, and the leader of the orchestra, Mr. W. C. Fisher . . . . . . the oratorio was opened by Mr. Jackman, who gave the recitative, "Comfort ye, comfort ye." This was sung very well, although Mr. Jackman appeared slightly nervous. He had, however, fully recovered himself in the succeeding air, "Every valley," which he sung in excellent style . . . Mr. Exon, who made his first appearance in connection with the society on this occasion, now gave the recitative and air, "He was cut off," and "But thou didst not leave his soul in hell," both of which he sang with taste and effect, securing a round of applause . . .

ASSOCIATIONS: Charles Edward Horsley (conductor); Wilhelm Carl Fischer (violin, leader)


This society gave its first subscription concert for the present year at the Exhibition Building last night. There was a very numerous and fashionable attendance. The oratorio chosen for the occasion was Haydn's magnificent "Creation." The principal vocalists were Miss O. Hamilton, Messrs. Farquharson, Jackman, Edwin Exon, and Silvanus Angus . . . Mr. Exon possesses a moderately sweet voice, but without much power, and consequently did not succeed as wall as we should have liked in the air, "In native worth," in the second part . . . The terzetto, "Most Beautifully Appear," was very pleasantly rendered by Miss Hamilton, Messrs. Exon and Angus . . . Mr. C. E. Horseley [sic] was indefatigable as conductor . . .

[News], The Age (6 March 1863), 5 

One of the best vocal and instrumental concerts which have been heard in Melbourne for some time, was given by Mr. C. E. Horsley at Hockin's Assembly Rooms last evening. The room was tolerably well filled, though teo attendance was not so good as the entertainment deserved. With two exceptions, those of Miss Hamilton and Mr. Angus, the vocalists were all pupils of Mr. Horsley, in the Philharmonic Society, and the success they achieved last night reflects great credit upon him as an instructor . . . Perhaps the gem of the evening was the duet, "I've wandered in dreams," very prettily sung by Miss Bertha Watson and Mr. Edwin Exon, whose voices harmonised very melodiously. Miss Helen Watson and Mr. Jackman also acquitted themselves very creditably, and the concert was an unequivocal success.

ASSOCIATIONS: Bertha and Helena Watson (vocalists); Hockin's Rooms (Melbourne venue)

"MR. HORSLEY'S CONCERT", The Argus (6 March 1863), 5 

. . . Two well-known glees by Mr. W. Horsley, the father of Mr. C. E. Horsley - "By Celia'a Arbour," and "See the chariot at hand" - were given in a style worthy of the composer. The former is one of the loveliest glees ever written, and the careful manner in which it was given shows that it had been well rehearsed by Miss Helen Watson, Mr. Jackman, Mr. Exon, and Mr. Angus, to whom it was entrusted . . .

ASSOCIATIONS: William Horsley (English composer)

"THE PHILHARMONIC SOCIETY'S CONCERT", The Argus (23 March 1864), 5 

The promise given that the Melbourne Philharmonic Society's first concert this season should be an excellent one has been fulfilled. An unusually large audience assembled at the Exhibition-building last evening, to witness the performance of the "Stabat Mater" of Rossini, and Spohr's "Last Judgement" (Der Letzten Dinge), and both, though too little familiar to the audience to be the subject of much searching criticism, were executed so well that the faults were in almost every instance limited to matters of detail . . . The tenor air, "Cujus animam gementem," was sung with much force by Mr. Exon, who was upon the whole hardly up to the music, which he had had to study hurriedly, because of the absence of Mr. John Howson. The duet, "Quis est homo," was exquisitely performed by the Misses Howson, who appeared to have studied it carefully, and certainly always shine when performing together. In "Pro peccavi" Mr. Frank Howson exhibited fine taste . . . Mr. C. Horsley was the conductor, Mr. Gould the organist, and Mr. W. C. Fisher principal violin . . .

ASSOCIATIONS: John Howson (vocalist); Emma and Clelia Howson (vocalists); Frank Howson (vocalist); Thomas Green Goold (organist)

[News], The Argus (6 December 1865), 4

A bazaar, which promises to be a great success, was opened yesterday afternoon in the Exhibition Building, in aid of the funds of the Melbourne Orphan Asylum . . . The bazaar was opened at three o'clock in the afternoon, when about 280 boys and girls, inmates of the asylum, sang several hymns, chants, and rounds with a precision which reflects credit on their instructor, Mr. Exon. After this, selections were given by the Philharmonic Society from "The Messiah" and "The Mount of Olives," Mr. G. R. G. Pringle conducting, and Mr. D. Lee presiding at the organ . . .

ASSOCIATIONS: George Robert Grant Pringle (conductor); David Lee (organist)

"MUSIC", The Argus (23 January 1878), 3s

. . . On the following night a concert was given in the Mechanics' Institute, Emerald Hill, by Mrs. J. Bunce, in which Mrs. Smythe, Miss Christian, Mr. Exon, and Mr. S. Lamble took part. Mr. Edward King was leader of the orchestra . . .

ASSOCIATIONS: Charlotte Bunce (vocalist); Amelia Smythe (vocalist); Mary Ellen Christian (vocalist); Samuel Lamble (vocalist); Edward King (violinist, leader)

"A Friend of Orphans", The Herald [Melbourne, VIC] (7 March 1910), 3 

A true philanthropist is Mr. Edwin Exon, who on Saturday [5 March] celebrated his seventy-seventh birthday, and was congratulated by many friends on his recovery from a serious illness . . .

"DEATHS", The Argus (19 May 1910), 1

EXON. - On the 18th May, at his late residence, "Elizabeth-house," Grenville-street, Hampton, Edwin Exon, late superintendent of the Melbourne Orphan Asylum, aged 77 years.

"PERSONAL ITEMS", The Ballarat Star [VIC] (19 May 1910), 1 

The death of Mr. Edwin Exon occurred at his residence, Grenville street, Hampton, yesterday morning. Mr. Exon, who was 77 years of age, was born in Bath, England, and arrived in Victoria in 1852. In March last Mr. Exon celebrated his 77th birthday, and was congratulated by many friends on his recovery from a serious illness. For half a century Mr. Exon occupied the post of superintendent and secretary of the Melbourne Orphanage, resigning in September last. On that occasion a number of "old boys and girls" of the institution made Mr. Exon a jubilee presentation, which was accompanied by many expressions of esteem. A man of large sympathies, Mr. Exon was rightly placed as superintendent of the Orphanage. In 50 years no fewer than 4000 children passed through his hands, and thousands of others scattered over the State received support from the institution. For many years Mr. Exon enjoyed in his philanthropic work the co-operation of his wife, whose death some time ago robbed the children of the asylum of a true benefactress. Mr. Exon was spoken, of by those who knew him best as a lover of the beautiful and a poet whose verses were remarkable for chastity of thought and purity of expression. He was for some years one of the most regular attendants at the musical section of the South Street Competitions, and was held in high esteem and very cordial regard by many friends in this city.

"MR. EDWIN EXON", Leader (4 June 1910), 22 

We regret to announce that Mr. Edwin Exon died on Monday, 16 May [sic], at his residence, in Grenville-street, Hampden, at the age of 77 years. He was for upwards of fifty years superintendent of the Melbourne Orphan Asylum. He retired from active work last September, having rendered most valuable services to that institution for a half-century and more. In his younger days he was Melbourne's leading tenor, and was always a devotee of music. His other hobby was chess, and until three years ago he took an active part in tournaments and team matches. He was a member of the Melbourne Chess Club, and was at the date of his death the only survivor of those who had helped to found the club in 1866.

Musical and literary works:

The lost flower found and other poems (1862)

The lost flower found and other poems by Edwin Exon (Melbourne: Evans & Foster, 1862) (DIGITISED)

The Victorian jubilee ode (1887)

Ode (1863)


In the evening his Excellency the Governor gave a sumptuous banquet in the Exhibition Building, in celebration of this auspicious event . . .
and during it a selection of popular music was performed by Mr. Johnson's band; and a grand march, composed in honor of the occasion, by Charles E. Horsley, Esq., entitled "Alexandra," was given by the band of the Philharmonic Society most effectively . . . [8] . . .
The following ode was here sung by the members of the Philharmonic Society. The piece was composed in honor of the occasion, by E. Exon, Esq., and the music by Herr Elsasser: -
(Opening Chorus.)
The world attends to mark a joyous scene,
And hear a people of the proudest name,
With solemn joy from heart to heart proclaim,
God hath made one our future King and Queen . . .

The Victorian jubilee ode, written by Edwin Exon, and composed by Alfred Plumpton expressly for the Metropolitan Liedertafel, Melbourne (Melbourne: Allan & Co., [1887]) (DIGITISED)

Lyrical dramas, poems and translations (1888)

Lyrical dramas, poems and translations by Edwin Exon (Melbourne: Samuel Mullen, 1888) 

Poems (1907)

Poems, Edwin Exon (Melbourne: Lothian, 1907) 

Bibliography and resources:

W. A. Carne, A century of harmony: the official centenary history of the Royal Melbourne Philharmonic Society (Melbourne: Royal Melbourne Philharmonic Society, 1954), passim (DOWNLOAD PDF TRANSCRIPT FROM PANDORA)

EYLES, Master (Master EYLES)

Amateur musician, vocalist, theatre singer

Active Melbourne, NSW (VIC), 1842-43 (TROVE tagged by Australharmony) (shareable link to this entry)


[Advertisement], Port Phillip Gazette [Melbourne, NSW (VIC)] (16 February 1842), 2 

THE public is most respectfully informed, that the Amateur performance, in aid of the Melbourne Hospital Fund, will take place
ON MONDAY EVENING, FEB. 21, at the theatre, in Bourke-street.
Previous to the commencement of the performance, the Band will play the National anthem of GOD SAVE THE QUEEN,
To be followed by an appropriate Address, to be delivered by MR. ARDEN.
The performance will commence with the laughable petit comedy, entitled THE WIDOW'S VICTIM,
after which,
A Sailor's Hornpipe, (in character) By a Amateur.
Song - Master Eyles.
Highland Fling, (in character) - by a gentleman Amateur.
The "Steam Arm," - Mr. Buckingham.
The wbole will conclude with the laughable Frace, in one act, called
THE LOTTERY TICKET; or, the lawyer's clerk . . .
The Stage Management under the direction of MR. BUCKINGHAM.

ASSOCIATIONS: George Arden (amateur); George Buckingham (actor, vocalist, manager); Pavilion Theatre (Melbourne venue)

[Playbill], Theatre Royal, Melbourne, 21 February 1842; National Library of Australia (DIGITISED)

See also, "THE CHRONICLES OF EARLY MELBOURNE", The Herald (12 March 1883), 3 

And, "FIRST MELBOURNE THEATRE", The Prahran Telegraph (24 December 1910), 7 

"AMATEUR THEATRICALS", Port Phillip Gazette (23 February 1842), 3 

As announced, the first night's entertainment of amateur theatricals came off on Monday night last, for the benefit of the Hospital Fund . . . Between the pieces Mr. Mossman gave the overture to Fra Diavolo on the accordion . . . Master Eyles sang, with great sweetness and taste, the song, "I've journeyed over many lands." Mr. Conlan dashed with great effect through a sailor's hornpipe. A gentleman whirled through the athletic positions of the highland fling. Mr. Buckingham sung the steam arm to an audience overflowing with laughter, and the curtain slowly descended at 12 o'clock, before a gratified and amused, audience, whose generosity and praise was only equal to the enthusiasm of the amatuers [sic].

ASSOCIATIONS: Samuel Felix Mossman (musician)

MUSIC: I've journeyed over many lands (music by George Taylor)

[Advertisement], Port Phillip Patriot and Melbourne Advertiser (24 February 1842), 3 

THEATRE ROYAL, MELBOURNE. By Special Permission from the Colonial Secretary . . .
the second Amateur performance, in aid of the Melbourne Hospital Fund, will take place
THIS EVENING, FEBRUARY 24, at the Theatre, in Bourke-street.
When will be presented , with new Music, Scenery, Dresses, Decorations, and Machinery - the Music arranged by the Town Band . . .
the whole under the direction of Mr. Buckingham - the Piece entitled Rob-Roy; OR, AULD LANG SYNE . . .
AFTER WHICH, Mr. Mossman has kindly consented to perform several popular airs on the Accordion.
Highland Fling, (in character) - by a gentleman Amateur.
Song, "The Soldier's Tear" - by Master Eyles.
Mr. Buckingham will sing "Nothing" . . .

ASSOCIATIONS: Melbourne Town Band (musicians)

MUSIC: The soldier's tear (music by Alexander Lee)

"AMATEUR THEATRICALS", Port Phillip Gazette (26 February 1842), 3 

On Thursday evening the second and last of the theatrical entertainments announced on behalf of the Melbourne Hospital came off to an immensely crowded house . . . Between the pieces Mr. Mossman again displayed his brilliant and expressive execution on the accordion. Master Eyles sung with his usual sweetness and acceptance. Mr. Harper, in the Highland fling, was also deservedly saluted; while Mr. Buckingham, in the song of "Nothing," was not only encored, but was called on for the "Steam Arm," which he was obliged, however, to decline, from the fatigue he had encountered during the evening in superintending the minutest arrangements of the theatre. At half past one the curtain fell, amidst bursts of applause and cheers that shook the little house to its foundation. The stewards of the theatricals expect to be enabled to hand over about £100 for the benefit of the hospital from the performances of these two nights.

ASSOCIATIONS: Joseph Harper (dancer)

[Advertisement], Melbourne Times (23 April 1842), 3 

AMATEUR THEATRE, Licensed for charitable benevolent purposes.
. . . on MONDAY EVENING NEXT APRIL 25th . . . Buckstone's interesting petit comedy of Our Mary Anne . . .
after which A Comic song - By an Amateur.
A Comic Song - By Mr. Buckingham.
To be followed by the laughable interlude, NO!!
A SONG - Master Eyles . . .

"AMATEUR THEATRICALS", Port Phillip Gazette (27 April 1842), 3 

Monday night, the second occasion on which the theatre has been opened under the present license, was a night of complete success; the house was filled to excess before the expiration of the first piece . . . The entertainments closed at eleven o'clock, having included the performance of "Our Mary Anne," the interlude of "No," and the "Queer "Subject" interspersed with singing from Eyles and Buckingham.

[Advertisement], Port Phillip Gazette (11 May 1842), 2 

. . . on MONDAY EVENING NEXT, May 16th, will be performed,
for the first time in this province, the Grand Eastern spectacle,
with New Dresses, Scenery, Music, Machinery, and Decorations,
founded on those popular tales, the Arabian Nights, and entitled
MARRIED & BURIED; or, The Shipwrecked Cockney . . .
AFTER WHICH, MR. MOSSMAN Has kindly consented, for this night only, to perform some of the most popular Airs on the Accordion.
AN ENTIRE NEW COMIC DANCE (entitled "Me and my Lady,") MR. HARPER.
THE "OLD MAID," (in character) - MRS. AVINS.
SONG ("I've journeyed o'er many Lands,") - MASTER EYLES.

ASSOCIATIONS: Julia Avins (actor, vocalist); Miss Sinclair (vocalist)

[Advertisement], Port Phillip Gazette (8 June 1842), 2 

TOMORROW EVENING, - June 9, 1842 . . .
"When I beheld the Anchor weigh'd," by an Amateur.
"Dramatic Maniac" - by Mr. Miller.
"Larry O'Brien" (in character) by an Amateur.
"She wore a Wreath of Roses," (first time) Master Eyles . . .

ASSOCIATIONS: John Davies (actor); William John Miller (actor, vocalist)

MUSIC: She wore a wreath of roses (music by Joseph Philip Knight)

[Advertisement], Port Phillip Patriot and Melbourne Advertiser (16 June 1842), 3 

AMATEUR THEATRE, Licensed for charitable und benevolent purposes.
THIS EVENING, the 16th instant, will be performed the operatic farce of No Song No Supper;
AFTER WHICH, Song, "The Dramatic Maniac," by Mr. Miller.
"Larry O'Brien," by an amateur.
"She Wore a Wreathe of Roses," Master Eyles.
Comic dance, "Me and My Lady," Mr. Harper . . .
GEO. BUCKINGHAM, Stage Manager.

[Advertisement], Port Phillip Patriot and Melbourne Advertiser (30 June 1842), 3 

will be performed, by special request of the St. Andrew's Society of Australia Felix, the favorite Scottish Drama of
Rob Roy; OR, AULD LANG SYNE, With new music, scenery, dresses, and decorations . . .
After Which, by particular desire, Mr. Mossman will play several popular airs on the Accordion.
A favorite Scottish Song, by a gentleman who sang with unbounded applause at the Dinner of the St. Andrew's Society, on the anniversary of the Battle of Bannockburn.
The Highland Fling (in character), Mr. Harper.
"I've journeyed over many lands," Master Eyles.
A variety of popular airs on the Scottish Bagpipes, by a Gentleman Amateur, who has kindly consented to play on this occasion . . .

"THEATRE", Port Phillip Gazette (3 December 1842), 2 

Miss Warman's benefit took place on Thursday evening, when that young lady made her appearance as Clari in the Maid of Milan. First-rate acting cannot be expected in so youthful a performer; but in her very difficult part, Miss Warman displayed two of the most important qualities of an actress, namely - sensibility and remarkable confidence . . . The performance did not commence until after nine: somebody must be to blame for that. Master Eyles sang a new song and gave it well. The performance terminated with the Spitfire at a late hour.

ASSOCIATIONS: Miss Warman (actor)

EZOLD, William (Friedrich August Wilhelm EZOLD; Frederick August William EZOLD; William EZOLD)

Pianoforte maker, repairer, and tuner, store keeper, dairy farmer, justice of the peace

Born Ronneburg, Saxe-Altenburg (Germany), c. 1838
Arrived Melbourne, VIC, 1876 (per Whampoa, from London, 24 May 1876, aged "40")
Married Johanna DIENER, NSW, 1890
Died Macksville, NSW, 23 October 1907 (TROVE tagged by Australharmony) (shareable link to this entry)



Names and descriptions of passengers per Whampoa, from London, 24 May 1876, for Melbourne; Public Record Office Victoria (DIGITISED)

. . . Ezold William / 40 / Miner / . . .

[Advertisement], The Argus [Melbourne, VIC] (4 September 1876), 8 

Have in their employ the FOUR BEST TUNERS in the COLONY, The staff consisting of

ASSOCIATIONS: George Griffith (tuner); Nicholson and Ascherberg (musicsellers)

[Advertisement], Evening News [Sydney, NSW] (1 August 1877), 3 

William Ezold. PRACTICAL PIANO MAKER, First Class Tuner, &c.
English, French, and German Pianos repaired, tuned at moderate charges, and guaranteed to give satisfaction.
All orders to the following addresses will receive personal attention: -
Wm. EZOLD, care of M. E. R. Kriegsman, 261, Crown-street, Surry Hills;
Wm. EZOLD, care of Messrs. Reading and Co., 356, George-street, Sydney;
Wm. EZOLD, care of Messrs. P. E. Reynolds, 426, George-street;
private residence, 215, Goulburn-street, Surry-Hills.

Certificate of naturalization, Fredrick August William Ezold, 1896; State Records Authority of NSW, NRS 1040 (PAYWALL)

Whereas . . . Fredrick August William Ezold of Macksville, Nambucca River, a native of Ronneburg, Saxe-Altenburg, Germany, aged 58 years . . . a Storekeeper . . . arrived in the Colony of New South Wales by the ship Womboa in the year 1878 [sic] and who has resided in the colony for 18 years . . .
GIVEN . . . this [2 April 1896] . . .

"Macksville Courts", The Raleigh Sun [Bellingen, NSW] (1 November 1907), 4 

The following cases were disposed of at this Court on Wednesday before the Hon. E. A. T. Pery, P.M. Before commencing the business of the court the P.M. expressed his sorrow for the loss sustained by the death of Mr. Wm. Ezold, J.P., one of the oldest Justices in the district, whom Mr. Pery said he looked upon as a personal friend, whom he admired for his straightforwardness. Mr. J. H. Huttmann, J.P., and Constable Reen also spoke in terms of praise of the good qualities possessed by the late Mr. Ezold . . .

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