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A biographical register of Australian colonial musical personnel–F (Fa-Fiz)

Dr GRAEME SKINNER (University of Sydney)


To cite this:

Graeme Skinner (University of Sydney), "A biographical register of Australian colonial musical personnel–F (Fa-Fiz)", Australharmony (an online resource toward the history of music and musicians in colonial and early Federation Australia):; accessed 6 March 2021

- F - (Fa-Fiz)

Introductory note:

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

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

A major upgrade of the contents of this page was completed in May 2020, and newly added documentation (including genealogical data) and Trove tagging now brings the page content up to 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.

FABRIS, Cristofero (Cristofero FABRIS; Signor FABRIS)

Professor of singing

Born Italy, c. 1840
Arrived Sydney, NSW, 14 November 1876 (per St. Osyth, from London)
Died Sydney, NSW, 8 May 1893, aged 60 (TROVE tagged by Australharmony) (shareable link to this entry)

FABRIS, Leonora (Leonora FABRIS; Signora FABRIS)

Professor of singing, contralto vocalist

Born Milano, Italy, 1839
Arrived Sydney, NSW, 14 November 1876 (per St. Osyth, from London)

Died Woollahra, NSW, 14 April 1910, aged 70 (TROVE tagged by Australharmony) (shareable link to this entry)


"DEATH OF SIGNORA FABRIS", Evening News (15 April 1910), 3 

Signora Leonora Fabris, formerly a wellknown operatic singer in Italy and in Australia, died at her residence, Queen-street, Woollahra, on Thursday. The lady had reached her 70th year, and had enjoyed good health until a week ago. She came to Australia in 1876 as principal contralto of Lyster's Italian Opera Company, and became a great popular favorite. After retiring from the stage Signora Fabris taught singing, and was regarded as a most successful tutor. Among the more distinguished of her pupils was Mme. Amy Sherwin, the "Tasmanian Nightingale."


FAHEY, Edward (Edward FAHEY; Mr. E. FAHEY)

Bassoon player, bandsman (12th Regiment, no. 1172)

Regiment arrived Melbourne, VIC, 18 October 1854 (per Camperdown, from Cork, 8 July)
Arrived Hobart, TAS, January 1856
Arrived Sydney, NSW, April 1858 (shareable link to this entry)

ASSOCIATIONS: Band of the 12th Regiment; Sydney University Musical Festival


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

SYDNEY UNIVERSITY MUSICAL FESTIVAL . . . SOLO BASSOON, Mr. J. WINTERBOTTOM. 1st BASSOON - Mr. E. Fahey, 12th Regiment. 2nd BASSOON - Mr. G. Wright, 12th Regiment . . .

[Advertisement], Empire (12 June 1860), 8 

Prince of Wales Theatre, Sydney, Tuesday Morning, May 22nd, 1860.
WE, the undersigned, professors of music, vocal and instrumental, and also the chorus engaged in the forthcoming Opera, season, deem it a bounden duty, taking into consideration an article appearing in this morning's Empire, to protest against the ability of Sig. CUTOLO, as a conductor of grand opera, at the same time believing him to be, without doubt, an excellent pianist; but from inexperience, unable to wield the baton as conductor.

FAHEY, Patrick (Patrick FAHEY)

Drummer, 12th regiment (in Australia, 1854-63), later Drum major (1st/12th Regiment)

Born Ireland, c. 1832
Regiment arrived Melbourne, VIC, 18 October 1854 (per Camperdown, from Cork, 8 July)
Arrived Hobart, TAS, January 1856
Arrived Sydney, NSW, April 1858
Departed Sydney, NSW, 22 September 1863 (per Curacoa, for New Zealand)
Died Sydney, NSW, 14 May 1899, aged 67 (TROVE tagged by Australharmony) (shareable link to this entry)

ASSOCIATIONS: Band of the 12th Regiment


1851, 30 March, England census, Chatham; UK National Archives, HO 107/1611 (PAYWALL)

Patrick Fahey / 19 / [Drummer Army] / [born] Kerry Tralee

1871, England census, Fulwood Barracks, Fulwood, Lancashire; UK National Archives, RG 10 / 4218 (PAYWALL)

Patrick Fahey / Married / 39 / Corporal / [born] Tralee, Ireland
Naomi [Fahey] / Wife / 38 / - / [born] Kilkenny Ireland

"In memoriam", The Sydney Morning Herald (14 May 1901), 1 

FAHEY - In loving memory of Patrick Fahey, who died at his residence, Liverpool-street, Hyde Park, May 14th, 1899, aged 67, late drum major 1st, 12th Regt., N. Mayo Militia, and Irish Rifles. Inserted by his wife and daughter, N, and M. Fahey.

"DEATHS", The Sydney Morning Herald (1 April 1930), 10

FAHEY - March 31, 1930 at the residence of her son-in-law Edward Palmer, Narrabeen North. Naomi Beulah widow of the late Patrick Fahey Drum-Major of the 12th Regiment East Sussex, England and beloved mother of Mrs. Nellie Carter. of Arncliffe; Mrs. Minnie Palmer of Narrabeen North, Edgar Fahey, and the late Edward Fahey, in her 92nd year.


Bass-baritone vocalist, vocal and choral trainer

Arrived Adelaide, SA, 1 July 1894 (shareable link to this entry)



"ADELAIDE COLLEGE OF MUSIC", The Advertiser (2 July 1894), 6

"MR. AND MRS. FAIRBAIRN", South Australian Register (28 March 1900), 6 



Active Sydney, NSW, 1855 (shareable link to this entry)


[Advertisement], Empire (30 June 1855), 1 

MISS BARMANN [sic] and Mrs. FAIRBURN beg to inform their friends and the public, that they intend giving a musical Soiree on WEDNESDAY next, July 4th, 1855, when they will be assisted by several ladies and gentlemen of talent.
Programmes will appear on day of Concert.
Tickets, 2s. 6d. each, may be had of Miss BARMANN, 63, Burton-street, South Head-road; or of Mrs. FAIRBURN, 84, Crown-street, Woolloomooloo.

[Advertisement], Empire (4 July 1855), 1 

THE PUBLIC are respectfully informed that Miss BASMANN and Mrs. FAIRBURN'S
CONCERT takes place, THIS EVENING, when they will be assisted by the following talented Artistes: -
The celebrated tenor Mr. Fairchild, Mr. Stewart, and Miss A. Hart, her first appearance as vocalist.
Ballad - "Lurline" (by desire), Miss Basmann.
Song - "What will they Say in England," Mr. Stewart.
Ballad - "My Own, my Lovely Bride," Mrs. Fairburn.
Duet - "The Gipsy Countess," Miss Basmann and Mr. Stewart.
Ballad - "Madoline," Mr. Fairchild.
Song - "The Old House at Home," Miss A. Hart.
Solo, Pianoforte - "La Parisienne" (by Herz), Miss Basmann.
Song - "Cheer! Boys, Cheer!" Mr. Stewart.
Duet - "What are the Wild Waves Saying?" Miss Basmann and Mr. Fairchild.
Song - "I'm Thinking now of Thee, Jamie," Mrs. Fairburn.
Aria - "Tyrolienne" (first time in Sydney), Miss Basmann.
Recitative and Air - "Death of Nelson," Mr. Fairchild.
Scottish Song - Mr. Fairburn.
Aria - "Oh! For an Eagle's Pinions" (Lucia di Lammermoor), Miss Basmann.
Ballad - Miss A. Hart.
Duet - "A. B. C," Miss Basmann and Mr. Stewart.
Doors open at a quarter to 8 o'clock, to commence at 8. Admission, 2s. 6d.

[Advertisement], The Sydney Morning Herald (18 July 1855), 1 

SCHOOL OF ARTS. - Miss BASMANN and Mrs. FAIRBURN beg most respectfully to inform their friends and the public that their
second CONCERT will take place at the above institution, on WEDNESDAY evening next, 18th July.
They will be assisted by the celebrated tenor, Mr. J. Fairchild; Mr. Stewart; and the renowned comic singer, Mr. Frederick Sams; and Miss A. Hart, her second appearance as vocalist.
Duet, Piano - Overture (Barnett)
Cavatina - I'm a merry Zíngara - Miss Basmann
Song - The Flag of the Free - Mr. Stewart
Scotch Song - The Highland Laddie - Mrs. Fairburn
Irish Ballad - Savourneen Deelish - Mr. Fairchild
Ballad - Will you love me then as now - Miss A. Hart
Solo, Piano - Bunce's Address (Panorma) - Miss Basmann
Song - Not married yet - Miss A. Hart
Comic Song (in character) - The wretched little man - Mr. F. Sams
Tyrolienne - I meet her on yon mountain way - Miss Basmann
Song - The Bloodhound - Mr. Fairchild
Comic Duet - Mr. and Mrs. Smith - Miss Basmann, Mr. Stewart
Piano Solo - Vive tu (Dohler) - Miss Basmann
Ballad (by desire) - I'm thinking now of thee, Jamie - Mrs. Fairburn
Descriptive Song - The Soldier's Wife - Mr. Stewart
Aria (by particular desire) Oh! for an Eagle's pinions - Lucia di Lammermoer - Miss Basmann
Comic Song (in character) - The Irishman - Mr. F. Sams
Irish Song - Kate Kearney - Miss A. Hart
Aria - The Soldier tired - Miss Basmann
Irish Ballad - Molly Bawn - Mr. Fairchild
Comic Duet (by particular desire) A.B.C. - Miss Basmann, Mr. Stewart.
Doors open at half-past 7, to commence at 8 precisely. Admission, 2s. 6d. each.

MUSIC: My own, my lovely bride (Klitz); The highland laddie; I'm thinking now of thee Jamie (Stephen Glover);

ASSOCIATIONS: Wilhelmina Basmann; Joseph Fairchild; Richard Stewart; Frederic Sams; Ada Hart

[Advertisement], The Sydney Morning Herald (16 July 1857), 1 

AS NURSE to one or two children, or Young Lady's Maid, a respectable Person, with 15 months' good character. Address X. Y. Z, care of Mrs. Fairburn, 86, Crown-street, Woolloomooloo.

FAIRCHILD, Joseph William (senior) (Joseph William FAIRCHILD; Joseph FAIRCHILD, J. FAIRCHILD; ? alias London c. 1848, "Mr. FAULKNER")

Tenor (? basso) vocalist, concert manager, pianist, piano tuner, pianoforte maker, banjo player, actor

Born London, England, 20 June 1810; baptised St. Mary's, Lambeth, 2 June 1811, son of Joseph and Elizabeth FAIRCHILD
Married (1) Ann GARRETT (d. c. 1834), St. John the evangelist, Lambeth, England, 22 August 1829
Married (2) Elizabeth DUNAWAY (1811-1872), St. James's church, Paddington, 10 August 1834
Arrived Melbourne, VIC, 16 November 1852 (immigrants per Delgany, from London, 30 July)
Married (3) Charlotte PLANT (c. 1815-1880), VIC, 1873
Died South Yarra, VIC, 5 July 1885, aged 75 (TROVE tagged by Australharmony) (shareable link to this entry)

FAIRCHILD, Joseph William (junior 1)

Piano tuner, pianoforte maker, music seller

Born Marylebone, London, England, 1833; baptised St. Mary's church, Lambeth, 6 March 1833, son of Joseph FAIRCHILD senior and Ann GARRETT
Married Emily TOTTERDALE (1837-1913), St. Pancras's church, London, England, 10 March 1860
Arrived Melbourne, VIC, 27 March 1869 (per Gresham, from England)
Died Sandhurst, VIC, 6 March 1870, aged 37 (TROVE tagged by Australharmony) (shareable link to this entry)

? FAIRCHILD, Joseph William (? junior 2) (Joseph William FAIRCHILD)

Born Lambeth, London, 1835; baptised St. Mary's church, Lambeth, 16 August 1835, son of Joseph FAIRCHILD senior and Elizabeth DUNAWAY
? Arrived Melbourne, VIC, by October 1853


Marriages solemnized in the district and parish of St. John the evengelist Lambeth . . . in the year 1829; London Metropolitan Archives (PAYWALL)

Joseph Fairchild of this parish bachelor / and Ann Garrett of this parish spinster / were married in this church by banns . . . this twenty second day of August [1829] . . .

Baptisms solemnized in the parish of St. Mary, Lambeth . . . in the year 1833; London Metropolitan Archives (PAYWALL)

No. 1903 / [1833] Mar. 6 / Joseph son of / Joseph & Ann / Fairchild / Brook St. / Pianoforte maker . . .

Marriages solemnized in the district and parish of Paddington . . . in the year 1834; London Metropolitan Archives (PAYWALL)

Joseph Fairchild of this parish bachelor / and Elizabeth Dunaway of this parish spinster / were married in this church by banns . . . this tenth day of August [1834] . . .

1841 England Census; Middlesex, St. Pancras, Regents Park, District 4, shedule 27, 47; UK National Archives (PAYWALL)

Mary Street / Joseph Fairchild / 30 / Pianoforte maker
Elizabeth [Fairchild] / 25
Joseph [Fairchild] / 6
Elizabeth [Fairchild] / 3
Frederick [Fairchild] / 19 months
Jane [Fairchild] / n.k.

? "INSOLVENT DEBTORS COURT, JUNE 30", Morning Advertiser [London] (1 July 1848), 4

. . . IN RE JOSEPH FAIRCHILD. This insolvent, known by the name of Faulkner, one of the Ethiopian Serenaders, was opposed by Mr. Peel, a printer, and a Mr. Winch. The insolvent had put Mr. Peel to 48l. law costs in an action on debt of 31l., and had, it was alleged, improperly contracted a debt to Mr. Winch. The Court remanded the insolvent to the full period of the discretionary clause, viz., six months.

The British colonies . . . home-colonial directory of manufacturers . . . (London: John Tallis and Company, [1851]), 6 

FAIRCHILD, J., & Co., Pianoforte Manufacturers (for extreme climates), 200, High Holborn.

"POLICE. MANSION HOUSE", London Evening Standard (8 August 1851), 4

Messrs. William and Edward Thomas, of Leadenhall-street, auctioneers, appeared before Sir Peter Laurie, upon a summons "for that they, being brokers and dealers in second hand property, were in the possession of certain goods, viz., a pianoforte, unlawfully obtained from Mr. Joseph Fairchild, of High Holborn, pianoforte-maker, and unlawfully deposited with them by a person named Metz" . . . Mr. Joseph Fairchild, the complainant, said, - In the month of June last an application was made to me by Mr. Metz for the hire of a pianoforte, and I agreed to let him have one on hire at 12s. a month I sent it to his house on the 17th of June. The book which I produce purports to be the receipt for the pianoforte. I received 12s. in advance on the same day, and on the 17th of July I went again for another 12s. for another month's hire. I then ascertained that the pianoforte was not in the house. I demanded it, and did not succeed in getting possession of it. In consequence of information which reached me I went to the auction-rooms of the defendants. My name was on the pianoforte when I parted with it, but it has since been obliterated, and the part on which the name was inscribed has been newly polished. The value of the instrument was 14l. A Mr. Webb went with me to the auction-rooms. On Monday last I saw Mr. E. Thomas at his place of business, and I there saw my pianoforte, which has upon it the number corresponding with the number in my book. I required the delivery of it to me. He said that he could not part with it, having advanced 16l. upon it. I asked him what inquiries he had made respecting Metz, and he replied that he was perfectly satisfied with the inquiries he had instituted. Cross-examined. - I did not know Metz till I lent the pianoforte. Nothing was said to Metz about the sale. The purchase of it was never mentioned. I had made inquiries about the respectability of Metz. I have never seen him since I lent the instrument to him. He applied to Mr. Webb for another pianoforte three weeks after he had received mine. Mr. Webb, I believe, had the same reference. I had no reason to believe that Mr. Webb's pianoforte was of my make. I learned from Mr. Webb that Metz had got another pianoforte. Mr. Thomas told me that my pianoforte and another had been brought to him for sale. I do not recollect that he said my pianoforte was bought in at 15l. I had not written for payment of the value of the piano. Mr. Metz is away, and I cannot find him. Nobody was present when Metz came to borrow the instrument from me . . .

"POLICE. MANSION HOUSE", London Evening Standard (17 October 1851), 4

Josiah Westley, bookbinder of Blackfriars, was brought . . . upon charges of having forged bills of exchange . . .
[Witness statement] Mr. Joseph Fairchild, jun.: I reside with my father, who carries on the business of a pianoforte maker at No. 200, High Holborn. We have lived there a little more than three years . . .

[Advertisement], The Argus (15 October 1853), 8 

QUEEN'S THEATRE - Barlow's Farewell Concert. To-night. A Grand Vocal Instrumental Concert, comprising characteristic illustrations of English and Irish Life, also genuine delineations of Negro Character, by Mr. Barlow . . . The following Talented Performers will appear: - Mons. Paltzer Sivorini, late premier violinist in the orchestra of the King of the Belgians, and pupil of De Beriot. Mis Louisa Urie. Mr. Thomas Dixon, Tenor. Mr. George Stanley, who will sing Russell's celebrated scene, The Ship of Fire. Mr. J. Fairchild, Basso, Mr. A. Oakey, late pianist to the Duchess of Kent, will preside at the Grand Pianoforte, PROGRAMME - PART FIRST . . . Song - When I behold the Anchor - Mr. J. Fairchild . . .

MUSIC: When I behold the anchor weigh'd (Balfe, from The siege of Rochelle)

ASSOCIATIONS: Robert Barlow; Alfred Oakey; Louisa Urie; Jacques Paltzer

[Advertisement], Empire (30 January 1854), 1 

The Promenade Gallery . . . will be Opened THIS DAY to Subscribers, with the First of a Series of Musical Entertainments, which will be continued three time a-week . . .
Duet, - Misses Mackenzie, "A Knight and a Lady." - Barnett.
Song. - Mr. J. Fairchild, "Tom Bowling," Dibdin.
Song. - Miss Flora Harris.
Song. - Mr. W. J. Palmer, "Advance Australia," -
Ballad. - Mr. F. D. Mackenzie [sic], "I Love the Maid for loving me," Rodwell
Song. Mr. Turner, "In happy moments," W. V. Wallace.
Serenade. - Mr. H. Mackenzie, "Wake, lady love," - Self [i.e. H. Mackenzie]
Ballad. - Mr. J. Fairchild, "Wapping old stairs," Percy.
Song. - Miss Flora Harris.
Fantasia on the Pianoforte, Mr. F. G. Lees [sic].
Song. - Mr. F. D. Mackenzie, "The White Squall," Barker.
Song. - Mr. Turner, "Madoline," Nelson.
Song. - Mr. W. J. Palmer, "Maids of happy Sydney."
Song. - Mr. H. Mackenzie, " Never give up," - Self.
Music to commence precisely at 3 o'clock . . .

MUSIC: Poor Tom Bowling (Dibdin); Wapping old stairs (Percy)

ASSOCIATIONS: Harry Mackenzie; Tom Dight Mackenzie; Flora Harris; W. J. Palmer; F. E. Lees; John Turner

[Advertisement], The Sydney Morning Herald (18 February 1854), 1 

MR. W. I. PALMER'S Grand Evening Concert, Royal Hotel, MONDAY, 20th February . . . PROGRAMME. PART 1. - Glee, "The Gipsies' Tent," Mrs. Hancock, Mr. W. I. Palmer, and Mr. Hancock, (T. Cooke); song, "You'll remember me," (Bohemian Girl) Mr. Fairchild (Balfe) . . .
PART 2, - Song, "Queen of Evening," Mr. W. I. Palmer, (Nathan); song, "The Wishing Gate," Mrs. Hancock, (Sporle); song, "Wapping Old Stairs," Mr. Fairchild, (Dibdin) . . .

MUSIC: You'll remember me (Balfe)

ASSOCIATIONS: Mr. and Mrs. Edward Hancock

"Mr. PALMER'S CONCERT", The Sydney Morning Herald (22 February 1854), 4 

In enumerating Mr. Palmer's assistants, yesterday, we accidentally omitted the name of Mr. Fairchild, a debutant, who obtained a warm encore in the characteristic song, "Wapping Old Stairs."

[Advertisement], Empire (23 March 1854), 1 

ROYAL POLYTECHNIC EXHIBITION, corner of Pitt and Bathurst streets, open EVERY EVENING; with a grand Dissolving Panorama of a series of magnificent views, from the shores of England, across the continent of Europe to Turkey and the Holy Land, accompanied by vocal and instrumental performances. Programmes will be issued at the doors. The exhibition will conclude with a most brilliant display of Chromatropes.
Glorious Apollo - Glee
I'm Afloat, Song, Mr. Hancock.
The Bay of Biscay, Song, Mr. Fairchild . . .
Ave Maria, Song, Mrs. Hancock . . .
Oh Summer Night, Song, Mr. Fairchild . . .
SECOND PART . . . When other Lips, Song, Mr. Fairchild . . .

MUSIC: The bay of Biscay (Davy); Oh summer night (Donizetti, arr. Callcott); When other lips = Then you'll remember me (Balfe)

[Advertisement], Illustrated Sydney News (29 April 1854), 12 

BAZAAR, ROYAL HOTEL. FOR One Night only. M. WINTERBOTTOM will give his GRAND MUSICAL FESTIVAL, on MONDAY, May 1st. Vocalists - Miss Flora Harris, Mrs. Hancock, Messrs. Howson, Hancock, Fairchild, and Winterbottom . . . Pianists - Messrs. Packer and Emanuel.
PROGRAMME. - PART I . . . Ballad - "I'm leaving thee Annie." - Wilson. - Mr. J. Fairchild.

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

ASSOCIATIONS: John Winterbottom; Abraham Emanuel; Charles Packer

[Advertisement], The Sydney Morning Herald (28 October 1854), 1 

ROYAL HOTEL.-Great Attraction for a limited number of nights. Grand Promenade Concerts (a la Jullien), will take place in the Bazaar, every Evening, commencing MONDAY, October 30. Full Band from the Royal Gardens, Vauxhall, London, conductor, Herr Kruse. Principal vocalists, Miss Flora Harris, Mr. Hancock, and Mr. J. Fairchild. Pianist, Mr. Emanuel . . . Good vocalists wanted Apply to J. FAIRCHILD, Bazaar.

[Advertisement], The Sydney Morning Herald (15 March 1855), 8 

PIANOFORTES Tuned and Repaired, in any part of the colony, by J. FAIRCHILD, 51, Stanley-street, Woolloomooloo.

[Advertisement], The Sydney Morning Herald (26 March 1855), 1 

J. FAIRCHILD, Pianoforte Tuner and Repairer, at the solicitation of several families, intends visiting Parramatta on WEDNESDAY next, 28th instant. Orders left at the Post Office punctually attended to.

[Advertisement], The Sydney Morning Herald (18 July 1855), 1 

[Advertisement], The Sydney Morning Herald (18 July 1855), 1 

SCHOOL OF ARTS. - Miss BASMANN and Mrs. FAIRBURN beg most respectfully to inform their friends and the public that their
second CONCERT will take place at the above institution, on WEDNESDAY evening next, 18th July.
They will be assisted by the celebrated tenor, Mr. J. Fairchild; Mr. Stewart; and the renowned comic singer, Mr. Frederick Sams; and Miss A. Hart, her second appearance as vocalist.
PROGRAMME. - PART I . . . Irish Ballad - Savourneen Deelish - Mr. Fairchild . . .
Song - The Bloodhound - Mr. Fairchild . . .
PART II . . . Irish Ballad - Molly Bawn - Mr. Fairchild . . .

MUSIC: Savourneen Deelish (arr. Nelson); The blood hound (Neukomm); Oh! Molly Bawn (Samuel Lover)

ASSOCIATIONS: Wilhelmina Basmann; Mrs. Fairburn; Richard Stewart; Frederic Sams; Ada Hart

[Advertisement], The Sydney Morning Herald (19 July 1855), 1 

Mr. J. FAIRCHILD has the honour to announce to the inhabitants of Wollongong, that he intends giving three Grand Evening Concerts, on MONDAY, TUESDAY, and WEDNESDAY, July 23, 24, and 25, at Mr. OSBORNE'S Commercial Hotel, on which occasion he will be assisted by Miss Bassman, a pianist and vocalist of high standing, Mademoiselle Lorette from the Royal Academy of Music, London, and late of the Victoria Theatre, Sydney; A celebrated comic singer, delineator, and comedian, from the Melbourne and Geelong theatres, who will appear in character in several of his favourite songs and extravaganzas. Mr. Fairchild will also introduce several songs and ballads, which have been so favourably received by the elite of Sydney and Melbourne.
Cards of admission: - Front seats, 4s.; back seats, 2s. To be had at the Hotel. Doors open at 7, to commence at half-past. For programmes see small bills. F. HARRINGTON, manager.

[Advertisement], The Sydney Morning Herald (20 July 1855), 1 

Mr. J. FAIRCHILD has the honour to announce to the inhabitants of Wollongong and Dapto that he intends giving Grand Evening Concerts, on MONDAY, TUESDAY, and WEDNESDAY, 23rd, 24th, and 25th instant, at Mr. OSBORNE'S Commercial Hotel, Wollongong; and THURSDAY and FRIDAY, the 20th and 27th Instant, at Mr. G. W. Brown's, Dapto. Mr. J. Fairchild will be assisted by Miss Basmann . . . Mademoiselle Lorette . . . and Mr. Frederick Sams, a celebrated comic singer, delineator, and comedian, from the Melbourne and Geelong theatres . . .

"MUSICAL NOTICE", Bathurst Free Press and Mining Journal (21 July 1855), 2 

We are happy to be able to inform our readers that Mr. Fairchild who has gained some celebrity as a Tenor singer at the different concerts in Sydney, Miss Bassman a pianist and vocalist of high standing and Mademoiselle Lorette, from the Royal Academy of music, London, and late of the Victoria Theatre, Sydney, intend shortly visiting Bathurst and the adjacent towns, the particulars of which will be advertised in our columns. This company have also secured an addition in the person of Mr. Frederic Sams, a celebrated comic singer, delineator and comedian, from the Melbourne and Geelong theatres, who will appear in character in some of his favourite songs, and extravaganzas. - Communicated.

"SYDNEY", Geelong Advertiser and Intelligencer [VIC] (26 July 1855), 2 

. . . Mr. J. Fairchild intends holding concerts at Wollongong, Dapto, Kiama, and Shoalhaven . . .

[Advertisement], The Sydney Morning Herald (10 August 1855), 1 

POLYTECHNIC - The laughter creating and sidesplitting comic songs by Mr. FREDERICK SAMS, the celebrated comedian, at Fairchild's Concert, THIS EVENING, Friday.
ROYAL POLYTECHNIC, Pitt-street. - FAIRCHILD'S grand and unique entertainment. This Night only.
MR. J. FAIRCHILD'S MUSICAL MELANGE, at the Polytechnic, THIS FRIDAY EVENING, August 10. concluding with Love's Stratagems. See programme. This Day.

"SHOALHAVEN [FROM OUR CORRESPONDENT] OUR FIRST PUBLIC CONCERT", The People's Advocate and New South Wales Vindicator (11 August 1855), 5 

There are few events occurring in the history of a young district, that speak more intelligibly of the public opinion of the social position of its People, than professional singers and theatricals venturing from the gay and crowded city, to "fret an hour " upon a temporary country stage. They naturally enquire what sort of a place Shoalhaven is, before they risk a fruitless expenditure of their talents and time, and, no doubt, learn that it is populous; and peopled by a thriving intelligent, enlightened, and generous people, who will appropriately reward such professional exertions to please, amuse, and instruct them: hence, Fairchild's Concerts, and well selected programme, were elaborately put forth in placards and handbills, and hence Mr. Fairchild with his talented and well conducted company, favoured us with their appearance on the 1st instant, and I am happy to say that their expectations on this first occasion, were fully and liberally responded to, the room being crowded with the elite and fashion of the district . . .

Mr. J. Fairchild's "Gone is that Calmness," was a great treat; there is a gentle sweetness, and delicacy of taste in his tone, cadence, and expression. which are most pleasing to the lover of sweet plaintive ballads; and well he sustained his excellence throughout his various performances, such as, "The Australian Emigrant," "Tom Bowling," and other favourite sea songs, "Molly Bawn," and not least in excellence of execution, and artistic style, "Shells of the Ocean" . . .

On Monday the 6th there will be a Ball, and on Tuesday Mr. Fairchild and Company take their departure: we all wish them a pleasant and happy trip, and success in their wanderings, not forgetting a happy return after Christmas. By the bye of this same trip to Shoalhaven, it is eminently due to the Sydney Manager and Directors of the Nora Creina steamer to return them public thanks for their liberality, and well conceived generosity in giving the Concert Company a free passage; they considered, and conceived judiciously and truly, that such visitors would not only be of much service to the district in giving it greater public notoriety; but be a great source of amusement, instruction, and rational pleasure to the inhabitants . . .

[2 advertisements], The Sydney Morning Herald (11 August 1855), 1 

PARRAMATTA. - Fairchild's Musical and Theatrical Entertainments. - Mr. J. FAIRCHILD has the honour our to announce that he will give one of his celebrated Vocal Entertainments, concluding with the screaming farce of LOVE'S STRATAGEMS, at Mr. C. New's, Royal Oak Inn, on MONDAY EVENING, August 18th, when he will be assisted by his talented company of ladles and gentlemen, including Mr. Frederick Sams, the celebrated comic singer, delineator, and comedian. See bills. Admission, 4s.

LIVERPOOL. - Theatricals for the first time in Liverpool. - FAIRCHILD'S talented company will give one of their inimitable entertainments, concluding with the roaring musical farce of "The Loan of a Lover," at Mrs. Graham's (late Royal George) Inn, on TUE8DAY EVENING, August 14th. Come and hear the side-splitting comic songs of Mr. Frederic Sams, the celebrated comedian. Admission, 4s.

[Advertisement], The Sydney Morning Herald (16 August 1855), 1 

WINDSOR, RICHMOND, WILBERFORCE, and PENRITH. - Theatricals for the first time. Mr. J. FAIRCHILD and his talented company of vocalists and comedians will visit the above places in a few days, commencing with Windsor on FRIDAY, the 17th instant.

"PUBLIC AMUSEMENTS IN BATHURST", Bathurst Free Press and Mining Journal (15 September 1855), 2 

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

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

Pianofortes Tuned, &c. J. FAIRCHILD (practical tuner and Piano forte maker) will remain only a few days in Bathurst. Parties requiring his services by addressing him at the Office of this paper will be attended to. Terms for tuning within two miles of Bathurst, one guinea.

Victoria, c. 1856-57 onwards

"THE CORONER", The Age (26 March 1857), 5 

. . . Edwin Fairchild, son of Mr. Joseph Fairchild, piano-forte maker, Prahran, stated that he, Frank Howard, and deceased, were in the South Park the previous afternoon shooting birds with a gun which belonged to his brother . . .

[Advertisement], Ovens and Murray Advertiser [Beechworth, VIC] (9 April 1858), 3 

MOONEY'S NATIONAL CONCERTS Will open at Mooney's Hotel, Ford Street, Beechworth, opposite the Post Office, On Saturday Night.
Artistes - Messrs. Troy Knight, Joseph Fairchild, W. Percy, Mr. Ruxton, Piano Forte.

"SHAMROCK CONCERT HALL", Bendigo Advertiser (11 January 1859), 3 

. . . Madame Vitelli . . . was assisted by Messrs. Thatcher and Fairchild, who materially enhanced the success of the evening's entertainment. The latter gentleman is almost an entire stranger on Bendigo, but as he evidently is, if not a first class, at any rate a really good singer, we trust that we shall have many more opportunities of hearing him . . .

"VICTORIA THEATRE", Bendigo Advertiser (15 August 1859), 3 

. . . The singing of Mrs. Stone, both in the comic line and characteristic songs, is much admired both in solo and concerted pieces. Mr. Leeman, in the RUSSEL style of descriptive music, still stands pre-eminent for his very successful treatment, of this class of composition. Mr. Fairchild, a tenor vocalist of considerable professional reputation, is also engaged here, and forms an additional attraction to the lovers of harmony. The entertainment in its entirety forms a very pleasant evening's amusement . . .

{news], The Argus (20 December 1859), 4 

Three jurors summoned to the Criminal Court were fined £3 each yesterday for non-attendance. The parties were - John Chidley, of 81 Brunswick-street, shopkeeper; David Young of Kew, carter; and Joseph Fairchild, of Victoria-street, pianoforte maker.

1860, marriages solemnized at St. Pancras's Church in the Parish of St. Pancras; London Metropolitan Archives (PAYWALL)

260 / March 10 / Joseph William Fairchild / Musical Instrument Maker / College Pl. [St. Pancras] / [father] Joseph Fairchild / Musical Instrument maker / Emily Totterdell / [father] George Totterdell / Oil & Colour man

1861 England census, St. Pancras, Camden, Middlesex; UK National Archives, RG 9/116 (PAYWALL)

[College Place] / Joseph Fairchild / Head / 29 / Piano Forte Maker . . .
Emily [Fairchild] / Wife / 24 / Governess . . .
Emily [Fairchild] / Dau. / 1 mo. / . . .

"LYCEUM THEATRE", Bendigo Advertiser (25 June 1860), 3 

This place of amusement, which had closed its doors to the public for some time back, was re-opened on Saturday, and from the quality of the entertainments provided by the management it bids fair to become as popular and as well frequented as ever. The performances are of a two fold character, including a very efficient operatic company, and a ballet troupe. The former includes the names of Mrs. Ellis, Mr. Fairchild, Mr. Leeman, and Miss Hartley - a young lady who made her first appearance here on Saturday night. The ballet comprises the Leopold Family . . . Of the merits of Mr. Fairchild or Mr. Leeman, it is unnecessary to say more than that as a pleasing and agreeable tenor singer, Mr. Fairchild is a very valuable acquisition to any company, while Mr. Leeman's excellent bass voice, and correct style of singing, is of equal value in the glees or chorusses, which formed a portion of the entertainment of the evening . . .

The Victoria Post Office directory (1866), 239

[Sandhurst] . . . Fairchild, Joseph, pianoforte maker, Williamson st

"INTERCOLONIAL AND LOCAL EXHIBITION", Bendigo Advertiser (18 August 1866), 2 

Letter, from Joseph Fairchild senior, Sandhurst, VIC, to Joseph Fairchild junior; family collections

Sandhurst March 18, 1868 / My Dear Joseph, I have not much to say, my opinion about Australia you have had, but I think by this last you do not care much about coming at all events it could not be done just yet. You have new orders for three P.F.s . . . The one from Squires is an improvement on the last in fact with a few alterations they ought to do a good trade. I have not used the name plates. The usual is in the enclosed note which please deliver. I will send order for the 7 octave at £19 net next mail but as a rule I should not like any Instrument inferior to the last by Squires . . . With love to you all, . . . Your affectionate Father, Jos. Fairchild.

ASSOCIATIONS: Probably Henry Squire, piano maker of London, active from c.1860

. . . Joshua Fairchild, Sandhurst - Piano . . . [sic]

Passengers on the Gresham, from Plymouth, England, landed at Melbourne, VIC, 27 March 1869 (PAYWALL)

Fairchild, Joseph / 36 / Piano forte maker
[Fairchild], Emily / 30; Emily / 7; Joseph / 5; Fredk / 4; Sidney / 2; George / Inft

"DEATHS IN THE HOSPITAL", Bendigo Advertiser (7 March 1870), 2 

. . . Joseph Fairchild, pianoforte-maker, who has been an inmate of the hospital since 8th February, died there yesterday from disease of the liver . . .

[Advertisement], Bendigo Advertiser (8 March 1870), 3 

THE Friends of Mr. JOSEPH FAIRCHILD are respectfully requested to follow the remains of his late Son, JOSEPH, from the residence of his father, Williamson-street. Funeral to move This Day at three o'clock.
WILLIAM TURNBULL, Undertaker, Hargreaves-street.

[Advertisement], Bendigo Advertiser (17 March 1870), 4 

MACPEERSON and CO. are favored with instructions from the relict of the late Mr. Joseph Fairchild to Sell by Public Auction, on the premises, View Place, near the residence of J. A. C. Helm, Esq, at twelve o'clock sharp, The whole of his valuable stock of pianos and musical instruments; also fancy goods, household furniture, shop fittings, and tanks.

[Advertisement], Bendigo Advertiser (26 June 1875), 3 

WANTED KNOWN - That J. Fairchild, music seller, Williamson-street, is Retiring from Business. The valuable stock of Pianofortes, Harmoniums, &c., will be Sold at greatly Reduced Prices. A very large stock of Concertinas - English, German, and Anglo-German, will be sold under cost. Flutes, Violins, &c., &c., equally cheap. Music at less than half-price. The premises to be sold or let.

"DEATH", Bendigo Advertiser (28 February 1880), 2 

On the 26th of February, at Williamson-street, Sandhurst, Charlotte, the beloved wife of Joseph Fairchild.

[News], Bendigo Advertiser (22 November 1884), 2 

Mr.Joseph Fairchild, late pianoforte tuner, etc., thanks his numerous patrons for their past favors, and states that he has left all his tools and accessories to Mr. J. Murrell, of High-street, whom he confidently recommends as competent to perform the duties undertaken by him in the past.

"MARRIAGES", The Argus (25 March 1915), 1 

WILLIAMSON - FAIRCHILD. - [Golden Wedding.] - On 26th March, 1865, at St. John's Church, Latrobe street, Melbourne, by the Rev. John Barlow, William Frederick, youngest son of the late Caleb Williamson, draper, of London and Prahran, to Charlotte Matilda, youngest daughter of the late Joseph Fairchild, pianoforte manufacturer, of London, South Yarra, and Bendigo. Present address. - 35 Tivoli road, South Yarra.

Musical sources:

Thou art gone from my gaze; ballad, as sung by Mr. J. Fairchild, composed by George Linley, Esq. (Sydney: H. Marsh & Co., [1854]) (DIGITISED)

Our national defences, sung by Mr. J. Fairchild . . . [Stephen Glover] (Sydney: H. Marsh & Co., [1854]) 

Bibliography and resources:

The family history of the Fairchilds, written by Lillian Williamson March 1971 (posted at

The Fairchilds were piano and instrument makers in London (shop in Regent Street). One of the sons [recte, his father Joseph, d. 1814, was probably a coachbuilder, not a piano maker], Joseph and his wife Elizabeth (Dunaway) decided to go to that new country Australia, so with their young family, goods & chattels (8 pianos amongst them), left England on a sailing ship "Delgany" . . . Departed London 30th July 1852 and arrived in Melbourne 16 November 1852 (109 days) with 13 passengers, 264 intermediate/steerage passengers . . . Their family - Joseph William born 27.4.1835, Elizabeth born 2.12.1837, Frederick Born 29.9.1839, Stella Maria born 29.10.1841, Edwin born 12.5.1844 (he was lost in bush in Gippsland and never found although police & black trackers spent many days looking for him), Charlotte Matilda born 12.5.1846 . . .


Baritone vocalist, merchant

Born England, 9 April 1834; baptised Warwick Independent chapel, 21 September 1834, son of William FAIRFAX (1802-1869) and Mary READING (1803-1872)
Arrived Sydney, NSW, 22 November 1851 (per John Williams, the "missionary ship", from England, 15 July, via Hobart)
Married Emma HANKS (1838-1898), NSW, 1859
Died Summer Hill, NSW, 1 September 1897, aged 63 (TROVE tagged by Australharmony) (shareable link to this entry)

ASSOCIATIONS: Nephew of John Fairfax; colleague of Peter Dodds McCormick; Advance Australia fair ("sung with great success by Mr. Andrew Fairfax)


Register of baptisms, 1806-1837, Brook Street chapel (Independent), Warwick; UK National Archives (DIGITISED)

Andrew, son of William Fairfax, jun., and Mary his wife, of the Parish of St. Nicholas, born April 9th 1834 and baptised Sept'r 21st 1834 . . .

"SHIPPING INTELLIGENCE. ARRIVALS", The Sydney Morning Herald (24 November 1851), 2 

NOVEMBER 22. - John Williams, Missionary barque, 296 tons, Captain Morgan, from Hobart Town the 14th instant. Passengers . . . for Sydney - Mr. Andrew Fairfax, Miss Ross, Miss Gerry, Mrs. Morgan.

"TONIC SOL FA ASSOCIATION", Sydney Mail (30 April 1864), 3 

A meeting was held on 19th instant, at the Congregational Schoolrooms, Pitt-street, at which nearly one hundred persons were present, when the association was formally established, rules for the guidance of the society drawn up and agreed to, Mr. Fisher appointed conductor, and the office-bearers consisting of Mr. Hobbs, president; Mr. Andrew Fairfax, vice-president; Mr. Dobbie, treasurer; Mr. Short, secretary; and Messrs. Meenan, Booth, Flashman, Durie, McCormack, and A. Jones; committee were balloted for and duly elected; at the same time about ninety of those present enrolled themselves as members of the association . . .

[Advertisement], The Sydney Morning Herald (31 December 1878), 3 

NEW PATRIOTIC SONG. - "ADVANCE, AUSTRALIA FAIR,". Second Edition now ready, sung with great success by Mr. ANDREW FAIRFAX. READING and CO., Publishers, George-street, Sydney; price, 1s. 6d.; posted, 1s. 8d.

"Deaths", The Sydney Morning Herald (2 September 1897), 1 

FAIRFAX. - September 1st, 1897, at his residence, Iona, Henson-street, Summer Hill, Andrew Fairfax, aged 63 years.

"THE LATE MR. ANDREW FAIRFAX", The Daily Telegraph (3 September 1897), 5 

The funeral of the late Mr. Andrew Fairfax, who died at his late residence, Iona, Henson-street, Summer-hill, in his 63rd year, took place yesterday, the remains being Interred in the Congregational section of the Necropolis. The deceased gentleman was at one time a prominent figure in Sydney musical circles, and was largely instrumental in founding the old Sydney Philharmonic Society. He was the possessor of a fine baritone voice, and some years since strong inducements were offered him to proceed to England, for the purpose of displaying his talents. He closely identified himself with musical movements in this city. For 31 years Mr. Fairfax was connected with the Education Department, acting as accountant for a great portion of that time, and being subsequently raised to the position of cashier. On April 9, 1892, he retired from this position, and was made the recipient of a handsome testimonial from the officials with whom he had been so long associated. Although in failing health for some time, it was not until within the past few days that the end was anticipated. Acute symptoms were developed, and the deceased gentleman succumbed early on Wednesday morning to a serious form of kidney complaint, aggravated by gout . . .

"PERSONAL", Freeman's Journal (11 September 1897), 20 

The death of Andrew Fairfax - erstwhile cashier of the Education Department - recalls a period of something like a generation ago, when John Davies was "making history" in connection with the penny readings at the old Temperance Hall. In those days Fairfax had a very fine resonant voice, which he simply poured out to the vulgar, for the story went that he understood not a note of music. A fine presence he had, however, and with Jackson's or Ackland's tenor it was wont to "bring down the house." But the concerts were but a melodious medium through which the founder of the "P. P. A." built up his own personality as a tribune of the people. The last time Andrew Fairfax sang to the plaudits of the crowd - and he sang well - was as Eli in the Oratorio of that name. It was in 1879 in the old Victoria Theatre. The deceased gentleman was a member of the Fairfax family, and the funeral on Thursday last was chiefly remarkable for the absence of any of the Herald people.

FALCHON, Arthur (Arthur FALCHON; MR. FALCHON; FALCHEON; Arthur Falchon MILLS; ? Falcon; Arthur MILLS)

Actor, vocalist, delineator of Irish characters

? Born Woolwich, England, c. 1809/11/13; ? Arthur MILLS
Arrived Hobart Town, VDL (TAS), 17 November 1835 (per Brothers, from the Downs, 25 July)
Arrived (1) Sydney, NSW, 14 March 1838 (per Marian Watson, from Hobart Town)
Married Ann DAVIES, Trinity church, Hobart Town, VDL (TAS), 10 November 1840
Departed Launceston, TAS, 18 April 1852 (for Melbourne)
? Died VIC, 1853, aged "40" (born Woolwich, England) (TROVE tagged by Australharmony) (NLA persistent identifier) (shareable link to this entry)

FALCHON, Ann (Ann DAVIES; Mrs. FALCHON; Mrs. Arthur Falchon MILLS)

Actor, vocalist and female serenader (1851)

Born London, England, c. 1811-12; daughter of Michael John DAVIES and Hannah BENJAMIN
Arrived Sydney, NSW, December 1830 (free per Florentia, from London, with convict father)
Married Arthur Falchon MILLS, Trinity church, Hobart Town, VDL (TAS), 10 November 1840
? Died VIC, 1854 (TROVE tagged by Australharmony) (shareable link to this entry)


Arthur Mills, then probably aged in his early to mid twenties, arrived in Hobart Town as second steward on the ship Brothers, from England, on 17 November 1835. Planning to stay on in Hobart, and breaking the terms of his employment to do so, he unsuccessfully sued the ship's captain, Robert Towns, for unpaid wages, and a semi-satircal press report on the hearing before Hobart's police magistrates already hinted at his histrionic bent.

Adopting the stage name of "Mr. Falchon", he was first billed to sing a song between the pieces for John Meredith's company at the Argyle Rooms Theatre, on 5 January 1836.

Though otherwise employed as an actor, Falchon was, from then on, regularly programmed to sing between or within the pieces, often on the same bill as leading female vocalist, Anne Remens Clarke.

His recognised speciality, from early on, was in Irish characters, and his comic song of Paddy's wedding was a favorite with the gallery.

Early in 1838, Falchon and several colleagues came to Sydney at the behest of Joseph Wyatt, to join the company for the opening season of the Royal Victoria Theatre.

By early 1839, he and Ann Davies, the daughter of his Sydney landlord, the Jewish emancipist Michael John Davies (d. 1873), and elder sister of John Davies, had reportedly fallen in love. Falchon left the Victoria company and returned to Hobart in July 1840, closely followed by Ann in September, already described in passenger manifests as "Mrs. Falchon", though the couple did not legally marry until November, in a ceremony at Trinity church, the groom's name appearing in the register twice as Arthur Falcon Mills, and once as Arthur Falchon Mills.

He also sang in concerts and oratorio for Isaac Nathan in Sydney in 1841, and several times in the theatre played Benjamin Bowbell in Kenney and Nathan's The illustrious stranger.

Despite his sucecss at playing Irish characters, there was some suspicion that he wasn't himself Irish. He was reportedly a large man, and by the early 1840s given to excessive drinking.

He first reported suffering a severe and protracted illness in 1843, and, finally, in 1851, that recurrent illness in recent years had forced him to withdraw from the stage apart from occasional appearances.

His wife, Ann, who had been appearing with him in the Melbourne and Launceston theatres since the mid 1840s, took her last benefit at Launceston in mid April 1852, and they reportedly sailed for Melbourne a few days later.

Thereafter neither has been positively traced, though they were perhaps the Arthur and Ann Mills who died in Melbourne in 1853 and 1854 respectively.


? 1809, births and baptisms, St. Mary Magdalene, Woolwich, Greenwich; London Metropolitan Archives (PAYWALL)

Mills / Arthur [son] of Thomas & Elizabeth / [born] July 13 / [baptised] [August] 9

? "TRADE AND SHIPPING", The Hobart Town Courier (20 November 1835), 2 

The ship Brothers, 356 tons, Capt. Towns, arrived on Tuesday, from the Downs 25th July, with a general cargo . . .

"Hobart Town Police Report . . . Thursday, December 3", Colonial Times (8 December 1835), 7 

Mr. Arthur Mills, second steward of the ship " Brother's," complained of Mr. Towns, having started him about his business, and refused to pay him his wages, which Mr. Towns admitted. Arthur having broke the condition of his articles, in having deserted and neglected his duty - the complainant strutted about most, theatrically, very much like King Arthur, in Tomb Thumb, and on this foul charge of the Captain, quoted Shakespeare, and pratted - he stated, money, money was, not so much an object. "He who steals my Purse, steals trash," and so forth - until the court being convulsed with laughter, called King Arthur, to order, and to explain if he could, the reason of having left the ship without leave - he admitted he had so done that having called at a Tavern, "The intoxicating qualities of the Colonial double X, had stole upon him" (Shakespeare again) - "Oh that men should put an enemy in their mouths to steal away their senses." However, he admitted he had left the ship, and remained, absent as the Captain had stated. King Arthurs complaint was dismissed, and he made his exit in a rage.

[Advertisement], Colonial Times (5 January 1836), 3

Hobart Town Theatre, Argyle Rooms. On Tuesday Evening, January 5, 1836 . . . Song by Mr. Falchon - Dance by Mr. Smith . . .

"THE THEATRE", The Tasmanian (22 January 1836), 8 

Mr. Meredith is entitled to much praise, for the manner in which he endeavours to afford the rational amusement of the Theatre, to the people of this town . . . The Orchestra is decidedly the best ever collected here; Mr. Peck, the best violin performer in the Island, leads, supported by two Masters of Bands, highly accomplished musicians, Messrs. Reichenberg and McLeod, assisted by six or eight other excellent performers . . . Mr. Falchon, sings without affectation and in tune, two great points . . .

"COLONEL SNODGRASS", The True Colonist Van Diemen's Land Political Despatch (6 January 1837), 426 

On Wednesday last, his Excellency the Acting Governor visited the theatre . . . The pieces performed were the "Brigand," and "Kill or Care," with several songs, of which "the Rose shall cease to blow" by Mr. Falchon, was certainly the sweetest . . .

"Theatre", The True Colonist Van Diemen's Land Political Despatch (28 July 1837), 648 

We attended Jordan's benefit on Monday night, and on account of his wife and family we were, very happy to see such a good house . . . Jordan's song had neither sentiment nor music in it, that we could find out, and so the orchestra felt; yet he was loudly applauded and encored. We are very certain that if a pig were sent to squeak on the Hobart stage there would be a powerful party to encore it. Some noisy blackguards attempted to kick up a row, and compel the appearance of Falchon to sing "Paddy's Wedding." Meredith very properly resisted, and twice dropped the curtain . . .

[Advertisement], Colonial Times (6 February 1838), 3 

Theatre Royal, Hobart Town . . .
MR. McLEOD, Bandmaster, begs most respectfully to inform his friends, patrons, and the public of Hobart, and its vicinity, that his benefit will take place on MONDAY EVENING, FEB. 12, 1838 . . .
SONG - "THE SEA," Accompanied by the band of the regiment,
and arranged expressly by Mr. McLeod for the occasion, - MR. FALCHON . . .

MUSIC: The sea (Neukomm; arr. for band, by Angus McLeod)

Sydney, NSW, 14 March 1838 to 19 July 1840:

[News], The Sydney Gazette and New South Wales Advertiser (17 March 1838), 2

The New Theatre Royal, Pitt-street, opens on Saturday, the 24th instant . . . Mr. Gibson, brother-in-law to Mr. Wyatt, has returned from Hobart Town by the Marian Watson, bringing with him a strong re-inforcement from the Hobart Town corps dramatique, consisting of Messrs. Arabin, Falchon, and Hollis, and Mesdames. Murray, (late Miss Rudelhoff,) Grove, (late Miss Smith,) and Hollis, who have never made their debut before a Sydney audience, together with our old acquaintances Mrs. Mackay, (now Arabin,) and Mr. Grove . . .

ASSOCIATIONS: Joseph Wyatt (proprietor, Royal Victoria Theatre Sydney)

[Advertisement], The Sydney Herald (26 March 1838), 3 

Royal Victoria Theatre . . . will open for the reception of the Public THIS EVENING, 26th March, 1838 . . .
THE POPULAR COMIC SONG, "Paddy's Wedding," BY MR. FALCHON, from the Hobart Town Theatre . . .

"Royal Victoria Theatre", Commercial Journal and Advertiser (28 March 1838), 2 

. . . We can confidently assert that we have seen better performances during the past week at the old Theatre than we witnessed on Monday at the Royal Victoria. But while Mrs. Taylor, Mrs. Downes, and Messrs. Lazar, Winters and Munyard, not forgetting Miss Lazar, are unengaged, we shall not yet despair of a respectable and efficient company being raised. Mr. Falchon makes an excellent Irishman, & his singing of "Paddy's Wedding" was excellent. He was vociferously encored . . .

"Royal Victoria Theatre", Commercial Journal and Advertiser (31 March 1838), 2 

On Thursday evening was produced Tobin's beautiful Comedy of the " Honey Moon" . . . Lampedo, the lean and hungry apothecary, was cast to Mr. Falchon, a gentleman of about six feet in height and well built in proportion, who is designated the anatomy of a man, thereby shewing, as we have had occasion in a previous critique to remark, the total incapacity of the party upon whom the duty devolves of easting the characters; Mr. Simes approaching more to an anatomy than any one upon the boards, should have had the part. Notwithstanding these disadvantages under which Mr. Falchon laboured, and the remembrance of Buckingham's success in this character fresh in the memory of most of the audience, Mr. F. was successful, and went through his assumed character with credit to himself and to the amusement of the visitors, who testified their approbation by their applause . . .

"Royal Victoria Theatre", Commercial Journal and Advertiser (4 April 1838), 2 

. . . On Monday evening was produced Shakspear's Play of "The Merchant of Venice" . . . Mr. Falchon would have succeeded better as Lorenzo had he spoke louder; the weakness of his voice was particulary observable in singing the duet of "I love thee," with Mrs. Clarke; he possesses brilliant execution, but his physical powers are not equal to it in a house so large as the present Theatre . . .

"The Theatre", The Australian (20 April 1838), 2 

. . . Mr. Falchon sang Paddy's Wedding, which was encored, but it is high time that song were laid on the shelf for a while, and Mr. Falchon treated us with some other of his Irish songs . . .

[Advertisement], The Sydney Monitor (2 May 1838), 3 

. . . The Irish Song - I was the Boy for Bewitching 'em. BY MR. FALCHON . . .

[Advertisement], Commercial Journal and Advertiser (12 May 1838), 1 

. . . The new Irish Song of PADDY'S BURYING - BY MR. FALCHON . . .

[Advertisement], Commercial Journal and Advertiser (16 May 1838), 3 

. . . Song, "The Gipsey Prince," BY MR. FALCHON . . .

"ASSAULT", The Sydney Gazette and New South Wales Advertiser (17 January 1839), 2 

Yesterday, Mr. Michael John Davies, landlord of the Family Hotel, was summoned to the Police Office to answer the complaint of James Browne, residing in Drury lane. The following was gleaned from the evidence. Falchon, the comedian, has for some time past been a resident in the "family," and, from certain reasons, Mr. D. was led to suspect that a tender passion subsisted between Falchon and one of his daughters. The comedian, in this instance, is a painful illustration of one of his own favorite songs - "Paddy was loved by all the Ladies." Davies communicated his suspicions to his wife - that one of his daughters, "upon whose education he had expended large sums," was rather partial to Falchon. Mrs. D. was very loth to believe the fact, but, however, concurred in ordering the poor swain to leave the house; which he at once did, and removed his effects to the complainant's house. Among his effects, was the defendant's fair daughter; on hearing of which, the defendant went to Browne's house, and forcibly took possession of all Falchon's goods. On attempting to remove the things, for rent due, Browne opposed him, on which the defendant committed the assault complained of. The defendant was fined 20 shillings.

"Police Incident. WEDNESDAY, JAN. 16. - Brown v. Davis", Commercial Journal and Advertiser (19 January 1839), 2 

The complainant resides in Drury Lane, and the defendant keeps a public house in George-street. John Michael Davis appeared on summons, to answer a charge of assault preferred against him by Mr. Brown; who, on being sworn, stated that John Michael Davis forcibly entered his house, and assaulted him, in order to procure a chest belonging to Mr. Falchon, who had till lately been a lodger in the defendant's house. In the scuffle Davis tore the waistcoat of complainant, and broke his watch-guard; so desperate was Davis that it was impossible for the complainant to prevent his taking the chest.
Mr. Jacobs was called, and corroborated the above statement.
John Michael Davis was then called for his defence, and with the presumption and tact of an "old lawyer," addressed the Bench after the following manner:- "Your Worships, I must go a step, or two back to elucidate this strange affair; your Worships being the fathers of families, can commisserate with me, and judge of a parent's feeling. Your Worships, for some time past Mr. Falchon has lived in my house as a lodger; and, gentlemen, for a long period, I have observed an intimacy of so close a nature between this gentleman and one of my daughters, that I complained to my wife about it, when she laughed at me for my suspicions; however, your Worships, I could not endure such conduct; this daughter is an accomplished girl; your Worship, I have expended a fortune upon her education; education is very dear at Port Macquarie, your Worships, --- the dancing master, the music master, &c., cannot be had for nothing, -- and Mr. Falchon has no business with my daughter -- for nothing -- has been shewn me that he is worthy of the dear girl; and yet she loves him (sighing) or she would not stay away from the arms of her distracted papa, (crossing his arms in great agony of mind) to enjoy the society of the man she loves; your Worships, is it possible for a kind - a tender parent - to witness these things, and not go distracted? - (here the poor distracted man wept, at least, on account of the heat of his brain, combined with that of the atmosphere, great drops of moisture trickled down his furrowed cheeks.) The Bench, no doubt taking into consideration the parental feelings of the defendant, treated him with some consideration, justly no doubt, and fined him 20s. and costs.

[Playbill], Nash's Rooms, Parramatta . . . Mr. Lazar begs leave most respectfully to announce . . . he will have the honor of presenting Dramatic Reminiscences . . . on Tuesday, 25th of June, 1839 

. . . commencing with the Vaudeville entitled the ACTRESS OF ALL-WORK . . .
Manager - Mr. LAZAR; Frederick (his Son) - Mr. FALCHGON, With the favorite Song. "The Rose shall cease to Blow" . . .

[Advertisement], The Sydney Gazette and New South Wales Advertiser (28 November 1839), 3 

. . . AT THE VICTORIA THEATRE . . . All Round my Hat, (in character,) BY MR. FALCHON.
"The Original Jim Crow," BY MR. FERGUSON . . .

Hobart Town, 28 July 1840 to 1 May 1841:

"Shipping Intelligence", The Hobart Town Courier and Van Diemen's Land Gazette (31 July 1840), 4 

Arrival -July 28 - the bark Australasian Packtt, 194 tons, McPherson, from Sydney, 19th instant, with general cargo - passengers, Messrs. Eshridge . . . Falchon . . .

1840, marriages in the district of Buckingham, Hobart; 10 November 1840; Tasmanian names index$init=RGD37-1-2p6 

[No.] 611 / 10th November / . . . Arthur Falcon Mills [twice] . . . Arthur Falchon Mills [once], 29, Yeoman
Ann Davies, 28, Spinster . . .

[Advertisement], Tasmanian Weekly Dispatch (13 November 1840), 3 

ROYAL VICTORIA THEATRE . . . SATURDAY, Nov. 14 . . . Song - I'm the Boy for bewitching 'em, Mr. Falchon . . .

[Advertisement], Tasmanian Weekly Dispatch (20 November 1840), 7 

Gnatbrain, with the Song of "Black-Eyed Susan," Mr. Falchon . . .
On MONDAY, the 23rd instant, (for the first time) the celebrated Nautical Drama of TOM BOWLING;
in which Mr. Falchon will sing the celebrated song of "Tom Bowling" . . .
ARTHUR FALCHON, Stage Manager.

[Advertisement], The Courier (15 December 1840), 3

Sydney, NSW, 8 May 1841 to 13 June 1842:

"Shipping Intelligence. ARRIVALS", The Sydney Monitor and Commercial Advertiser (10 May 1841), 3 

SATURDAY . . . WATERLILY, schooner, 111 tons, Johnstone master, from Hobart Town, 1st instant. Cargo flour, potatoes, &c. Agent., A. & S. Lyons. Passengers, Mr. and Mrs. Falchon . . .

"THEATRE", The Australian (29 May 1841), 2 

. . . Whilst on the subject, we have been informed that Mr. Falchon, who, by the bye, is not engaged, cut a very peculiar figure whilst singing "Paddy's Wedding" on Thursday night. Ill-natured folks attribute this to his old failing - drink! If so, we hope that the management will not encourage such persons, who not only annoy but insult the public. Mr. F. is not a star of the first magnitude. We are sure the Theatre can prosper without him. These games must not be tolerated.

"The Oratorio", The Sydney Monitor (2 July 1841), 2

"MR. NATHAN'S CONCERT", Australasian Chronicle (5 August 1841), 2 

. . . the famous "Dicky Dolus," sung in admirable style by Mr. Falchon; all which were rapturously encored . . .

"Insolvent Debtors' Court", The Sydney Gazette and New South Wales Advertiser (30 November 1841), 3

Arthur Falchon, actor, who had been imprisoned at the respective suits of Saul Lyons, H. P. Wall, and James Carrick, applied for his discharge. The insolvent had made arrangements to pay Messrs. Wall and Carrick weekly, by instalments; with respect to the debt due to Mr. Saul Lyons, the insolvent stated to the court that it had been contracted under the following circumstances. While at Hobart Town, insolvent had received one or two letters from Mr. Wyatt, the then lessee of the Victoria Theatre, wishing him to return to Sydney and accept an engagement. He engaged with Mr. Wyatt, and whilst looking for a passage, he was visited by Captain Johnson, of the Waterlily schooner, belonging to Mr. Lyons, and he informed the insolvent that he had received instructions from his owners to give the insolvent and his wife a passage. The instructions were in writing, and he shewed them to insolvent, and therein Johnson was requested to give insolvent and his wife a passage, and that Mr. Wyatt had made arrangements for the settlement of the passage money. On insolvent's arrival in this colony, Mr. Wyatt had left, and Mr. Lyons came upon insolvent for the money. Lyons thereupon detained insolvent's clothes until he should he paid, and insolvent therefore waited upon him, when he said that it he would not have taken insolvent's guarantee for the purchase money, but had looked to Mr. Wyatt for the money, who would have doubtless paid it, had he been still in the colony. It was to this cause that insolvent attributed his present difficulties. Being unopposed, the insolvent was discharged.

Hobart Town, VDL (TAS), 21 June 1842 to May 1843:

"SHIP NEWS", The Austral-Asiatic Review, Tasmanian and Australian Advertiser (24 June 1842), 2 

JUNE 21 - Arrived the brig Sir John Byng, 169 tons, Ellis master, from Sydney 13th instant, with a general cargo. Passengers . . . Mr. W. Falchon [sic] . . .

"THE THEATRE", Colonial Times (25 October 1842), 3

Mr. Falchon's benefit took place on Wednesday last, to a crowded house . . .

[Advertisement], The Courier (17 February 1843), 1

Mr. FALCHON, presuming upon the favourable feeling hitherto exhibited towards him during his professional career, takes this opportunity of announcing that, having recovered from a serious and protracted illness, he is induced, at the suggestion of several friends, to take a BENEFIT at the above Theatre on TUESDAY EVENING, the 21st instant . . .

[Advertisement], The Austral-Asiatic Review, Tasmanian and Australian Advertiser (3 March 1843), 2 

Monday, March 6 . . . Mr. Falchon, his first appearance this season . . .
The whole to conclude with an Operatic Farce in Two Acts, entitled THE ILLUSTRIOUS STRANGER; OR, MARRIED AND BURIED . . .
Benjamin Bowbell, with song "Oh, I weep for the hour," Mr. Falchon . . .

Launceston, VDL (TAS), May 1843 to February 1844:

[Advertisement], The Cornwall Chronicle (20 May 1843), 1 

THEATRE ROYAL OLYMPIC. QUEEN'S BIRTH-DAY! WEDNESDAY, MAY 24th, 1843 . . . Comic Song, "The Wild Irishman," by Mr. FALCHON . . .

Sydney, NSW, 11 February to 10 June 1844:

"SHIPPING INTELLIGENCE. ARRIVED", The Australian (13 February 1844), 2 

FEB. 11. - The schooner Coquette, 72 tons, Cummins, master, from Launceston, with wheat, &c. Passengers . . . Mr. and Mrs. J. Falchon [sic] . .

"THEATRICAL CHIT CHAT", The Guardian (11 April 1844), 36 

Falchon was engaged at The Victoria, but his sacrifices to the "rosy god" on Monday evening rendered him unfit to appear in public. This faux pas got him his blank discharge from the Proprietor.

"Our Weekly Gossip", The Dispatch [Sydney, NSW] (13 April 1844), 2 

The attention of the lovers of conviviality is called to the advertisement of Mr. Coppin, of the Clown Inn, Pitt-street, which is to be found in another column of our paper. His large saloon is open (admission free) every Monday, Thursday; and Saturday, Mr. Falchon's singing is well known, and is heard to greater advantage in a room than on the stage. Coppin amuses the company with some of his drolleries. Phillips' [REDACTED] songs, are capital. Fillimore is excellent on the piano. Jones is also a pleasing singer. In short, the crowded saloon, on every evening it is open, speaks sufficiently for the excellence of this combination of attraction.

"SHIPPING INTELLIGENCE . . . CLEARANCES", The Australian (10 June 1844), 2 

June. 8. - The, brig Caroline, Loten, master, for Hobart Town, with a general cargo. Passengers . . . Mr. and Mrs. Falchon . . .

Hobart Town, VDL (TAS), 2 July 1844 to June 1845:

"SHIPPING INTELLIGENCE", The Courier (5 July 1844), 2 

2 - Arrived the brig Caroline, 113 tons, Loten, from Sydney 10th June . . . cabin passengers . . . Mr. and Mrs. Falchon . . .

"THE THEATRE", Colonial Times (10 July 1844), 3 

On Monday evening Mr. Hambleton took a benefit; with the pieces advertised for performance, and with Mr. Falchon's first appearance since his recent return from Sydney, the house was a pretty fair one - the pit especially, which at half-price, was full. . . . Falchon is as droll as over; his Murtoch Delany, in the "Irishman in London" is a good piece of acting, and kept the audience in a roar . . .

"THE ROYAL ALBERT THEATRE", Colonial Times (24 September 1844), 3 

. . . Mr. Falchon has sought and obtained a license for the Royal Albert Theare (formerly the Argyle Rooms), which will be opened about the beginning of next month under the direction of Mr. Watson, formerly the manager of the Victoria Theatre here, and of the Olympic at Launceston.

"ROYAL ALBERT THEATRE", Colonial Times (22 October 1844), 3

We visited this place of public amusement, which opened last night for the season, under the management of Messrs. Watson and Falchon. We were agreeably surprised . . . The first piece, Tom Cringle, was rapturously received. Falchon in Gipsey Jack was inimitable, and kept the house in roars of laughter. Watson's Tom Cringle was played in a style which reflects the greatest credit upon him as an actor . . . Fanny Foxglove, by Mrs. Falchon, seemed quite at home: we can assure this lady if she would make herself a little more acquainted with stage business, she need not fear a rival in low comedy in her line of characters . . . Falchon's Paddy's Wedding was deservedly encored, and repeated . . .

"THE THEATRE", Colonial Times (25 March 1845), 3 

This popular place of amusement opened last night to a tolerably fair house, - a good Pit, with but indifferent Boxes . . . Falchon is engaged, and, with Mesdames Clarke and Stirling, and Arabin and Jordan, a very pleasant evening's entertainment is provided . . .

Melbourne, NSW (VIC), 20 June to 4 October 1845:

"THINGS THEATRICAL", Port Phillip Gazette (18 June 1845), 2 

The Swan has brought Mr. Coppin and his Company from Launceston, and we understand that the spirited proprietor of the "Queen's" has engaged the whole of them, and that they will make their first appearance on Saturday next. We have heard a great deal of the immense talent this company is said to possess, and we hope not to be disappointed on seeing its exhibition. In addition to Mr. Smith's already respectable company, the celebrated Irish comedian and singer, Mr. Falchon, has been engaged, and will arrive by the Flying Fish. Mr. Smith by his untiring zeal to cater for the amusement of the public deserves to be much better supported than he is at present.

"Shipping Intelligence. ARRIVED", The Melbourne Courier (23 June 1845), 2 

June 20. - Flying Fish, schooner, 122 tons, Clinch, master, from Hobart Town. Passengers . Messrs. . . . Falchon . . .

"Shipping Intelligence . . . CLEARED OUT", The Melbourne Courier (6 October 1845), 2 

October 4, - Flying Fish, schooner, 122 tons, Clinch, master, for Hobart Town. Passengers - Messrs. . . . Falchon . . .

Hobart Town, VDL (TAS), December 1845 to May 1846:

[Advertisement], Colonial Times (2 January 1846), 2 

After which, a New Version of "Billy Barlow," by Mr. Newson.

MUSIC: Dicky Dolus (Nathan, from The illustrious stranger)


. . . After which, an IRISH SONG, entitled Molly Bawn - Mr. Falchon . . .

Launceston, VDL (TAS), May to July 1846:

[Advertisement], The Cornwall Chronicle (3 June 1846), 422 

"The Wedding of Balaporeen" - MR. FALCHON . . .

MUSIC: The wedding of Ballyporeen (traditional)

"THE THEATRE", The Cornwall Chronicle (10 June 1846), 439 

. . . Mr. Falchon, from Hobart Town, having joined the company last week, under an engagement for the season, the performances have gone off with unusual eclat. Mrs. Falchon is also a valuable acquisition to the Theatre . . . Mr. and Mrs. Falchon's first appearance drew a very good house, and the more they are seen and heard the better they will be liked. Mr. Falchon was "at home" in his Irish song of "Paddy's Wedding," and exceedingly droll in the farce, called "Murphy's Almanac" . . .

"THE THEATRE", The Cornwall Chronicle (17 June 1846), 460 

Among the novelties at the Olympic on Monday evening, Blue Beard was produced, with appropriate scenery, gorgeous dresses, and effective stage management. Mr. Falchon, as Abomilique, and his lady as Fatima, did justice to their parts, and the other performers did their best to render the Drama successful. A scene from "Jack Sheppard," in which the two celebrated songs of "Jolly Nose" and "Nix my Dolly" were sung by Falchon and Osborne, elicited much applause . . .

"THE THEATRE", The Cornwall Chronicle (8 July 1846), 520 

. . . On Friday night Falchon took his benefit, and considering the state of the streets, and approaches to the Theatre, the attendance was good - the performances unexceptionable . . . The intervening songs were well sung, Falchon being encored in "Paddy's Wedding" and in "Come dwell with me," and Osborne very droll in a parody on "Buy a Broom" in character, also encored . . .

On Monday night Mackenzie took his benefit . . . The Songs were well selected, and for the most part admirably sung; "The Anchor's weighed" by Falchon being executed in his best style . . .

[Advertisement], Launceston Examiner (29 July 1846), 5 

Comic Irish Song - "St. Patrick was a Gentleman" - Mr. FALCHON . . .

Melbourne, NSW (VIC), August to October 1846:

"THEATRICAL", The Melbourne Argus (28 August 1846), 4 

The Queen's Theatre has received an accession of strength within the last week, in the persons of Mr. Falchon, who was formerly on the Melbourne boards, a Mr. Moreton King, and a Miss Julia Dunbar, both of whom are new to the Melbourne play-goers.

[Advertisement], Port Phillip Gazette and Settler's Journal (17 October 1846), 3 

Queen's Theatre Royal. MRS. GRIFFITHS' BENEFIT . . . MONDAY EVENING, OCT. 19TH . . .
Song, "Some love to Roam" - Mr. FALCHON . . .

Melbourne, NSW (VIC), April 1847 to 1848:

"QUEEN'S THEATRE", Port Phillip Gazette and Settler's Journal (5 April 1847), 2 

It will be seen by our advertising columns that Mrs. Cameron will make her first appearance this evening, as also Mrs. Wallace and Mr. Falchon . . .

[Advertisement], The Melbourne Argus (9 April 1847), 2

"THINGS THEATRICAL", Port Phillip Gazette and Settler's Journal (17 April 1847), 2 

We have to record our deep interest of the spirited manner in which the proprietor of the Queen's got up such a fund of amusement for the play-going world, during the race week. No expense was spared to render it attractive; and the faces of three old friends put us in mind of days long gone by. It is long since the Melbourne musical world have had such a treat as was presented to them last week, Mesdames Wallace and Richards, with Messrs. Falchon and Hambleton, having exerted themselves to the utmost . . . Falchon! we remember seeing thee in other and brighter days, but the genius of song has not yet departed from thee! Thy "Groves of Blarney," and "Paddy's Wedding," stamp thee as an Irish singer of no mean repute! . . .

[Advertisement], Port Phillip Gazette and Settler's Journal (22 April 1848), 3 

BOARD AND LODGING. MRS. FALCHON begs to acquaint her friends and the public, that she has taken a cottage situate in Lonsdale-street, next door to the "Duke of Kent," where she will be happy to accommodate a limited number of boarders on reasonable terms.
Melbourne, April 18, 1848

"A THEATRICAL MANIA", Port Phillip Gazette and Settler's Journal (20 September 1848), 2 

. . . On Monday last an application was made to the presiding magistrate by Mrs. Falchon (formerly a member of the Melbourne corps dramatique,) for a warrant to bind to the peace a Mr. Leftwich, a journeyman "snip," who has latterly been astonishing the playgoing portion of the public, and neglecting his legitimate occupation of the shears . . .

Geelong, NSW (VIC), 1849:

[Advertisement], Geelong Advertiser (15 September 1849), 3 

During the evening Mr. Falchon, the celebrated Irish Comedian, will sing two of his favorite Songs.
On MONDAY, SEPT. 17, 1849 . . .
Song - "The Rover," Mr. Falchon . . . Song - "St. Patrick was a Gentleman," Mr. Falchon . . .

"LIST OF BRUGESSES . . . BELLERINE WARD", Geelong Advertiser (8 December 1849), 2 

. . . Falchon, Arthur, house and shop, Malop street . . .

? Sydney, NSW, 1850:

? "SHIPPING INTELLIGENCE. ARRIVALS", The Sydney Morning Herald (28 March 1850), 2 

MARCH 27, - Shamrock, steamer, 200 tons, Captain Gilmore, from Launceston the 19th instant, Melbourne 21th instant, and Twofold Bay the 20th instant. Passengers . . . Mr. and Miss Falchon [sic] . . .

"THE POLICE REGISTER. MINE ANCIENT FRIEND", Bell's Life in Sydney and Sporting Reviewer (30 November 1850), 2 .

Mr. James Newberry . . . appeared in the dock on Monday, at the instance af Michael John Davies, Esq., of Pitt-street North. Mr. Davies, with all the explanatory and impassioned talent with which he is so singularly gifted, deposed that . . . he observed the Newberry issuing from the apartments of his lodger, Mrs. Falchon, with two bundles in his hand . . .

Launceston, TAS, February 1851 to April 1852:

"The Theatre", The Cornwall Chronicle (12 February 1851), 92 

This place of amusement opened on Monday evening, under the management of Mr. Kenney . . . A valuable acquisition to the corps dramtique has arrived in the person Mr. Falchon, who will make his appearance on Thursday next. Mr. Falchon is an old favorite of the play-going folks of this town, and as an Irish comedian is not to be surpassed . . .

"LOCAL", The Cornwall Chronicle (16 April 1851), 236 

Mrs. Falchons Benefit, on Monday evening last, was well attended, considering the inauspicious state of the weather, and her patrons were entertained with an agreeable evening's amusement. The spectacle of "the Jewess" passed off with eclat, and the members of the corps dramatique pleased the audience by their endeavours to excel each other in effectually sustaining the characters allotted to them. Falchon's "Paddy's Wedding" appeared to recall reminiscencies of by-gone days, and shouts of "Bravo, Falchon!" accompanied the exit of this once talented performer. At an early date, Falchon will solicit the support of his friends on the occasion of his benefit.

[Advertisement], The Cornwall Chronicle (17 May 1851), 311 

FOR THE BENEFIT OF MR. FALCHON. In announcing the above Benefit, the patronage of the public is respectfully solicited on behalf of Mr. Falchon, who for a long time has been incapacitated from following his profession by illness: it is hoped that on this occasion the sympathies of a generous public will not be withheld from the veteran performer . . .
Monday Evening, May 19th, 1851 . . .
PADDY'S WEDDING - MR. FALCHON (By particular desire.) . . .
After which, for this night only
The Female Serenades!!
Mrs. Moore, Mrs. Falchon, and Miss West, will have the honour to make their first appearance in public, and will perform a number of favorite airs, under the direction of Mr. D. Golding . . .

"Olympic Theatre", The Cornwall Chronicle (21 May 1851), 317

This place of amusement opened on Monday evening last for the benefit of Mr. Falchon . . .

[Advertisement], The Cornwall Chronicle (5 July 1851), 421 

OLYMPIC THEATRE. THE SERENADRES will hold one of their Fashionable Ethiopian Concerts . . . on Monday evening next, after which, Irish Comic Song - Mr. Falchon . . .

[Advertisement], The Cornwall Chronicle (12 November 1851), 723 

ROYAL AMPHITHEATRE. FOR THE BENEFIT OF MRS. FALCHON . . . Monday Evening, November 18th, 1851 . . .
Song - "Paddy's Wedding," - Mr. Falchon . . .

"Mrs. Falchons' Benefit", The Cornwall Chronicle (15 November 1851), 730 

Mrs. Falchon solicits the support of the admirers of drama on the occasion of her benefit, at the Amphitheatre, next Monday evening . . . Although Mrs. Falchon is not a first-rate actress, none can be found who have been more indefatigable in their endeavours to win public favor; besides, she has been for a very lengthened period, and under far more favorable circumstances, associated with the stage of this colony, and her present helpless condition doubly recommends her to the sympathies of the play going community.

[Advertisement], Hobarton Guardian, or, True Friend of Tasmania (29 November 1851), 2 

ROYAL AMPHITHEATRE. HURRAY STREET . . . MR. J. R. KENNY . . . has made arrangements to open the above place of amusement, on Monday Evening next, December 1st 1851, with, a Stage and Equestrian Company . . .

"1852 WEEKLY KALENDAR", The Cornwall Chronicle (10 April 1852), 229 

Tuesday, April 13 . . . Olympic Theatre - Mrs. Falchon's benefit . . .

Departures, from Launceston, per City of Melbourne, for Melbourne, 18 April 1852; Tasmanian names index; NAME_INDEXES:547538; POL220/1/1 p653$init=POL220-1-1P329 

Ann Falchon / [Married Free] / [Ship to colony] William / . . .
Arthur Falchon / [Married Free] / [Ship to colony] Brothers . . .

? Melbourne, VIC, from 1852 and posthumous:

"SOME UNRECORDED PASSAGES IN THE HISTORY OF VAN DIEMEN'S LAND (From a Very Old Stager)", The Courier (25 April 1854), 2

. . . It would be, however, painful to narrate the reverses which befel the performers; the career of Nesbit, Falchon, and others are well known, and the only one remaining "of the old school" is ekeing out a miserable existence in the north, although his talents as an actor, if his conduct was regulated by the rules of prudence, would rank him high in the public favour; others have turned their attention to the industrial arts, and some have tried their fortunes and been successful in the "golden lands" across the Straits . . .

"THEATRE ROYAL", Tasmanian Morning Herald (13 November 1866), 2 

. . . Many years back this piece used to be a great favorite with the Hobart Town Theatre goers, the principal character, Paddy Murphy, being played by the popular delineator of Irish character, Mr. Falchon. Poor Falchon has now passed away from this worldly stage after undergoing many ups and downs. Mr. Collins reminds us of our old friend in many of his characters, especially in Paddy Murphy; he, however, poor fellow was wanting in that finished style of acting which is one of the great characteristics of our present comedian . . .

FALCONER, Francis Shea (Francis Shea FALCONER; F. S. FALCONER)


Born Bombala, NSW, 4 July 1859
Active Bungendore, NSW, by 1887
Died Dudley, NSW, 3 May 1930, aged 70 (shareable link to this entry)


"BUNGENDORE BAND", Goulburn Evening Penny Post (17 March 1887), 4

On last Thursday evening the members of the above band, under the leadership of Mr. F. Falconer, played several well executed pieces of music on the flat opposite the   Lake George Hotel. A great many persons were present, and expressed themselves well pleased with the progress made by the members of the band.

"BUNGENDORE", Goulburn Evening Penny Post (31 March 1898), 4

"BUNGENDORE", Goulburn Herald (4 January 1899), 4 

LAKE GEORGE BAND. - I nearly forgot to mention that on Christmas Eve the Lake George Band, under the leadership of Mr. F. S. Falconer, played Christmas carols in different parts of the town. The music was excellent and much appreciated by the inhabitants.

FALCONER, Travers (James Travers FALCONER)

Professor of music, musician

Born Balmain, NSW, 1860 [2398/1860]
Died McMahon's Point, NSW, 20 February 1938 (shareable link to this entry)



"Observations", Balmain Observer (24 March 1888), 1

A sequestration order on petition of creditors was made in the Bankruptcy Court on Monday, in the estate of Travers Falconer, Wharf-road, Balmain, professor of music. Mr. Lloyd official assignee.

"DEATHS", The Sydney Morning Herald (26 February 1938), 10

FANING FAMILY (shareable link to this entry)

FANING, Edward (Edward Henry FANING; Edward Thomas Reynolds FANING; FANING, usu. from 1850; FANNING, usu. before 1850)

Professor of music, music teacher, violinist, pianist, comic vocalist, bandleader, composer, actor

Born Jersey, 1819; baptised St. Helier, 23 June 1819, son of Charles M. FANING and Mary FANING
Arrived Sydney, NSW, 26 December 1840 (free immigrant per Morley, from Valparaiso, 17 September)
Married Catherine SULLIVAN (c. 1817-1887), East Maitland, NSW, 1843
Died Lambton, NSW, 27 August 1870, aged 51 (TROVE tagged by Australharmony) (shareable link to this entry)

FANING, Charles Frederick (Charles Frederick FANING; FANNING)

Musician, violinist, violoncello player, cellist, bandleader, minstrel serenader, compositor [sic]

Born NSW, 1844; son of Edward FANING and Catherine SULLIVAN
Married Catherine Angelina JONES (1884-1931), Newcastle, NSW, 1864
Died Newcastle, NSW, 12 April 1879, aged 35 years (TROVE tagged by Australharmony)

FANING, Edward Henry (junior) (Edward Henry FANING; FANNING)

Musician, music teacher

Born NSW, 1852; baptised 26 June 1853, son of Edward FANING and Catherine SULLIVAN
Married Rosaline EAST, NSW, 1880
Died Newcastle, NSW, 27 March 1891, aged 37 (TROVE tagged by Australharmony)

FANING, Charles (junior) (Charles FANING; FANNING)

Vocalist, comedian, delineator, vaudeville performer

Born NSW, 1864, son of Charles Frederick FANING and Catherine JONES
Married Violet KINGSLEY, Christ church, Sydney, NSW, 24 October 1886
Died South Africa, 6 December 1915 (TROVE tagged by Australharmony)


According to his obituary in The Maitland Mercury, Faning was "justly termed the father of music in this district". At his burial, a band was formed numbering 56 district musicians to play The dead march from Saul.

Faning was already active as director of "the Orchestra" at the Maitland Amateur Theatre in May 1844, and continued throughout that season. In June he also directed his new temperance band at a meeting of the Total Abstinence Society. Again for the Society in September 1845, the Mercury reported:

the evening was much enlivened by the exquisite performance of that prince of fiddlers, Mr. Fanning.

At the opening night of the Queen's Theatre, West Maitland, in August 1856, it was advertised that there was to be:

the new overture, by Mr. Faning, composed expressly for this occasion, entitled "The Queen's."


Register of baptisms, 1815-1820, parish of St. Helier, Jersey, page 390; Jersey Heritage (PAYWALL)

1819, Juin . . . [no.] 1608 / Edward Henry Fanning / Edward Henry, son of Mr. Charles Mony Fanning & of Mary his wife, was privately baptized on the twenty third day of June, [1819]

Convict applications to marry, 1843; State Records Authority of New South Wales (PAYWALL)

Edward Faning / 21 / [arrived per ship] Morley / Free Emigr't / [date of permission] 9 August [1843]
Catherine Sullivan / 23 / [arrived per ship] George Hibbert / T. of L / [Ticket of Leave] / [Clergyman] G. K. Rasden, East Maitland

[Advertisement], The Maitland Mercury (27 April 1844), 3

ON MONDAY, 6th May next, the Select Company of Amateurs will perform Townley's celebrated Farce of
After which, a variety of SONGS, including an ORIGINAL ONE composed expressly for this occasion.
The whole to conclude with the comic Farce of
Several New Scenes have been painted, and the Orchestra
Will be under the direction of Mr. Fanning . . .

"AMATEUR THEATRICALS", The Maitland Mercury (11 May 1844), 2

On Monday evening the first performance for the season of the amateur company, for the benefit of the Maitland Benevolent Asylum, took place. The pieces selected were, "High Life Below Stairs," and the "Weathercock." The house, which is capable of accommodating upwards of two hundred people, was quite filled, so much so that many persons could not find sitting room, and were obliged to stand during the whole evening, whilst in the front seats additional accommodation had to be provided. The evening's performances commenced by the whole company of amateurs singing "God save the Queen," which was sung very effectively, and was loudly applauded by the audience . . . Between the pieces a new song, entitled "The oldest hand upon the Hunter River," written by a gentleman of the company for the occasion, was sung, which drew forth the loudest applause, and was encored. There was also some other good singing. The band, which was under the direction of Mr. Fanning, though small, was well arranged and conducted, and the music was good . . . The second performance will be on Tuesday evening next, and the pieces selected are "The Weathercock," and the "Happy Man."

"TOTAL ABSTINENCE SOCIETY", The Maitland Mercury (15 June 1844), 2

On Monday evening last the members of this society held their first weekly meeting in the Temple of Concord, on which occasion they presented a handsome president's chair to their president, the Rev. J. T. Lynch . . . The new teetotal band, forming under the instructions of Mr. Fanning, was present, and played several tunes in a very creditable manner . . .

ASSOCIATIONS: John Thomas Lynch (d. 1884)

"TOTAL ABSTINENCE FESTIVITY", The Maitland Mercury and Hunter River General Advertiser (29 June 1844), 4 

Monday last being the festival of St. John the Baptist, the patron of the Total Abstinence Society of West Maitland, the members walked in procession through the town, and in the evening held a tea party in the Temple of Concord . . . The procession was . . . accompanied by a band and banners . . . During the evening the company were as usual entertained by Mr. Fanning's budget of songs and comicalities; and songs were also sung by Miss McMahon, Miss Kilfoyle, Messrs. T. Mahony, Lawn, jun., and the Rev. Mr. Lynch . . .

"TOTAL ABSTINENCE SOCIETY", The Maitland Mercury and Hunter River General Advertiser (17 August 1844), 2 

Thursday last being the third anniversary of the establishment of St. John's Total Abstinence Society, a tea party was held in the Temple of Concord, at which about one hundred and twenty of the members and their friends were present. The hall was decorated as usual in a tasteful manner; and a band composed of members of the society, chiefly youths, which had been formed under the superintendence and instruction of Mr. Fanning, was in attendance, and acquitted themselves in a highly creditable manner . . .

[Advertisement], The Maitland Mercury and Hunter River General Advertiser (31 August 1844), 3 

[ADVERTISEMENT.] On Monday night, the 26th instant, a dinner was given by Mr. Samuel Bailey, of the Cottage of Content, East Maitland, to his numerous friends, as a token of regard and respect towards them . . . The tables being removed, Mr. Fanning, of noted fame, accompanied by Mr. McDonnell, performed their extraordinary feats on the violin and key bugle. The young and airy tripped it away on the light fantastic toe. A number of amateur dancers of the Clarkonian school acquitted themselves very handsomely in the several quadrilles and other dances performed during the night. Some of the old school also acted their part well in the several cligs [sic, jigs] and reels gone through in good style by them. A Highland fling, danced by Miss Mary Anne Bailey and Mr. James Rae, added very much to the night's amusement, as it was performed with grace and agility. The greatest harmony prevailed during the night, and the ladies acquitted themselves admirably . . . Dancing continued until about three o'clock on Tuesday morning, when the company dispersed, highly gratified with their night's entertainment. - SPECTATOR.

"SINGLETON . . . Sept. 4th, 1841", The Maitland Mercury and Hunter River General Advertiser (7 September 1844), 3 

The teetotallers give a grand tea party this evening, in their large hall, which has been named "the ark of peace." There is no doubt, from the admirable arrangements which have been made, the meeting will go off with great eclat. Mr. Fanning, "of noted fame," has been engaged for the occasion, to "perform his extraordinary feats on the fiddle," and to sing some of his favorite songs. This young man is certainly an amusing person, and is justly entitled to all the commendation which has been bestowed upon him. The Rev. Father Lynch presides . . .

"TOTAL ABSTINENCE FESTIVAL AT MUSSWELLBROOK", The Maitland Mercury and Hunter River General Advertiser (2 November 1844), 2 

On Wednesday evening, October 16th, the members of St. John's Total Abstinence Society at Muswell Brook held a tea party in Mr. Brown's Building, Forbes' Town . . . A band was in attendance, and Mr. Fanning, of Maitland, enlivened the proceedings of the evening by singing a number of his most approved songs in his usual excellent style. The party broke up about four o'clock in the morning, highly delighted with their first teetotal festivity.

"TOTAL ABSTINENCE PROCESSION AND TEA PARTY", The Maitland Mercury and Hunter River General Advertiser (28 December 1844), 2 

On Thursday last (St. Stephen's Day,) the members of St. John's Total Abstinence Society walked in procession through the town, accompanied by many of their friends, a band of music, flags, &c,, the procession altogether numbering about 300 persons. In the evening the members gave a tea party . . . Some excellent songs were sung, and the teetotal band, conducted by Mr. Fanning, greatly enlivened the proceedings by playing a number of sprightly and appropriate airs. The party passed of with the utmost concord and good feeling, and did not break up until four o'clock in the morning.

"ODDFELLOWS' BALL", The Maitland Mercury and Hunter River General Advertiser (25 October 1845), 2 

On Tuesday last the Good Design Lodge of Oddfellows, in West Maitland, celebrated their first anniversary by a ball at Host Tinson's (the Buck's Head) . . . Dancing commenced at nine o'clock, and was kept up with great spirit until daylight . . . There were about 120 members and their friends . . . The musical department was admirably conducted under the direction of Mr. Fanning.

"BACHELORS' BALL", The Maitland Mercury and Hunter River General Advertiser (8 November 1845), 2 

On Tuesday last a number of the gallant bachelors of Maitland gave an elegant entertainment in the Waterloo Inn, West Maitland, by way of return for the accustomed hospitality of their married friends, the invitations of course including the young ladies . . . Between nine and ten, about a hundred guests having assembled, dancing commenced to the harmony of Mr. Fanning's violin, and it was kept up, with the exception of an occasional pause for taking refreshment . . .

"SINGLETON", The Maitland Mercury (14 February 1846), 2

. . . Mr. Fanning, we must say, contributed not a little to enliven the hilarity of the occasion; and from the manner in which he made his violin discourse sweet music, we almost fancied that Orpheus had visited the Ark of Peace and had become a teetotaller.

"TEA PARTY", The Maitland Mercury and Hunter River General Advertiser (21 March 1846), 2 

On Tuesday evening last (St. Patrick's Day) a tea party was given in the Temple of Concord, West Maitland, in commemoration of Ireland's patron saint . . . About ten o'clock a great accession to the enjoyment of the occasion took place in the arrival of his Honor Mr. Justice Therry and the Attorney General . . . We must not forget to mention the excellent band of Mr. Fanning, which played appropriate airs during the intervals, nor the vocal performances, of which Fanning's "Don't be addicted to drinking" gave especial delight . . .

ASSOCIATIONS: Roger Therry (judge); John Hubert Plunkett (attorney general)

"ST. JOHN'S TOTAL ABSTINENCE SOCIETY", The Maitland Mercury and Hunter River General Advertiser (27 June 1846), 2 

On Wednesday evening last, the anniversary of St. John the Baptist, the members and friends of the above society met in great numbers . . . Mr. Fanning, and his band enlivened the evening with their usual talent, and the comic songs of the leader gave infinite satisfaction. His "Barney Brallaghan;" and "Comforts o' Man" were well worth spending the evening to hear. The festivities continued till two in the morning.

MUSIC: Barney Brallaghan (by Johnathan Blewitt); The comforts of man (ballad)

"THE IRISH AND SCOTCH DISTRESS", The Maitland Mercury and Hunter River General Advertiser (21 July 1847), 2 

On Monday evening a tea-party, with musical entertainments, was held in the Temple of Concord, West Maitland, the proceeds of which are to be devoted to the relief of the distress now prevailing in Ireland and Scotland . . . Mr. Fanning was called on for a song, and he sung "The Workhouse" with great comic effect, and followed it by several others, the violin and violoncello accompaniments to which were beautifully executed by himself and his brother musicians, who had treated the company to some fine music throughout the evening. Mr. Stapylton sung an old Irish melody, and the "Exile of Erin" and several other songs were given in the course of the evening . . . About four hundred persons attended . . .

"THE BALL", The Maitland Mercury and Hunter River General Advertiser (2 October 1847), 2 

The Benevolent Society's ball took place on Wednesday evening last, in Mr. Lumley's new room, Victoria Hall, and went off with considerable eclat . . . Mr. Fanning attended to the orchestral arrangements, and with the aid of a juvenile pupil, and the assistance of a violoncello player, kept up a "concord of sweet sounds," while the gentlemen with their fair partners tript it beautifully "on the light fantastic toe." Dancing was kept up till nearly daylight . . .

[Advertisement], Sydney Chronicle (12 August 1848), 11 

MUSICAL FESTIVAL. THE ST. PATRICK'S TOTAL ABSTINENCE SOCIETY [Sydney] have made arrangements to give an entertaining Musical Party, at the Hall, on MONDAY EVENING NEXT, the 14th Inst . . .
The new Band of St. Patrick's Society will play some of their most favourite tunes.
Mr. Brallaghan, Mr. Fanning, and Mr. Jerome will sing the following songs:
Mr. Brallaghan - Black Turf, Irish Historian, Paddy Malone, Kilkenny Boys, and The Cries of Sydney.
Mr. Fanning - Paddy's Blunders, Comforts of Man, "Father Mathew's Doings," The Butchering Line, and The Wery Identical Flute.
Mr. Jerome - Billy Barlow, Cockney's Trip to Australia, Single Young Man Lodger, the Black Statute, the Beautiful Boy.
There will be an Irish Piper and Fiddler in attendance, as well as several Amateurs, who have kindly offered their services.
The Irish Piper will play Carolan's Receipt for Drinking Whisky, Exile of Erin, Cooleen, Hare in the Corn, and Nora Cre na . . .

MUSIC: Paddy's bunders [It was on a road near the bridge] (song); The butchering line (song); The werry identical flute (song)

"THEATRICALS", The Maitland Mercury and Hunter River General Advertiser (9 November 1850), 2 

On Wednesday evening the "Victoria" company of amateurs gave a performance at the Victoria Theatre, Rose Inn, West Maitland. The pieces were the comedy of "The Day after the Wedding," and the farce of "The Valet de Sham;" the first was as well performed as previously; the second was one of the most successful pieces performed by the company, Mr. Fanning making, a capital Wigler, and Mr. Raymond an equally good Mr. Tweezer, while Mrs. Williams as Miss Marchmont, and Mrs. Chester as Clipper, performed with remarkable spirit; the piece was highly relished by the audience throughout. Among the songs, "Where is the Rover," by Mrs. Chester, was encored, as was also a comic song, by an amateur. The attendance was pretty good. - This evening (Saturday) another performance will be given, the drama of "Self Accusation," and farce of "The Valet de Sham," being the pieces announced.

"THEATRICALS", The Maitland Mercury and Hunter River General Advertiser (11 December 1850), 2 

. . . On Saturday evening last Mr. Faning took his benefit, at the Victoria Amateur Theatre, Rose Inn. The pieces selected were the melodrama of "Luke, the Labourer," and the farce of "The Irish Tutor;" the first was well performed, Mr. Faning making a good Philip, and the other performers and amateurs sustaining their parts well; in the second Mr. Faning made a capital Terry O'Rourke, while Mr. Raymond as Tilwell, Mrs. Williams as Rosa, and Mrs. Chester as Mary, played with great spirit. | The house was quite crowded.

"Government Gazette. GENERAL POST-OFFICE, SYDNEY. 30th November, 1850", The Maitland Mercury and Hunter River General Advertiser (25 December 1850), 4 

List of letters lying in this office, unclaimed, since the publication of the last list, addressed to persons residing in the Hunter River and Northern Districts: . . . Butler E. W. Mr., care of Mr. Edward Fanning, professor of music . . .

"MAITLAND UNION BENEFIT SOCIETY", The Maitland Mercury and Hunter River General Advertiser (29 January 1851), 2 

This society on Monday last, the anniversary of the colony, walked in procession through the town, as usual, accompanied by Mr. Faning's brass band . . .

"BURTON'S CIRCUS, ROSE INN", The Maitland Mercury and Hunter River General Advertiser (14 June 1851), 2 

The attendance at this circus on Tuesday and Wednesday evenings was fair. On Thursday Mr. Faning took his benefit, the house being well attended. The equestrian and acrobatic performances were very good, and Mr. Faning varied the entertainment by some fine execution of pieces of music, and by an imitation of the bag-pipe with the violin . . .

"MR. BURTON'S CIRCUS", Bathurst Free Press and Mining Journal (9 August 1851), 2 

. . . We cannot conclude without paying a passing compliment to the violinist, Mr. Fanning, whose performances display both taste and execution . . .

"BALL IN HONOUR OF THE GOVERNOR GENERAL'S VISIT TO BATHURST (From The Bathurst Free Press, April 21)", Empire (27 April 1852), 3 

. . . As the first public ball given in Bathurst, the experiment, we are told, proved a highly successful one . . . The quality of the music at a public ball is always a matter of material consequence. Upon the present occasion, the quadrille band under the able leadership of Mr. Fanning, performed its important part in the evening's amusements with great credit, and was much and deservedly applauded . . .

[Advertisement], The Maitland Mercury and Hunter River General Advertiser (21 December 1853), 3 

ASHTON'S ROYAL OLYMPIC CIRCUS, Northumberland Hotel, West Maitland . . .
The Circus will OPEN on Saturday Evening, 24th December, and continue on during the Christmas Holidays . . .
In the course of the evening Mr. Faning will amuse the audience with Comic Songs, Solos on the Violin, &c. . . .

[2 advertisements], The Maitland Mercury and Hunter River General Advertiser (4 November 1854), 1 

"CONCERT ON BEHALF OF THE FUNDS OF THE MAITLAND SCHOOL OF ARTS", The Maitland Mercury and Hunter River General Advertiser (11 November 1854), 2 

. . . The duets on the pianoforte by Messrs. Kellermann and Sullivan, and on the pianoforte and violin by Messrs. Kellermann and Faning, were highly applauded, manifesting great taste in execution, and a remarkable accuracy as to time . . .

"SISTERS OF CHARITY", Freeman's Journal (26 January 1856), 3 

On Monday evening, the 14th, agreeably to announcement, the musical festival in further aid of the funds for the erection of a free hospital and residence for the Sisters of Charity, was held in the Temple of Concord . . . The band, principally a juvenile one, more than fulfilled the anticipations of its talented conductor, while the audience frequently testified its full appreciation of the choice selection of pieces and admirable execution of several overtures from Norma and other operas. Towards the close of the festivities the Rev. Chairman, in a short but pithy address, tendered to Mr. Fanning the warmest thanks of the meeting for the zeal and labour he had taken to render the amusements of the evening so pleasing and popular, and at the same time thanked the other members of the band for their co-operation, and for having so ably and so skilfully executed the pieces arranged for their special performance. We fully concur in this tribute to Mr. F. and his assistants, for we are quite cognisant of the fact that the juvenile portion of the band had but short notice and shorter practice, but little more than a month under the tuition of their talented master. The vocal performance was excellent, and Mr. F. in the Slave Mother sung with deep pathos and feeling, eliciting from his delighted audience a loud and long applause. Mr. Patrick's "Last Rose of Summer," on the flute, with piano accompaniment, was pleasingly executed, and his variations evinced a high standard of execution and native talent. On the whole the evening's amusements were enjoyed with unmistakeable delight and gratitude, and we re-echo the hope so warmly expressed by the rev. chairman, that this band will form, in Maitland, the nucleus of a musical society that may yet contribute to the happiness of the inhabitants; while it will, if carried out and supported with spirit and perseverance, bring into active existence and vigour the musical talent which is unquestionably inherent in the Maitland youth. - Correspondent Maitland Mercury.

[Advertisement], The Maitland Mercury (19 August 1856), 3

Queen's Theatre, West Maitland.
Previous to the rising of the curtain "God save the Queen" by the entire strength of the company:
also, the new overture, by Mr. Faning, composed expressly for this occasion, entitled "The Queen's" . . .

"THE OLYMPIC THEATRE", Northern Times (3 August 1859), 2 

The opening night of this elegant and commodious theatre, on Monday, the 1st of August, was quite an event in the history of Maitland . . . We are glad to notice that the Orchestra is under the guidance of Mr. Faning, who has a well trained corps of assistants. On Monday, they performed the overture Italiana in Algeria very well indeed, and during the intermission entertained the audience with good dance music . . .

"MAINTENANCE", The Maitland Mercury (13 December 1859), 3

Catherine Faning summoned Edward Faning before the bench, at West Maitland, yesterday, for maintenance. This case was postponed till yesterday for the evidence of defendant's witness. The defendant said the witness declined to appear. The bench adjudged defendant to pay 5s. a week for the maintenance of complainant, to commence yesterday.

"NEWCASTLE [FROM OUR CORRESPONDENT]", The Sydney Morning Herald (22 April 1863), 4 

ON Wednesday and Thursday last, two concerts were given in the court-house, as a complimentary benefit to Mr. E. Faning, by his pupils and friends; the room on both evenings was crowded to excess. The music was admirable.

"'POLICE INTELLIGENCE . . . CONVICTION", The Newcastle Chronicle (7 January 1869), 2 

In the police report that appeared in our last issue, the name of Charles Faning was erroneously printed Charles Caning. The mistake was a wilful one, made, however, without the knowledge or consent of the editor, and in direct opposition to his instructions.

"DEATH", The Newcastle Chronicle (30 August 1870), 2 

FANING. - On the 27th August, at his residence, Old Lambton, MR. EDWARD THOMAS REYNOLDS FANING, aged 51 years. Sydney papers please copy.

"DEATH OF MR. EDWARD FANING", The Maitland Mercury (1 September 1870), 3

Old residents of this district, and especially all who have ever taken an interest in musical matters, will read with sincere regret of the death of Mr. Edward Faning, which took place at Lambton, on Saturday last. Mr. Faning had been ailing for some time past, but fatal results were not apprehended until a few days before his death, when his complaint turned to dropsy, and notwithstanding the unremitting attention of his medical attendant, he expired as above stated. Mr. Faning has been justly termed the father of music in this district. In all matters where the art he professed was in question he took a deep interest, and among the many musicians on the Hunter (who in a great measure owe to Mr. Faning's teaching the knowledge they possess), there should be a general feeling of sorrow that one so useful should have been taken away. The remains of the deceased were interred in the Roman Catholic cemetery on Monday after noon, and were followed to the grave by a large number of persons. Musicians from all parts of the district testified the respect they entertained for the memory of the deceased, by forming a band, numbering in all fifty six performers, and playing the Dead March in Saul in front of the body. At the grave the burial service was read by the Rev. Father Ryan.

[Advertisement], The Newcastle Chronicle (30 August 1870), 1 

ALLOW ME to tender my sincere and heartfelt THANKS to the Members of the LAMBTON BAND, Mr. Blimm, Mr. Prince, the Members of the Waratah Band, the Newcastle Amateurs and Professionals, and the public of the mining districts, and the city generally, for the marks of respect and esteem accorded to my late father, Mr. Edward Faning, both before and after his death. Again heartily thanking them in a manner I cannot explain in an advertisement, I have the honor to remain, respectfully, CHARLES F. FANING.

"THE LATE MR. EDWARD FANING THE MUSICIAN", Empire (3 October 1871), 2

A number of the musicians of Newcastle, announced a grand professional and amateur concert, which was to be given at the School of Arts, this (Saturday) evening for the purpose of raising funds to erect a memorial stone over the grave of the late Mr. Edward Faning. The deceased gentleman was the oldest teacher of music in the district, and his talents in this particular line have been the means of enabling many of those whom he instructed to distinguish themselves as musicians. We notice that many of his old pupils will take part in the forthcoming concert, which is at the same time a pleasing and appropriate way of paying a tribute to his memory. The programme has been prepared with a carefulness that leaves nothing to be desired in this respect, and we hope, therefore, that there will be a bumper house on this occasion. - Newcastle Pilot.

"DEATH", Newcastle Morning Herald and Miners' Advocate (12 April 1879), 4 

FANING. - On April 10th, at his residence, Market Square, Newcastle, CHARLES FREDERICK FANING, Compositor, aged 35 years.

"The Late Monsignor Lynch", The Maitland Mercury (19 February 1884), 4

. . . He established, and continued to direct for many years, an institution called the Temple of Concord. It was essentially a temperance society, and at its meetings the pledge was given by the Dean himself, who would make pithy, sensible speeches, in support of the cause of temperance. But he knew human nature too well to make good advice nauseous, and the Temple of Concord was a sort of ordered free-and-easy, and every Monday night was looked forward to by hundreds as a season of delight. Admission was threepence, and subsidiary to the main business of the meetings were musical selections by an excellent brass band, led by the late Edward Fanning, and better than all, truly popular songs sung by Fanning, songs which are now forgotten, such as "Billy Barlow," "Paddy Malone" - ditties full of local allusion and possessing a strong local colouring. A tone of wholesome fun pervaded these meetings, which attracted all classes, and yet the real reformatory work done at them was as great as any that the Dean performed . . .

"NEWCASTLE POLICE COURT . . . MAINTENANCE", Newcastle Morning Herald and Miners' Advocate (28 January 1887), 3 

Rose Fanning summoned her husband, Edward Fanning, for maintenance. She stated that her husband was a music teacher and left her unprovided for three weeks ago. She had received a few shillings from him for the past five months. He drank whatever money he earned. She had three children. The case was adjourned for a week to enable the defendant to provide his wife with a home.

"In Memoriam", Newcastle Morning Herald and Miners' Advocate (26 March 1892), 4 

FANING. - In loving memory of Edward Henry Faning, who died on the 27th March, 1891; aged 37 years.

"Billy Barlow in Australia. AN ORIGINAL SONG, BY A GENTLEMAN OF MAITLAND", The Maitland Mercury (24 December 1892), 5s

The following verses have long been out of print, but old Maitlanders will recollect them as having frequently been sung at various entertainments by the late Mr. Edward Faning. The "gentleman of Maitland" who wrote the lines was Mr. Benjamin Griffin, whose relatives are among our best and most respected townsfolk of to-day, and the verses were first heard at an entertainment in aid of a fund for erecting the present Maitland Hospital.

When I was at home I was down on my luck,
And I yearnt a poor living by drawing a truck;
But old aunt died and left me a thousand - "Oh, oh,
I'll start on my travels," said Billy Barlow.
Oh dear, lackaday, oh;
So off to Australia came Billy Barlow . . .

"DEATHS", The Sydney Morning Herald (13 January 1916), 8 

FANING. - December 6, 1915, at South Africa, Charles Faning, son of Mrs. Kate Faning and late Charles Faning, musician, of Newcastle . . . May his soul rest in peace.

"CURRENT NEWS", Newcastle Morning Herald and Miners' Advocate (15 January 1916), 4 

By the death of Mr. Charles Fanning, Australia loses one of the most popular figures in vaudeville. The sad event took place at Capetown, South Africa, on December 6. The deceased, who was a native of Newcastle, was the son of the late Mr. Charles Faning. The latter was a compositor by occupation, and at different times was employed on the "Newcastle Pilot," the "Newcastle Chronicle," and the "Newcastle Morning Herald." Young Funing also saw short service in the "Newcastle Morning Herald" office, but the trade did not appeal to him. His work as a mere boy consisted of damping proof sheets, and one morning hearing a brass band playing in the street, he ran out of the office, never to return. He always had an aptitude for the stage, and after leaving Newcastle he recured his first engagement with the late Mr. Frank Smith, who at that time was managing the Alhambra in Sydney. Faning at once made good, and became famous as a Christy minstrel. No more popular artist ever appeared on the stage in Australia. Both his father and grandfather were capable musician, but Charles Faning was a born comedian, and his caricaturing of famous imported stars was very clever.

"THE LATE CHARLES FANING", Sunday Times (16 January 1916), 6 

Charles Faning, who died in South Africa on December 6 last, was the son of the late Mr. Charles Faning, musician, of Newcastle. For thirty years he has been before the theatrical public in Australia, England, and South Africa as a comedian. Stage efforts commenced early - at 16 years of age - when he took a leading part in the entertainments in connection with St. Bridget's Church. His first big professional hit was at the Sydney Alhambra. Here he stayed for years, and also had a company of his own at the Protestant Hall. Mr. Faning visited all parts of Australia, and was for a long time with Harry Rickards' Tivoli Company. In 1900 he went to England, and later made a big name at the Brighton Alhambra as an Australian entertainer. His next great success was achieved in South Africa, where he remained until his death last month.

Bibliography and resources:

Garrett Prestage, "Catherine Sullivan", Convict tales

Catherine SULLIVAN, aged 16, was a nurse's girl, who was tried in Middlesex for larceny and transported for seven years. In 1840 she was indicted for stealing a shirt, but she eventually received her ticket of leave in 1842 in Maitland. Not long thereafter she married Edward Fanning, a well-known musician in the Hunter, but by 1860 it appears their marriage was at an end. Catherine appears to have spent her remaining years in and out of prison in Maitland and Newcastle, and she eventually died in Maitland Gaol in 1887.

Helen English, "Music and musicians and their impact on the emerging music making of the Hunter Valley, 1840-1880", in Dorottya Fabian and John Napier (eds), Diversity in Australia's music: themes past, present, and for the future (Newcastle-upon-Tyne: Cambridge Scholars Publishing, 2018), 73-100 (PREVIEW)

FANNING, Bernard (Bernard FANNING; "Barney the blind fiddler")

Violinist, blind fiddler (at the Crooked Billet Inn)

Died (suicide) Bathurst, NSW, 15 September 1851 (shareable link to this entry)


"INQUEST", The Sydney Morning Herald (19 September 1851), 4s

On Tuesday, the 16th instant, an inquisition was held by Captain Sutherland, at the Crooked Billet Inn, Bathurst, on view of the body of Bernard Fanning, who had been found dead with his throat cut, on the afternoon of the previous day. The evidence of the different witnesses who were examined, showed that the deceased was living, as fiddler, at the Crooked Billet, and that on the last Sunday night he was ill after drink, and had been to Dr. Machattie, who administered some medicine to him. After dinner on Monday, he obtained from the cook some hot water, a razor, and looking-glass; and after having shaved himself he went into the kitchen, which he shortly left, and was about an hour or an hour and a half afterwards found lying on the floor of a little bed-room with his throat cut, he being then quite dead. When found his throat was frightfully gashed, and the floor of the room was deluged with blood. The razor was lying open on the floor alongside of him, and on a wooden bench was the little looking-glass raised up against a brick, both the razor and looking-glass were covered with blood. The deceased was much addicted to drinking, and was deposed to by one witness as being known by the name of Barney, and by another as being commonly called the blind fiddler. Dr. Machattie deposed, that on Sunday night last, about twelve o'clock, the deceased came to his house, and was then suffering from delirium tremens. He seemed to be in great despair, and said he had been drinking very hard for some time past. He prescribed for him, and deceased then went away; he returned next day, and seemed better, and he did not see him again until he was dead. On examining the body he found a deep cut on the left side of the neck, penetrating through the skin, cellular tissue, and muscles; the left carotid artery was also cut, and the larynx was cut through. He had no doubt that death was produced by the above described injuries, as when the carotid artery is cut through it is always fatal, from the hemorrhage that ensues, except the artery is instantly tied. The deceased, he believed, told him his name was Bernard Fanning. The wound had been made by a sharp cutting instrument, such as a razor, and might have been inflicted by his own hand. The jury returned for their verdict, that the deceased cut his throat whilst in a state of insanity, during a fit of delirium tremens, produced by continued intemperance.

FARLEY, Edward (Edward HUGHES; Edward FARLEY)

Bass baritone vocalist

Active Melbourne, VIC, by 1870
Died Waverley, NSW, 10 March 1916, aged 69 (shareable link to this entry)


[2 advertisements], The Argus (4 May 1871), 8

"DEATHS", The Sydney Morning Herald (11 March 1916), 16

"DEATH OF MR. EDWARD FARLEY", The Sydney Morning Herald (13 March 1916), 8

Old operagoers will regret to learn of the death of Edward Farley which occurred at his residence Canberra, Ashton street, Waverley on Friday evening. His last stage appearance was as Monthalbor, the grizzled drum major in William Anderson's production of "La Fille du Tambour Major" at the Theatre Royal in February 1906 after which he was seen at his benefit at the Royal Standard Theatre at the end of 1907. The veteran basso or baritone, for the range of his voice enabled him to sing either class of operatic character effectively, had been ill for some years. The late Edward Farley (whose surname was originally Hughes) was born in Wales and began in the chorus of the Carl Rosa Company, but his grand opera career in Australia dates from 1870 at the Melbourne Theatre Royal, and the following year he made a hit in opera-bouffe as General Boom in "The Grand Duchess". Under Lyster he created several then famous roles in French opera-bouffe. In 1875 Mr. Farley visited the United States, returned here with Emily Soldene's opera-bouffe combination in 1876; he was much associated with Mr. and Mrs. Henry Bracy and he then sang in London for a time with D'Oyley Carte's English Opera Company. Whilst in England, the baritone appeared as Escamillo to the Carmen of Emily Soldene, and then he returned to Australia singing for many years with Lyster's Italian Opera Company and with the Montague-Turner English Opera Company, varied by a long tour of India and the East with Emily Melville's company, and by residence as a teacher in Newcastle (New South Wales) until he settled down in this city. Mr. Farley, who possessed a fine voice, sang frequently in oratorio before his final retirement . . .

Associated works:

The ship in full sail (a jovial song sung with unbounded applause by Edward Farley; words and music by Fearnleigh L. Montague) (Melbourne: Allan & Co. (Wilkies), [1876]) 


Bass vocalist, descriptive vocalist, pianist, professor of music

Born Hoxton, London, England, 26 May 1820; son of John Travis SMITH (c. 1777-1840) and Mary SHEPHERD (m. St. James, Piccadilly, 1803)
Married Sophia BUTTERWORTH, St. John's church, Hampstead, England, 4 May 1842
Arrived (1) Melbourne, VIC, 27 June 1856 (per James Baines, from Liverpool, England, 6 April)
Arrived Sydney, NSW, 30 June 1856 (per London, from Melbourne, 28 June)
Departed (1) Melbourne, VIC, 15 November 1858 (per Emeu, for Point de Galle, and India)
Arrived (2) Melbourne, VIC, 13 June 1859 (per Fairlight, from Calcutta, 22 April)
Departed (2) Geelong, VIC, 4 November 1865 (per Giant's Causeway, for England)
Died London, England, 12 February 1880, "aged 60" (TROVE tagged by Australharmony) (shareable link to this entry)

Robert Farquharson, c.1860 (Davies & Co., Melbourne); State Library of Victoria (DIGITSED)


According of Boase, Robert Farquharson Smith was apprenticed to James Thomas Harris, chorus-master of Drury Lane, perhaps around the same time that his almost exact contemporary, and later colleague, Eliza Poole, who was likewise apprenticed to Harris in 1829. Boase also placed him thereafter among the children who sang at the William IV's coronation on 8 September 1831.

He was living with his elder brother John Robert Smith at Dartford, Kent, at the time of the 1841 census, already, at 21, describing himself as a "professor of music". From 1842, he performed in London and the south as Mr. R. F. Smith, and after 1845 increasingly often as Mr. Farquharson Smith.

In 1853 he began appearing in Sim Reeves's opera troupe, along with his later Australian colleague, Julia Harland.

He arrived in Australia in 1856 as bass of the touring English Opera Company formed by Harland and her husband, William Hoskins, with tenor Walter Sherwin, and musical director Linly Norman.

Though much feted by city audiences, latterly as a principal with the Lyster Opera Company, he also toured widely in regional areas, and appeared in country concerts at Wangaratta and Beechworth with Sherwin and Maria Carandini in the month before his final departure from Victoria early in November 1865.


Baptisms solemnized in the parish of St. Leonard, Shoreditch . . . in the year 1820; register 1820-21, page 151; London Metropolitan Archives (PAYWALL)

No. 1206 [Baptised] 11 [Aug't] / Robert Farquharson / [son of] John & Mary / Smith / Moneyers Street / Feather manufacturer / [born] 26 May 1820

1841 English census, Dartford, Kent, page 47; UK National Archives, HO 107/482/2 (PAYWALL)

John R't Smith / 35 / Lawyer's clerk
Ann Hall [Smith] / 21 . . .
Robert F. Smith / 21 / Profs'r of Music

1842, marriage solemnized by bannd in the parish church of St. John, Hampstead . . .; London Metropolitan Archives (PAYWALL)

[No.] 148 / May 4th / Robert Farquharson Smith / full age / Bachelor / Music master / Hampstead / [father] John Travis Smith / Deceased
Sophia Butterworth / full age / Spinster / - / Hampstead / [father] Edwin Butterworth / Engraver . . .

[Advertisement], The morning post [London, England] (14 September 1842), 1

ROYAL ADELAIDE GALLERY, Adelaide-street, Lowther Arcade, Strand . . . every EVENING. - A GRAND MUSICAL PROMENADE . . . Musical director and conductor, Mr. T. Julian Adams, who presides at the grand pianoforte. Vocalists - Mrs. Wilson, Miss Thornton, Miss Taylor, Mr. F. Martin, and Mr. R. F. Smith. Performances this evening and tomorrow evening - Negri's selection from Meyerbeer's opera of Robert le Diable . . .


The concert of Mr. Genge, on Monday evening, attracted a very full attendance. Many glees and chorusses were performed on this occasion with a precision of execution which elicited repeated plaudits from the auditors. Mr. R. F. Smith ably presided at the pianoforte, and also contributed his quota to the entertainment by several vocal efforts . . .

[Advertisement], Bell's Life in London and Sporting Chronicle (20 April 1845), 1

CROSBY HALL, Bishopsgate-street Mr. GEORGE GENGE respectfully announces that his ANNUAL CONCERT, will take place in the above Hall,
on WEDNESDAY evening, April 23, 1845 . . . Principal vocalists: Miss A. Williams, Miss M. Williams,
Mrs. C. Horn, Miss Thornton, Miss O'Brien, Miss Emily Badger, Mr. N. J. Sporle, Mr. F. N. Crouch,
Mr. Henry Smith (from America), Mr. Ransford, Mr. Shoubridge, Mr. Rennie,
Mr. R. F. Smith, Mr. Hutchinson, Mr. G. Genge, and Mr. John Parry.
Concertina: Mr. G. Case. Grand Pianoforte: Miss Julia Warman. In the course of the evening will performed for the first time, Donizetti's Opera, "L'Elesir d'Amore," arranged for four voices, by Mr. R. F. Smith.
Conductor: Mr. R. Farquharson Smith . . .

"LITERARY INSTITUTION", West Kent Guardian (26 April 1845), 5

The vocal entertainment' followed by Cox's dissolving views, on Tuesday evening [22 April], was a firstrate and splendid affair. The Ship on Fire, and the Maniac, sung by Mr. R. F. Smith, quite in the style of Russell, that celebrated vocalist, each accompanied by an appropriate illustration in lime-light, was a novel idea, and admirably performed . . .

"MESSRS. BRUTON AND MARTIN'S CONCERT", Morning Advertiser [London] (28 March 1848), 3

Last night a concert, for the benefit of these gentlemen, took place at the National Hall, Holborn . . . Mr. Farquharson Smith presided at the pianoforte, and, notwithstanding the wetness of the evening, there was large audience present . . .

"MISS FANNY WHEADON'S CONCERT, CROSBY HALL", The era (25 February 1849), 11

. . . Mr. Genge's "Sally in our Alley," created a storm of applause; and upon its being required for repetition, "Free as the air" was substituted; the extemporaneous accompaniments to this song, by Mr. Farquharson Smith, were really clever and musician-like - the singer and the player acted in admirable concert, and in neither case was the modesty of nature overstepped. Mr. F. Smith, both from his singing and conducting, is a very useful and valuable man in any department of the concert room. "Philip the Falconer" (Mr. Genge), was redemanded; likewise "The Lugger" (Mr. Smith) . . .

1851, 30 March, English census, Surrey, Camberwell, St. George; UK archives, HO 107 / 1582 (PAYWALL)

47 Peckham Grove / Robert F. Smith / Head / 30 / Professor of Music / [born] Middlesex London Sophia [Smith] / Wife / 32 / [born Middlesex London]
Edwin [Smith] / Son / 3 / [born] Middlesex London
William / Son / 1 / [born] Middlesex London
Ann Macfarlane / Serv / 19 . . .

"WINCHESTER", The era (9 October 1853), 10

Mr. and Mrs. Sims Reeves, Mr. Farquharson Smith, Mr. G. Case, and M. Emile Prudent, the eminent pianist, who have lately commenced a tour in the west, gave a grand concert here on Wednesday last, at St. John's Room, which was attended by one of the most crowded and fashionable audiences this season. Our English tenor was in admirable voice, and most fully sustained his well-earned name. Prudent (who made his first appearance here) delighted us by the elegance and beauty of his style. Mrs. Reeves was encored in the Scotch song of "There's nae luck aboot the house," and a similar compliment was paid to Mr. Farquharson Smith for his interpretation of John Parry's "Blue Beard" . . . Mr. J. Smith presided at the pianoforte.

[News], The globe (7 November 1853), 2

An English opera company, comprising Messrs. Reeves, Weiss, Farquharson Smith, Horncastle, Manvers, and Mrs. Sims Reeves and Miss Julia Harland, commence the season at Birmingham this evening.

"GLOBE LODGE (No. 23)", The era (16 July 1854), 13

The summer festival of the members of this Lodge was celebrated at the Star and Garter, Richmond, on Wednesday . . . The musical arrangements were conducted by Br. Perren, assisted by Brs. Genge and Farquharson (better known as Farquharson Smith). A selection from William Tell was rendered by Brs. Farquharson and Perren, with a fervour and beauty we have rarely heard equalled - never excelled . . .

"LYCEUM THEATRE", The musical world (19 August 1854), 555 

Taking advantage of the recess, Mr. Allcroft engaged Mr. and Mrs. Sims Beeves for a series of three farewell performances in English opera previous to their departure for the provinces. These commenced on Wednesday with Balfe's Bohemian Girl, which not having been heard in London for a long time was almost as good as a novelty . . . Besides Mr. and Mrs. Sims Reeves, Mr. Weiss, and Mr. Manvers, the cast included Miss Julia Harland as the Gipsy Queen, and Mr. Farquharson as Devilshoof . . .

"HAYMARKET", The athenaeum (9 June 1855), 680 

After a series of successful performances of those translated French and Italian operas, in which Mr. and Mrs. Sims Reeves have gained well-deserved popularity, Mr. Buckstone produced on Saturday last a new opera, entitled "The Gnome of Hartzberg," -the words of which are by Mr. Fitzball, the music by Mr. Henry Smart . . . High praise is due to Mr. and Mrs. Sims Reeves, Mr. Weiss, Miss H. Gordon, Mr. W. Farren, Mr. Manvers, and Mr. Farquharson for the good will and nerve brought by them to bear on the performance . . .

"Covent-Garden", The Era (24 February 1856), 10

Mr. Anderson is now courting success in a new direction . . . He has obtained an extension of tenancy from the lessee of the Royal Italian Opera, and plunges, as we have intimated, into the realms of music. The provision that he has made for the embodiment of the operas which he contemplates producing consists of Madame Lucy Escott, Mr. Henry Haigh, Mr. Durand, and Mr. Farquharson . . . Mr. Farquharson, now that Stretton has vanished from the stage, has appropriated the part of Devilshoof solely to himself; and he, too, like his predecessor, has so far obtained the ear and the eye of the public, that he can indulge in any extemporaneous escapade without awakening resentment. He, however, possesses much natural humour, and the laughter he generates is by no means without comic warrant. The choral force is tolerable, and as all chorus singers are familiar with the music of Balfe's pleasant opera, there was not much to complain of on this score. The orchestra, we presume, has been enlarged for the more important labours that now devolve upon it. Mr. Edward Loder conducts . . .

"THEATRICAL ARTISTES FOR AUSTRALIA", The morning chronicle (7 April 1856), 3

Mr. J. H. Wilton has engaged a corps of theatrical artistes, who will take their departure for Australia in the ship James Baines, which was expected to sail from Liverpool for Melbourne on Sunday morning. They have been engaged for the Theatre Royal, Melbourne, and will be accompanied by Mr. Black, the lessee and builder of that establishment, and by Mr. W. N. Lyons, Mr. Wilton's locum tenens. The artistes already engaged by Mr. Wilton are Miss Fitzpatrick, Miss Julia Harland, Mr. Hoskins, Mr. Farquharson, Mr. Sherwin, and Mr. Linley Norman, Mddle. d'Antoine, and Mons. Martin. Mr. Wilton is also in treaty for an Australian trip, with Mr. Anderson, Mr. and Mrs. J. W. Wallack, Mr. and Mrs. Charles Dillon, and Miss Cushman, Mr. Charles Matthews having for the present declined Mr. Wilton's offer, on the score of the ill-health of his wife (Madame Vestris.)

Australia (from 27 June 1856):


THE JAMES NAINES. - By telegraphic dispatch we were informed that the James Baines was still at anchor, and in great danger, in Capell's Sound, at five, p.m., on Thursday [yesterday], and no hopes were entertained of her being got up to the Bay that evening. Passengers per James Baines . . . Mr. and Mrs. Hopkins [sic] . . . Mr. and Mrs. Farquharson . . . Sherwin, Norman . . .

"THEATRICAL", The Argus (27 June 1856), 5 

By the James Baines the following members of the musical and theatrical professions have arrived: - Miss Julia Harland, soprano; Mr. Walter Sherwin, tenor; and Mr. Robert Farquharson, bass. Mr. Linley Inman [sic, Linly Norman] has accompanied these artistes as musical director and conductor, and they bring with them a repertory of thirty operas, with dresses and personal appointments complete. Mr. Hoskins, a light comedian of ability, formerly attached to the Sadler's Wells Theatre, also forms part of the troupe, and will proceed forthwith to Sydney, where they are under engagement for the present.


June 27 - James Baines, R.M, ship, 2315 tons, C. McDonald, from Liverpool 6th April . . .

"THEATRICAL AND MUSICAL", The Age (28 June 1856), 3 

The James Baines, among other valuable freights has brought . . . Miss Julia Harland, soprano; Mr. Walter Sherwin, tenor; and Mr. Robert Farquharson; bass. A private letter from London informs us, in reference to this latter gentleman, that "Melbourne will find him an acquisition, and that he stands well in his profession" - we do not doubt that they all do . . .

"SHIPPING INTELLIGENCE", The Age (28 June 1856), 2 

JUNE 30. -London (s.), 700 tons, Captain Watts, from Melbourne 28th instant. Passengers . . . Miss Harland, Mrs. Farquharson . . . Messrs. . . . Norman, Hoskins, Sherwin, Farquharson . . .

"ENGLISH OPERA HOUSE", The Sydney Morning Herald (12 July 1856), 5 

The opera season commenced on the evening of Tuesday last, with Bellini's never-tiring "La Sonnambula." The occasion introduced to the Sydney public the new company who arrived in this colony, per the James Baines. The opera was supported in a manner worthy the patronage of "the lovers of the divine art." The performance being indebted for its success to a combination of talent, rather than to individual display. The musical firmament resembled a galaxy of lesser luminaries, unattended with any "bright particular star." The result of this union caused an evenness and compactness that perhaps has not been so complete and finished on any former representation. The prima donna, Miss Julia Harland, is a lady possessing considerable musical qualifications, and the impression she made as Amina was attended with success, both decided and enthusiastic. She was well supported by Mr. Walter Sherwin, as Elvino; his voice is a rich tenor, of good compass, flexibility, and sweetness. Although in those scenes where he doubts the fidelity of Amina, she sang with expression and feeling, and gave evidence of much study and careful training, he nevertheless lacked somewhat the skill of the dramatic artiste, and would tender the role more effectively by using a greater amount of earnestness and energy in his impersonation. Mr. Farquharson, as the "Count Rodolpho," enlisted the audience entirely in his favour. His voice is a fine basso, and his style artistic and descriptive . . .

"THEATRE ROYAL. OUR LYCEUYM. ENGLISH OPERA", The Argus (1 September 1856), 5 

The Queen's Theatre, re-baptized under the title of "Our Lyceum," opens this evening with an English operatic troupe, under the management of Mr. John Black. The opera selected for the occasion is the "Bride of Lammermoor," and it will be the first time Donizetti's celebrated work has been presented in an English dress to a Victorian audience. Having had the advantage of witnessing a rehearsal we are enabled to give as an opinion that success will be found to be merited by the new arrivals, and we therefore look to see it achieved. Miss Julia Harland, the prima donna, is a daughter of Mr. Henry Wallack, well known to the British and American boards. From the slight opportunity we have had of judging of her professional qualities we are inclined to augur for her a flattering success. We have also a good opinion of the qualifications possessed by Mr. W. Sherwin, the tenor, and hope to see him ere many nights have elapsed a favorite with our Melbourne play-goers. Mr. Farquarson is decidedly an immense acquisition to our corps d'opera, and although Ashton is not a telling part for him, we anticipate a grand treat for the patrons of Our Lyceum this evening from the thoroughly established reputation which this excellent singer has acquired in the mother country, and which has been fully endorsed by our Sydney neighbors. Mr. Gregg and Mrs. Fiddes will, we believe, also appear. The orchestra and chorus have been judiciously selected. The former is under the direction of Mr. Linley Norman, with Strebinger for leader, and numbers several of our most popular instrumental performers, including Messrs. King (first violin), Johnson (clarionet), Hartigan (ophecleide), and in addition a Mr. Siche [recte, Siede], a flautist of high reputation in England and Germany, and who has only very recently arrived in the colony. Mr. Hosking, an admirable light comedian, who will be well remembered by the ci-divant patrons of Messrs. Phelps and Greenwood, also makes his debut this evening as Colonel Jack Delaware, a Yankee "patter" part, in the farce of "A Fast Train."

[Advertisement], Empire (17 October 1857), 1

LAST APPEARANCE, SATURDAY, OCTOBER 17TH.- It having been reported that Mr. Farquharson will most likely have two or three more "last appearances" in Sydney in the course of the ensuing week, Mr. F. begs to inform his friends that there is no foundation for the same. Mr. Farquharson is aware that a practice has obtained of announcing "a last appearance" then "positively last appearance" then "A farewell" "A last farewell" "A last final farewell" "A positively last final farewell." and, perhaps, to conclude with, by special desire of a number of friends, a "Most positively last final farewell." Mr. F. objects to this fashion, and therefore simply announces his farewell performance for SATURDAY, the 17th instant

"THE NEWS OF THE DAY", The Age (16 November 1858), 5

The fifth subscription concert of the Philharmonic Society for the current year, was held yesterday evening at the Exhibition Building before a large and distinguished audience. The programme consisted of Handel's "Acis and Galatea," and a selection of vocal and instrumental music. One of the attractions of the evening consisted in the last appearance of Mr. Farquharson, who had, on the eve of his departure for India, volunteered his valuable services to the society. He sustained the part of Polyphemus in "Acis and Galatea," and sang Benidict's "Rage, thou Angry Storm," and "Fayre Rosamond." As an encore to the former, he gave "The Tight little Island." Mr. Farquharson met with a most flattering reception, and during the interval between the first and second parts, received from Judge Barry, the president of the society, in the name of the committee and members, a large and elaborately ornamented silver goblet, in testimony of their appreciation of his merits as an artist, and as an acknowledgment for his valuable services that evening and on former occasions . . .

"SHIPPING INTELLIGENCE . . . CLEARED OUT. NOVEMBER 15", The Argus (16 November 1858), 4 

Emeu, Royal Mail Steamship, 907 tons, Thomas Small, for Suez. Passengers . . . For Malta - Mr. and Mrs. Bourcicault, Mrs. Neill . . . For Point de Galle - Mr. Farquharson and servant . . .

India (early 1859):

"INDIA . . . (FROM THE CALCUTTA CORRESPONDENT OF THE ARGUS)", Wellington Independent [NZ] (15 April 1859), 3 

The popular vocalist in the colonies, Farquharson, has arrived here and gave his first concert on Monday evening to a numerous and brilliant audience. As you may expect, he achieved an immense success, and I sincerely hope that he may shake the far famed pagoda tree to his utmost satisfaction. He tells me that he intends to return to Australia, having, like all who know it, an affection for the genuine land of the free, "the kangaroos, oppossums, and red gum trees."

"MR. FARQUHARSON, THE VOCALIST", South Australian Register (22 April 1859), 3 

Letters from Mr. Farquharson have been received in Launceston. He gave his entertainment at Gallo and Kandy with great success, and on the first night of his appearance at Calcutta the receipts amounted to over £500. His Indian tour promised to be very successful. He expects to return to Melbourne and Launceston in June or July . . .

Australia (2) (from June 1859):

"SHIPPING INTELLIGENCE. HOBSON'S BAY . . . ARRIVED . . . JUNE 13", The Argus (14 June 1859), 4 

Fairlight, ship, 588 tons, R. Kemball, from Calcutta 22nd April. Passengers - cabin : Messrs. Farquharson and Kitts.

ASSOCIATIONS: James Edward Kitts

"THE THEATRE ROYAL", The Age (28 June 1859), 6 

. . . Mr. Farquharson was received most cordially, on this his first appearance since his return from India. He sang Emanuel's descriptive scene, "The Desert," very finely, and "Mrs. Watkins's Evening Party," and Dibdin's "Tight Little Island." Mr. Farquharson, we foresee, is about to enter upon a new lease of popularity.

"THE OPERA", The Argus (17 November 1862), 5 

The opera of The Huguenots so long expected and so much talked about was produced on Saturday night for the first time before an Australian audience. The house was crowded to excess; from pit to gallery one mass of faces . . . Of Mr. Farquharson, as the sturdy old Puritan, it would be difficult to say too much in praise. Suited as though the part had been written for him, both his acting and singing were faultless . . .

[News], The Argus (6 November 1865), 5 

Mr. Farquharson, the popular vocalist, has sailed for England, per the ship Giant's Causeway. On Friday morning, previous to his sailing by the Resolute tug, which left Sandridge to tow the ship from Corio Bay, he was wished a cordial "good-bye" by a number of his professional and personal friend, who assembled for the purpose, at the Port Phillip Club Hotel. Mr. Farquharson has spent eight years in the Australian colonies, and wherever he sojourned he secured a high place in public favour.

After Australia (from November 1865)

"THEATRICAL AND MUSICAL MEMS.", The Sydney Morning Herald (8 December 1868), 5

. . . Mr. Farquharson has found his way to Scotland. In the beginning of October he was "starring" at the Glasgow City Concert hall . . .

"MR. FARQUHARSON'S 'REMINISCENCES OF THE ANTIPODES'", Islington Gazette [London] (8 April 1870), 3

Mr. Farquharson, the vocalist, essayed a new entertainment on Tuesday evening, at Myddelton Hall, founded on his "Reminiscences of the Antipodes." A more pleasant and enjoyable evening's amusement than this clever basso afforded his audience can hardly be had in town just now, and it will be strange if he does not find many repetitions demanded, if the applause which greeted his efforts can be taken as a criterion. Mr. Farquharson's reminiscences have nothing striking about them: they are merely pleasant gossiping anecdotes of his expetriences as a member of the first opera troupe who sang complete operas in Australia, at a time when the colony was very young, but they serve for the introduction of a number of the singer's favourite songs, not omitting that jubilant piece of British bumptiousness, "The Tight Little Island," with which Mr. Farquharson's name of late years has become indissolubly connected. Some of the songs, such as "The Ship on Fire," "The Desert," and a comic refrain, descriptive of a "Modern Swell," who went to the diggings, were very pertinent to the lecture, but Mr. Farquharson was "requested" by some friend with a taste for irrelevance, to sing some songs which bore in no sense whatever relationship to the reminiscences, and he rather disturbed the unities by singing John Parry's "Blue Beard," "Kit the Cobler," and the "Fat Little Grey Man," but the innovation really proved so acceptable from the admirable style in which the songs were rendered, that the audience fully sanctioned it by unbounded applause. The "Blue Beard" was a capital piece of buffo singing, and caused roars of laughter. But the gem of the evening was an original stump speech, in imitation of a colonial settler whom teh lecturer heard nominating a candidate for the Legislative Assembly. Mr. Farquharson's wonderful change of countenance, his peculiar imitation of colonial accent, and the humour with which he delivered a peculiar compound of amusing nonsense, stamped him as a comedian of no small ability. He seemed indefatigable in his musical efforts, both as singer and pianist, and when he made a retiring bow, he earned a well-merited tribute from his delighted audience. Mr. Farquharson announced his intention to submit fresh reminiscences to his friends shortly.

"THE ORATORIO OF RUTH", Maidstone Journal and Kentish Advertiser (24 October 1870), 5

The oratorio of "Ruth" was given for the second time in Maidstone Thursday evening . . . We have on a previous occasion spoken most favourably of Mr. Tolhurst's composition, and a repetition of its performance only confirms the opinion we then expressed. The only fault we have to find was in the execution of it. The band on Thursday evening was much too strong for the chorus, completely destroying some of the most beautiful passages in the work. With regard the solos, trios, and quartettes, they were admirably executed . . . Mr. Farquharson and Mr. Woollett were the male artistes. The air "It is the Moabitish Damsel," Mr. Farquharson rendered with great brilliancy. A trio - Miss Cole, Mr. Woollett, and Mr. Farquharson, "At meal time come," and a quartett "Blessed be he of the Lord" - Miss Cole, Madame Sauerbrey, Mr. Woollett, and Mr. Farquharson - were splendidly executed, and the whole performance gave much satisfaction to the audience, which was not a full one, owing to the extreme inclemency of the evening. Mr. Tolhurst conducted. The band of the 7th Dragoon Guards partially furnished the orchestra, and we ought to say that the overture was very finely executed.

ASSOCIATIONS: George Tolhurst

"DEATH OF A VOCALIST", Edinburgh Evening News (27 February 1880), 2

The decease is announced of Mr. Farquharson, once a well-known baritone vocalist, at the age of 60. His real name was Robert Farquharson Smith. In 1855, Farquharson went to Australia and New Zealand with William Hoskins, a popular tragedian under the Phelps and Greenwood management, and the success accompanying his concerts in the colonies enabled him to secure a provision for his after years of leisure in this country.

[News], Surrey Mirror (28 February 1880), 10

On Saturday last Mr. Robert Farquharson Smith (latterly known as Mr. Farquharson) expired, after a painful illness. He was one of the few artists remaining among us, identified with what used to be called "The palmy days English opera," he having been associated with Miss Birch, Miss Romer, Miss Poole, Templeton, Henry Phillips, and others.

"OBITUARY", The Musical Times (March 1880), 143

On the 12th ult, at the residence of his son, No. 2, Wilberforce Road, Finsbury Park, ROBERT FARQUHARSON (ROBERT FARQUHARSON SMITH) . . .

"FARQUHARSON", The Argus (17 April 1880), 8

Twenty five years ago there came to this colony from England a small dramatic and musical company, one member of which was Robert Farquharson who had been known in England as Robert Farquharson Smith. For a while the little company kept together appearing first at the old Queens theatre in Queen street but afterwards they separated and went their several ways and Farquharson at once became the most popular vocalist in the colonies. He had one of the finest baritone voices ever heard - clear rich deep, resonant and flexible - but he had also a manner which for brightness, geniality, cheeriness could not be excelled. Accordingly in that sort of entertainment which poor John Parry may be said to have invented he was delightful. He could keep an audience in good humour for two hours without any flagging, and send them away wishing for more. At that time we had no room in Melbourne for concert and other like purposes larger than the upper room of the then Mechanics Institute, and among the many pleasant associations belonging to this place is the recollection of Farquharson's entertainments. He was an excellent pianist, and nothing could be pleasanter than listening to his comic ballad romances or those serious descriptive songs with which the name of Henry Russell is associated. But in ordinary concert work, Farquharson was equally at home, and equally popular, and in oratorio, too, when the Philharmonic Society was the chief musical body in this city, his name in the programme was always a powerful attraction.

When opera in its more complete form was presented on the Melbourne stage, Farquharson's name, after a while, was included in the company, and if he had been known only in connexion with the earlier lyric performances in this city, he would deserve to be held in high regard. His Marcel in "The Huguenots" is a memory of the most enduring kind to all who remember what was substantially the beginning of our opera experience here, for it was not only a grand example of vocalisation, but it surprised even his warmest admirers by its rare and true dramatic force. No Marcel has ever in this city approached it, either for vocal or histrionic excellence. This, however, is only one of many evidences he gave of the high degree of ability he possessed for lyrico-dramatic interpretation, and there can be no question that if he had devoted himself exclusively to this branch of his art, he could have defied competition, for in comic opera, as well as opera seria, he was equally excellent, indeed, in the quality of rich humour he was unsurpassable.

Thus of his public life. But the feelings which have been awakened in many minds by the mention of his death (which, as already announced, took place in February last) have reference more to his private than his public relations. Farquharson was one of the largest-hearted, happiest-dispositioned men it was the good fortune of any one to know. No member of the theatrical or musical profession in Melbourne ever had a larger number of private friends, and he had only one enemy - himself. Like many other brilliant men, he had a single weakness, but it was in company with such a host of good qualities that you at once forgave him. He seemed to diffuse brightness where ever he went, his handsome, merry face involuntarily brought smiles upon the faces of those about him.

He left these colonies a good many years ago, and probably it would have been better for him if he had stayed in Melbourne instead of going back to London. For some time but little has been heard of him, and to many here now the announcement of his death revives no memories. But to those who knew him at his best, and especially to those who knew him in that large circle of private friends by whom he was beloved, the news of his decease comes as a sorrowful record, for he was one of those sunny influences which help to make life less dreary and weary, and he will always be thought of therefore with a warmth of affection far beyond the mere liking which the average public favourite evokes.

"STAGE GOSSIP", The bulletin (24 April 1880), 6 

Robert Farquharson - or, simply, Farquharson, as he was best known amongst us - the most eminent bass singer in concert or opera that has ever visited Australia, died in London on the 14th of February, aged sixty years. He was one of two brothers, Robert Farquharson Smith and Henry Smith, who gave entertainments in England forty years ago in the style of Henry Russell, and for singing the songs of the latter Henry Smith was involved in a law suit with Russell. His Marcel in the "Huguenots," and Giorgio in "I Puritani," has seldom been equalled, and he was one of the main supports of the Lyster Opera Company. He was a genial companion, kind hearted to a fault, and the least egotistical of artists. Had he lived he was to have revisited us this year, and many of his old friends in every part of Australia will regret to hear of his decease. May he rest in peace!

"Victoria", The Brisbane Courier (28 April 1880), 3 

The mail brought us news of the death of Robert Farquharson Smith, better known as Farquharson, the baritone singer, who has never had his equal here as Marcel, in the "Huguenots." He was a genial, bright spirit, a good vocalist, and no man's enemy save his own.

"DRAMATIC AND MUSICAL NOTES", Otago Witness (1 May 1880), 19 

. . . The mention of "The Huguenots" reminds me of the fact that the Home papers by the mail record the death on February 14th, at the age of 60, in London, of Robert Farquharson Smith - better known by his stage name of Robert Farquharson - the best representative of Marcel seen on the operatic stage of the Colonies. Old Victorians who have heard him often will share the sentiments of a well-known musical correspondent of the Argus, who supplies that journal with an obituary notice: . . . [as above]

[William Henry Williams], "THE LATE MR. FARQUHARSON", The Lorgnette (24 April 1880), 4 

[As below . . .]

[William Henry Williams], "THE LATE MR. FARQUHARSON", Lyttelton Times (17 May 1880), 6 

"A fellow of inlinite jest!" - SHAKESPEARE.
"Another link, one of the very last.
That joins the present generation with the past,"
Has gone over to the great majority in the person of the much-beloved "Farquy," as his intimate friends were wont to call him. Mr. Farquharson came out from England in the summer of 1856, in company with Messrs Linley Norman (pianist and conductor), Walter Sherwin (tenor), William Hoskins (comedian) and Juila Harland (Mrs. Wm. Hoskins). Having added to their company an opera season was inaugurated at the Queen's Theatre, then re-christened "Our Lyceum." The opera chosen, in which Mr. Farquharson made his Australian debut, was an English version of "Lucia di Lammermoor," in which Miss Harland appeared as Lucia, Mr. Sherwin Edgardo, Mr. Farquharson as Raimondo and Mr. Linley Norman (conductor). Mr. Hoskins made his Australian debut the same evening (September 1st, 1856,) as Colonel Jack Delaware in "A Fast Train." Some few years after the Lyster English Opera Company having arrived from San Francisco, Mr. Farquharson accepted terms and joined them. A glorious time for lovers of opera ensued. Grand opera was produced on a complete scale indeed, and the magnificent cast of parts contained for the initial production in Australia of "Les Huguenots" will live for ever in the far back remembrance of many in this colony. Our note book tells: "Les Huguenots," first production in Australia, Theatre Royal, Melbourne, November 15th, 1862. Mr. Farquharson was, of course, the Marcel, and a massively grand performance it was . . . - W. H. W.

Musical sources:

Manuscript of the music for the part of Marcel, in Meyerbeer's Les Huguenots; University of Melbourne, Library 

In contemporary cloth binding with stiff covers and a gilt-embossed red morocco label, this part was evidently prepared for and/or by Robert Farquharson, in the role of Marcel in its first season by the Lyster Opera Company from 15 November 1862

Bibliography and resources:

Frederic Boase, Modern English biography . . . volume 1, A-H (Truro: Netherton and Worth, 1892), 1858 

FARQUHARSON, ROBERT, stage name of Robert Farquharson Smith. b. 1820; articled to Harris of Drury Lane, chorus master; sang at coronation of William IV, 1838; sang in opera at Drury Lane and Surrey theatres, also at concerts; member of the Sims Reeves opera troupe; went to Australia 1856, sang there in opera and concerts; sang at the Opera Comique, London. d. 2 Wilberforce road, Finsbury park, London 12 Feb. 1880.

Kurt Ganzl, Victorian vocalists (London: Routledge, 2017), 224-29 (PREVIEW) (PREVIEW)

FARRANCE, Mrs. G. (? Mary Hannah CRIPPS; Mrs. George FARRANCE)

Teacher of music and singing

? Born Brighton, Sussex, England, c. 1833
? Married George FARRANCE, Holy Trinity, Camden, 16 September 1850
Active (? arrived) Sydney, NSW, by April 1854
? Departed Melbourne, VIC, 16 February 1867 (per Superb, for London)
? Died Kensington, London, England, 12 May 1907 (shareable link to this entry)


1850, marriage solemnized at Holy Trinity Church in the parish of St. Andrew Holborn . . .; London Metropolitan Archives (PAYWALL)

[No.] 440 / Sept. 16th / George Farrance / Full [age] / Bachelor / Law Publisher / [residence] Heatherstone Buildings / [father] Thomas Farrance / Confectioner
Mary Hannah Cripps / Full / Spinster / - / Brighton, Sussex / [father] Robert Cripps / Confectioner . . .

[Advertisement], The Sydney Morning Herald (29 April 1854), 1 

MRS. G. FARRANCE, Teacher of Music, Singing, French, Writing, and Drawing, No. 8, Harrington-street, Church-hill.

[Advertisement], The Sydney Morning Herald (23 May 1854), 1

MRS. FARRANCE, teacher of Music and Singing. No. 8, Harrington-street.

? "CLEARANCES", The Sydney Morning Herald (23 August 1855), 4 

August 22. - City of Sydney (s.), 700 tons, B.T. Moodie, for Melbourne. Passengers . . . Mrs. George Farrance . . .

? "BIRTHS", The Age (19 July 1865), 4 

FARRANCE. - On the 16th inst., at Emerald-hill, Mrs. George Farrance, of a daughter.

? "SHIPPING INTELLIGENCE. . . CLEARED OUT, FEB. 16", The Argus (18 February 1867), 4 

Superb, ship, Blackwall Line, 1,451 tons, Edward Jones, for London. Passengers - cabin . . . Mr. and Mrs. George Farrance and child . . .

FARRELLY, Florentine (Madame FARRELLY)

= Florentine DUDEMAINE

FARREN, Charles (? pseudonym, Charles FARREN)

Comedian, vocalist

Active Sydney, NSW, by 1844 (shareable link to this entry)


[Advertisement], The Sydney Morning Herald (26 October 1844), 3 

Mr. CHARLES FARREN, of the LONDON THEATRES, will offer, for the first time in this Colony, to tell
A LONG STORY ABOUT NOTHING, in the character of an old Scotch woman, touching her recollections of one Dr. Henry, and the "gude minister o' the kirk," and will afterwards give personations of Mr. Charles Young, as Cassius, William Farren, as Sir Peter Teazle. Blanchard, as Timothy Weazle . . .

[Advertisement], The Sydney Morning Herald (28 October 1844), 1 supplement 

Mr. CHARLES FARREN, who received such distinguished applause on Saturday evening will sing
THE HISTORY OF GEORGE BARNWELL, And also give an IMITATION of the late Edmurd Kean, in Shylock . . .

[Advertisement], The Sydney Morning Herald (1 November 1844), 2 

Mr. CHARLES FARREN will sing "Hamlet, Prince of Denmark," "Ben Battle and Nelly Gray," and "Irish Providence" . . .

ASSOCIATIONS: George Skinner (proprietor); William Farren (English actor, comedian)

FATHERLEY, Charlotte Crofton (Charlotte ROWE; Mrs. George Crofton FATHERLEY; Mrs. CROFTEN FATHERLEY; Charlotte FATHERLEY; FATHERLY [sic])

Pianist, organist, singing class instructor, concertina player, composer, actor

Born England, c. 1829/33; John Nathaniel ROWE and Anne ? MAYLE/WHICHELO
Arrived Melbourne, VIC, by late 1858
Married George Crofton FATHERLEY (d. 1912), Richmond, VIC, 23 December 1858
Died Hamilton, VIC, 10 January 1877, aged "44" (TROVE tagged by Australharmony) (shareable link to this entry)


According to Cazalet (1854), Charlotte Rowe was a native of Brighton, Sussex. From about the age of 11 (? early to mid 1830s) she took lessons in London, and studied for some time under Thomas Haydon.

She was a pupil and active associate at the Royal Academy of Music during at least 5 years (1850-54), and later advertised that she had been a pupil of Sigmund Thalberg, William Sterndale Bennett, Franceso Schira, and Domenico Crivelli.

She sailed for Australia as an assisted emigrant on the Windsor in November 1857, but, after the ship ran aground in Brazil, returned to England. However, she eventually arrived in Melbourne, and, at Richmond, on 23 December 1858, she married George Crofton Fatherley, who had already been in the colony for five years. According to a report of their marriage in England, both of their families were then living in county Durham.

The new couple settled in in central Victoria, where, from 1861 if not earlier, Charlotte took a leading role in local musical activities. As pianist to the Castlemaine Philharmonic Society, she worked as a close colleague with other local professionals including Frederick Moss, Henry Howson, and William Gollmick. From 1863 or earlier she was also a registered singing instructor with the Victorian board of public instruction.

By 1865-66 she was regularly active in Bendigo, where in August 1866 the Sandhurst Philharmonic Society performed her oratorio Gideon. In 1868-69 she was professionally involved with local theatrical company, and spent the first half of 1870 touring Tasmania as pianist and musical director to Kate Warde, in company with her young son, John Rowe Fatherley (born Castlemaine, 1864).

She was reported to be living in Gulgong, NSW, in 1871. She advertised as a teacher of music in South Melbourne (Emerald Hill) in November 1873, but from April 1874 she was teaching music privately and in several schools in Hamilton, in western Victoria, while George advertised as an accountant. She died there in 1877, reportedly aged only 44.

Interestingly, information in her obituary was reported to be sourced from a "gentleman" in Hamilton, as yet unidentified, who had been "proprietor" of the London journal The musical world in the 1840s.


England (to 1858):

"CONCERTS", The illustrated London news (6 July 1850), 14

The fourth and last concert for the exhibition of the students of the Royal Academy of Music, took place on Saturday, at the Hanover Rooms, under the direction of Mr. Lucas; M. Sainton being principal violin. There were four novelties in the programme - MS. works by pupils. The first was a Symphony in A minor, by Mr. H. C. Banister, King's Scholar, being his third composition of that class . . . The second novelty - a MS. overture, by J. A. Owen - is too decidedly Weberian to entitle the composer to any other credit than that of a clever appropriation of the imaginings of his model. The fragmentary finale from a MS. opera by Mr. John Thomas, associate, the words by H. Duval, it is difficult to judge of . . . The MS. song by Miss C. Rowe, expressly sung by Miss Owen, - "Remember me" - is prettily scored . . .

[News], John Bull (8 July 1850), 12

. . . its programme included a symphony by Mr. C. H. Banister, an overture by Mr. Owen, a song with orchestral accompaniments by Miss Rowe, and the finale of an English opera entitled Alfred the Great, by Mr. Thomas. All these pieces were exceedingly creditable, both to their authors and to the academy; they indicated talent cultivated by well-directed tuition and study . . .

"CAMBRIDGE", The musical world (November 1850), 745 

On Wednesday evening there was a concert in our Town Hall . . . Miss Clari Fraser . . . was the principal vocalist of the evening . . . Miss Rowe, from the Royal Academy of Music, presided at the piano, and on her a large share of the labours of the evening devolved, as she appeared as accompanyist in everything but one of Mr. Cooper's solos; she played neatly a piece of her own composition, and in the glees attempted to fill up Miss Owen's part by singing a second . . . Cambridge Independent Press.

"ROYAL ACADEMY OF MUSIC.", London Daily News (14 April 1851), 2

. . . The concert of Saturday last contained a larger proportion than usual of original compositions by the students; and it was agreeable to observe that all of them evinced superior ablity and well-directed study. The concert consisting (as usual at this season) of sacred music, all these pieces were of that character . . . Miss Rowe's motet was a creditable and very promising effort; but a work of such magnitude and demanding so lofty a style is as yet beyond her powers . . .

"HANOVER-SQUARE ROOMS", London Evening Standard (14 April 1851), 1

. . . Miss Charlotte Rowe's motet was unequal, some of it being as good as the remainder was bad. Features of cleverness, however, were not to be concealed, and the young lady to whom it owes its origin is, no doubt, destined to do better things at a more mature period of her experiences . . .

[News], The Atlas (19 April 1851), 14

. . . It is true that our young artists are somewhat ambitious; and that Miss Rowe, who writes a motet complete in all its parts, including a duet of nine bars, and a solo of ten, would have done better if she had tried her wings somewhat less loftily. Boldness of attempt is not to be confounded with boldness of idea; we have a little too much of the first, and somewhat too little of the second. Our young composers are apt to follow the great models, not alone in their style, but in the magnitude of their attempts, while a small attempt with a trifle of boldness in the conception would have done infinitely better. The courage is on the wrong side. A sacred cantata, by Mr. Banister, began with a very good chorus and ended with a very bad one . . .

"ROYAL ACADEMY OF MUSIC", Illustrated London News (19 April 1851), 14

. . . There were three novelties, a sacred cantata, "The Lord look'd down," by Mr. H. E. Banister [sic], associate; song, "O Lord, rebuke me not," by G. Cusins, King’s Scholar; and an anthem, "Awake," by Miss Charlotte Rowe. There were signs of ability in the first and last mentioned works; the most effective was Mr. Cusin's song . . .

"Royal Academy of Music", The Literary Gazette (26 April 1851), 303

The second concert of the season was given on Saturday last. The object of these concerts is not so much to give an attractive and popular performance of music, as to afford the subscribers and patrons the opportunity of observing the talents of the students, and the progress made under the system of teaching adopted in the school. The most interesting feature of these meetings is in the original compositions of the pupils. On this occasion they were - a cantata by Mr. H. C. Banister, and a motet by Miss C. Rowe, both of which were not sufficiently well sung to convey a favourable idea of their quality . . .

ASSOCIATIONS: Henry Charles Bannister

"ROYAL ACADEMY OF MUSIC", The musical times (1 July 1852), 29 

The third concert of the season was given on the 5th. The compositions by the pupils were of a highly creditable character - an Overture by Mr. Banister, a Part-song by Miss Rowe, and a MS. Song by Miss Spratt, each gave evidence of musical talent . . .

[Advertisement], Silurian, Cardiff, Merthyr, and Brecon Mercury, and South Wales General Advertiser (21 August 1852), 2

PUBLISHED THIS DAY. NEW SONG. - "My heart, heart by sorrow shaken. Written by TALHAIARN. Composed by MISS CHARLOTTE ROWE, R.A.M. London: Robert W. Ollivier, 19, Old Bond-street, Piccadilly.

"ROYAL ACADEMY OF MUSIC", Morning Advertiser (25 April 1853), 5

The second concert of the season was given on Saturday, at the Hanover-square Rooms . . . The last original composition we have to notice is entitled Scene from an Opera, Conrad, by Charlotte Rowe. The chorus with which it opens is light and pretty, giving a favourable impression, which, however, the two songs that followed did not sustain; they are commonplace and dull . . .

"ROYAL ACADEMY OF MUSIC", Morning Chronicle (25 April 1853), 5

. . . A "Scene from an Opera," by Miss CHARLOTTE ROWE, which is well instrumented, but rather too Weberish in its style, closed the first part of the concert . . .

"ROYAL ACADEMY OF MUSIC", London Daily News (25 April 1853), 2

. . . Another exceedingly meritorious composition was a scene from a MS. opera by Miss Charlotte Rowe, also an associate of the Academy. It consisted of an instrumental introduction, a joyous chorus of peasants, and two airs; and its effect was very animated and agreeable. It frequently reminded us of Weber, both in the turn of the vocal phrases and the use of the instruments; but, for dramatic writing, Miss Rowe could not take a better model than the author of the "Freischitz" . . .

"ROYAL ACADEMY CONCERTS", The Musical World (30 April 1853), (271), 272

[271] The second concert took place on Saturday, in the Hanover-square rooms . . . [272] . . . the manuscript compositions introduced in the programme . . . [were] . . . a scena from an opera entitled Conrad, including choruses and solos for soprano and tenor, by Miss Charlotte Rowe . . .

"ROYAL ACADEMY OF MUSIC", Morning Advertiser (4 July 1853), 6

The fourth concert for the exhibition of the students took place on Saturday [2 July], at the Hanover-square Rooms, under the conduct of Mr. C. Lucas. A MS. overture, by Brinley Richard, entitled "The Student's Dream," prettv, tasteful, but containing little to dream about, opened the proceedings. A serenata, "Nymphs," by Charlotte Rowe, associate, had the old wine flavour about it, and went well . . .

"ROYAL ACADEMY OF MUSIC", Morning Chronicle (4 July 1853), 5

. . . The "Chorus of Nymphs," by Miss CHARLOTTE ROWE, contains graceful melody, of a light and flowing character, and was done justice to by the young ladies of the establishment . . .

William W. Cazalet, History of the Royal Academy of Music (London: T. Bosworth, 1854), 314

CHARLOTTE ROWE Is a native of Brighton, and learnt music at first only as young ladies usually do at school; but showing a decided fondness for it, when eleven years old she was removed to London, and studied some time under Mr. Haydon, making such progress that it was considered advisable to educate her for the profession, and with this view she entered the Royal Academy of Music in 1846. Here, for four years and a half, she pursued her studies with much industry, and was appointed a Sub-Professor for piano, and, on leaving the Academy, was raised to be an Assistant Professor, and subsequently was made an Associate. Miss Rowe has had her compositions frequently performed at the Academy Concerts, embracing both the secular and sacred styles. In conclusion, we may be allowed to hope, that the talent and industry which have placed her in so good a position in the profession will not be suffered to flag, and that her previous efforts, however creditable, are but an earnest of future and greater excellence.


"ROYAL ACADEMY OF MUSIC", Morning Post [London] (27 March 1854), 5

The first concert for the exhibition of the students took place on Saturday evening, at the Hanover-square Rooms. Taken as a whole, we have rarely heard anything less satisfactory. The principal feature in the programme (which waw far too long) was Beethoven's magnificent mass in C. Instead of allowing this great work to be regularly gone through, the authorities thought fit to spread it over the scheme in a most extraordinary and unjustifiable manner . . . The concert, however poor and absolutely bad in most respects, was not wholly deficient in excellence . . . Mr. Sharpe acquitted himself most creditably in Mozart's beautiful and far too rarely heard pianoforte concerto in A; and a matel [sic, motet], "Behold the day of the Lord," composed by Miss Charlotte Rowe, was honourable to her learning and the institution to which she belongs. Here must end our eulogies . . .

"ROYAL ACADEMY OF MUSIC", The musical world (1 April 1854), 211 

The first concert for the present season took place on Saturday morning [sic] . . . A motet (MS.) by Miss Charlotte Rowe, "Behold the Day of the Lord," consisting of a choral recitative, duet, choral, recitative and solo, and final chorus, was so wretchedly executed by nearly all concerned, that it would be unfair to criticise it. It certainly did not strike us in a favourable light; but that may, in a great measure, be attributable to the chorus and the band, than which nothing could be more slovenly. The soloists, Misses Attfield and Freeman, were better, but still not what might have been desired by Miss Rowe, who should insist upon another chance for her work . . .

"TOPICS OF THE WEEK", The London literary gazette (1 April 1854), 304 

. . . The only original work brought forward at this concert was a motet by Miss Charlotte Rowe, which displayed good knowledge of composition and correctness of art, but was not remarkable for originality or effect. Mr. Lucas was conductor, Mr. Sainton principal violin, and the chorus and orchestra well sustained their parts . . .

"MUSIC", John Bull (1 April 1854), 12

The Concert of the Royal Academy of Music, on Saturday morning last, reflected honour on the system of instruction pursued in our national Conservatoire. It consisted of sacred music of a high order, selected from the works of Haydn, Mozart, Beethoven, and Mendelssohn . . . The only specimen of talent in composition was a motet by Miss Charlotte Rowe, an associate of the Academy; a young lady who on this and former occasions has shown extraordinary attainments in the highest and most severe branches of the art. There was crowded audience, which included great number of the most eminent musicians, both native and foreign, now in London.

"Royal Academy of Music", The Era (2 April 1854), 10

The first concert of the Royal Academy of Music, which took place last Saturday afternoon at the Hanover-square Rooms, was well attended by the friends and relations of the pupils. The programme was unnusualy destitute of compositions by the students, the only attempt of this kind being a motet by Miss Charlotte Rowe, comprising a choral recitative, a duet for female voices, a chorale, a soprano solo and a chorus. It is a work of respectable merit, though the excellence of the writing is more apparent than the originality of the ideas . . .

"Royal Academy of Music", The Atlas (8 April 1854), 8

. . . The concert closed with a motet by Miss Charlotte Rowe, an associate of the Academy. Without possessing striking originality, this composition is at least graceful and pleasing . . .

"ROYAL ACADEMY OF MUSIC", London Daily News (10 July 1854), 2

The fourth and last concert of this season took a place at the Hanover-square Rooms on Saturday morning [8 July] . . . An ample selection was given from an opera entitled The Enchanted Isle, by Miss Charlotte Rowe, an associate of the academy, whom we have frequently had occasion to mention in terms of praise. This is an ambitious, but by no means unsuccessful attempt. The selection consisted of several recitatives, airs, and choruses, which evinced imagination and constructive skill. The fair composer, however, has not been fortunate in her libretto, which is written in the usual style of operatic nonsense . . .

"ROYAL ACADEMY OF MUSIC", The musical world (27 July 1854), 501 

the fourth concert and the last of the present season took place on Saturday, the 8th inst. . . . We annex the programme: -
Selection from MS. Opera - Charlotte Rowe, Assoc. . . .
The selection from Miss Charlotte Rowe's Enchanted Isle consisted of three choruses, several recitatives, an air with concertina obbligato, another air with harp obbligato, and a third air with no obbligato - or "obligato" as it is printed in the programmes, although there is an Italian professor in the Academy, who doubtless begins his instructions with a course in orthography. The airs have the most merit, since in part-writing Miss Rowe is at present not greatly advanced. The first "No, no, no," was well sung by Miss Adelaide Attfield (pupil of Sig. Crivelli), the concertina obbligato performed by the compositress, who appears to be an adept on that dulcet instrument, now in such high favour with the author of Modern German Music, Recollections and Criticisms - perhaps because it may be regarded as a "freakish" instrument. the next air, "Ah! king of my heart," was sung by the same young lady, and the harp obbligato was entrusted to Miss Vinning (K.S.). Miss Freeman gave the third air, "I go," very carefully . . .

[Advertisement], The Illustrated London News (28 March 1857), 302

MISS LASCELLES' New Ballad, THE FAIRY DREAM. Beautifully Illustrated with Portrait in Colours, by Brandard. Composed by CHARLOTTE ROWE. The Second Edition is now ready. DUFF and HODGSON, 65, Oxford-street.

Australia (by December 1858):

[Advertisement], The Argus (15 January 1858), 3

MUSIC - On the arrival of the Windsor from London, MISS CHARLOTTE ROW, Associate of the Royal Academy, will be prepared to TEACH PIANOFORTE, Concertina, also English and Italian Singing.

"TOTAL LOSS OF THE EMIGRANT SHIP WINDSOR", The Sydney Morning Herald (29 April 1858), 3

. . . Total Wreck of the Windsor, 750 tons, of London, on her passage to Australia, on the Hartwell Reef off Bonavista, Cape Verd Islands . . . the Windsor left Gravesend on the 5th November with a valuable general cargo and 30 passengers (several of whom were women) . . . the morning or the 1st of December . . . the ship struck on the reef of rocks . . . The boats were then got out as quickly as possible, and most providentially without any accident to any of them, and the ladies and passengers safely placed in them, though not without great difficulty and danger . . .

"MARRIED", Durham County Advertiser [England] (15 April 1859), 8

At Richmond, Victoria, the 23rd of December, 1858, C. Fatherly, Esq., of Castlemaine, youngest son of the late J, Fatherly, Esq., of Washington, in this county, to Charlotte Rowe, youngest daughter of John Rowe, Esq., of West Hartlepool, in this county.

"THE CAMPBELL'S CREEK CONVERSAZIONE", Mount Alexander Mail [Castlemaine, VIC] (5 April 1861), 4 

. . . Mrs. Fatherly presided at the pianoforte, and displayed her thorough command over the instrument in the portion of the programme allotted to her. The vocal music was sung by the choir of the Castlemaine Church, who executed several glees, madrigals, &c., in a very efficient manner . . .

"THE PHILHARMONIC CONCERT", Mount Alexander Mail (6 May 1861), 3 

Notwithstanding the unfavorable weather, the Concert on Thursday night was so well attended that the Theatre was comfortably filled . . . "The Bended Bow," a cantata, composed expressly for the Society, by Mrs. Fatherly, was the piece par-excellence of the evening, and well merited the encore it received. The piano accompaniment was admirably well played by that lady herself, and the vocalists were well up in their parts, but we cannot award the same praise to the flutes. In the "Bended Bow," Mrs. Fatherly has displayed both originality of idea and clever instrumentation, and we cannot pass a higher eulogium upon her production, when we say that the music was worthy of some of the most spirited verses of the sweet poetess to whose words she has wedded it . . .

"THE EXHIBITION", The Argus (7 October 1861), 5

. . . The Castlemaine table has received some additions, in the shape of a number of geological specimens . . . and a lady rejoicing in the name of "Charlotte Fatherly," has sent some manuscript music, which, it is to be presumed, has a local application . . .

[Advertisement], Mount Alexander Mail [Castlemaine, VIC] (21 October 1861), 3 

MRS. FATHERLEY'S CLASS for the practice of CONCERTED and CHORAL [SINGING], will be held at the Denominational School Room, on Friday evening's [sic]
Intending members, are requested to send in their names on or before the 30th inst., as the Class will meet for practice on Friday, November 1st., at half-past seven o'clock.
Terms (in advance) one guinea per quarter.
Templeton street (opposite Baptist Church) Castlemaine.

[2 advertisements], Mount Alexander Mail (1 November 1861), 8 

NOTICE. MRS. G. C. FATHERLEY'S Singing Class will meet on Monday next, 4th November (instead of Friday, as previously advertised) at half-past Seven o'clock punctually, when Selections from VERDI'S OPERA, "IL TROVATORE" will be practised.

. . . Private instruction given in English and Italian Singing, Piano Forte, Concertina, Harmony, and Composition . . .

"CONGREGATIONAL CHORAL SOCIETY'S CONCERT", Mount Alexander Mail (16 June 1862), 2 

On Thursday evening the above society, conducted by Mrs. Fatherley, organist of the church, gave the first of a series of quarterly concerts in the school room . . .

[Advertisement], Mount Alexander Mail (1 August 1862), 5 

During the evening, the following Anthems will be sung by the Congregational Choral Society, conducted by Mrs. Fatherley, A.R A. of Music: -
"Sing unto the Lord" - Silcher
"Lord who shall dwell" - B. Rogers
"Seek ye the Lord" - Charlotte Fatherley
"Rejoice in the Lord" - Charlotte Fatherley . . .

[Advertisement], Mount Alexander Mail (7 October 1862), 3 


"MRS. FATHERLEY'S CONCERT", Mount Alexander Mail [Castlemaine, VIC] (2 April 1863), 3 

To-night a Complimentary Concert will be given to Mrs. Fatherley, A.R.A., the Philharmonic Society having volunteered their services on the occasion. The programme includes a variety of vocal and instrumental pieces, calculated to please every taste. Among the selections are several composed by the fair beneficiary, including the "Beautiful Bow," performed a year or two ago with considerable applause. Mrs. Fatherley originally intended to have produced her new oratorio of "Gideon," but as sufficient time could not be devoted to its rehearsal, she wisely decided on not risking the success of her production. Mrs. Fatherley's well-known talents as a composer and pianiste entitle her to liberal support . . .

"ITEMS OF NEWS", Mount Alexander Mail (3 October 1864), 2 

The joint benefit to the leader and pianist of the Castlemaine Philharmonic Society will take place on Friday, October 21st. Both Mr. Howson and Mrs. Fatherley having acted in their different capacities gratuitously, for a long series of years, they deserve well at the hands of the public, a return for the many musical treats given under their directorship . . .

"THE CONCERT IN AID OF THE GERMAN COMMON SCHOOL", Bendigo Advertiser (1 May 1866), 2

. . . The second portion of the programme was of a miscellaneous character; in it were several choice morceaux from "Gideon", an oratorio composed by Mrs. Fatherly, and just enough to make one wish to hear more of the composition, which we understand, is to be sung, at an early date, by the Philharmonic Society.

"SANDHURST PHILHARMONIC SOCIETY", Bendigo Advertiser (13 August 1866), 2

This society intend to give a grand concert on the 16th instant in the Lyceum Theatre, and on this occasion a new oratorio will be produced, called "Gideon," the work of Mrs. Fatherly. The oratorio is highly spoken of, and as it has never been performed on Sandhurst the novelty of the event, no less than the presumed merits of the oratorio, will attract a numerous attendance. Great exertions have been made to produce the work as perfectly as possible, and all the best available vocal and instrumental talent on Bendigo has been engaged for the occasion. The oratorio is divided into two parts, but there will be a third part in the evening's entertainment, consisting of miscellaneous selections, amongst which are also several novelties.

"THE PHILHARMONIC CONCERT", Bendigo Advertiser (17 August 1866), 2 

The second concert of the Sandhurst Philharmonic Society was given at the Lyceum Theatre last night, and the opportunity was taken to introduce to the Sandhurst public an oratorio called "Gideon," the composition of Mrs. Fatherley, a resident of Sandhurst. For so young a society the attempt was an ambitious one, and, as the result has proved, too high a flight. Various reasons may be assigned for moderate success only being attained, the two principal ones are, that a thorough knowledge of the music had not been acquired by the members, probably on account of insufficient rehearsal, and secondly, because on the whole the oratorio cannot be rated at a high standard. The subject it the occasion when the Midianites and Amalekites, in overwhelming numbers, are arrayed against the children of Israel. The Israelites cry to God to save them, and God, in answer to their prayers, chooses 300 men, under the leadership of Gideon, to fight the enemy. In the middle watch of the night these 300 men, currying a trumpet in one hand, and a pitcher, in which is a lamp, in the other, approach the Midianite camp, and following the instructions and example of Gideon, they blow the trumpets, break the pitchers, and hold the lamps in their hands, and cry, "The sword of the Lord and of Gideon." The enemy, alarmed, get into confusion, flee, and in the terror of their flight fall on each other with the sword, each man thinking the one beside him a foe. There is scope for the display of musical genius, but Mrs. Fatherley has not succeeded in giving more than indifferent expression to the stirring events. No doubt there are some passable things, and of these the audience were not slow in showing their appreciation. The society is too weak in numbers to undertake so heavy a work, but a very good use was made of the material at hand. The band was a most efficient oue, and did excellent service. "The march of the Midianites" was fairly played. The choruses were superior to the lighter pieces, and the best of these was "Rejoice in the Lord." The recitatives require a strong tenor voice to bring out their full force, and this the society does not possess, but it is doubtful even if they had such a singer among them that much could be made of the music. Of the airs, about the best was the solo by Mr. J. Stewart, "Give unto the Lord." Hearty applause greeted its rendering, indeed the applause was generally much more frequent than discriminating. Miss Smallwood and Miss Steane sang their parts fairly, the latter young lady somewhat nervously, which marred the effect. Their best effort was a duet, "Help us, oh God of our salvation," but the accompanying chorus was very unsteady. Mrs. Fatherley presided at the harmonium, and Herr Gollmick conducted.

The evening's entertainment concluded with miscellaneous selections, and of these the gem was a serenade, "Winds of summer night," sung by Mr. J. Stewart, and it is not too much praise to say that it was the tit-bit of the whole performance. An unanimous encore was demanded and responded to. The music is by Mrs. Fatherley, and is full of sweet melody. It is certain to become a popular favorite, especially as the words are very pleasing. The duet by Mrs. Ellis and Mr. Towle, "Take now this ring," from "La Sonnambula," was loudly applauded. Mrs. Ellis sang an andante and ronde from a M.S. cantata, composed by Mrs. Fatherley, entitled "All the air is filled with sound." The performance was brought to a close by the company singing the "National Anthem." It may be mentioned that the attendance was very good, the dress circle being full. The proceeds are expected to clear expenses.

"ALL SAINTS CHURCH" & "SONG OF LOYALTY ", Bendigo Advertiser (11 October 1867), 2

. . . Mrs. Fatherley presided at the new organ and led the choir, which consisted of between twenty and thirty singers. A number of pieces of sacred music were performed . . . The members of the choir who are, on the occasion of the Duke of Edinburgh's visit, to sing "the song of loyalty", composed by Mrs. Fatherly, are requested by advertisement to meet for rehearsal at the Town Hall to-night.

"OPENING OF THE VOLUNTEER RIFLE CORPS' ORDERLY ROOM", Bendigo Advertiser (19 December 1867), 2

. . . Upon the entrance of the Prince to the Town Hall the National Anthem together with the song of loyalty composed by Mrs. Fatherley, the words being by Mr. Derham, was given by an assembled company of ladies and gentlemen, to the manifest satisfaction of the Duke . . .

"AMATEUR CONCERT", Bendigo Advertiser (8 May 1868), 2

A very successful amateur concert took place last night, in the Shamrock Hotel, Epsom, in aid of the funds of the St James's Common School, Epsom, and very great credit is due to Mrs. Fatherly, A.R.A, for the able manner in which the concert was conducted. The hall was crowded, some 200 persons being present. The amateur vocalists were in great force, - Sandhurst, Eagle-hawk, Golden-square, and Epsom having their representatives, - and they succeeded so well in pleasing the audience that encores were frequent, and the entertainment was in consequence greatly prolonged. The opening overture, on the piano, from " Masaniello," by Mrs. Fatherley and Master C. Smith, was delightfully played . . .

"SANDHURST FINE ARTS EXHIBITION", The Argus (31 July 1869), 5

. . . The choir then performed the "Song of Loyalty," originally written and composed by Mrs. Fatherly, A.R.A.M., for the occasion, when Prince Alfred was welcomed to Sandhurst. The piece contained some excellent strains well harmonised, and was efficiently performed, the fair composer presiding . . .

"THEATRICAL", The Mercury (6 December 1869), 2 

The Bendigo Independent says: "The play-going public of Sandhurst will regret to learn that they are not likely to hear or see anything more of Miss Kate Warde on the Lyceum stage for some time, she having taken the Theatre Royal, Hobart Town. Miss Warde intends taking a burlesque and dramatic company with her to Tasmania, Mrs. Fatherley also accompanying her as musical directress . . .

"SHIPPING INTELLIGENCE. ARRIVED. December 24", The Mercury [Hobart, TAS] (25 December 1869), 2 

T.S.N. Co's s.s. Southern Cross, 343 tons, E. Lucas, from Melbourne, the 22nd. Passengers . . . Mrs. Fatherley . . .

"THE HAWTHORN. A BALLAD", The Mercury [Hobart, TAS] (18 January 1870), 2

We have received a copy of "The Hawthorn," a ballad, written and composed by Mrs. Charlotte Fatherley, Associate of the Royal Academy of Music, London, lithographed by Messrs. Clarson, Massina, and Co., Melbourne. Mrs. Fatherley is a well known and very highly esteemed instructress in music in the neighbouring colony of Victoria, and has accompanied Miss Kate Warde as pianist on the occasion of that lady's present dramatic visit to Hobart Town. "The Hawthorn" is a very sprightly piece of music, and the words it accompanies are a pleasant little poem. Verse and music are well mated. We may add that the lithographic work is excellent, and a perfect model of clearness of execution.

"THE THEATRE", The Mercury (22 February 1870), 2 

This place of amusement was last evening, on the occasion of the farewell benefit of Miss Kate Warde, crowded almost to suffocation . . . Mrs. Fatherley, A.R.A., a member of the theatrical orchestra, kindly volunteered her services, and appeared for the first time in character. The piece selected for the evening was an adaptation of Miss Kate Warde's of Wilkie Collins' popular novel, "No Name," the dramatiser appearing as the heroine, "Magdalen Vanstone" . . .

"MISS KATE WARDE AT THE TOWN HALL", The Cornwall Chronicle (15 April 1870), 2

"THEATRE ROYAL", Launceston Examiner (30 April 1870), 5

On Thursday evening and last evening the play of East Lynne was repeated to audiences not quite so large as had been attracted on the previous evenings of the week . . . Of Miss Kate Warde's personation of the Lady Isabel we have already spoken in warm terms . . . Mrs. Fatherley is a host in herself, and her appearance on the stage is always the signal for that peculiar general movement of the audience indicative of anticipated amusement. Her Cornelia is the very broad light acting as a foil to the rather sombre and deep shadows of the plot. Her son, Master Willie Fatherley, performs his by no means easy part with remarkable fidelity to the meaning of the author . . .

"THEATRE ROYAL", The Cornwall Chronicle (6 June 1870), 2

The rush to see the Tom Thumb troupe last week rendered business rather slack at the Theatre Royal. Miss Kate Warde, the talented Lessee and Directress, took advantage of this to prepare a grand bill for this evening for her benefit in Launceston. The performance will commence with the great modern drama, which had such an extraordinary run in London, "Leah, the forsaken," the music for which has been composed and arranged expressly for the occasion by Mrs. Crofton Fatherley, Associate Royal Academy of Music, London. Leah, the Jewess, will, of course, be under taken by Miss Kate Warde's Anna, niece to Father Herman, Miss Julia Harward; Sarah, a Jew-ess, Miss Seymour; Leah, child to Anna and Rudolph, Miss Katie Vinson . . .

"THEATRE ROYAL", The Cornwall Chronicle (13 June 1870), 2

The "Colleen Bawn" was performed at the Theatre Royal for the last time on Saturday night, and this evening the performance will be for the benefit of Mrs. Crofton Fatherley. The great sensational drama, "East Lynne," will be reproduced, Miss Kate Warde personating the dual character, the young, lovely, accomplished Lady Isabel Vane, and the maimed, spectacled, worn-down governess, Madame Vine - a stranger in her own home, a stranger to her own children, a menial under the command of her husband's wife! Mrs. Crofton Fatherley takes the very leading part of Cornelia Carlyle, and her little son, Master John Fatherley, that of Willie Carlyle, the dying child of lady Isabel Vane. Master Fatherley performs this difficult character in the most natural and artless manner; and it requires the acme of high art to accomplish the natural impersonation of this childish character, so as to render the dialogue free and unaffected, and with true pathos. Miss Kate Warde, as Lady Isabel, will sing "Then you'll remember me," which will be repeated by Miss Julia Harward, who takes the part of Barbara Hare, subsequently promoted to the rank of Mrs. Archibald Vane, vice the wretched out-cast, Lady Isabel Vane.

"WEEKLY REGISTER", Empire (30 October 1871), 4

Mrs. Crofton Fatherley, an Associate of the Royal Academy of Music, London, at present residing at Gulgong, has published a song written and composed by herself, entited "The Hawthorn."

[Advertisement], The Argus (25 November 1873), 1

MRS. CROFTON FATHERLEY, associate R.A.M. (pupil of Thalberg, Sterndale Bennett, Schira, Crivelli), PIANO, English, Italian Singing, Organ, Composition. 120 Moray-street, Emerald-hill.

[Advertisement], Hamilton Spectator (15 April 1874), 3 

THE ALEXANDRA COLLEGE, HAMILTON, FOR YOUR LADIES . . . Principal, MRS. DIXIE . . . Teacher of Mueic and Singing: MRS. G FATHERLEY, Assoc. R.A.M., Lond. . . .

[Advertisement], Hamilton Spectator (22 April 1874), 3 

MRS. CROFTON FATHERLEY, Associate R.A. Music, London, ex-Member Society British Musicians, First-class Singing Teacher, Board of Education, Victoria. CLARKE-STREET, HAMILTON.

[Advertisement], Border Watch (10 April 1875), 1

Teacher of Music and Singing: MRS. C. FATHERLEY, R.A.M. . . .

[Advertisement], Hamilton Spectator (21 August 1875), 1 

VISITING STAFF: Instrumental and vocal music.
MRS. CROFTON FATHERLEY, Royal Academy of Music.
MR. W. H. HEDGES, Professor of Music . . .

[News], The Argus (8 October 1875), 7

We have received from the publishers, Messrs. W. H. Glen and Co., of 33 Collins-street east copies of a new composition, entitled "The Exhibition Waltzes." This is the work of Charlotte Crofton Fatherley, Associate of the Royal Academy of Music, London, and is written "in commemoration of the Melbourne and Philadelphia Exhibitions." The various numbers in it are rhythmical and fairly harmonised, and make a good pianoforte piece for players of average ability.

[Advertisement], Hamilton Spectator (13 November 1875), 2 

New Music Selected, and seat to all parts of the colony.
G. C. FATHERLEY, Accountant, &c.

[Advertisement], The Argus (18 December 1875), 12 


"NEW MUSIC", South Australian Register (30 December 1875), 5

Glen & Co., of Collins-streat, Melbourne, have just issued their Christmas number of the Colonial Musical Cabinet, a copy of which we have received from Mr. Woodman, of Rundle-street. It contains 36 quarto pages in an illustrated pictorial coloured wrapper, with title-pages and index, the whole published for a shilling. The contents are mostly pianoforte music, and the best pieces in our judgment are Zelman's "Gems of the Opera Valse," "Cordelia," a "Morceau de Salon" by Charlotte Crofton Fatherley, and "The Opera Bouffe Quadrilles" by J. Hill . . .

"MUSIC RECEIVED", Portland Guardian (11 January 1876), 2

We have to acknowledge receipt of the Exhibition Waltzes by Mrs. C. C. Fatherly, Hamilton, and we must say the music does the composer great credit. Mrs. Fatherly it appears is an associate of the Royal Academy of Music London, and this latest "Exhibition" of musical proficiency, shows that the Academy is fully competent to the work of admitting suitable associates. We have also to acknowledge the colonial musical cabinet published by Messrs W. H. Glen and Co., Melbourne, the Christmas number with a fancy cover that says much for the taste and competency of Messrs H. G. de Gruchy & Co. The cabinet contents are: - Ruby Lancers, Rage of Melbourne Quadrilles, Cordelia, Gems of the Opera Valse, opera bouffe Quadrilles, Dora Schottische, Flower Girl song, Valentine and Petrella galops; the whole for one shilling, a marvel of quantity and quality for the price.

[Advertisement], Hamilton Spectator (1 April 1876), 3 

NEW MUSIC WAREHOUSE, GRAY STREET (Opposite Mechanics' Institute.)
MRS. CROFTON FATHERLEY (Associate R. A.M., London),
Selects and Transmits NEW MUSIC to all parts of the colony.
G. C. FATHERLEY, Accountant, &c.

"DEATH OF MRS. FATHERLEY", Bendigo Advertiser (12 January 1877), 2

It will be learnt with regret by her wide circle of friends and acquaintances that this talented lady expired at residence, Hamilton, between three and four o'clock on Wednesday. The deceased lady, nee Charlotte Rowe, was a pupil in the Royal Academy of Music when Sir Cypriani Potter was the principal, and through that celebrated man obtained a license to teach music, singing, and harmony, which in those days was considered a great thing for any lady pupil to obtain. A gentleman in Hamilton remembers Miss Rowe very well, he being from 1839 to 1849 proprietor of "The Musical World." This gentleman states that in addition to being an accomplished instrumentalist, Miss Rowe possessed a clear, ringing soprano voice of good compass. Miss Rowe came out here in 1858, and first proceeded to practice her profession, that of a teacher of music, at Castlemaine. Subsequently, she removed to Sandhurst, where she was married to Mr. Fatherley, and on leaving that town came to Hamilton, where for years previous to her death she taught at the colleges, and also gave private tuition. As a conductor of a large number of vocalists, we have never seen her surpassed by any member of the weaker sex. Those who saw her conduct the singing at the opening of our State school, will agree with the remark. She leaves one son, and although she was kept very busy, it is to be feared her circumstances when she died were not affluent.

"DIED", Hamilton Spectator (9 January 1877), 2 

FATHERLEY - At Hamilton, on the 8th January, Mrs. Fatherley, A.R.A. Lond., aged 44. The funeral will start at three o'clock this afternoon from the residence of Mr. Taylor, Thomson-street.

"OUR LETTER HOME", Hamilton Spectator (23 January 1877), 2 

Death has been busy amongst us during the past month . . . we have to announce the death of Mrs. Fatherley, R.A.M., an event which occurred on the 8th inst. Mrs. Fatherley, née Charlotte Rowe, was a pupil at the Royal Academy of Music in Sir Cypriani Potter's time, and it waa through that gentleman, who was then the principal of the Academy, she received her license to teach music, singing and harmony . . .

"DEATHS", The Age (17 September 1912), 1 

FATHERLEY. - On the 15th September, at the residence of his friend, Mr. L. Danielson, 584, Latrobe-street, Melbourne, George Crofton Fatherley, native of Durham, England, aged 86. An old colonist of 60 years. Durham and Sydney papers please copy.

Musical works:

UK published works of Charlotte Rowe; extant copies at British Library:

Remember me (London, [1850]) song

Fond memories of the past (London, [1851; 1866]) ballad, the poetry ... by Mrs. Hemans

Oh! where are ye bright happy days? (London, [1851]); ballad

The power of the heart (London, [1852]); canzonet ["'Tis home where'er the heart is"]

My heart, heart by sorrow shaken (London: Robert W. Ollivier, [? 1852]); song, written by TALHAIARN [NO COPY IDENTIFIED]; but text survives in Tailhaiarn's Works (1855)

Why should we with fancied cares? (London, [1853]); song; the poetry by Mrs. Hemans

The Welcome back (London: Robert W. Ollivier, [c. 1855]); ballad

The fairy dream (London: Duff and Hodgson, [1857]); "Miss Lascelles's New Ballad, composed by Charlotte Rowe" [NO COPY IDENTIFIED]

The rosy spring (London, [1858]); ballad ["When sportive hours"] op. 12.

Australian published works:

The hawthorn (Melbourne: Clarson, Massina, and Co., [1869]); a ballad written and composed by Charlotte Fatherley; first appeared in The Australian journal 

The Exhibition waltzes (Melbourne: W. H. Glen & Co., [1875]); composed in commemoration of the Melbourne and Philadelphia Exhibition (DIGITISED)

Cordelia (morceau de salon) (Melbourne: W. H. Glen & Co., [1875]; in Colonial musical cabinet, issues no. 6, Christmas number) (DIGITISED)

Bibliography and resources:

William W. Cazalet, History of the Royal Academy of Music (London: T. Bosworth, 1854), 314

Gwaith Talhaiarn: the works of Talhaiarn in Welsh and English (London; H. Williams, 1855), 352-53

George Mackay, Annals of Bendigo, volume 1, 1851-1867, 115

"George Crofton FATHERLEY & Charlotte ROWE", RootsChat.Com

FAURE, Gustav Charles (Gustav Charles FAURE; "Caspar/Gaspar FAURE"; Mons. FAURE)

Musician, clarionette / clarinet player

Born Bordeaux, France, c. 1833; son of Anthony FAURE and Jane RABOT
Active Ballarat and Melbourne, VIC, from 1857 and/or 1858
Married Mary Ann HEALY (c. 1848-1921), ? VIC, c. 1862
Died West Melbourne, VIC, 6 August 1921, aged 88 (TROVE tagged by Australharmony) (shareable link to this entry)


In birth records of the children of Faure and Mary Ann Healy, his forename is given variously as Gustave and Charles. As Charles Gustave Faure, aged 88, of 61 Hawke Street, West Melbourne, born Bordeaux, France, he was naturalised on 1 August 1921. As Gustav Charles Faure, he died 5 days later, his wife having died earlier that year. His 22-year-old grandson, also Gustave Felix Faure, had died by drowning on the Murray River in December 1920.


"LIST OF UNCLAIMED LETTERS lying at the BALLARAT POST OFFICE. THURSDAY, 1ST OCTOBER, 1857", The Star [Ballarat, VIC] (2 October 1857), 4 

. . . Faure, Caspar . . .

[Advertisement], The Star [Ballarat, VIC] (4 November 1857), 3

TO DANIEL SWEENEY, - We, the undersigned rate-payers of Ballarat East . . .
. . . Gapsar Faure . . .

[Advertisement], The Argus (2 August 1858), 8

THIS EVENING, at his Academy, 80 Fitzroy-street, Collingwood,
J. W. has much pleasure in informing the public he has engaged the celebrated clarionet performer, Mons. FAURE, late of Jullien's Concerts at the Crystal Palace, Sydenham, who, on this occasion, will perform Bear's Great Solo, accompanied by Mr. Piper, the eminent pianist.
Terms of admission as usual. Ladles are requested to produce the admission tickets. Leader and conductor, Mr. J. Watts.

ASSOCIATIONS: James Watts (violinist)

MUSIC: Perhaps a work by Joseph Beer

[Advertisement], The Star (23 December 1858), 3

CHARLIE NAPIER THEATRE. Proprietor - Mr. John Gibbs.
THE OPERA SEASON, Under the direction of MONS. LAVENUE, Will commence on MONDAY EVENING, 27th DECEMBER . . .
THE PREMIERE BAND Of the Australian colonies, under the able leadership of Mons. Fleury, will comprise the following instrumentalists: -
1st Violin - Mons. Fleury; 2nd Violin - Mons. Filhou; Tenor - Mons. Labat; Violincello - Mr. T. Minton; Double Bass - Mons. Harendoff; Flute - Herr Palin
Clarionet - Mons. Faure; 1st Cornet - Mons. Labalestrier; 2nd Cornet - Mr. Miell; Trombone - Mr. Ellis; Drums, Cymbals, &c. - Mons. Pietro Canna.
Leader of the Band - MONS. FLEURY. Conductor - MONS. LAVENUE . . .

ASSOCIATIONS: Achille Fleury (violinist); Lewis Henry Lavenu (conductor, opera company)

[Advertisement], The Star (6 June 1859), 3

MONDAY EVENING, 6th June, 1859: -
Julia Harland . . . . Mr. Linly Norman, Mons. Fleury, Mr. King, Mons. Filhon,
Mons. Labalestrier, Mr. Miell, Herr Harendorff, Herr Bussa,
Mr. Ellis, Mr. Minton, Herr Palin,
Mons. Faure, Mr. Gunn, Mr. Quinn, Signor Pietro Canna . . .
Overture - Battle of Sebastopol - Full Band
(With solos for Flute, Clarionet, Cornet and Trombone, by Messrs Palin, Faure, Labalestrier and Ellis;
also, Imitation Cannon and Great Drum Effects, by Signor Pietro Canna) . . .

ASSOCIATIONS: Linly Norman (conductor, opera company); Thomas King (violinist, clarinettist); Lawrence Palin (flute); Alfred Labalestrier (cornet); Thomas Ellis (trombone)

[Advertisement], The Argus (19 October 1863), 1

CLARIONET-SOLOIST, Gaspar Faure, Belgian Horse Guards, OPEN to ENGAGEMENT. 41, Hanover-street, Fitzroy.

[Advertisement], The Argus (3 December 1863), 8 

Piano. - Mr. H. J. King.
Violin. - Mr. E. King
Clarionet - Mons. Gustave Faure.

ASSOCIATIONS: Henry John King (pianist); Edward King (violinist)

"THE NEW HAYMARKET THEATRE", The Argus (5 August 1864), 7

The extensive improvements in the reconstruction and decoration of this theatre are now all but completed, and the house will be quite ready for the opening night to-morrow, when Lady Don mokes her first appearance since her return from Europe . . .
The orchestra - so important a component part of a theatre with the future specialty of the Haymarket - is well selected, and will consist of the following performers: -
First violins, Mr. F. Coppin and M. Zeplin; second violin, Mr. Bentley; violoncello, Mr. F. Howson, jun.;
flute, Mr. Creed Royal; cornet, Mr. Richardson; viola, Mr. J. Howson, jun.; double bass, Mr. Gover;
clarionet, Herr Faure; trombone, Mr. S. Hore; tympanes, Mr. Gorman;
leader, Mr. Fred. Coppin ; operatic conductor, Mr. Frank Howson, jun . . .

ASSOCIATIONS: Frederick Coppin (violinist); Frank Howson junior (conductor, cellist)

"Williamstown Police Court . . . MARRYING ON CREDIT", Williamstown Chronicle (3 October 1874), 3 

Charles Faure, a Frenchman, summoned a fellow countryman named Francois Picaud for £7 4s., money lent. The evidence was to the effect that the defendant got married, and complainant lent him the necessary money to pay the priest, give the breakfast, and do the trip. After hearing witnesses, the Bench adjourned the case for a fortnight.

"STEALING GOVERNMENT COPPER", The Argus (13 October 1880), 7 

Yesterday before Messrs. Stark and Morgan, J.P.'s, at the police court Williamstown, an elderly man named Charles Faure, was charged, on remand, with stealing 400cwt of copper, consisting of hoops, the property of Her Majesty s Government . . .

FAWL, Andrew (Andrew FAWL; FOWL; A. FOWLE)

Clarinet player (Band of the 12th Regiment)

Born (with regiment) St. Peter's, Guernsey, c. 1824/5; son of Bryan FAWL (1786-1870) and Ann MULLIN
Enlisted Athlone, Roscommon, Ireland, 4 March 1839 (aged 15)
Arrived (with regiment) Melbourne, VIC, 18 October 1854 (per Camperdown, from Cork, 8 July)
Arrived (with regiment) Hobart, TAS, January 1856
Arrived (with regiment) Sydney, NSW, April 1858
Discharged from regiment, 29 May 1860
Died Liverpool, NSW, 8 December 1863, age "35" (shareable link to this entry)


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

1st CLARINETTE - Mr. A. Fowle, 12th Regiment
2nd DITTO - Mr. E. Kim, 12th Regiment . . .

Bibliography and resources:

"FAWL - Andrew 12th Regiment", Enrolled pensioner force WA 

FELIX, Henry = Henry FRAHLIG

Clown, comedian, comic vocalist (Ashton's circus)

FENTON, Charles (Charles FENTON; Mr. FENTON)

Actor, comedian, vocalist

Born England, c. 1791
Active Hobart Town, VDL (TAS), by December 1833
Married Jane BENNETT, Launceston, VDL (TAS), 29 September 1834
Active Sydney, NSW, by July 1838
Died Darlinghurst, NSW, 21 October 1851, aged 60 (TROVE tagged by Australharmony) (shareable link to this entry)


"THE THEATRE", The Austral-Asiatic Review (31 December 1833), 4 

There is a new Era in Van Diemen's Land. Public amusements have opened upon us in as great variety as in so limited a population could be possibly expected . . . The proprietor is a Mr. Cameron, a gentleman of excellent family in Scotland - brought up and educated in a manner appropriate to his station in life. Mrs. Cameron is well remembered by many here when Miss Bouchiere, the Star of the Norwich - Bath - and Cheltenham Circuits. They came out purposely to establish a Theatre here . . . The Theatre is entirely miniature. It is constructed in the new room at the Freemason's Tavern . . . Mr. Cameron had been extremely fortunate . . . yet it was singularly advantageous to him that Mr. and Mrs. Taylor, both "regulars" from the London boards, should have arrived at the same time. Mr. Fenton also is an old London performer . . .

NOTE: If so, perhaps the Mr. Fenton who appeared at Drury Lane in 1827 and 1828; though a Fenton was also appearing there in October and November 1833, by which time our Fenton was almost in Hobart

ASSOCIATIONS: Samson Cameron (actor, manager); Cordelia Cameron (actor, vocalist); Maria Taylor (actor, vocalist); John Taylor (actor)

Marriages solemnized in the parish of St. John Launceston in the . . . year 1844; Tasmanian names index; NAME_INDEXES:821209; RGD36/1/2 no 2594$init=RGD36-1-2p149 

No. 264 / 259 / Charles Fenton / Free / of the Parish . . .
Jane Bennett / Free / of the Parish . . . married in this Church by Banns this [29 September 1834] . . .

[Advertisement], The Independent [Launceston, TAS] (27 September 1834), 2 

Will be presented, the favorite Comedy of THE HONEY MOON.

"Theatricals", The Sydney Gazette and New South Wales Advertiser (20 January 1842), 3 

Our old and deserving favorite Fenton, took his benefit last Monday night, at the Theatre, in co-partnership with Peat, and we are pleased to say, had a very good house. We have always been partial to Fenton, from the decent manner in which he goes through the most of his parts, whilst some of his characteristic old men are really inimitable. The play of the "Last Stake" was well got up and acted. After the piece, Fenton sang a comic song, for the amusement of his friends. We know well, and so does all Sydney, that Fenton cannot sing, but it was for the novelty of the thing, and to please his patrons, in which he happily succeeded, being loudly encored . . .

"DIED", The Sydney Morning Herald (22 October 1851), 4 

At his late residence, Crown-street, on the 21st instant, after a long and painful illness, Charles Fenton, aged 60 years, many years connected with the Victoria Theatre, and much beloved and respected by all who knew him, leaving a wife and family to deplore their loss. The funeral will take place on Thursday morning at 8 o'clock.


(? Soprano) vocalist

Announced Melbourne, VIC, and Sydney, NSW, October 1853 (TROVE tagged by Australharmony) (shareable link to this entry)


Advertisements for Coleman Jacobs's farewell in Sydney in October 1853 announced the "Celebrated Vocalist from the Italian Opera in Paris - her first appearance in this country, who is expected from Melbourne daily". However, neither she nor fellow debutant, Ernesto Spagnoletti, appeared for the concert. While Spagnoletti did eventually make his Sydney debut, nothing more is heard of Ferari.


[Advertisement], The Sydney Morning Herald (15 October 1853), 1

ROYAL HOTEL - Grand Evening Concert Under distinguished patronage.
Mr. COLEMAN JACOBS (Pianist to H.R.H. the Duchess of Gloucester) begs respectfully to inform the Gentry, his pupils, and the public of Sydney,
that his FAREWELL CONCERT, will take place on TUESDAY the 25th October,
being positively his LAST APPEARANCE in Sydney, previous to his departure for India and England.
Mr. Jacobs has the pleasure of announcing that the following eminent artistes are already engaged -
Madame Ferari the celebrated vocalist from the Italian Opera Paris - her first appearance in this country, and is expected to arrive from Melbourne in a few days . . .

[Advertisement], The Sydney Morning Herald (25 October 1853), 2

. . . PROGRAMME. Conductor and Pianist, Mr. Stanley.
PART I . . . Grand Scena, "La Gazza Ladra" (Rossini), Madame Ferrari (her first appearance) . . .

"MR. COLEMAN JACOBS'S CONCERT", Illustrated Sydney News (29 October 1853), 6

. . . Considerable disapprobation was evinced when the non-arrival of Madame Ferari, and the indisposition of Signor Spagnoletti were announced. As disappointments of this nature have occurred rather frequently of late, we think it would be preferable were our future concert givers to abstain from announcing the engagement of artistes when their appearance is in the slightest degree doubtful; and we are certain that the appearance of a "star," unheralded in the programme, would detract nothing from the gratification of an audience . . .

"MR. COLEMAN JACOBS'S CONCERT", The Sydney Morning Herald (26 October 1853), 5

. . . The published programme was somewhat disarranged by reason of the non-arrival from Melbourne of Madame Ferari, and the illness of Signor Spagnoletti, but every endeavour was made to atone for these drawbacks. Miss Flora Harris, in addition to the songs allotted to her, cheerfully aided to supply the omissions, and this assistance was cordially recognised . . .

"MR. COLEMAN JACOBS'S CONCERT", Empire (27 October 1853), 3

. . . There was a .very numerous and respectable auditory, who shewed more good humour under the disappointments they experienced than might have been expected. - In the first place, an apology was made for Madame Ferari who had not arrived from Melbourne, and afterwards for Signor Spagnoletti, who was said to be labouring under a severe indisposition . . .

"MR. COLEMAN JACOBS'S CONCERT", Bell's Life in Sydney (29 October 1853), 2

The Farewell Concert of this gentleman, from which so much was expected, created considerable disappointment amongst the many who patronised it. The great cards, Madame Ferari and Signor Spagnoletti, did not appear - the one not having reached Sydney, and the other being incapacitated by illness from attending. It is due to the other artistes to remark that they exerted themselves to the utmost to fill the unanticipated hiatus . . .


Musician, vocalist, composer, artist

Born Gumley, Leicestershire, England, c. 1813/15; eldest surviving daughter of Frederick APTHORP (1778-1853) and Susan HUBBARD (d. 1865)
Married John FEREDAY (c. 1813-1871), Gumley, Leicestershire, England, 29 December 1836
Arrived Hobart Town, VDL (TAS), 17 February 1846 (per Aden, from England, 5 November 1845, via George Town, 13 February)
Died Sale, VIC, 21 October 1878, aged "63" (on headstone), aged "68" (on death record) (TROVE tagged by Australharmony) (NLA persistent identifier) (shareable link to this entry)


The Tasmanian artist, Susan Fereday composed an unidentified song (words by W. A. Gardiner) that was advertised for publication in Huxtable and Deakin's The Tasmanian lyre in 1854, but apparently not included in the finished series.

She was an active musician, appearing as a vocal soloist for the Launceston Philharmonic Society in February 1856, in a duet composed by its director John Adams. The words of her lost song were written by a former Manchester philanthropist, William Atkinson Gardiner (d.1855), who in 1851 brought out to Launceston, Tasmania:

at his own entire charge and expense, twelve young women, as a donation to the colony.

The DAAO and NLA profiles misleadingly conflate Susan Apthorp Fereday with her daughter, Susan Georgina Marianne Fereday (Mrs. Palmer), born c. 1838, died 1909. An English sketchbook, inscribed to the daughter, is also mistakenly identified with the mother.


"MARRIAGES", The gentleman's magazine (February 1837), 201 

[Dec. 29] . . . At Gumley, Leicestershire, the Rev. J. Fereday, to Susan, eldest dau. of the Rev. F. Apthorp.

"Hobart Town Shipping. ARRIVALS", The Britannia and Trades' Advocate (19 February 1846), 2 

Same day [17] - Barque Aden, 422 tons, Waddle, master, from London, Nov. 5, from George Town, Feb. 13, 1846. Passengers - . . . Rev. J Fereday, Mrs. Fereday, and five children, and servant . . .

[Advertisement], The Courier (13 November 1854), 3

Now Ready for Sale, THE DELACOURT BOUQUET . . .
To he followed in a few days by the TASMANIAN LYRE.
Lanarkshire Polka, by Miss Josephine Smith
Sylvan Dale Schottische, anonymous
Wivenhoe Quadrilles, by Arthur Hill
La Speranza Waltz, by Editor
Song. Words by W. A. Gardiner, Esq., music by Mrs. Feraday
Galop, by Miss Fraser.
Published by Huxtable and Deakin, and sold by Huxtable, Welch, and Fletcher, Hobart Town; and Watson, Launceston. Price 5s.

"ANNUAL COMMEMORATION. CHRIST'S COLLEGE", The Courier (26 December 1854), 2

. . . After lunch the visitors sauntered over the grounds or repaired to the concert-room, where a small musical entertainment wound up the festivities of the day. Mrs. Fereday had kindly volunteered her services, and contributed in no small measure to the gratification of the audience and the success of this finale to the day's amusements . . .

"LAUNCESTON PHILHARMONIC SOCIETY", Launceston Examiner (28 February 1856), 2

On Tuesday evening the second quarterly rehearsal of the above society took place in the Cornwall Assembly Rooms . . . To spare Mr. Adams, who was evidently suffering from ill health, Mr. Marriott explained to the company that the exercises which were about to be sung were of an elementary character . . . The first duet sung was taken from an old pastoral, much admired by Charles Lamb, who recommended it to Vincent Novello as a suitable subject on which to exercise his musical genius. It represented a dialogue held by Paris and OEnone on Mount Ida. The duet was opened by Mrs. Fereday with much taste, the second part being well taken up by Mrs. Hamilton, and the chorus effectively sustained by the society. It was much applauded, and when Mr. Marriott announced that the music to which they had listened was not Novello's composition, but was written by their conductor, Mr. Adams, renewed plaudits testified the company's appreciation of Mr. Adam's musical talents . . .

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

Never within the recollection of that mythical and oft' quoted individual the oldest inhabitant, was there a greater treat offered to the music loving citizens of Launceston, than was the soiree of the Philharmonic Society on Thursday evening last, at the Cornwall Assembly Rooms . . . The arrangements were most ably conducted by Mr. A. J. Marriott, whose musical proficiency is well known and highly appreciated. In speaking of the special performances we are at a loss to find words to describe the thorough excellence of the music tendered by Miss Chambers and Mrs. Fereday. The former lady, gifted with a power of song probably possessed by few in the world, of a rich mellow tone, yet extraordinary compass carolled the delightful music of Mozart, Mendelssohn, and Rossini, completely enthralling her hearers. Nor was Mrs. Fereday less successful, she sang one of the most delightful solos it was ever our delight or privilege to listen to. The duetts by these two ladies were marked as well by the delightful sweetness with which they were rendered, as by the elegant and scientific precision of execution . . .

"George Town", The Cornwall Chronicle (17 July 1867), 5

The second of our series of Penny Readings took place here on Friday evening last, in the public schoolroom . . . Song - Mrs. Fereday . . . Glee - Mrs. Fereday and Messrs. Henry . . .

"George Town . . . POPULAR READING", The Cornwall Chronicle (28 August 1867), 5 

Our fifth popular reading was given in the schoolroom on Friday . . .
Mrs. Fereday sung, "Why do I weep for thee." This elicited a general burst of applause . . .
Mrs. and Miss Fereday and the Messrs. Henry sung the beautiful quartette "Five times by the tapers light" . . .
Mrs. Fereday and Mr. J. Henry sung that beautiful duet "A voice from the waves" . . .

"George Town", The Cornwall Chronicle (20 January 1869), 3

A Concert in Aid of the Funds for reshingling the church was given on Thursday evening, the 14th instant, at which there was a very large attendance of visitors and residents . . .
Trio - "Hail, Smiling Morn" - Mrs. Fereday, Mrs. Giles, and Mr. Henry.
Duet - "List, Dearest, List" - Mrs. Fereday, and Mrs. Hodgson . . .
Duett - "What are the Wild Waves Saying" - Mrs. Fereday and Mr. Henry . . .
Part 2nd . . .
Quartette - "Here in cool grot." - Mrs. Fereday, Mrs. Hodgson, and Mr. Henry . . .
Duet - "Deh! Conte." - Mrs. Fereday and Mrs. Giles . . .
Solo - "The Skipper and his Dog." - Mrs. Fereday.
Trio - "Bragila." - Mrs. Fereday, Mrs. Giles, and Mr. Henry.
National Anthem.

"DEATH", Gippsland Times (23 October 1878), 2

FEREDAY. - On 21st October, at the Bank of Australasia, Sale, Susan, relict of the late Rev. John Fereday, A.M., Incumbent of Mary Magdalen Church, George Town, Tasmania.

Documentation (W. A. Gardiner):

"FEMALE EMIGRATION", Launceston Examiner (12 March 1851), 3

"THE LATE W. A. GARDINER", Colonial Times (27 June 1855), 3

Bibliography and resources:

"Fereday, Susan", Biography, Council of Heads of Australasian Herbaria, Australian National Herbarium

(from Women of flowers, by Leonie Norton (2009), National Library of Australia)

"Susan Fereday", Design & Art Australia Online (DAAO)


Comic vocalist, dancer, delineator, ? black-face impersonator

Active Sydney, NSW, 1838-39 (TROVE tagged by Australharmony) (shareable link to this entry)


The American black-face vocalist and delineator (impersonator) Thomas D. Rice (1808-1860), in his famous role as Jim Crow, first came to the attention of the Sydney press in 1833, when this extract was reprinted from a New York paper:

When Mr. Rice came on to sing his celebrated song of "Jim Crow," they not only made him repeat it some twenty times, but hemmed him in so that he actually had no room to perform the little dancing or turning about appertaining to the song . . .

Rice introduced his character and song ("I come from ole Kentucky . . . I jump Jim Crow") to British audiences at the Surrey Theatre, London, in 1836. His performances were much commented on the press (several reports copied in the colonial press during 1837).

A copy of the first British sheet music edition of the song was plausibly used by Ferguson for his first Sydney performances at the Royal Victoria Theatre, Sydney, on 28 August and 1 September 1838, and in the following fortnight by John Herman Selwyn Lee.

There had been an even earlier performance of the song at the Hobart theatre on 15 January 1838.

In April 1838, retired captain John Piper entered a 5-year-old horse named Jim Crow in the Bathurst Races, and on the last Sunday of that month in Sydney the Band of the 50th Regiment reportedly played the tune at as it marched back to Barracks Square from the service in St. Philip's church.

There is no other record a Ferguson associated with Sydney theatre, or singing elsewhere, around this time, and it is perhaps a stage alias of one of the company members.


"PATRTAKING OF A THEATRICAL ENTERTAINMENT", The Sydney Gazette and New South Wales Advertiser (5 October 1833), 3 

[Advertisement], The Sydney Gazette and New South Wales Advertiser (25 August 1838), 3 

. . . After which (for the first time in this Colony), Mr. Ferguson will sing the celebrated popular Comic Song, entitled "JIM CROW."

"THE VICTORIA", The Sydney Herald (12 September 1838), 2 

. . . A mass of vulgar buffoonery and impiety, called "Jim Crow," has been sung several times, but we trust the managers will not allow the ears of decent people to be annoyed by it any more.

[Advertisement], The Sydney Gazette and New South Wales Advertiser (28 November 1839), 3 

. . . AT THE VICTORIA THEATRE . . . All Round my Hat, (in character,) BY MR. FALCHON.
"The Original Jim Crow," BY MR. FERGUSON . . .

Musical source:

Jim Crow, the celebrated [REDACTED] song, sung by Mr. Rice with unbounded shouts of applause at the Royal Surrey Theatre (London: [?], n.d. [1836]) (DIGITISED)

Australian copy of the same London edition, as above, in an owner bound album of sheet music originally belonging, c. 1840, to Lillias Dowling, of Sydney and Bathurst; collection of Rouse Hill Farm and House, Sydney Living Museums (Historic Houses Trust of NSW) (DIGITISED)

Bibliography and resources: (TROVE tagged by Australharmony)

"RICE, THOMAS D.", in Brown's history of the American stage (New York: Dick & Fitzgerald, n.d. [1870]), 310 (DIGITISED)

Matthew Stephens, "Songs and scandal uncovered: the Dowling music project", Sydney Living Museums (Historic Houses Trust of NSW), website 


Vocalist, leader Launceston Sacred Harmonic Society

Active Launceston, VDl (TAS), 1841 (shareable link to this entry)


[Advertisement], Launceston Advertiser (9 September 1841), 2 

TO MR. JAMES FERGUSON, Late Leader of the Sacred Harmonic Society.
DEAR SIR. - We, the undersigned members of the Sacred Harmonic Society, cannot allow this opportunity to pass without expressing our sincere thanks for the very praiseworthy manner in which you have so long and so ably conducted this Society, combined with that uniform and steady conduct in promoting its growth and prosperity, and sincerely do we regret to receive your resignation, coming as it does from one whose interests have been bound up in its welfare. Wishing you health and prosperity, We remain,
Sir, Your Obedient Servants,
A. Brain, George Peck,
James Robe, Thomas Brain,
John Tozer, Henry Gurr,
John Brain, James Bennell,
James Mitchel, James Fletcher,
Thomas Dowling, T. Stubbs,
T. Collyer.
Launceston, 7th Sept., 1841.

Gentlemen, I beg to acknowledge the very handsome manner in which your feelings have been conveyed to me upon my retiring from the Sacred Harmonic Society, and I assure you you have my warmest well wishes as to the prosperity of your Society, which I make no doubt will prosper so long as you preserve unity amongst yourselves, Gentlemen, I remain, Your's most sincerely,
JAMES FEUGUSON. Launceston, 8th Sept., 1841.

ASSOCIATIONS: Launceston Sacred Harmonic Society (organisation)

FERNANDEZ, Lucy Knight (Lucy Knight FERNANDEZ; Mrs. George Frederick SMYTH; SMYTHE [sic])

Pianist, teacher of piano (pupil of John Baptist Cramer and Ignaz Moscheles)

Born London, England, 31 January 1809; baptised St. Pancras Old Church, 17 April 1809; daughter of John FERNANDEZ (c. 1774-1834) and Sarah CARTER
Arrived Sydney, NSW, 24 July 1839 (passenger per Ferguson, from the Downs, 29 March)
Married George SMYTH (c. 1803-1859), St. Philip's church, Sydney, NSW, 15 February 1840
Died East Melbourne, VIC, 2 January 1862 (TROVE tagged by Australharmony) (shareable link to this entry)

See also: 


Lucy Knight Fernandez was a daughter of John Fernandez (c. 1775-1834) and Sarah Carter, who were, if the documentation is to believed, twice married, first at St. Mary's church, Portsea, on 30 November 1797, and second at St. Andrew's, Holborn, on 19 November 1803.

Her father served as an officer in the 53rd regiment, was a Waterloo veteran, seriously wounded at the battle at the Arapiles in July 1812, and, in the 1820s, an anti-salvery campaigner.

Lucy later advertised in Australia as a pupil of John Baptist Cramer and Ignaz Moscheles. There may have been a long-standing family connection with Cramer, who in 1808, the year before Lucy was born, dedicated to a Miss Fernandez his op. 39 set of Three sonatas "on Spanish and Welch airs".

Whether by coincidence or not, Lucy sailed for New South Wales on the same ship, the Ferguson, as Charles La Trobe and his family. She appears to have performed in public in Australia only between her arrival in Sydney in July 1839 and her marriage in February 1840. Her husband, George Smyth, a merchant trader and member of the Society of Friends, had arrived in the colony on the Amelia Thompson in October 1839.

In March 1841 and May 1842, Lucy gave birth to a daughter and son, both still born. George, who meanwhile had succumbed to the current financial troubles, was declared insolvent in September 1842, and in October and November their household furniture (including "A very superior brilliant-toned Pianoforte, by a very eminent maker") was auctioned off by the trustees.

In February 1844, having appealed to the governor, George Gipps, Lucy and George were appointed matron and storekeeper of the Female Factory at Parramatta. They remained in the post until the begining of 1847, when they were dismissed for:

having permitted great irregularities to take place in the establishment, wholly at variance with the system of discipline necessary to be observed in one of the nature in question.

The dismissal again placed them in financial difficulty, and in April they were forced to auction their household furniture, including a phaeton and a square piano.

Lucy next advertised as a teacher of the pianoforte in May 1847, and in July announced the publication of:

EXERCISES AND STUDIES FOR THE PIANOFORTE, selected, arranged, and fingered expressly for the use of her pupils, by MRS. SMYTH. To be had at her residence, Wyatt's Cottages, Hyde Park.

Having recovered from a successful birth, she again advertised as a teacher in April 1849, only to announce that she and her husband were leaving for California in May.

She was back in Sydney, and resuming her profession, in March 1853. But in March 1853 she offered her piano for sale "in consequence of the owner removing to Melbourne", following George, who had already taken up a position there in an insurance company. I have as yet found no record of her teaching in Melbourne.

George died of paralysis in 1859, Lucy in 1862, and their son George in 1867. Their other two children, Leonora (Mrs. Dugald Little) and Peregrine both lived into the second decade of the next century. All except Peregrine, who died in NSW, were buried in the same plot in Melbourne General Cemetery


Register of baptisms, 1809, St. Pancras Old Church, London; London Metropolitan Archives (PAYWALL)

[April] 17th / Lucy Knight daughter of John and Sarah Fernandez / [born] Jan'y 31st

"ARRIVALS", The Sydney Gazette and New South Wales Advertiser (25 July 1839), 2

From London same day [yesterday], the Ferguson, Captain Robertson, having left the Downs on the 9th March. Passengers, Charles Joseph La Trobe, Esq. Lieuteuant-Governor of Port Phillip, lady and child . . . Miss Fernandez . . .

[Advertisement], The Sydney Herald (30 August 1839), 3

Under the Distinguished Patronage of Lady Gipps, Lady Dowling, Lady O'Connell, Mrs. Deas Thomson, &c.
MISS FERNANDEZ, Pianist, Pupil of Cramer and Moscheles,
HAS the honour to announce that her Concert will take place in the Old Court House, on Thursday, September 19,
when she will be assisted by the principal musical talent in the Colony.
Particulars will be duly advertised. Tickets may be had of Miss Fernandez, at Mr. Simpson's, No. 1, Terry's Buildings, Pitt-street.
Sydney, 29th August, 1830.

"CHIT CHAT", The Colonist (18 September 1839), 2 

. . . Mr. and Mrs. Bushelle cleared £140 by their Concert at the Theatre. - Miss Fernandez gives a Concert on Friday at the Old Court House, and pays Mr. and Mrs. Bushelle £15 for their professional assistance. Miss Fernandez is a stranger; we hope the public will treat her liberally as she deserves. She has spared no expense in getting up this, her first Concert, and we understand she is a first rate pianist. [OMEGA]

[Advertisement], The Sydney Monitor and Commercial Advertiser (20 September 1839), 3 

MISS FERNANDEZ has the honor to announce that her CONCERT will take place in the OLD COURT HOUSE,
THIS EVENING, the 20th September, when she will be assisted by MONSIEUR and MADAME GAUTROT,
MR. and MRS. BUSHELLE, and a most efficient Orchestra.
Tickets to be had of Miss Fernandez, at Mrs. Simpson's, 1, Terry's Buidings, Pitt-street North. The Concert will commence at Eight o'Clock.
OVERTURE - "Fair Maid of Perth."
1 - "Care Zitelle," Florio, Duet - Madame Gautrot and Mrs. Bushelle.
2 - "Hours of Rapture," Lee, Song - Mrs. Bushelle.
3 - "Rondo," Pianoforte, with quartet accompaniaments - Moscheles - Miss Fernandez.
4 - "Una Voce," Rossini, Song - Mad. Gautrot.
5 - "My Heart's in the Highlands, Phillips - Mr. Bushelle.
6 - "Lasciami," Rossini, duet - Madame Gautrot and Mrs. Bushelle.
7 - "Solo," Pianoforte, Herz - Miss Fernandez.
OVERTURE -"Siege of Rochelle."
1 - "On donc est il," Carafa, Song - Mad. Gautrot.
2 - "Non piu Andrai," Mozart - Accompanied by the full Band, Mr. Bushelle.
3 - "Trio," Beethoven - Miss Fernandez, Mons'r Gautrot and Master Deane.
4 - "Solo," violin - Mons. Gautrot.
5 - "Fremar Vonce," Cemorosa - Mrs. Bushelle.
6 - "Crudel Perche," Mozart, Mr. and Mrs. Bushelle.
7 - "Largo al factotum," Rossini - (by desire) Mr. Bushelle.
FINALE - "God save the Queen," full Band.
Colonel Wodehouse has kindly allowed the assistance of the Band of H. M. 50th Regiment.

"Miss Fernandez' Concert", Australasian Chronicle (24 September 1839), 1

Truly this is becoming a musical people. Night after night, we see crowds assembling to enjoy this innocent and enobling amusement, and every Concert surpasses its predecessor in presenting before us concatenations of all that is beautiful, and elegant, and dignified. This was really a fashionable Concert. The Governor, with his Lady and Suite, the families of Sir J. Dowling, Sir Maurice O'Connell, the Colonial Secretary, the Attorney General, &c., were present; nor could we distinguish the absence of any whose names could have added to the brilliancy of the scene. Come we then to the performances, and first of all to those of the "star of the evening", Miss Fernandez, whom we have no hesitation in saying, has no rival as a pianiste in the Colony. Her playing is really faultless. She has abundant execution - so have others, but she understands what she executes. She has great powers of wrist - so have others, but she knows when to exert and when to diminish these powers. Above all, she has feeling and expression, which constitute the soul of music, and without which mere execution is nothing better than tricks of legerdemain. Her performance of Herz's Solo, introducing the air "Suoni la tromba", was exquisite; and we do not recollect to have heard anything that gave us more pleasure than the fugue which concluded the admirable Trio from Beethoven. This is music, both in composition and performance . . . We are sorry to say . . . that the Orchestra was a failure. Fortunately Miss Fernandez had an Orchestra in her own hands, which went far to make up the deficiency. In fact there is a such a soul of music joined to such a modest, domestic appearance in this young lady, that if the young Colonists are at all of our taste, we are much afraid the musical world will soon have to regret her loss, TO IT. Happy he whose home shall be blest with such harmony. We wish Miss Fernandez every success.

"MISS FERNANDEZ' CONCERT", The Australian (24 September 1839), 2

This Lady's Concert went off with great eclat, and we feel much pleasure in congratulating her upon her successful debut before the Australian public. Most of the rank and beauty of Sydney graced the Concert-room. Among others, we noticed His Excellency the Governor, Lady Gipps, and Suite, Sir James Dowling, Lady Dowling and Family, Lady O'Connell, Miss O'Connell, Sir John Jamison, Mr. Plunkett and his Lady, and in short nearly all the elite of the place . . . We now come to the main attraction of the evening, which we need not say was Miss Fernandez' performance on the piano forte; and we confess we are not able to command terms of eulogy corresponding to the pleasurable sensations produced by the playing of this highly talented lady - the grace and elegance, the feeling, in a word, the soul evinced by her, were such as have never hitherto been exhibited before the Australian public. She has all the execution of the Herz school, without that tendency to indulge in legerdemain, which has done much to degrade, in the estimation of scientific musicians, the otherwise pleasing productions of that composer. In the Rondo, by Moschelles, she at once satisfied us of the superiority of her style, and her execution in the soIo by Herz, convinced us of her ability to perform any passages, however difficult, which are capable of being mastered by ten fingers. But we were most gratified in the trio by Beethoven. The richness of harmony, and the bewitching melodies of that great master she most feelingly developed - every note was meant by the composer to tell, and the performer did him ample justice. The brilliancy of her shakes, and the delicacy, feeling, and gracefulness which she imparted to the turns, appogiaturas, and cadences, were such as nothing could exceed, and proved her to be, not only a first-rate performer, but also one who fully understands and duly appreciates the true beauties of music. We consider the inhabitants of Sydney fortunate in having so gifted a pianist resident among them - one who will cultivate the true spirit of the art, as it is evident she has received it pure from the celebrated masters (Cramer and Moschelles) under whom she studied, and whose style and spirit she has so completely acquired.

[2nd review from a correspondent:]

Miss Fernandez' Concert, last Friday evening, attracted a select, though not very numerous, audience. With respect to her performances we will say, that she displayed talents of the very first order in the different pieces selected by her. The variations of Suoni la Tromba by her were equal to any thing we ever heard. The Rondo with Quartett accompaniments by Moscheles, was distinguished by a neatness, precision, and delicacy of execution that appeared to be highly appreciated by many excellent judges present. The Trio by Beethoven, though better adapted to a drawing-room than a Concert, was marked by the same originality and genuine science that characterise the compositions of that Colossus of modern music. Miss Fernandez was most ably seconded by Monsieur Gautrot, whose violin was truly delightful. We would particularly instance his slow movement in the Trio . . . - From a Correspondent.

ASSOCIATIONS: Joseph Gautrot (violinist) and Madame Gautrot (soprano); Edward Deane (cellist); Eliza Bushelle (soprano) and John Bushelle (bass); Band of the 50th regiment

MUSIC: Grandes variations sur la marche favorite de I puritani (Herz); unidentified rondo (Moscheles); unidentified piano trio (Beethoven)

[Advertisement], The Sydney Herald (2 October 1839), 2 

GRAND CONCERT . . . MR. PECK . . . at the Royal Victoria Theatre . . . WEDNESDAY EVENING, October 2nd . . .
PROGRAMME. PART I . . . Solo - Pianoforte - Miss Fernandez, her second appearance in public . . .

"MR. PECK'S CONCERT", The Australian (5 October 1839), 2 

. . . Next followed a solo of Thalberg's, on the pinaoforto [sic] by Miss Fernandez. We can add nothing to what we formerly said of this lady's playing, it is really astonishing, but of what is of far greater importance, it is also full of feeling and the real soul of music. The piece in question is one of immense difficulty, but at the same time abounds with beauties: the gracefulness as well as precision with which every part was performed, was at once ravishing and amazing; the smoothness and gliding style in which the passages in octaves were played, was wonderful. This lady has so fully proved her ability to master all that is difficult, as well as her taste to appreciate all that is beautiful in pianoforte playing, that we will venture to express a hope that at her next appearance in public she will not hesitate to sacrifice a little of the former, to give more scope to afford us the greater pleasure produced by the latter; we assure her she need feel no apprehension of playing what does not abound in the difficulties after the specimens she has given of what she can do . . .

"MR. PECK'S CONCERT", The Sydney Herald (7 October 1839), 1 supplement 

. . . We had almost forgotten (for which beg pardon of the lady) Miss Fernandez, whose performance on the piano-forte is certainly of the first order. The theme chosen by her at Mr. Peck's concert was not very effective, but she performed the manifold variations with consummate skill . . .

ASSOCIATIONS: George Peck (violinist)

MUSIC: Unidentified theme and variation set (Thalberg)

[Advertisement], The Australian (12 October 1839), 3 

MISS FERNANDEZ has for Sale, a first rate six and a half octave Grand Pianoforte, by Broadwood, expressly selected for her by Moschelles. It has Metallic plated, and all the latest improvements. To be seen at Miss Fernandez' residence, at Mr. Simpson's, Terry's Buildings, Pitt-street.

[Advertisement], The Sydney Herald (13 November 1839), 1 

GRAND CONCERT - MONSIEUR and MADAME GAUTROT . . . WEDNESDAY EVENING, November 13, in the Saloon of the Royal Hotel . . .
PROGRAMME. Part I . . . 5. - "Recollections of Scotland," (Piano) Moschelles - Miss Fernandez . . .

"MONSIEUR GAUTROT'S CONCERT", The Sydney Monitor and Commercial Advertiser (29 November 1839), 2 

This description of entertainment has been so multiplied of late, that with all the ingenuity we may be supposed to possess, with all the fancy in which we may indulge, we can write nothing new upon so stale a subject. The last concert was a mere ditto of those which preceded it. Besides, it was too long; some persons think they never have enough of a good thing. The concert was insufferably long - it was tedious. Of the Italian and French music we shall say nothing; because we again enter our protest against its introduction into concerts performed before a Sydney audience . . . We had almost forgotten Miss Fernandez - for which we beg the lady's pardon. There is no doubt she possesses a great command over the keys of the piano-forte. But there is too much of manipulation in her performance - too great an exhibition of mechanical skill. She could not have chosen a more beautiful theme than the air "Kelvin Grove" - yet it and other Scotch airs introduced by this lady were rendered perfectly ineffective, under the weight of ornament with which they were encumbered - Herald.

MUSIC: Anticipations of Scotland [sic] (Moscheles)

"Cecilian Society", Australasian Chronicle (13 December 1839), 4 

The Concert on Wednesday evening was the best our friends the Cecilians have given within our recollection; but had they not rather too heavy a sprinkling of professionals for an amateur society? One or two may occasionally be admitted, but we think four fifths rather too great an odds. Miss Fernandez's solo was deservedly applauded, and was by far the most attractive part of the evening's entertainment . . .

"Married", The Australian (18 February 1840), 3

On the 15th instant, by special license, at St. Phillip's Church, Sydney, by the Rev. William Cowper, George Smyth, Merchant, to Lucy Knight, eldest daughter of the late Captain Fernandez, of H. M. 53rd regiment.

"BIRTH", The Australian (16 March 1841), 3

On the 13th March, Mrs. George Smyth, Princes-street, of a daughter, still born.

"BIRTH", The Sydney Herald (18 May 1842), 3 

On the 4th instant, Mrs. George Smyth, Prince-street, of a son, still born.

[Advertisement], The Sydney Gazette and New South Wales Advertiser (8 October 1842), 4 

In the Insolvent Estate of George Smyth. MR. BLACKMAN Is instructed to Sell by Auction, on MONDAY, the 10th instant, at the Residenco of the Insolvent, No. 1, Cumberland-street, at 11 o'clock preciasly, by order of the Trustee,
HOUSEHOLD FURNITURE, C0NSISTING OF Chairs, Tables, Sofa, Bedsteads, Mattressees, Pillows, Bolsters, &c., Carpets, Chests of Drawers, China, Glass, Cutlery, &c., &c., &c.
ALSO, A very superior brilliant-toned Pianoforte, by a very eminent maker. Terms, at sale.

"BIRTHS", The Sydney Morning Herald (6 June 1843), 3

On the 5th June, Mrs. George Smyth, of a daughter. [Leonora San Andero SMYTH, Mrs. Dugald LITTLE, d. 1917]

"FEMALE FACTORY", New South Wales Government Gazette (20 February 1844), 317 

Colonial Secretary's Office, Sydney, 19th February, 1844.
His Excellency the Governor has been pleased to make the following appointments in the Female Factory, at Parramatta, viz:-
MRS. GEORGE SMYTH to be Matron, and MR. GEORGE SMYTH to be Storekeeper.
By His Excellency's Command, E. DEAS THOMSON.

Letter, from George Gipps (governor NSW), 14 August 1844, to Lord Stanley (London); HRA 1/23, 1843-44 (1925), 477-78 (DIGITISED)

. . . In my Despatches enumerated in the Margin, the suspension of the Matron, Sub-Matron and House Steward of the the Female Factory at Parramatta . . . and I have appointed Mr. and Mrs. George Smyth to be House Steward and Matron of the Establishment . . . He was until lately a Merchant in Sydney; and though he, like numbers of others, sank beneath the Commercial embarrassments of the last three years, his failure was attended with no circumstances impeaching his [478] conduct or integrity. He was employed by me a short time as an Inspector of Distilleries, and disclosed to the Government some attempts which were made to corrupt him. He is a Member of the Society of Friends, but does not object to attend the Church of England. Mrs. Smyth, his Wife, is a member of the Church of England, and fitted, I think, in a remarkable degree for the employment in which I have placed her; during the few weeks she has already been at the Factory, she has given me entire satisfaction. She was formerly a Miss Fernandez, the daughter of a British Officer (I think a Lieut. Colonel Fernandez), and is known to Mr. Frederick Elliot of the Colonial Land and Emigration Board . . .

ASSOCIATIONS: Thomas Frederick Elliot

"DISMISSALS", The Australian (2 February 1847), 3 

The matron and storekeeper of the Female Factory, in consequence of the alleged recommendation of the Board of Enquiry appointed to investigate certain allegations of defalcation in the stores of that establishment, have received the following official communication from His Excellency the Governor: -
"The charges brought against the matron and storekeeper having been tacitly admitted by them, and such explanation as they have offered being most unsatisfactory, they will deliver up charge on the 28th inst."

"ORIGINAL CORRESPONDENCE. THE FEMALE FACTORY. To the Editors of . . .", The Sydney Morning Herald (6 February 1847), 2 

GENTLEMEN,- May I beg the favour of your inserting in your paper the following letter, in contradiction of a paragraph in the Australian, of the 2nd instant.
I am, gentlemen, Yours, respectfully, GEORGE SMYTH. Parramatta, February 4.

(COPY.) Colonial Secretary's Office, Sydney, February 3,1847.
Sir, - I beg to acknowledge the receipt of your letter of this day's date, drawing attention to a paragraph in the Australian newspaper of yesterday, imputing to you and the matron a charge of defalcation in the stores of the Female Factory, and requesting a contradiction of such an imputation.
In reply, I have the honour to inform you that the dismissal of Mrs. Smyth and yourself from your present situations of matron and storekeeper in the Female Factory, did not proceed from any imputation against either of you, in any way affecting your characters for honesty, but from your having permitted great irregularities to take place in the establishment, wholly at variance with the system of disclpline necessary to be observed in one of the nature in question.
I have the honour to be, Sir, Your most obedient servant, E. DEAS THOMSON.
Mr. George Smyth, Storekeeper of the Female Factory, Parramatta.

[Edward Smith Hall, editor], "LOCAL INTELLIGENCE. FEMALE FACTORY", The Australian (9 February 1847), 3 

We have much pleasure in giving publicity to the accompanying letter from the Colonial Secretary to Mr. George Smyth, of the Female Factory, which we feel satisfied will with our contradiction in our paper of Thursday last - entirely erase any unfavourable impressions which may have been made on the public mind, as to the "allegations" referred to in our paper of the 2nd Instant . . .

"SERIOUS ROBBERY", The Sydney Morning Herald (3 March 1847), 2 

On Sunday afternoon, the ex-storekeeper of the Female Factory, Mr. George Smythe, reported to the chief constable the robbery, during the forenoon of that day, of between £120 and £130 in bank notes, from the drawer of a table in his private office in the Factory. Every possible exertion for the recovery of the missing property, and the discovery of the parties guilty of this extensive theft, were immediately used; but the affair at present is one of mystery.

[Advertisement], The Sydney Morning Herald (8 April 1847), 4 

MR. MORT Will sell by public auction, at the residence of MR. GEORGE SMYTH, WYATTS'S-BUILDINGS, CASTLEREAGH-STREET, ON MONDAY, 12TH APRIL, At 11 o'clock,
THE whole of the HOUSEHOLD FURNITURE, comprising Horse hair sofas, card table, Loo table, dining table, Wardrobe, cheffoniers, China, glass, plated tea service, Brussels carpet, very handsome.
ALSO, Square pianoforte, London-built double-bodied phaeton, College's patent axles, &c. Terms at sale.

[Advertisement], Sydney Chronicle (8 May 1847), 3 

BEGS to inform the inhabitants of Sydney and its vicinity, that she has resumed her profession as Pianiste,
and is now prepared to give lessons upon very reduced terms.
Address to MRS. SIMPSON, 362, Pitt-street North. May 5, 1847.

[Advertisement], The Sydney Morning Herald (16 June 1847), 1

selected, arranged, and fingered expressly for the use of her pupils, by MRS. SMYTH.
To be had at her residence, Wyatt's Cottages, Hyde Park, four doors beyond Lyons-terrace.

[Advertisement], The Sydney Morning Herald (6 January 1849), 1 

MRS. SMYTH has just received from London a very superb pianoforte, and a large variety of new music, expressly ordered by herself, including Herz's last publication "Fantasia," from Donizetti's Opera Parisina, which he has dedicated to Mrs. Smyth.
Mrs. S also begs to recommend her Exercises and Studies, which she has selected, fingered, and arranged for the use of her pupils, and all young pianoforte players.
ROSE COTTAGE, Adjoining the Council Chambers, Macquarie-street.

MUSIC: Fantaisie et variations brillantes sur l'opéra de Donizetti, Parisina, op. 133 (Herz); see also advertisement; on Donizetti's Parisina

"BIRTHS", The Sydney Morning Herald (19 February 1849), 3 

On the 18th of February, at Rose Cottage, Macquarie-street, Sydney, Mrs. George Smyth, of a son. [Peregrine Fernandez Smyth]

[Advertisement], The Sydney Morning Herald (12 April 1849), 1

MRS. SMYTH begs to acquaint her pupils and friends that she is now quite convalescent, and is ready to resume her lessons on the pianoforte, as usual. Rose Cottage, Macquarie-street, Next the Council Chamber.

[Advertisement], The Sydney Morning Herald (8 May 1849), 1 

TO BE RAFFLED. MRS. SMYTH being about to proceed to California, wishes to dispose of her Pianoforte by raffle:
Broadwood, manufacturer; chosen expressly for her by Moscheles, and a very superior instrument.
All particulars may be had at Rose Cottage, near Council Chambers, Macquarie-street.
Mrs. S. has also for disposal a quantity of Music, by the best authors, which may be had during the present week at half the London published price.

[Advertisement], The Sydney Morning Herald (11 May 1849), 4 

HOUSEHOLD FURNITURE, SUPERIOR PIANOFORTE, CHINA, GLASSWARE, KITCHEN UTENSILS, &c. THE PROPERTY OF A GENTLEMAN PROCEEDING TO CALIFORNIA. JOHN G. COHEN will sell by auction, on the premises, Rose Cottage, Macquarie-street, ON MONDAY NEXT, MAY 14, At 11 o'clock precisely . . . A superior "Picólo" Pianoforte, selected by Moschelles . . .

"DEPARTURES", The Sydney Morning Herald (25 May 1849), 2 

May 24. - Volunteer, barque, 250 tons, Captain Wingfield, for Auckland and California. Passengers for California - Mr. Gwynne, Mr. and Mrs. Morris and daughter, Mr. and Mrs. Smyth, two children and servant . . .

[Advertisement], The Sydney Morning Herald (9 March 1852), 1

MRS. GEORGE SMYTH, formerly MISS FERNANDEZ, Pianiste, many years pupil of CRAMER and MOSCHELES, begs to acquaint her old pupils and friends, that she intends resuming her profession, and will be happy to give lessons at her own residence, Terry's Buildings, Pitt-street, near Hunter-street.
For sale, a very handsome new Pianoforte.

[Advertisement], The Sydney Morning Herald (14 September 1852), 1 

MRS. GEORGE SMYTH, Pianiste, many years pupil of CRAMER, and MOSCHELES, continues to give lessons on the Pianoforte.
Terry's Buildings, Pitt-street North.

[Advertisement], The Sydney Morning Herald (16 March 1853), 3

PIANOFORTE TO BE SOLD. A beautiful grand square, with all the latest improvements, chosen by Mrs. Smyth for her own use, now to be sold, in consequence of the owner removing to Melbourne.
Address 362, Terry's Buildings, Pitt-street North.

"DEPARTURES", Empire (7 April 1853), 2 

April 6. - Waratah, steamer, 230 tons, Captain Bell, for Melbourne via Twofold Day. Passengers . . . Mrs. G. Smyth, two sons and one daughter . . .

"DEATHS", The Argus (12 November 1859), 4

At his residence, Simpson-street, East Melbourne, Victoria, George Smyth, Esq., of paralysis, in the 57th year of his age.

"DEATHS", The Argus (3 January 1862), 4

SMYTH. On the 2nd inst., at her residence, East Melbourne, Mrs. Smyth, relict of the late George Smyth, Esq.

Bibliography and resources:

[Advertisement], Morning Post [London] (11 June 1808), 2

CRAMER, STEIBELT, and VON ESCH - New Piano Forte Music - Just published by PRESTON at his Wholesale Warehouse, 9, Strand . . . Three Sonatas, composed by J. B. Cramer, Op. 39, with Spanish and Welch Airs, with an accompaniment for the Flute or Violin, dedicated to Miss Fernandez, price 8s . . .

An address to his majesty's ministers recommending efficacious means for the most speedy termination of African slavery, by captain John Fernandez, late of his majesty's Fifty-Third Regiment of infantry (London: Printed for the author, 1827), see especially 10-11, on Quakers (DIGITISED)

. . . we must remember with ardent gratitude, the worthy and excellent society of friends, the Quakers, the very early attentions which have been excited among that examplary people, for alleviating the sorrows and misery of the enslaved Africans, were followed up with unwearied zeal by them, and with regard to the abolition of Slavery, as it was connected with Great Britain and its dominions, they never, for one moment, abandoned their endeavours . . .

Melbourne General Cemetery, headstone transcriptions

[1] Sacred to the memory of George SMYTH who died 11 Nov 1859, age 56 years and of Lucy Knight his wife who died 2 Jan 1862, age 51 years and George Fernandez SMYTH died 28 Apr 1867, age 21 years. [2] In loving memory of Dugald LITTLE who entered into his rest on 7 Dec 1910, age 86 years . . . also Arthur B. Burnett son of the above who departed this life 24 Mar 1889 age 14 years 6 months also Leonora San Andero beloved wife of Dugald LITTLE who departed this life 10 Aug 1917 age 74 years.

Ray Foster, "Notes on Wellington’s Peninsular Regiments: 53rd Regiment of Foot (The Shropshire's)", The Napoleon series, archive 


Music lithographer, printer

Born Rugeley, Staffordshire, England, 17 March 1809; baptised 1 April 1809, son of Thomas FERNYHOUGH (d. 1844) and Susanna MASTERS (d. 1811)
Arrived Sydney, NSW, 1836
Married Louisa BERNETT (BLACK) (d. 1862), Scots church, Sydney, NSW, 14 September 1836
Died Sydney, NSW, 15 August 1849, aged 40 (TROVE tagged by Australharmony) (NLA persistent identifier) (shareable link to this entry)

See also: 


Fernyhough produced two musical prints, of which the earlier is probably the undated Walze favorite du duc de Reichstadt, as set of variations by William Vincent Wallace, "printed from Zinc by W. H. Fernyhough". The title-page lists 3 other works by Wallace available at his "Academy", though these others had probably been printed previously in Ireland. Wallace first announced his Academy in March 1836, and nothing is heard of it after that year, so the waltz print can perhaps be tentatively dated to late 1836. Fernyhough, a recent arrival, had commenced business and produced his first prints for sale by September 1836.

Fernyhough's second musical print, Australian Jubilee waltz, by Thomas Stubbs, ("arranged for the piano forte by Wm. Wallace") can be precisely dated to January 1838.

In partnership with printer John Gardner Austin, Fernyhough also produced series of portraits of Indigenous and non-Indigenous townspeople.

Corrobborree; or, Dance of the natives of New South Wales; On Stone by W. H. Fernyhough (Sydney: printed & sold by J. G. Austin, [c.1836])

Corrobborree; or, Dance of the natives of New South Wales; On Stone by W. H. Fernyhough (Sydney: printed & sold by J. G. Austin, [c. 1836]); State Library of New South Wales (DIGITISED)


[News], The Australian (16 September 1836), 2 

Messrs. Austin and Fernyhough have just published a series of twelve lithographic portraits of Aborigines of New South Wales, which are exceedingly well executed.

"Domestic Intelligence", The Sydney Times (17 September 1836), 3 

It is delightful to notice the progressive and rapid advancement of Australia, in the arts and sciences - in fact in civilization, as well as in pastoral and in commercial wealth. A twelvemonth ago, it would have been just as possible to walk from Sydney to old Drury, or to the English Opera House, as to get up such a Concert in Sydney, as that with which Mr. Wallace delighted the townsfolk on Wednesday evening last. Indeed Mr. W. Wallace, our fine violinist, and his charming nightingale sister - with Mrs. Chester, Mr. Dean and family, are a vast acquisition to the intellectual advancement of Sydney. So in the arts, it would have been next to an impossibility before the arrival of Mr. Fernyhough in the Colony a few months ago, to have obtained such excellent Lithograph and Zincographic prints, as may now be produced to embellish our Colonial Literature. We have been favored with a copy of a publication representing some well known aboriginal characters, which are entitled to praise, as being for the most part striking profile likenesses of our sable townsmen, and well executed. They will form a pretty present to friends in England; as characteristic of this country.

[News], The Colonist (22 September 1836), 3

A gentleman, named Fernyhough, who has not been long in this colony, has commenced business in Bridge Street, as an artist . . .

"MARRIED", The Colonist (3 November 1836), 9 

At Sydney, on the 14th September 1836, by the Rev. J. McGarvie, Mr. W. H. Fernyhough, youngest son of Captain Thomas Fernyhough, Quarter-master of the King's Own Staffordshire Militia, to Mrs. L. M. Bernett, youngest daughter of Captain Black Quarter-master of the Ceylon Rifles.

[Advertisement], The Australian (19 January 1838), 1

In the Press And will be published on the 26th instant, the day after the Jubilee, or 50th Anniversary of the Colony, THE AUSTRALIAN JUBILEE WALTZ . . .

"THE AUSTRALIAN WALTZ", The Sydney Times (27 January 1838), 3 

We are glad to notice that a piece of music, entitled The Australian Jubilee Waltz, has been composed by Mr. Thomas Stubbs, and arranged for the pianoforte by Mr. W. Wallace, expressly to commemorate this interesting occasion. We have been told by some persons of taste, who have heard the music performed, that it is a simple and melodious piece of composition, and reflects considerable credit both on the author and arranger of it. Considering this Waltz as the work of a native musician we hope it will meet with the liberal encouragement of the colonial public. The lithographic department has been elegantly executed by Mr. Fernyhough. The publication of this music will take place on Monday, the 29th instant.

[News], Commercial Journal and Advertiser (14 February 1838), 2 

Her Majesty has been graciously pleased to appoint Captain Thomas Fernyhough, one of the Military Knights of Windsor. The installation took place in St .George's Chapel, Windsor Castle, when the Hon. and Very Rev. Dr. Hobart, Dean of Windsor, and Registrar of the Noble Order of the Garter, administered the oaths to the new Military Knight. He was afterwards installed during Divine Service 13th September. - Staffordshire Advertiser - Captain Fernyhough is the father of Mr. Fernyhough the Artist of George-street.

"DIED", The Sydney Morning Herald (25 August 1849), 3

At Sydney, on the 15th August, William Henry Fernyhough, aged 40, youngest son of the late Captain Thomas Fernyhough, late Governor of the Military Knights of Windsor, leaving a wife and six children to lament their loss.

Musical prints:

Walze favorite de Duc de Reichstadt, arranged with variations for the piano forte and dedicated to J. Maclean Esq. by Willm. Wallace, late leader of the Anacreontic Society, Dublin (Sydney: printed from Zinc by W. H. Fernyhough, [c.1836-37]) (DIGITISED)

Australian jubilee waltz, composed by Thomas Stubbs, author of the Minstrel and arranged for the piano forte by Wm. Wallace, Late Leader of the Anacreontic Society Dublin (Sydney: W. H. Fernyhough, Lithographer, [1838]) (DIGITISED)

Bibliography and resources:

Richard Neville, "William Henry Ferneyhough", Design & Art Australia Online (DAAO) (1992; 2011)

Prue Neidorf, A guide to dating music published in Sydney and Melbourne, 1800-1899 (M.A. thesis, University of Wollongong, 1999), 167-68 (DIGITISED)


FIDDES, Harriet (Harriet Catherine CAWSE; Miss H. CAWSE; Miss Harriet CAWSE; Mrs. Harriet FIDDES; Mrs. FIDDES)

Contralto vocalist, pianist, professor of music, composer, actor

Born London, England, 5 October 1811; baptised St. George, Bloomsbury, 25 October 1811, daughter of John CAWSE (1778-1862) and Mary FRASER
Married John FIDDES (d. Hawaii, 1854), St. Pancras Old Church, London, England, 16 April 1835
Arrived (1) Melbourne, VIC, 4 November 1852 (per Marlborough, from London, 14 August)
Departed (1) Sydney, NSW, 28 July 1853 (per Orkney Lass, for Honolulu, from whence September 1854, per Restless, for San Francisco)
Arrived (2) Sydney, NSW, 16 August 1855 (per Fanny Major, from San Francisco, 6 June)
Departed (2) Melbourne, VIC, ? by mid 1859
Died Luddenden, Yorkshire, England, 18 February 1889 (TROVE tagged by Australharmony) (NLA persistent identifier) (WIKIDATA) (shareable link to this entry)

FIDDES, Josephine (Josephine Marianne FIDDES; Mrs. Dominick MURRAY; "Miss Josephine FIDDES"; Josephine Fiddes MURRAY)

Vocalist, actor, playwright

Born Kilburn, London, England, 1839 (third quarter)
Arrived (1) Melbourne, VIC, 4 November 1852 (per Marlborough, from London, 14 August)
Departed (1) Sydney, NSW, 28 July 1853 (per Orkney Lass, for Honolulu, from whence September 1854, per Restless, for San Francisco)
Arrived (2) Sydney, NSW, 16 August 1855 (per Fanny Major, from San Francisco, 6 June)
Departed (2) Sydney, NSW, after January 1862 (for England; arrived there by June 1862)
Married Dominick MURRAY, Liverpool, England, 1863
Died Steyning, Sussex, England, 12 March 1923, "aged 85" (TROVE tagged by Australharmony) (NLA persistent identifier) (shareable link to this entry)

Harriet Cawse (right) and Abigail Betts, as in Fiordiligi and Dorabella in Tit for tat, an English adaptation of Mozart's Così fan tutte, London, 1828; watercolour by Alfred Edward Chalon (National Portrait Gallery, London) (DIGITISED)


On 14 August 1852, the day of her departure, The Illustrated London News reported:

Mrs. Fiddes, late Miss H. Cawse, is about to imitate the example of Miss Sara Flower, the contralto, by visiting Australia, where the amateurs, instead of bouquets, throw nuggets and ingots to the singers.

In 1825, she advertised that she had been a pupil of George Smart. As Miss Harriet Cawse, she sang Puck in the premiere season of Carl Maria von Weber's English opera, Oberon in April-May 1826. Weber wrote to his wife from London on 9 March 1826:

The young fellow who was to have sung Puck has lost his voice, but I have a charming girl, who is very clever and sings capitally.

Her elder sister was Mary Giovanna Cawse (1808-1850, "Miss Cawse" on stage bills) and her much younger sister Fanny (b. 1825, "Miss F. Cawse").

In London in 1835 she married John Fiddes, a wholesale tea dealer in the City.

A well-known vocal veteran of the London stage, and since the 1840s also a prolific song composer, she arrived in Melbourne in November 1852, with her daughters. That month she advertised that she:

(formerly Miss H. CAWSE, of the Theatres Royal, Drury Lane, the Italian Opera House and Opera Buffa, the Philharmonic and Ancient Concerts, and likewise one of the Choir of the Foundling Hospital Chapel), begs to announce that she has just arrived from London, and intends taking up residence in Melbourne for the purpose of giving Lessons in Singing, pianoforte, guitar and the harp.

In December she sang in concert for Edward Hancock, and at the Melbourne Mechanics' Institution beginning in January 1853, gave a vocal masterclass, or "Select Vocal Academy for Young Ladies", in eight sessions covering a substantial repertoire of oratorio and opera arias by Handel, Mendelssohn, Donizetti, Kucken, Benedict and others.

At Rachel Lazar Moore's concert in February she sang Il segreto from Donizetti's Lucia, and her own composition, the duet Childhood (words by Walter Scott) was also sung.

In Sydney in April, from her residence on the North Shore and care of Henry Marsh, she offered to teach:

Singing, Pianoforte Playing, Harp, Guitar, &c, likewise . . . Harmony and Composition.

In August 1855, she and her daughters, Josephine and Harriet, arrived back in Australia, via Hawaii, with Lola Montez and company, having spent eight months touring in California.

By October 1855 she was back in Melbourne. There in December 1857 and January 1858 she was advertising her school, Hamilton House, in Richmond.

Several of her compositions are documented. In April 1856, at Coppin's Olympic:

"The Australian schottische", composed by Mrs. Fiddes was performed by the band subsequent to the tragedy [Macbeth] and was pronounced a success, by those who heard it. The melody is striking and rather Beethovenish, but the noise in the house and general restlessness of the audience prevented its reaching the ears of many.

In November 1856 a pair of songs entitled The souvenir was published in Melbourne. No copies of either song have yet been identified.

Jospehine Fiddes last performed at the Lyceum in Sydney in January 1862, and in 1870 it was reported that:

Mr. and Mrs. Dominick Murray (Miss Josephine Fiddes), are coming to Australia (under engagement to Mr. Coppin), by way of San Francisco.

Shortly afterwards it was reported that they had divorced and Fiddes never returned to Australia.


England (to August 1852):

"THE EVENING CONCERT OF MRS. JOHN FIDDES . . .", The musical world (19 June 1845), 296 

[Advertisement], Morning Post [London, England] (6 May 1847), 1

MRS. HARRIET FIDDES (formerly Miss H. Cawse) begs to inform the Nobility and Gentry that her select VOCAL ACADEMY for YOUNG LADIES is NOW HELD at 24, Upper Berkeley-street West. Particulars and applications for the admission of pupils at Mrs. Fiddes', 24, Upper Berkeley- street West, Hyde Park-square.

[Advertisement], Morning Post (8 August 1850), 1

MRS. JOHN FIDDES (late Miss H. Cawse) begs to announce that she continues giving LESSONS in SINGING. Schools attended. Mrs. Fiddes' Vocal Classes will re-commence at her residence on the 17th inst. - 20, Great Russell-street, Bloomsbury.

"Musical and theatrical Gossip", Home News for India, China and the Colonies (9 August 1852), 23

We learn, too, that Mrs. Fiddes - best known by her maiden name of Miss Harriet Cawse - is immediately going, if not already gone, to the New World, there to exercise her musical wont.

[News], The illustrated London news (14 August 1852), 114 

Mrs. Fiddes, late Miss H. Cawse, is about to imitate the example of Miss Sara Flower, the contralto, by visiting Australia, where the amateurs, instead of bouquets, throw nuggets and ingots to the singers.

See also "MUSIC AT THE DIGGINGS", The Maitland Mercury (1 December 1852), 3

Australia, 1st stay (4 November 1852 to July 1853):

"SHIPPING INTELLIGENCE", The Argus (6 November 1852), 4

November 4 - Marlborough, ship, 1293 tons, J. S. Webb, commander, from London, via Plymouth, August 14th. Passengers, cabin. . . Mrs. Fidds [sic] and family . . .

[Advertisement], The Argus (15 November 1852), 7

MRS. FIDDES (formerly Miss H. Cawse, of the Theatres Royal, Drury Lane and Covent Garden, the Italian Opera House and Opera Buffa, the Philharmonic and Ancient Concerts, and likewise one of the choir of the Foundling Hospital Chapel, begs to announce that she has just arrived from London, and intends taking up her residence in Melbourne for the purposes of giving Lessons in Singing, pianoforte, guitar and the harp.
Terms and full particulars may be known at Mr. F. Bryant's, Queen-street, Melbourne.

"THE WEEKLY CONCERTS", The Argus (25 November 1852), 5 

Most of our readers will recollect Miss H. Cawse, long favourably known upon the boards of many of the principal English theatres. Under a new name, she is to appear this evening at the Mechanics' Institution, and will doubtless have the effect of procuring a bumper audience, which is also further tempted by some other novelties that appear in the following programme:-
PART I . . . Duet - Giorno d'orrori, Mrs. Testar and Mrs. Fiddes . . .
Scena - Paga fin, Mrs. Fiddes . . .
PART II . . . Trio - Blow gentle gales, Mrs. Testar, Mrs. Fiddes, and Mr. Wilkinson . . .
Duet - I know a bank, Mrs. Testar and Mrs. Fiddes . . .
Song - Sly Cupid, Mrs. Fiddes . . .

"THE CONCERT", The Argus (2 December 1852), 5 

. . . this evening. PART I. Duet - Come be gay - Mrs. Testar and Mrs. Fiddes . . .
Harmonised Air - The Last Rose of Summer, Mrs. Testar, Mrs. Fiddes, and Messrs. Wilkinson and Bancroft . . .
PART II . . . Ballad - The Rosebud, Mrs. Fiddes . . .
Duet - We Come to thee, Savoy, Mrs. Testar, Mrs. Fiddes . . .

[Advertisement], The Argus (4 December 1852), 1

Saturday, December 4th, 1852 . . . Artists: Mrs. Edward Hancock . . . Mr. W. C. Lyon . . . Mr. Edgar Ray . . . Mr. Edward Hancock . . .
assisted by Mrs. Fiddes, formerly Miss H. Cawse . . .

[Advertisement], The Argus (21 December 1852), 8 


"THE WEEKLY CONCERT", The Argus (23 December 1852), 5 

[Advertisement], Geelong Advertiser and Intelligencer (24 December 1852), 2 

MRS. H. FIDDES, MRS. HANCOCK, MR. C. LYON, MR. E. RAY, & MR. HANCOCK. This Evening, at the Theatre.

[Advertisement], The Argus (27 December 1852), 3 

MRS. FIDDES, formerly Miss H. Cawse, begs to inform her pupils and friends that she has removed to 48, Russell-street.

"MUSICAL", The Argus (29 December 1852), 4 

We feel that we have deserved some blame in having failed before this to notice a series of musical entertainments of a very refined and elegant character, which have lately been presented to the public of Melbourne through the agency of a newly-arrived company, entitled "The Glee and Madrigal Union." With the valuable aid of Mrs. Fiddes, the "Union" has given several very high class concerts, which have well deserved the support of such portion of the public as has really a taste for good music. The most striking singer is the Mrs. Hancock who so completely took the audience of the last Thursday's weekly concert by surprise . . .

[Advertisement], The Argus (4 January 1852), 8 

GRAND SELECTION OF SACRED MUSIC. IN the Hall of the Mechanics' Institution. This Evening. Principal Vocalists: Mrs. Testar, Mrs. Edward Hancock, & Mrs. H. Fiddes, Mr. W. C. Lyon, Mr. Edgar Ray, and Mr. Edward Hancock . . .

[Advertisement], The Argus (25 January 1853), 7 

A Select Vocal Academy for Ladies will be opened on the 25th of January, 1853, Under the direction of
MRS. HARRIET FIDDES, Formerly Miss H. Cawse.
THE Lessons will commence at Twelve, o'clock exactly, and terminate at One, every Tuesday und Friday.
The exercises used at these classes are composed expressly for them.
During the series of Lesson», Mrs. Fiddes will introduce the following songs; -
"O thou that tellest" - Handel.
"He was despised" - Handel.
"He shall feed his flock" - Handel.
"But the Lord is mindful" - Mendelssohn.
"Paga fin" - Winter.
"Angiol d'amor" - Donizetti.
"Deh non valer" - Donizetti.
"By the sad sea waves" - Benedict.
"She shines before me" - G. N. Macfarren.
"The slave girl's love" - E. Land.
"Always with thee" - W. Magnard.
"Far from my birth-place" - A. Fosca.
"The star of love" - Laner.
"The song of the olden time" - J. Moore, Esq.
"The Maid of Judah" - F. Kucken.
"My heart is sair" - Scotch Melodies.
"Moorish Serenade" - F. Cucken.
"Sly Cupid" - Latom.
Tickets £1 1s. for a Course of Eight Lessons may be obtained of Mr. Paterson, at the Mechanics' Institution; or of Mrs. Harriet Fiddes, 48, Russell-street, for which an early application is respectfully requested, that all the arrangements may be speedily completed.

[Advertisement], The Argus (16 February 1853), 8 

MECHANICS' INSTITUTE. Thursday Weekly Concerts. FEBRUARY, 17TH, 1853 . . .
ON which occasion the whole of Lock's celebrated music of Macbeth will be performed . . .
Mrs. Hancock, Mrs. Fiddes, Mr. Hancock, Monsieur Barre, And Mr. W. F Sayer.
Solo flute, Mr. Creed Royal, pianist, Mr. White . . .

MUSIC: Locke's music in Macbeth (probably correctly by Richard Leveridge)

[Advertisement], The Argus (26 February 1853), 8

GRAND EVENING CONCERT. MRS. MOORE (late Miss Lazar) . . . her first CONCERT in Melbourne . . .
MONDAY EVENING NEXT, 25th INST. At the Mechanics' Institution,
On which occasion she will be assisted by Mrs. Fiddes (late Miss H. Cawse), Mrs. Hancock, Mr. Coleman Jacobs, and Mr. Hancock.
Mr. A. Moore, the Violinist, will likewise perform twice during the evening . . .
PROGRAMME: PART 1. 1. Glee - Hail Smiling Morn - Mrs. Hancock, Mrs. Fiddes, and Mr. Hancock . . .
4. Duet - No! I will no more endure it - Mrs. Fiddes and Mr. Hancock - Curschman . . .
7. Song - Il Segreto per esser Felice (from the Opera of Lucretia Borgia) - Mrs. Fiddes - Donizetti . . .
9. Trio - My Lady, the Countess, (from the Opera of the Secret Marriage) - Mrs. Moore, Mrs. Hancock, and Mrs. Fiddes. - Cimarosa.
PART II. 1. Trio - Up Early in the Morning, (founded on an old Scotch Melody) - Mrs. Hancock, Mrs. Fiddes, and Mr. Hancock . . .
3. Duet - We are Wandering - Mrs. Hancock and Mrs. Fiddes - Wallace.
6. Duet - Childhood - (The Words by Sir Walter Scott, the Music composed by Mrs. Harriet Fiddes) . . .
8. Song - In Questo Semplice - Mrs. Fiddes - Donizetti.
9. Trio - The Laughing Gipsies - Mrs. Hancock, Mrs. Fiddes, and Mr. Hancock . . .
Pianist, Mr. Coleman Jacobs . . .

[Advertisement], The Argus (1 March 1853), 3 

ADMISSION ONE SHILLING. Great Combination of Musical Talent, at the CIRCUS, Top of Bourke-street, east.
Open every Evening. Immense Success of the Grand Promenade Concerts, A la JULLIEN, every evening.
Vocalists: Mrs. Fiddes, universally popular as Miss Harriet Cawse; Mr. John Gregg, the eminent Basso, from the Theatre Royal, Drury Lane, &c.;
Mr. W. F. Sayer, from the London Concerts; Mr. Dawson, comic.
Principal Instrumental Solo Performers: - Cornet-a-Piston, Mr. Chapman; Violin, Mr. Weston; Ophicleide, Mr. Hartigan.
Conductor: Mr. J. Winterbottom . . .

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

Under the Patronage of His Excellency the Lieutenant Governor. Mrs. Fiddes will give a Sacred Concert. A GRAND Selection of Sacred Music will be performed in the Hall of the Mechanics' Institution, on TUESDAY, MARCH 22ND, 1853 . . .

[Advertisement], The Argus (29 March 1853), 3 

THIS EVENING. MECHANICS' INSTITUTION . . . MRS. FIDDES' BENEFIT, and Last Appearance previous to her departure for Sydney . . .

"SHIPPING INTELLIGENCE", The Argus (1 April 1853), 4 

March 31. - Shamrock, steamer, 200 tons, J. J. Warner, for Sydney. Passengers - cabin, J. T. Smith, Esq., M.L C. (Mayor of Melbourne) . . . Mr. and Mrs. Winterbottom and Child, Mrs. Varney . . . Mrs. Fiddes, Miss Fiddes, Miss S. Fiddes, and fifty-six in the steerage.

[Advertisement], The Sydney Morning Herald (1 April 1853), 3

MRS. HARRIET FIDDES, (formerly Miss H. Cawse) of the Theatres Royal Covent Garden and Drury Lane, Italian Opera House, and Opera Buffa; likewise of the Ancient and Philharmonic Concerts, and for many years a member of the choir of the Foundling Hospital Chapel in England, begs to announce that at the termination of her present engagement in Melbourne, she intends visiting Sydney, and will be happy to give lessons in Singing, Pianoforte playing, Harp, Guitar, &c., likewise in Harmony and Composition. Schools attended. Application for terms to be made by letter, in the care of Marsh and Co., Sydney Pianoforte and Music Warerooms, 490 1/2, George-street.

"SHIPPING INTELLIGENCE. ARRIVALS", The Sydney Morning Herald (5 April 1853), 2 

APRIL 4.- Shamrock, steamer, 200 tons, Captain Warner, from Melbourne, 1st instant. Passengers . . . Mrs. Winterbottom and child, Mrs. Varney, Mr. Winterbottom . . . Mrs. and Miss Fiddes . . .

"PROMENADE CONCERT A LA JULLIEN", The Sydney Morning Herald (27 April 1853), 3 

A word of very cordial greeting to Mr. Winterbottom and his talented corps is all that our crowded space will allow this morning. The arrival of the Shamrock steamer having remedied the contretemps which compelled the postponement of the first concert from Monday until last evening, a crowded audience welcomed the company; and from first to last the warmest applause evinced the pleasure which their performances gave . . . The only vocal performances were confided to Mrs. Fiddes (late Miss Harriet Cawse), who was received in a manner which her long established reputation in the best musical circles of England merited . . .

[Advertisement], Freeman's Journal (30 April 1853), 1 

Winterbottom's Band of 30 Performers. THIS EVENING (Saturday,) April 30th, 1853 . . .
Mrs. Fiddes, (Late Miss H., will make her last Appearance . . .
PART I . . . Song - "The Slave Girl's Lament" - Linley - Mrs. Fiddes . . .
PART II . . . Song - "The Broken Rose" - Kucken - Mrs. Fiddes . . .

"PROMENADE CONCERTS", The People's Advocate and New South Wales Vindicator (7 May 1853), 3 

. . . It would be scarcely just, and certainly not gallant to conclude our notice of the promenade concerts without alluding to the ladies who have hitherto sustained exclusively the part of vocalists at theso performances. We have heard it alleged that in former times the inhabitants of this colony were as regards musical and dramatic talent compelled to be content, or at least to put up with the "used up" second-rate celebrities of the mother country, whether this ever were or were not the fact, we are much inclined to think that Mrs. Fiddes' vocal displays at these concerts go far to shew that such is no longer the case at present. We were in truth agreeably surprised, after the lapse of so many years, (how many we are not at this moment anxious to reckon) whe we heard this lady, in the full career of success, in England, to find that the "common enemy" had laid his hand so gently on her, and that she still retained, to a considerable extent, that finished and attractive style of singing which, in her youth, rendered her such a favourite in her native land. We regret sincerely that her engagement at these concerts was brought to so prompt a termination, and that her reception was not so unequivocal as to ensure its continuance . . .

"PROMENADE CONCERTS", The Sydney Morning Herald (7 May 1853), 3 

We gave a cordial greeting to Mr. Winterbottom and his corps musicale upon their arrival, and predicted their success . . . And, first, we recognized the conductor's tact in availing himself of the valuable assistance in the vocal department of his arrangements of Mrs. Fiddes, better known to the musical world as Miss Harriet Cawse, to whom we must devote a few brief words before we proceed to instrumental harmonies. Time has passed but lightly over the fair songstress; nevertheless we do not care to say how "long, long ago" it was, when Harriet Cawse, with the prestige of appearing under the auspices of her accomplished master, Sir George Smart, made her first appearance at Covent Garden Theatre, in a Drama entitled "The Hebrew Family," and made a decided hit in a ballad written for her by Mr. Whittaker, "A dove, in terror flying, this morning crossed my way." The rendering free translations of Operas from the German, Italian, and French schools, was then the object of earnest achievement by the managements both of Covent Garden and the English Opera House, and for successive seasons, in both companies, when the works of Weber, Meyerbeer, Sphor, Rossini, Bellini, Auber, and other great masters were illustrated by such artists as Braham, H. Phillips, Sinclair, Sapio, Wilson, Pearman, Thorne; Miss Stephens (now the Countess of Essex), Mesdames Paton, Vestris, Inerarity, Belts, Hughes, Cawse (Mrs. F.'s eldest sister), Sheriff, Somerville, and other gifted vocalists, many of whom are now, also, in their graves; Harriet Cawse had a line assigned to her in what is technically called "juvenile opera;" and was not slow to avail herself of the great advantages made available for her in practising her art with the most talented of English vocalists. That her intention to pursue her profession in this colony will be most acceptable to our fair friends who desire to cultivate their acquaintance with the "art divine," we doubt not; and once more we heartily bid her welcome to Sydney . . .

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

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

ASSOCIATIONS: Francesca Allen (soprano vocalist); Mrs. Bently (pianist)

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

This highly talented lady gave two concerts here on Thursday and Friday evenings, assisted by Madame Allen; Mrs. Bently presiding at the piano. The concerts were held in the saloon of the Rose Inn, and were attended by a highly respectable audience. The first concert had a larger attendance than the second, owing to the showery state of the weather on Friday. Both concerts however went off with considerable eclat, and the songs and duetts were received with loud bursts of applause. Several of them were encored. Mrs. Fiddes is certainly a lady of highly cultivated musical talent, and her performance was greatly admired, her voice being of great compass, yet sweet and melodious; her songs were given with great pathos; her duetts also with Madame Allen were much admired . . . Both concerts gave great satisfaction, and at the conclusion of the one on Friday the following address was presented to them, with a purse containing a considerable sum : -

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

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

[Advertisement], The Sydney Morning Herald (9 June 1853), 1 

PARRAMATTA. THIS EVENING . . . GRAND CONCERT AT CURRAN'S HOTEL. MRS. FIDDES . . . will be assisted by the valuable services of Miss HARRIS, and Mrs. BENTLEY, Pianiste . . .

ASSOCIATIONS: Flora Harris (soprano vocalist)

[Advertisement], The Sydney Morning Herald (11 July 1853), 4 

MRS. FIDDES (late Miss H. CAWSE) begs to announce that her Farewell Concert will take place at the Royal Hotel, on Wednesday Evening next, the 13th of July, on which occasion she will be assisted by Madame Sara Flower, Mr. F. Howson, and Mr. J. Howson, and Signor Caranzani (1st Violinist to His Majesty the King of Sardinia). Tickets to be obtained of Mrs. Fiddes, 3, Bourke-street, WooUoomooloo, and of the principal Stationers and Musicsellers.

ASSOCIATIONS: Sara Flower (contralto vocalist); Frank Howson (baritone vocalist); John Howson (tenor vocalist); Felix Caranzani de Valle (violinist)

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

CONCERT POSTPONED. IN consequence of the unsettled state of the weather, Mrs. FIDDES' Concert will not take place this Evening as previously advertised.

"DEPARTURES", The Shipping Gazette and Sydney General Trade List (30 July 1853), 222 

July 28. - Orkney Lass, barque, 326 tons, Captain Martin, for Honolulu. Passengers . . . Messrs. Chester, Fidders [sic] . . . and 8 in the steerage.

Pacific and San Francisco (July 1853 to August 1855):

"Further News from the Sandwich Islands", Sacramento Daily Union (30 November 1853), 2

The Polynesian of the 5th inst. says . . . Mrs. Fiddes, an English vocalist, gave a successful concert on the 2d inst. . . .

"METROPOLITAN THEATRE", Daily Alta California [San Francisco] (13 November 1854), 3

Last evening the spectacle of the Naiad Queen was again presented . . . After the Naiad Queen, Flotow's opera of Martha wag performed. This is also a gem in its way, and the role of Martha gives a fine opportunity to Madame Bishop to exhibit the peculiar sweetness of her voice. We are also particularly pleased with Mrs. Fiddes. She has a tolerably full, round contralto voice, and one which can be depended upon. She, moreover, is a good, ladylike actress. The choruses of Martha are well sung.

"METROPOLITAN THEATRE", Daily Alta California [San Francisco] (26 November 1854), 2 

There was a perfectly jammed house for the benefit of Madame Anna Bishop last evening. Fra Diavolo was presented for the first time here, and more singularly and unfortunately cast than any opera we ever witnessed before. Madame Bishop herself appeared as Fra Diavolo . . . Mr. Leach played Lord Allcash in most excellent style, Mrs. Fiddes Lady Allcash very well, and Laglaise Lorenzo. On the whole the opera passed off very dully, and will not bear repetition . . .

[News], Placer Herald [Rocklin, CA] (9 June 1855), 3 

Lola Montes left for Australia on Wednesday last. Her theatrical company is composed of the following ladies and gentlemen: Mrs. Fiddes, Misses J. and H. Fiddes, Messrs. J. Simonds, F. Jones, Mr. Jones and Daniels.

Australia, 2nd stay (from August 1855):

"SHIPPING. ARRIVALS", The Sydney Morning Herald (17 August 1855), 4 

August 16 - Fanny Major, American barque, 226 tons, Captain Hays, from San Francisco June 6, and Navigators Islands June 17. Passengers - Madame Lola Montez, Mrs. Fiddes, Misses Fiddes (2) . . . Messrs. Folland, James Simmonds, F. Jones, Napthali, Daniels, Hardinsank [sic, Eigenschenck] . . . and 8 in the steerage. Wilkinson, Brothers, and Co., agents.

"ROYAL VICTORIA THEATRE", Empire (27 August 1855), 4

. . . the various members of Madame Montes' company, particularly Miss Fiddes, acquitted themselves to the entire satisfaction of the audience . . .

"DEPARTURES", The Shipping Gazette and Sydney General Trade List (1 October 1855), 226 

September 29. - Yarra Yarra (s-). 350 tons, Captain Wm. Bell, for Melbourne and Twofold Bay. Passengers - Mrs. and 2 Misses Fiddes . . .

"MUSICAL", The Argus (9 October 1855), 5 

Mrs. Fiddes, late Miss H. Cawse, formerly of Drury-lane, Covent Garden, and the Italian Opera, London, has arrived in Melbourne. Mrs. Fiddes and her daughter, Miss Josephine, have been for eight months in California. The Californian journals speak in the highest terms of Mrs. Fiddes's appearances in opera, and of the debut of Miss Josephine as Juliet and Betsy Baker. Mrs. Fiddes is a contralto singer, and her arrival will greatly facilitate the production of opera in Melbourne.

[Advertisement], The Argus (3 November 1855), 1

MRS. HARRIET FIDDES, (formerly Miss H. Cawse,) of the principal concerts and theatres in England and California, begs to announce that she receives pupils for lessons in singing and pianoforte playing. Classes for young beginners at school terms. Blackwall Cottage, next door but one to the Wesleyan Home, North Melbourne.

"SHIPPING INTELLIGENCE. ARRIVED", Adelaide Times (3 December 1855), 2 

Saturday, December 1 - The steamer Burra Burra, 300 tons, Lawrence, from Melbourne the 28th November. Hall & Co., agents. Passengers . . . Mrs. Fiddes . . .

"THEATRICAL", South Australian Register (4 December 1855), 3 

By the Burra Burra, from Melbourne we have two theatrical celebrities, in the persons of Mrs. Fiddes (better known as a great London favourite under the name of Miss Harriett Cawse), and her talented daughter Miss Fiddes, a young lady of sixteen. Mrs. Fiddes is, we understand, a highly accomplished vocalist. The services of these fair artistes have been secured by Mr. Quinn, the manager of the Victoria Theatre, and Miss Fiddes will appear in conjunction with Mr. C. K. Mason, after the conclusion of the engagement of Madame Lola Montes and troupe.

"VICTORIA THEATRE", Adelaide Times (13 December 1855), 3 

There was a select and respectable, although not a very numerous auditory last evening, to witness the second appearance of Mr. C. K. Mason, as also the debut of Mrs. Fiddies [sic] and her accomplished daughter Miss Josephine Fiddies. Shakespeare's tragedy of "Romeo and Juliet" was produced with great success, the principal onus resting upon Mr. Mason, Mrs. and Miss. Fiddies, ably supported by Messrs. Cox, Vinson and Huon . . . Miss Fiddes had rather a trying ordeal to pass through in making a first appearance in so arduous a character as "Juliet" . . . Mrs. Fiddes was very felicitous as the Nurse - a character which, in the hands of so finished an actress, assumed an importance which, with inferior treatment, would not have maintained that prominence which Shakespeare designed for it . . .

"VICTORIA THEATRE", South Australian Register (20 December 1855), 3 

There was but a thin attendance at the Theatre last evening, although the bill of fare was an attractive one. Mrs. Fiddes and her talented daughter, in the favourite comedy of "Naval Engagements," might well have drawn a good house. In addition to that, Mrs. Fiddes sang, in accordance with the programme, between the two pieces, substituting, for an encore, "A Lullaby" for the "Sad Sea Wave." The performance concluded with the "Rough Diamond."

[Advertisement], South Australian Register (26 December 1855), 3 

AT Mrs. HARRIET FIDDES'S Residence, Elizabeth-street, opposite Robe-terrace,
a SELECT ACADEMY for LADIES will be Opened the 1st of January, 1856, for the Study of VOCAL and INSTRUMENTAL MUSIC, under the direction of Mrs. HARRIET F1DDES, formerly Miss H. Cawse.
Lessons on Mondays and Thursdays will be devoted to the study of the Rudiments of Music.
Lessons on Tuesdays and Fridays to the Art of Singing.
Lessons on Wednesdays and Saturdays to the Art of Playing on the Pianoforte or the Guitar.
Tickets, £1 1s. for a course of Six Lessons, can bo obtained of Mrs. Harriet Fiddes, at her residence, where full particulars may be known.

[Advertisement], Adelaide Times (31 December 1855), 4 

A variety of entertainments, consisting of Song - Mrs. Fiddes . . .
To couclue with the nautical drama of BLACK EYED SUSAN.
Susan - Mrs. H. Fiddes (Originally played by her with Mr. T. P. Cook, in which she will sing "Wapping Old Stairs," &c.)
William - Mr. J. H. Vinson . . .


We beg to call the attention of our readers to . . . an entertainment which will take place on Friday (to-morrow) evening, at Neales' Exchange, under the patronage of Lady Macdonnell, for the benefit of Mrs. Fiddes and her two daughters . . . the programme for the evening promises a rich and varied treat, embracing, in addition to a musical performance by Miska Hauser, a dramatic reading by the celebrated tragedian, Mr. C. K. Mason, and a performance by Mrs. Fiddes and her daughter. The object for which this entertainment is given, commends itself also to the sympathies of the public, being to raise a fund to enable these accomplished and deserving ladies to remove from Adelaide, where they are detained owing to the non-performance of a contract by the person who brought them hither, to England, where they have friends, and where a field is offered for the profitable exercise of their talents . . .

"South Australia", The Inquirer and Commercial News [Perth, WA] (6 February 1856), 2 

Our latest date per Robert Clive, is to the 3rd of January . . . Our correspondent continues: "An enterprising Yankee took the theatre, and has kept up a succession of novelties . . . Lola Montes . . . Misker Hauser [sic] . . . Lastly, we have had Mrs. Fiddes (formerly Miss Harriet Cawse) and her daughter, but I do not hear that they draw much. We are to have Mr. G. V. Brooke and Coppin, our old comedian . . ."

"SHIPPING INTELLIGENCE. ARRIVED (HOBSON'S BAY)", The Argus (9 February 1856), 4 

February 8.- Burra Burra, s.s.s, 360 tons, J. Lawrence, from Adelaide 5th inst. Passengers - cabin: Mrs. and the Misses Fiddes . . .

[Advertisement], The Age (29 February 1856), 1 

ROYAL AMPHITHEATRE . . . Musical Director, M. Lavenu. Leader of the Band, M. Fleury.
Friday [this] Evening . . . To conclude with a GRAND CONCERT . . . Ballad - Mrs. Fiddes . . .
Miska Hauser . . . Creed Royal . . . Duet - The Elfins Call - Glover - Mad. Carandini, Miss [sic] Fiddes . . .

ASSOCIATIONS: Lewis Henry Lavenu

"THE OLYMPIC THEATRE", The Age (22 April 1856), 2 

On Monday evening, the play of "Macbeth" was produced with all the advantages which first-rate acting, excellent scenery, and effective music could confer upon it. Mr. G. V. Brooke supported the principal character . . . Locke's music was most satisfactorily given by a well-trained chorus of about fifty. Mr. Gregg as Hecate, and Mrs. Fiddes, Mrs. Rogers, and Mr. Lyall as the singing witches, gave the solos in better style than has hitherto been their lot on the colonial stage. After the play the band played in very brilliant style the Australasia Schottische, a clever piece of dance-music, composed by Mrs. Fiddes . . . We have not seen so full a house this season . . .

"COPPIN'S OLYMPIC", The Argus (22 April 1856), 7

. . . the exertions of Mesdames Fiddes and Rogers and of Messrs. Gregg and Lyall contributed in no small degree to the achievement of the favorable reception which the performance of Locke's celebrated music met . . . The Australian Schottische composed by Mrs. Fiddes was performed by the band subsequent to the tragedy and was pronounced a success, by those who heard it. The melody is striking and rather Beethovenish but the noise in the house and general restlessness of the audience prevented its reaching the ears of many . . .

[Advertisement], The Age (10 June 1856), 1 

THEATRE ROYAL Will open for the OPERATIC SEASON On Wednesday evening, June 11.
List of Artistes engaged: - MADAME ANNA BISHOP, MADAME CARANDINI, MRS. GUERIN (from the Victoria Theatre, Sydney - her first appearance here,)
On Wednesday and Thursday, June 11th and 12th . . . Bellini's Grand Opera of NORMA . . .
Norma . . . MADAME ANNA BISHOP; Adalgisa - Madame Carandini; Clotilda - Mrs. Fiddes . . .
Musical Director, Mr. Lavenu. Operatic Manager, Mr. Frank Howson. Leader of the Orchestra, M. Strebinger . . .

ASSOCIATIONS: Anna Bishop (soprano vocalist);

"THE FINE ARTS", The Age (24 June 1856), 3 

For the last fortnight the Italian opera has been in full action in the Theatre Royal, with Madame Anna Bishop as prima donna, Mrs. Fiddes, Mrs. Guerin, Mrs. Hancock, MM. Laglaise, Coulon, F. Howson, Hancock, and others as soloists, and a capital band and chorus. Mr. Geo. Coppin, the enterprising manager, is entitled to the greatest possible credit for the very effective manner in which he has already produced "Norma" and "Sonnambula," and Madame Bishop appear this evening, for the first time here, in Flotow's comic opera "Martha" . . .

[Advertisement], The Age (16 July 1856), 1 

THEATRE ROYAL. Thursday Evening, First night of . . . LUCREZIA BORGIA.
Lucrezia . . . Madame Bishop; Maffio Orsini - Mrs. Fiddes; Don Alfonso - M. Emile Coulon . . .

[Advertisement], The Argus (28 July 1856), 8 

MRS. HABRIET FIDDES, of the Theatre Royal . . . begs to announce that she receives Pupils for Lessons in Singing and the Theory of Music. Mrs. Fiddes, next door to the Australasian Hotel, Lonsdale-street east.

[Advertisement], The Argus (6 September 1856), 8 

OUR LYCEUM. To-night . . . The celebrated English Opera Company . . . For this night only.
First time in the Australian Colonies of VINCENT WALLACE'S Grand Opera of MARITANA . . .
Maritana (a Gitana) - Miss Julia Harland.
Lazarillo (an armourer's apprentice) - Mrs. Fiddes.
Don Caesar de Bazan - Mr. Walter Sherwin. Don Jose de Santarem (Prime Minister of Spain) - Mr. Farquharson.
Charles II (King of Spain) - Mr. John Gregg . . .

[2 advertisements], The Age (24 November 1856), 6 

JUST PUBLISHED. - SONG, "My Soul With Thee will Stay." Sung and composed by HARRIET FIDDES.

SONG, "No Cloister Cell for Me." Sung and composed by HARRIET FIDDES. Guitar accompaniment, J. WILKIE.

ASSOCIATIONS: Joseph Wilkie (publisher, musicseller)

"NEW MUSIC", The Argus (25 November 1856), 5

We have to acknowledge the receipt of numbers 1 and 2 of The Souvenir, a series of songs, sung and composed by Mrs. Harriet Fiddes, and published by the local music sellers. The first, of which the words are by J. W. Lake, Esq., is a plaintive composition, in the key of F Major; and the second, written by the late Mr. Fitzball, is of a more lively character, but very brief withal. Both of the songs are calculated to sustain the reputation which Mrs. Fiddes has acquired as an accomplished mistress of her art, and we hope their sale will be sufficiently large to encourage her to favour us with more compositions of a similar character.

"NEW MUSIC", The Age (26 November 1856), 5 

We have much pleasure in directing attention to two new musical productions by our favorite vocalist - Mrs. Fiddes, late Miss Harriet Cawse. They consist of the two first of a series of original airs with pianoforte and guitar accompaniments, under the title "Le Souvenir." The first, "My soul with thee will stay," is a very expressive melody adapted to a contralto voice, and in its measured style closely resembling that adopted by Wallace in his "Maritana." The other, entitled "No cloister cell for me" is a pretty air well designed for voices of moderate compass. Both are highly meritorious compositions, and calculated not only to sustain but to extend Mrs. Fiddes's deserved repute as a composer. We perceive these compositions are to be had at Wilkie's.

"THEATRICAL CHITCHAT", The Courier (18 December 1856), 3 

We perceive that Miss Julia Mathews, Mr. Walsh, Mr. Mungall, Mr. and Mrs. Clarance Holt are playing at the Ballarat theatres, also Mademoiselle Duret and Mr. John and Miss Rosa Dunn. Mrs. Fiddes, late Miss Harriet Cawse, is also engaged, and would shortly make her appearance at one of the theatres there . . .

"MUSIC AND THE DRAMA", The Age (30 March 1857), 5 

The Royal Amphitheatre, Spring street, is undergoing a complete renovation . . . The orchestra will be one of the best in the colony, and is intended to consist of twenty-six performers. The chorus will be full and effective, and number thirty - including the pick of those who have performed at the Royal for the last two or three seasons. The principals include Madame Bishop, Madame Sara Flower, and Mrs. Fiddes; Mons. Laglaise and Del Sarte (tenors), and Messrs Coulon and Farquharson (basses). Mr. George Loder is to be conductor. Altogether the company promises to be the most efficient opera corps which has yet been formed in the colony. The rehearsals commence to-day or to-morrow, and the season will commence on Monday, 13th April with "Lucrezia Borgia." The other operas intended to be produced are the Crown Diamonds, Linda di Chamounix, Judith and Holofernes, Robert le Diablo, Fra Diavolo, L'Elisir d' Amore, Norma, and several others.

ASSOCIATIONS: George Loder (conductor)

"THE VICTORIA", The Star [Ballarat, VIC] (3 April 1857), 3 

. . . The first and second acts of Balfe's well known opera of the "Bohemian Girl" were rendered in excellent style, Miss Julia Harland's Arline, and Mr. Walter Sherwin's Thaddeus, were deserving of every praise . . . Mrs. Fiddes, as the Queen of the Gipsies, acquitted herself admirably . . .

[Advertisement], The Argus (29 June 1857), 7 

MECHANICS' INSTITUTION. - Mrs. Fiddes's ACADEMY of MUSIC will Open at the above Institution in July.

[Advertisement], The Argus (2 December 1857), 8 

HAMILTON HOUSE, Lennox-street, Richmond road. - LADIES' SCHOOL, conducted by Mrs. HARRIET FIDDES, assisted by the best masters . . .

[Advertisement], The Argus (14 January 1858), 3

HAMILTON HOUSE. - Institution for the EDUCATION of a select number of YOUNG LADIES, corner of Lennox-street, Bridge-road, Richmond. Conducted by Mrs. Harriet Fiddes, professor of music, assisted by the best masters and three resident governesses . . .

[Advertisement], The Argus (8 October 1858), 8 

HAMILTON HOUSE . . . Mrs. Fiddes continues giving LESSONS in SINGING, Pianoforte, Harp, and Guitar Playing. Mrs. FIddes' establishment for the education of a select number of young ladies will re-open Monday, October 4.

[Advertisement], The Argus (3 February 1859), 1s

HAMILTON HOUSE, Hull-street, Richmond. Mrs. Fiddes's Educational Establishment for Young Ladies - Mrs. FIDDES in answer to numerous inquiries, begs to say she VISITS St. Kilda on Wednesdays and Saturdays, to give Lessons in Singing and Pianoforte playing. Schools attended. Terms forwarded.

England census, 7 April 1861, Putney, Surrey; UK National Archives, RG 9/374 (PAYWALL)

75 / Upper Park Field / Harriet Catherine Fiddes / Head / Wid. / 49 / Professor of Music / [born] Middlesex, Bloomsbury
Harriet Frederica Giovanna Fiddes / Daughter / Unm. / 24 / - / Middlesex, Kilburn

[Advertisement], Empire [Sydney, NSW] (9 January 1862), 1



"Death of an Old Theatrical Favourite", The Era [London] (2 March 1889), 16

We have to record the decease, at the advanced age of seventy-seven, of Mrs. Harriett Catherine Fiddes, who expired on Feb. 18th, at the residence of her son-in-law, Luddendenfoot, Yorkshire. As Miss H. Cawse her memory will be pleasantly cherished by old playgoers on account of her personal attractions and the extent of her musical accomplishments. Miss Harriett Cawse was the youngest daughter of Mr. Cawse, a portrait-painter held in considerable estimation half-a-century ago, and made her first appearance upon the stage at Drury-lane Sept. 22d, 1832, as Daphne, in Midas. The next year her services were transferred to Covent-garden Theatre, where her elder sister had established herself as a popular vocalist. As the Fairy Queen in the opera of Cinderella, and in similar characters, Miss H. Cawse attracted general admiration. Her retirement from professional life took place on her marriage with Mr. Fiddes. The deceased had been for many years a member of the Covent-garden Theatrical Fund.

"An Old Annuitant", The Stage [London] (22 March 1923), 16

The death took place last week at Brighton at the age of 85 of Miss J. Murray [sic], better known to the public of fifty years ago as Miss Josephine Fiddes. Miss Fiddes made her first appearance in London at Astley's in May, 1864, in a play called "The Spy of the Republic." She was later seen as the heroine in "The Flying Scud" at the Holborn, and made a name for herself in such parts as Leah, Lady Isabel in "East Lvnne," and Nan in "Good for Nothing." Miss Fiddes was a well-graced actress with varied talents. She wrote a play, which, however, did not meet with much success, and at one time appeared at Astleys in a revival of "Mazeppa." For many years she had been living in retirement. It is of interest to note that Miss Fiddes years ago be came a subscribing member of the Royal General Theatrical Fund. Her annuity became due when she reached the age of sixty, and she enjoyed it for twenty-five years, living comfortably in a little house in Brighton.

Extant musical works:,%20harriet%20catherine 

Bibliography and resources:

Mrs. Cornwell Baron Wilson, Our actresses: or, Glances at stage favourites, past and present . . . vol. 2 (London: Smith, Elder and Co., 1844), 280 (Harriet); 279 (Mary) 

The diaries of David Lawrence Gregg: an American diplomat in Hawaii, 1853-1858 (Honolulu: Hawaiian Historical Society, 1982), 521

. . . She was the former Miss H. Cawse . . . After her arrival in October of 1853, the papers were seldom without notice of her concerts, and usually carried advertisements of her offer to teach English and grammar to the residents of the islands. In March of 1854 an obituary notice registered the death of John Fiddes, formerly of London. The notice, however, did not state whether he was the spouse of, or related to, Mrs. Fiddes. In September of 1854, Mrs. Fiddes and her daughters left on the Restless for San Francisco . . .

FIEBIG, August (Friedrich August FIEBIG; August FIEBIG; A. FIEBIG)

Musical instrument maker, repairer, and retailer, violin maker, apiarist

Born Silesia, Germany, 1833
Arrived Adelaide, SA, c. 1881
Arrived Onetree Hill, SA, 6 January 1908 (TROVE tagged by Australharmony) (shareable link to this entry)


[Advertisement], Frearson's Monthly Illustrated Adelaide News (1 June 1884), 18 

AUGUST FIEBIG, PIRIE STREET, EAST, Begs to inform the musical public that he has started business at the above address as REPAIRER OF MUSICAL INSTRUMENTS. VIOLINS A SPECIALITY. Manufacturer of the noted Dzierzon Beehive, including the improved system of Baron Berlepsch.

"DEATHS", The Express and Telegraph (8 January 1908), 1 

FIEBIG. - On the 6th January, at his residence, Onetree Hill, Friedrich August, dearly beloved husband of Louisia Fiebig, aged 74 years.


Violin and case by August Fiebig, 1891; National Museum of Australia 

Bibliography and resources:

Bridget Jolly, "South Australia's early Ligurian beekeeping - and a lingering Kangaroo Island fable", Journal of the Historical Society of South Australia 32 (2004), [69-81], 71;dn=200500688;res=IELAPA (PAYWALL)

. . . [J. H.] Weidenhofer obtained a queen and colony from Sydney in late 1883, and on 4 January 1884 the steamer Birksgate brought him a "case" of 40,000 Ligurian bees (weighing about three kilograms) for his apiary at Rundle Street, Kent Town. When the Silesian, August Fiebig (1833-1908), established his premises in Pirie Street (East) as a stringed musical instrument-maker (probably in 1883), he was close to Kent Town. There he managed the apiary and instructed its proprietor, Weidenhofer, who was said to have been assisted by a "practical" apiarian, undoubtedly Fiebig, who was a witness to Weidenhofer's father's will of December 1885.

FIELD, Barron (Barron FIELD)

Transcriber of Indigenous song, judge, opera and drama reviewer (The Times)

Born London, England, 23 October 1786
Arrived Sydney, February 1817 (per Lord Melville)
Departed Sydney, February 1824 (per Competitor)
Died Torquay, England, 11 April 1846 (TROVE tagged) (NLA persistent identifier) (shareable link to this entry)


On account of his collections of poetry, First fruits of Australian poetry ([Sydney: George Howe, 1819]) ("I first adventure. Follow me who list; / And be the second Austral Harmonist"), Field has been called the "First Austral Harmonist". He was one of the seven founding members, in June 1821, of the Philosophical Society of Australasia.

As a former dramatic and opera reviewer for The Times (see Fenner), it is likely that Field had sufficient musical skill to have made his famous transcription of an "Australian National Melody" from the singing of Harry, printed in an article that he sent to London, for publication in 1823:

Iah iah gumbery iah (Harry's song) (Field 1823, 465)

For full details of original source and later printed copies, see: 


"ELIA" [Charles Lamb], "THE OLD AND NEW SCHOOLMASTER", The London magazine (May 1821), 492;view=1up;seq=516 

. . . I know less geography than a school-boy of six weeks' standing. To me a map of old Ortelius is as authentic as Arrowsmith. I do not know whereabout Africa merges into Asia; whether Ethiopia lie in one or other of those great divisions; nor can form the remotest conjecture of the position of New South Wales, or Van Dieman's Land. Yet I do hold a correspondence with a very dear friend in the first-named of these two Terrae Incognitae . . .

"ELIA" [Charles Lamb], MACKERY END, IN HERTFORDSHIRE", The London magazine (July 1821), 30 

. . . We were made welcome by husband and wife equally - we, and our friend that was with us. - I had almost forgotten him - but B. F. will not so soon forget that meeting, if peradventure he shall read this on the far distant shores where the Kangaroo haunts . . .

"B. F.", "NARRATIVE OF A VOYAGE TO NEW SOUTH WALES", The London magazine (March 1822), 221-28;view=1up;seq=277 

"ELIA" [Charles Lamb], "DISTANT CORRESPODENTS. In a Letter to B. F. Esq. at Sydney, New South Wales", The London Magazine (March 1822), 282-85;view=1up;seq=338 

B. F. [Barron Field], "Journal of an excursion across the Blue Mountains of New South Wales (October 1822)", The London Magazine (November 1823), 461-75; especially 465 

[News], The Sydney Gazette and New South Wales Advertiser (3 February 1825), 2

"REVIEW OF JUDGE FIELD'S POETRY", The Sydney Gazette and New South Wales Advertiser (25 November 1826), 3

"MR. BARRON FIELD", The Australian (8 December 1825), 2

"DEATHS", The Sydney Morning Herald (19 August 1846), 3

At Torquay, Devon, on the 11th April, in his 60th year, Barron Field, Esq., formerly Judge in this Colony, and lately Chief Justice of Gibraltar.

Other resources:

Letter from Charles Lamb to Barron Field (31 August 1817)

Letter from Louis de Freycinet to Barron Field (6 July 1820)

Papers relating to Barron Field (1820-ca. 1930)

Bibliography and resources:

C. H. Currey, "Field, Barron (1786-1846)", Australian dictionary of biography 1 (1966)

Kenneth E. Kendall, Leigh Hunt's "Reflector" (Studies in English literature 59) (The Hague: Mouton, 1971), 99 (PREVIEW)

David Higgins, "Writing to colonial Australia: Barron Field and Charles Lamb", Nineteenth-Century Contexts: An Interdisciplinary Journal 32/3 (2010), 219-33

Theodore Fenner, Opera in London: views of the press 1785-1830 (Southern Illinois University Press, 1994), esp. 25 (PREVIEW)

Barron Field (1786-1840 [sic]), another Blue Coat boy who became well acquainted with the Lambs and Hunts and their literary circles, was appointed to the Times that year, and the History ([of the Times (1935)], I, 89-91) cites Leigh Hunt's influence on him about that time; . . . several [theatrical reviews] can be identified as his [in 1807] as well as three in late 1808 and one in 1809, when he . . . resigned from the paper and began his [legal] studies at the Inner Temple . . .

FIELD, Robert (Robert FIELD)


Died Reid's Creek, Ovens area, VIC, 3 January 1858 (shareable link to this entry)


"The late Disastrous Fire at Reid's Creek", Mount Alexander Mail (11 January 1858), 2 

We learn from the Ovens papers, that an inquest was held on Monday last on the remains of the bodies of five persons who lost their lives in the fire at the Welcome Inn, on the 3rd instant. The evidence went to show that there were from 15 to 20 persons in the house on the night of the fire; that the fire originated in the bedroom of a Mr. Newey, who, with his wife and family, were staying in the house; and that six persons had been burned to death. There is strong reason for believing that two others have shared the same fate. The jury returned a verdict to the effect - That Mr. and Mrs. Newey, their child, two musicians, of the names of Robert Field and Charlie --, and a man supposed to be one Cuthbert, a splitter, came to their deaths by accidental circumstances.

FILHON, Auguste (Jean Auguste FILHON; Auguste FEUILLEN; ? FEUILLON)

Violinist, musician, artist

Active Melbourne, VIC, by 1855
Married Emilia Clemence LE GAY (LEGAY), VIC, 1859 Active Melbourne, VIC, until c. 1867/68 (also later active in Paraguay) (TROVE tagged by Australharmony) (shareable link to this entry)


Victorian records register the births in 1863 and 1866 in Melbourne, of two son, both also Auguste, to (Jean) Auguste Filhon and his wife Emilea Clemence Legay.


[Advertisement], The Argus (23 June 1855), 8

SALLE DE VALENTINO. - Mons. Fleury will perform on Monday, 25th inst . . .
Fleury's Band, comprising the leading talent of the colonies, will consist of the following artistes: -
Mons. Fleury, Conductor and Leader
Messrs. Reid, Fihon, 2nd Violins
Handoff, Double Bass; Kinzella, Clarionet; De Labestries, Cornopean; Baker, Saxe Horn; Hartigan, Opheclclde; Brown, Flute; Kummons, Bassoon; Sterne, Drum.

ASSOCIATIONS: Achille Fleury (violinist, leader); Thomas Reed (violinist); Alfred Labalestrier (cornopean); Joseph Hartigan (ophicleide)

[Advertisement], The Argus (18 August 1855), 8

SALLE DE VALENTINO. Promenade Concert and Ball. Open Every Evening. Admission One Shilling . . . Instrumentalists: Violinists, Messrr. Read and Fillon. Ophecleide - M. Hartigan (the first soloist in the colony.) Cornopean - M. De la Balestriere, Saxe horn, Mr. Baker. Clarionette - Mr. Kinsella. Double-bass - Herr Hendorff. Trombone - Mr. McNamara. Drum - Mr. Jenkins. And Herr Polin, the celebrated solo performer on the flute. M. FLEURY, Leader and Conductor . . .

"LIST OF UNCLAIMED LETTERS", Victoria Government gazette (11 September 1855), 2290 

[Advertisement], The Argus (11 September 1855), 3

LIST OF UNCLAIMED LETTERS for the week ending 5th September, 1855 . . . for Letters at the General Post Office . . .
. . . F . . . 13 Filhon, Auguste . . .


Vincent v. Fleury de Recuillon. -
Mr. Cope appeared for the plaintiff, and Mr. Wigley for the defendant.
This was a plaint to recover £29 10s. for the performance of the plaintiff, his wife, and a Mr. Youle, for singing and playing the piano for M. Fleury in Melbourne.
The defendant was the well-known M. Fleury, formerly the leader of the band at the Victoria Theatre . . .
A witness named Quinn, who had been one of Mr. Fleury's band, was called, and said he had performed at Mr. Fleury's concerts for five months before the plaintiff, his wife and Mr. Youle came, and they were well attended. After these parties came, the attendance fell off.
The extra night charged £2 10s. for, was for the benefit of Mr. Fleury.
"The musicians agreed to take half salary. The Vincents and Youle sang only two songs.
Cross-examined by Mr. Cope. - One of these songs was the "Rat Catcher's Daughter," the other a comic duet between Mr. Youle and Mrs. Vincent.
Auguste Feuillen gave similar testimony to the preceding witness.
The Assessors found a verdict for the plaintiff for £13, being the balance, allowing for £14 already received.

ASSOCIATIONS: John Rimmer Vincent; Achille Fleury

[Advertisement], The Star (23 December 1858), 3

CHARLIE NAPIER THEATRE. Proprietor - Mr. John Gibbs.
THE OPERA SEASON, Under the direction of MONS. LAVENUE, Will commence on MONDAY EVENING, 27th DECEMBER . . .
THE PREMIERE BAND Of the Australian colonies, under the able leadership of Mons. Fleury, will comprise the following instrumentalists: -
1st Violin - Mons. Fleury; 2nd Violin - Mons. Filhou; Tenor - Mons. Labat; Violincello - Mr. T. Minton; Double Bass - Mons. Harendoff; Flute - Herr Palin
Clarionet - Mons. Faure; 1st Cornet - Mons. Labalestrier; 2nd Cornet - Mr. Miell; Trombone - Mr. Ellis; Drums, Cymbals, &c. - Mons. Pietro Canna.
Leader of the Band - MONS. FLEURY. Conductor - MONS. LAVENUE . . .

ASSOCIATIONS: Lewis Henry Lavenu (conductor, opera company)

[Advertisement], The Argus (10 February 1866), 1

STRING BAND, for prlvate parties, balls, pic-nics, &c. Apply Mr. Filhon, violinist, 120 Brunswick-street, Fitzroy.

[Advertisement], The Argus (24 March 1866), 8 

FRENCH LANGUAGE TAUGHT, by Mons. Filhon. Lessons given in private families, schools, or at his residence, 3 Canning-street, Carlton. N.B. Mr. F. will also give lessons on the violin. Terms, moderate.

"INSOLVENCIES", Victoria Government gazette (15 February 1867), 356

RETURN of Melbourne Insolvencies during the week ending the 9th day of February, 1867:-
4th February . . . Auguste Filhon, artist, Carlton, Simson . . .

[Advertisement], The Age (3 May 1867), 8 

LYSTER'S ROYAL ITALIAN and ENGLISH OPERA COMPANY. PRINCESS OPERA HOUSE. Season for 1867 . . . Conductor: Mr. Siede . . .
GRAND ORCHESTRA. 1st Violins: Mr. Hall, Mr. E. King; Mr. M. Simonsen.
2nd Violins: Mr. Devereaux; Mr. Filhon . . .

ASSOCIATIONS: Julius Siede (conductor); John Robert Devereaux (violinist)

[Advertisement], The Herald (6 August 1867), 4 

IN the Supreme Court of the Colony of Victoria. - In Insolvency. - In the Estate of AUGU5TE FILHON, Artist, of Melbourne, in the colony of Victoria. - Notice is hereby given that the above-named Auguste Filhon intends to apply . . . on Friday, the sixth day of September next, at the hour of Eleven o'clock in thu forenoon, that a CERTIFICATE of DISCHARGE from his debts under the Insolvency Statute, 1865, be granted to him. AUGUSTE FILHON, Dated this fifth day of August, 1867.

[Advertisement], The Argus (7 December 1867), 8

THEATRE ROYAL. Engagement for 12 Nights Of LYSTER'S Royal Italian and English OPERA COMPANY.
Under the Special Patronage of H.R.H. the DUKE OF EDINBURGH, K.G. . . .
GRAND ORCHESTRA. 1st Violins. Mr. Hall, Mr. Levy, Mr. White, Mr. King, Mr. Fischer.
2nd Violins - Mr. Devereaux, Mr. Filhon, Mr. Read, Mr. Cousins . . .

Sands & McDougall's Melbourne and suburban directory for 1868 (Melbourne: Sands & McDougall, 1868), 5, 373 (DIGITISED)

[5] Bourke street east . . . 173 Filhon, Auguste, colonial wine saloon

[373] . . . Filhon, Auguste, colonial wine saloon, 173 Bourke street east

Bibliography and resources:

Juan Max Boettner, Música y músicos del Paraguay (Edición de Autores Paraguayos Asociados, 1956), 120

. . . Nueva exhibición del magnifico y sin rival Silforanva producido por la luz eléctrica y presentado por el artista parisiense Auguste Filhon. Efectos genionietros-cópicos! Al terminar la función, el teatro será iluminado con luz eléctrica! - (La nación, 18-V-1887).


Pianist, violinist, comic vocalist, "public house player on the Pianoforte", piano tuner

Born London, England, 30 August 1818; baptised St. Martin-in-the-Fields, 20 September 1818; son of William and Harriet FILLMORE
Married Harriet Louisa HIGGS (1822-? 1897), St. George's church, Bloomsbury, 12 December 1839
Arrived Sydney, NSW, 4 February 1841 (assisted immigrant per Marquis of Hastings)
Died Sydney, NSW, November 1848 (TROVE tagged by Australharmony) (shareable link to this entry)


Son of a glazier from Covent Garden, in March 1841, H. W. Fillmore advertised that "he has lately arrived in Sydney for the purpose of playing the Pianoforte at Quadrille parties". He was advertised regularly as pianist at George Coppin's (later George Skinner's) Saloon from April through to November 1844.

Described as a "public house player on the pianoforte", Fillmore was before court on 1 March 1847 for drunkenness, in "breach of his agreement as a musician and general servant" with William Stone, publican of the King's Arms, Pitt-street. The case against Fillmore was dismissed, and, as it happened, Stone died the following month.


Baptisms solemnized in he parish of St. Martin in the Fields in the county of Middlesex in the year 1818; Register 1818-19, page 242; London Metropolitan Archives (PAYWALL)

No. 1935 / [September] 20th / Henry William / [son of] William & Harriet / Fillmore / 6 Burleigh Street / Glazier . . .

[Description of assisted immigrants per Maquis of Hastings, February 1841]; State Records Authority of NSW (PAYWALL)

Henry William Fillmore / MARRIED MALE IMMIGRANT / Arrived by Ship Maquis of Hastings / brought out by C. F. Warne / A Native of London - Parish of St. Paul's Covent Garden - Mother (Harriet) living at 18 Exeter St. Strand London / Calling - Plumber, Painter & Glazier / Age on embarkation - Twenty two - 30th Aug't 1840 . . . State of bodily health, strength, and probably usefulness - Very good / Religion - Church of England / read and Write - Both / Remarks - No complaints

Harriet Louisa Fillmore formerly Higgs . . . Age 18 - 28 October 1840 . . . Delicate . . .

ASSOCIATIONS: Charles Frederick Warne (merchant, active Sydney, NSW, c. 1834-46)

[Advertisement], The Sydney Herald (29 March 1841), 2

TO QUADRILLE PARTIES. - H. W. FILLMORE begs to inform the public that he has lately arrived in Sydney for the purpose of playing the Pianoforte at Quadrille parties. Every information will be given upon applying at Mr. Ellard's Music Saloon.

ASSOCIATIONS: Francis Ellard (musicseller)

[Advertisement], The Sydney Morning Herald (11 April 1844), 3

CLOWN HOTEL, PITT-STREET. MR. COPPIN'S LARGE SALOON is open every Monday, Thursday, and Saturday Evening, from eight o'clock till eleven. Admission free. No extra charge for liquors. CONDUCTOR - MR. FALCHEON, who will during the night sing many new and favourite songs, in addition to his very popular song of PADDY'S WEDDING. Pianist, Mr. FILLMORE, who will contribute to the evening's amusement assisted by Mr. JONES.

ASSOCIATIONS: George Coppin (publican, actor); Arthur Falchon (vocalist)

"Our Weekly Gossip", The Dispatch (13 April 1844), 2 

The attention of the lovers of conviviality is called to the advertisement of Mr. Coppin, of the Clown Inn, Pitt-street, which is to be found in another column of our paper. His large saloon is open (admission free) every Monday, Thursday; and Saturday. Mr. Falchon's singing is well known, and is heard to greater advantage in a room than on the stage. Coppin amuses the company with some of his drolleries. Phillips' [REDACTED] songs, are capital. Fillimore is excellent on the piano. Jones is also a pleasing singer. In short, the crowded saloon, on every evening it is open, speaks sufficiently for the excellence of this combination of attraction.

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

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

[Advertisement], The Sydney Morning Herald (8 June 1844), 1 

COPPIN'S LARGE SALOON. ADMISSION FREE . . . THIS PRESENT SATURDAY EVENING, JUNE 8, AND MONDAY, JUNE 10 . . . Messrs. YANKEE PHILLIPS, JIM BROWN, and CATO CUFFEE JUNO, will screech forth the following Negro Melodies: - SONGS. - Clar de Kitchen - Zip Coon - Jim Brown - [REDACTED] Pompey - Long-tailed Blue - Jim along Josey - Roley Boley - Yankee Doodle. DUETS. - Jumbo Chaff -[REDACTED] Juber - Chingaringcomechaw. GLEE. - Coal Black Rose. With a great variety of other dingey extravagances, accompanied by their extraordinary Louisiana jumps, and old Kentucky grape-vine twists, making a display of heel and toe genius surprising to de white folk and sartin death to all Long Island [REDACTED]s. Pianist, Mr. Fillmore, Flute, Mr. Westrop, who will perform several solos during the evening . . .

ASSOCIATIONS: Zachariah Westrop (flute player)

[Advertisement], The Sydney Morning Herald (14 June 1844), 4

COPPIN'S LARGE SALOON . . . ON SATURDAY EVENING, June 15th, and the following week, THE QUADRILLE BAND will play several Airs, Overtures, &c. Pianist, Mr. Fillmore; Flute, Mr. Westrop; First Violin, Mr. Wilson; Second Violin, Mr. Dodd; violoncello, Mr. Portbury. A GENTLEMAN AMATEUR Will sing the following popular Songs - The Sea, The Wolf; As I view those scenes so charming, from the Opera of "La Somnambula," When time hath bereft thee . . .

ASSOCIATIONS: Benjamin Portbury (cellist)

MUSIC: The sea (Neukomm); The wolf (Shield); When I view those scenes so charming (Donizetti); When time hath bereft thee (Auber)

[Advertisement], The Sydney Morning Herald (2 September 1844), 3 

MESSRS. Caldwell, the Scotch vocalist, Abrahams, JIM BROWN; Newsom. ROMBO SOBO;
Fillmore, and Gentlemen Amateurs, will sing the following selection of
"The White Squall," "The Wild Irishman," "Oh, Roley Boley," "The Bloom is on the Rye," "Paddy O'Rafferty," "The Jolly Young Waterman," "Alice Gray," "Clar de Kitchen," "The Rose of Allandale," "Biddy, the Basket Woman," "The Charming Woman," PHILOSOPHICAL INTRODUCTION AND [REDACTED] GLEE, "Oh my Lubly Pintra."
"Of a' the airts the win' can blow," Duet, "Gimbo Chaff," "As I view those scenes so charming," "Mamsell Margaret de Bunhcum so," "The Angel's Whisper," Song of Songs, introducing the titles of ONE HUNDRED SONGS, "Flat Foot," "Song and Dance from Long Island," "Mrs. Jim Crow," "Black Blood Hound," "John Anderson my Joe,"
"[REDACTED] Statues," "Woodman spare that Tree," "The Country Fair," "Dumbarton's Bonnie Bell," "The New Policeman," Duet, "See how Merrily," "Jim Brown," "Bay of Biscay," "Charming Molly Brallaghan," "There is an Isle," [REDACTED] Glee, "Coal Black Rose," "American Budget,"" Tarnation Strange," "More Jonathans," "Lass o' Gowrie," "Little Pigs," "Jim along Josey," Chorus, "Robin Hood."

[Advertisement], The Sydney Morning Herald (5 October 1844), 3 

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

[Advertisement], The Sydney Morning Herald (26 October 1844), 3 

MR. FILLMORE will sing a new selection of COMIC SONGS, accompanied by Mr. Thompson on the Piano-forte . . .

[Advertisement], The Sydney Morning Herald (28 October 1844), 1 supplement 

MR. FILLMORE will sing the "Literary Dustman," "Steam Pills," &c, and a variety of favorite songs, accompanied by Mr. Thomson on the piano . . .

ASSOCIATIONS: George Skinner (new proprietor); John Charles Thompson (cellist, pianist)

[Advertisement], The Sydney Morning Herald (1 November 1844), 2 

Mr. FILLMORE will give -"Steam Pills," "Billy Vite," "Literary Dustman," and "Little Pigs" . . .

"A HIRED SERVANT", The Sydney Morning Herald (2 March 1847), 2

Henry Fillmore, a public-house player on the pianoforte, appeared on summons before Messrs. Windeyer and Smart, in the Police Court, yesterday, for having committed a breach of his agreement as a musician and general servant, with William Stone, publican, of Pitt-street. The complainant swore, that early in July last the defendant renewed a verbal agreement with him to act as musician and general servant for twelve months, for which he was to be paid 30s. per week; that Fillmore, about fourteen days ago, came to his house (at a time when his services were required) and was then in such an inebriated state, that he could not play the piano in even a passable way. Stone also deposed, that the defendant had acted as a general servant in his employ since last July. Mr. Dillon, who appeared for the defence, called a witness, who swore that he was present about two years and a half ago, when Stone hired Fillmore as a musician only, at the nightly pay of 5s. The Bench considered that Fillmore, whether he engaged as a physician or a musician, was bound by his engagement to do all the duties he had undertaken, either as a pianoforte player or even as a "boots," whatever might be his acquirements. But as the complainant had not adduced any evidence to show that he had hired as a musician and general servant, the case was dismissed.

[Advertisement], The Sentinel (29 June 1848), 3 

[A CARD.] HENRY FILLMORE, Teacher, Tuner and Violin Quadrille Player, enquire at Mr. Steel's Wilmot-street opposite the Currency Lass George-street South.

[Advertisement], The Sentinel (28 September 1848), 1 

[A CARD.] HENRY FILLMORE . . . [as above]

[Advertisement], The Sydney Morning Herald (9 November 1848), 1

THE friends of the late Henry William Fillmore, are requested to attend his Funeral, at four o'clock, this day, from Wilmot-street, Pitt-street.


Organ builder

Born St. Pancras, London, England, 20 August 1828; son of Jonathan George FINCHAM (1796-1863) and Jane PARRY
Arrived Melbourne, VIC, 7 July 1852 (per Duke of Cornwall, from Plymouth, 10 February, via Adelaide, 22 May to 4 July)
Married Margaret TILLEY, VIC, 1858
Died Hawthorn, Melbourne, VIC, 21 December 1910, in his 83rd year (TROVE tagged by Australharmony) (NLA persistent identifier) (shareable link to this entry)


The main purpose of this entry is not to give a detailed documentation of Fincham's career, merely to log his arrival and earliest colonial activities, up to the first half of 1866. For a good detailed overview of his career, see Rushworth 1988; for short summaries, see Maidment 1997 and Jordan 2001.


"SHIPPING INTELLIGENCE", South Australian Register (25 May 1852), 2 

Passengers per Duke of Cornwall (arrival reported yesterday) . . . Fincham . . . in the steerage.

"SHIPPING INTELLIGENCE. ARRIVED", The Argus (8 July 1852), 4 

July 7 - Duke of Cornwall ship, 580 tons, J. R. Myhill commander, from Adelaide 4th inst., with fifteen cabin passengers, and eighty in the steerage.

[Advertisement], The Argus (17 February 1853), 3

GEORGE FINCHAM, Organ Builder, Tuner, and Cleaner.
ORGANS ROAN 8 taken charge of by the year.
Accordians tuned and repaired.
Please to address all letters to Tuner, office of this paper.

"THE NEWS OF THE DAY", The Age (21 December 1864), 4 

On Monday evening [19 December], a number of gentlemen, who bad been invited by circular, met in the organ manufactory of Mr. George Fincham, near Hawthorn Bridge, to witness the opening of a new organ of his own manufacture. Mr. Pringle was engaged for the occasion, and delighted the company by his brilliant execution of some pieces of music from the works of the great composers. The organ, containing seventeen stops, is a fine instrument, which, for strength of workmanship and quality of tone, reflects great credit on the builder. We are glad to welcome this new branch of industry, and trust that Mr. Fincham will meet with the support which his skill and enterprising spirit deserves.

ASSOCIATIONS: George Pringle (organist)

"INDUSTRIAL PROGRESS AT RICHMOND", The Argus (5 December 1865), 6 

. . . At the east end of the road, near Hawthorn bridge, a new and important branch of industry-namely, the making of organs - has been instituted by Mr. George Fincham. He has erected a substantial brick and bluestone building for his organ-factory, and the success which has attended his enterprise so far, is a proof that the people of Victoria are not less willing to encourage industries which are intended to administer to their intellectual enjoyment and gratification than they are to support those which provide them with some of the actual necessities of life. Mr. Fincham has been employed in repairing several organs, in enlarging and improving others - of which the organ at St. Peter's Church may be cited as an example - and in building some, one of whioh was for the Victoria-parade Congregational Church . . .

"THE NEWS OF THE DAY", The Age (11 August 1865), 5 

The concert of sacred music given at the East Melbourne Congregational Church, last evening, drew together a numerous audience, whose principal object was to commemorate the opening of an organ made in the colony. To Mr. G. Fincham, of Bridge-road, Richmond, is due the credit of having constructed an instrument which will compare favorably with any of the importations which have been made from first-class London houses . . .

[News], The Argus (28 July 1865), 4 

For some time past considerable alterations in the arrangements for the choral service at St. Peter's Church have been in progress. The organ has been remodelled and greatly improved by Mr. Fincham, of Richmond, and it has been removed from the gallery in which it formerly stood, and placed in the body of the church, immediately below . . .

"NEW INDUSTRIES", The Argus (28 June 1866), 5 

. . . Organ building, manufacture of metal pipes, G. Fincham, Richmond, £100 . . .

"MUSICAL INSTRUMENTS", The Argus (6 November 1872), 4s

"PERSONAL", The Argus (23 March 1901), 12

Mr. George Fincham, the well known organ builder, died suddenly yesterday afternoon, in the midst of a game of bowls on the Armadale green. He was playing a single handed club tournament, and was about to deliver a bowl when he fell without uttering a word and died in a few seconds. Mr. T. R. Wills, M. B., who was playing on the next rink, was called over, but pronounced life extinct. The deceased gentleman, who was 73 years of age, had been in failing health for some time past, and was suffering from an affection of the heart. Death is supposed to have been due to an effusion of blood on the brain, caused by the rupture of a blood vessel, and an inquest will not be necessary.

Mr. Fincham was born in London in 1828, and educated at a private school under Mr. Elton, an able astronomer. At the age of 14 he was apprenticed to Messrs. Bevington, organ builders, and afterwards followed his calling in the factory of the late Mr. James Bishop, of London. He came out to Australia in 1852, and took up his residence in Melbourne, after a short experience on the goldfields. From that time he steadily devoted himself to the building of organs, and received a reward of £100 from the Government for the establishment of the industry in Victoria. Mr. Fincham won a gold medal for an organ exhibited by him at the Melbourne Exhibitions of 1866-7 and 1872-3, and a first prize at the Melbourne and Philadelphia International Exhibitions, 1875-6. The magnificent organ in the Melbourne Exhibition building was erected by him. It cost £6,000, and requires a 10-horse-power gas engine to supply the wind power for the reeds. At the time of its construction it was the fifth largest organ in the world. In the early eighties Mr. Fincham represented Ballarat West in the Legislative Assembly, and he was, at the time of his death, one of the trustees of the Melbourne Exhibition.

"PERSONAL", The Argus (25 March 1901), 5

A similarity of names led to a deeply regretted mistake being made in our issue of Saturday. In referring to the death of Mr. George Randal Fincham, ex-M.L.A., the deceased was in error described as Mr. George Fincham, of Richmond, the well known organ-builder. The large circle of friends of Mr. George Fincham will be glad to know that he continues in good health, and we have to express our great regret that ii mistake should have occurred.

"DEATHS", The Argus (22 December 1910), 1

FINCHAM. -On the 21st December, at his residence 31 Coppin-grove, St. James's park, Hawthorn, George Fincham, J. P., in his 83rd year.

"PERSONAL", The Argus (22 December 1910), 7

Other sources:

Records, George Fincham & Sons, 1869-1999; State Library of Victoria 

Bibliography and resources:

John Henwood, "Fincham, George (1828-1910)", Australian dictionary of biography 4 (1972)

E.N. Matthews, Colonial organs and organbuilders (Carlton: Melbourne University Press, 1969), passim

Graeme D. Rushworth, Historic organs of New South Wales (Sydney: Hale & Iremonger, 1988), 179-87

John Hargraves, "The Fincham way", extract from OHTA journal (October 1994), 11-18, 22-25 

John Maidment, "George Fincham's tonal palette: some thoughts on tonal design", extract from OHTA journal (July 1995), 12-17 

Graeme Rushworth, "A century plus of Fincham organs", extract from OHTA journal (July 1996), 26-33, (October 1996), 17-21, and (January 1997), 30-35 

John Maidment, "Fincham, George", in Warren Bebbinton (ed.), The Oxford companion to Australian music (Melbourne: Oxford University Press, 1997), 215-16

W. D. Jordan, "Fincham & Sons", Oxford music online/Grove music online (PAYWALL)

"George Fincham", Organ Historical Trust of Australia (OHTA) 

"George Fincham", Wikipedia 

FINDLAY, James (James FINDLAY; FINLAY [sic])

Amateur musician, vocalist, violinist, accordion player, traditional dancer, Scottish fiddler

Born Scotland, c. 1819/20
Arrived Australia, ? 1842/45
Died Towong, VIC, 8 November 1905, "a colonist of 60 years" (TROVE tagged by Australharmony) (shareable link to this entry)


James Findlay migrated from Scotland in the early to mid 1840s. He took over Towong Station, in the Victorian high country in 1854 after managing the Bonagilla run, near Wodonga, and employment with the Buchanan family further at Tallangatta. He probably hosted the naturalist Ferdinand von Mueller on his 1874 visit to the area, and Mueller named a red-flowered shrub found in the vicinity of Yellow Boy Creek "Berlayii Findlayii" after him. Findlay and his wife and family lived on the Towong Station until 1889, when they moved to Upper Towong where James died in 1905, aged eighty-six.


"RENTS OF RUNS FOR 1867", Gippsland Times (7 December 1867), 3

. . . OMEO DISTRICT . . . Towong / James Findlay / [Amount payable for half-year] 32 12 0 . . .

"LAND TAX COURT", The Australasian (16 November 1878), 20

At the sitting of the Land Tax Commissioners on Monday evidence was heard in the appeal of Mr. James Findlay against his estate of Towong, 1,757 acres, in the county of Benambra, being placed in the first class . . . Taking all the points into consideration, the commissioners were of opinion that the classification should be amended, but they thought they were only warranted in reducing it one class. They therefore ordered it to be reduced from the second to the third class, carrying costs.

Charles Ager Atkin, "A TRIP TO MOUNT KOSCIUSCO", North Melbourne Advertiser (13 May 1887), 3

. . . arriving at Corryong about 4.30 p.m. Stay at Masters' Hotel thence to Towong, the residence of James Findlay, Esq., Upper Murray . . . and had a hearty welcome a from our mutual friend, Mr. Findlay . . .

Charles Ager Atkin, "A TRIP TO MOUNT KOSCIUSCO", North Melbourne Advertiser (18 June 1887), 2 

. . . Saturday . . . The evening was spent very pleasantly, music, singing, &c. . . .

"TURF GOSSIP", The Australasian (20 April 1889), 21

Messrs. T. Mates and Co. have been instructed by Mr. James Findlay, of Towong, to dispose of the whole of his stud of horses, numbering 400 head . . .

"KOSCIUSKO, BY TELEMACHUS", The Argus (21 March 1891), 4 

Mr. Findlay's home of Towong is one of the representative places of Australia. It has situation, character, and beauty peculiarly its own. Mr. Findlay was the first of the Murray Valley settlers to see the advantage of dwelling on the hills, while still drawing his main revenues from the flats. He fixed on a bold spur, levelled away its ridge, and began to plant and to build. Since that beginning there have been five and twenty years of growth . . .

"CORRYONG TO JINGELLIC (By Our Travelling Correspondent)", Albury Banner and Wodonga Express (5 March 1897), 35

Passing by Mount Elliot and over the gap at the New Chum mine, already reported, after a ride of two or three miles I came to the well-known station of Towong, and Mr. James Findlay, the genial owner, although approaching the three score and ten, is engaged in hoeing the paths of his beautiful residence, which commands a view of the Murray plains for miles. Over a glass of Old Scotch mine host boat spins some pleasant reminiscences of Albury in 1851 . . .

"DEATHS", The Argus (9 November 1905), 1

FINDLAY. - On the 8th November, at his residence, Towong, Upper Murray, James Findlay, aged 84 years. A colonist of 60 years.

"Upper Murray. KHANCOBAN . . . Death of an Old Resident", Albury Banner and Wodonga Express (24 November 1905), 3 

Mr. James Findlay, sen., formerly of Towong Station, Upper Murray, Victoria, died at his son's residence on Tuesday, 7th inst., and was interred in the Corryong cemetery on the following Thursday. The deceased gentleman was in his 87th year, and leaves a family of six sons and five daughters. Mrs. John Pierce, of Greg Greg, is one of the latter. Mr. Findlay was a fine specimen of the old school of settler, and was one of the earliest pioneers of the Upper Murray. He was a well-known horse breeder, and his equine stock and their progeny have a more than local fame. With James Findlay passes away one of the few remaining links between the past and present of this district.

The Lea Riggs with Variations, fiddle set, folio 41 of the Findlay manuscript

"The Lea Riggs with Variations", fiddle set, folio 41 of the Findlay manuscript (DIGITISED)

See also on the Lea Rigg (Traditional Tune Archive)

James Findlay's manuscript:

This mainly manuscript volume consists of songs tunes with words and dance tunes for violin. The book is twice inscribed "James Findlay, 12th December 1841" and, in a different hand, "Mr. James Finlay, Penpont Nov. 11th 1841". There is a printed vocal item, Where the thistle proudly waving (Sung by Mr. Wilson at the London Concerts written, composed . . . by George Croal (Edingurgh: Wood and Co., [n.d.]), and 2 folios from an unidentified large-format printed collection of violin or flute tunes, the four pages, 69-72 (each with an issue mark at bottom left: "No. 18. 500 M."), containing 21 complete items. It can be tentatively dated to c.1836-40 by the presence of Henri Herz's Now the night her mantle closes, other English editions of which date from no earlier than 1836. The manuscript section is in several layers and hands. Graham Dodsworth has digitised the manuscript at the request of Findlay descendants: (NLA PANDORA permanently archived copy of website)

According to Dodsworth:

It is assumed at this point [2002] that James (also known as Jim) Findlay from Penpont in Dumfrieshire Scotland compiled this mainly handwritten collection of tunes, which was found alongside four leather bound volumes, two each of Sir Walter Scott and Robert Burns, in a sea chest, in a barn, on a farm in the Upper Murray at Towong Upper by his grand-daughter, Ada Findlay [in 2000] . . . the notation of music within the book varies from tune to tune in style of notation in ways that suggest the type of quill alone is not explanation enough and that perhaps it was the owner of the books habit to ask others to notate tunes within its pages which the owner may have wished to play. Many of the tunes appear to be attributed to a 'P. McLeod' and there are other references to persons such as Wilson, Riddle, Braham, Neil Gow (fiddler) and other members of the musical Gow family from Dunkeld.

The full contents, as indexed by Dodsworth, can be accessed directly 

Dodsworth (2003-04) also taped interviews, concerning the collection and the family's musical history,

with Harry Findlay:

and Jill Findlay 

Bibliography and resources:

"Findlay, James (1819-1905)", Australian National Herbarium (2011) 


School master, dancing master, violinist, Scottish fiddler

Born New Monkland, Lanark, Scotland, 28 May 1814; baptised 6 June 1814, son of John FINLAY and Mary WADDELL
Married (1) Margaret THOMSON, Gorbals, Lanark, Scotland, 12 April 1839
Married (2) Catherine THOMPSON, Manchester cathedral, England, 7 March 1850
Arrived Geelong, VIC, November 1852 (per Blanche, from . . . )
Active Ballarat, VIC, by 1856
Died Ascot, VIC, 29 March 1879, aged 65 (TROVE tagged by Australharmony) (shareable link to this entry)


1850, marriage solemnized at the Cath[edral] & Parish Church in the Parish of Manchester . . .; Manchester Cathedral (PAYWALL)

[No.] 16 / March 7th 1850 / John Finlay / 35 / Widower / Schoolmaster / 84 River St. Hulme / [father] John Finlay / Mason
Catherine Thompson / 20 / Spinster / - / 90 St. James street / [father] Peter Thompson / Coach smith . . .

England census, 30 March 1851, Deansgate, Manchester; UK National Archives (PAYWALL)

11 Albion St. / John Finlay / Head / 36 / Bookseller & Schoolmaster / [born] Scotland
Catherine [Finlay] / Wife / 20 / - / [born] Scotland
Margaret [Finlay] / dau'r / 13 / - / [born] Scotland
Mary [Finlay] / dau'r / 11 / - / [born] Scotland
John [Finlay] / son / 9 / - / [born] Scotland

Passengers per Blanche, arrived VIC, November 1852; Public Record Office Victoria (PAYWALL)

Finlay John / Schoolmaster / [born] Lanakshire / 38 // Catherine / 22 // Mary / 13 // John / 11

"THE DENOMINATIONAL SCHOOLS", The Star (17 December 1859), 1 supplement 

On Thursday the Singing Festival of the children attending the above schools was held in the Presbyterian Church, Sturt street. The building was filled to inconvenience . . . Mr. A. T. Turner, to whom the children are indebted for the proficiency which they displayed, acted as conductor. The following are the names of the schools, &c, present: . . . Church of England . . . 30 children Plank road - Mr. Finlay . . .
The following is the programme of the pieces selected for performance:-
"The Week," Hullah; "Come follow," Hilton; "It is light," "The Cricket," Hullah; "The Crystal Spring;" "Away with needless sorrow," Adapted from Mozart; "Youth and May," Crampton; "Home," From the German; "Let the smiles of Youth appearing," From an English Glee.
Part 2nd. "The Grove," Weber; "The Windmill," Tilleard; "The Laborer's Song," From Hickson by Marast; "Hunting the Hare," From Hullah by Purcell; "Britons arise," Purcell; "The Summer Song," "Diligence," "Hark the Bell is ringing," "Shall School acquaintance be forgot;" " The Vacation Song," Auber; "The National Anthem" . . .

"CHURCH OF ENGLAND SCHOOL FESTIVAL", The Star (31 December 1859), 2 

. . . Mr. Finlay's pupils at the Plank road were invited on Thursday and Friday to join in the festivities usually prepared for them at this season by their teacher. The commodious school room was cleared for the occasion, and decorated with boughs of evergreens, while heaps of nice things in the way of cakes and sober fluids, were in readiness for the young folk, when the intervals of fun gave time for a set-to upon the creature comforts . . . From Mr Finlay's ample repertoire of school music, things new and old were brought forth, and sung very sweetly and accurately, thus evincing the careful training the young people had received at the hands of the music-master, Mr. Turner. Then there were interspersed with the songs - dances of all sorts, from the modem waltz to the antique Sir Roger de Coverley; the enthusiasm of the teacher, who, with violin, supplied unaided the "sounds of music" necessary to the scene, being responded to by the earnest pleasure of the lads and lasses as they footed it right merrily from end to end of the room. "Auld lang syne" was the last song but one, and was sung with much expression, the full chorus of voices sending forth a volume of ringing melody really delightful to hear. "God Save the Queen" was of course the finale and was given with all the heart and voice it merited . . .

ASSOCIATIONS: Austin Theodore Turner

"NEWS AND NOTES", The Star (5 January 1861), 2 

On Thursday and Friday the children attending the Church of England School, Plank Road, held their annual school festival, a treat which they seemed to enjoy with much pleasure and happiness. The arrangements were made by Mr John Finlay, the master of the School, who alone bears the expense of the rich treat provided for the children, of whom there are one hundred and fifty on the roll. On Thursday fifty of the youngest of the children amused themselves at a variety of rational games, after which they partook of bun loaf and lemonade, of which there was an abundant supply and on Friday eighty of the elder children enjoyed their holiday, and went through a very pleasing programme, arranged by Mr. Finlay, and which included a variety of songs, dances, and reels. Their instructor, who is no novice at the violin, accompanied them on that instrument. At two o'clock refreshments were served out to the children, after which they went through country dances and reels with a facility quite astonishing.

"DEATHS", The Ballarat Courier (16 April 1879), 2 

FINLAY. - On the 29th March, at Ascot, John Finlay, late of Greenfield, near Ballarat; aged sixty-five years.

"An Early Ballarat School. TO THE EDITOR OF . . .", The Age (29 June 1935), 9 

. . . Mr. Finlay, very amiable man, every morning opened the school day by playing the fiddle while the pupils danced . . .

"EARLY BALLARAT SCHOOLS. TO THE EDITOR OF . . .", The Age (24 August 1935), 19 

. . . When we were finished in the afternoon Mr. Flnlay would get his fiddle and then the fun started, with dancing consisting of the sets and square dancing. I remember Roger de Coverley and others . . .

"Ascot State School. TO THE EDITOR OF . . .", The Age (7 December 1935), 10 

Sir, - Two correspondents in these interesting columns definitely established Mount Pleasant and Brown Hill's earliest teacher as John Finlay, and at the former school in 1857, while also remembering him in Scotland prior to this ancient date. The above schools probably were his initial entrance to teaching in Victoria. In the early seventies he was a teacher at Ascot State school, and virtually the first teacher there under the present Education Act. In this remote agricultural district, fringed by the Creswick, Allendale and Clunes mining areas, then at tts zenith, "Old John" (which was the familiar appellation used by the Juveniles) essayed the task of imparting the three R's. John Finlay's efforts to teach Scotch songs and dances to the accompaniment of the violin, which he played well, was an obsession, to the detriment of the educational system. The attendance gradually diminished, and this continued until the appointment of his successor, Mr. Chapman. Mr. Finlay received the call to higher service fifty-five years ago; a simple little memorial tablet was placed in the Coghill's Creek cemetery.

The Ascot school in the years 1871 to 1880 was comprised of seventeen families, but, as the average number of each family represented at school was four, the attendance was satisfactory. Here are the names of families: - Aikman, Ryrie, Scott, Graham, Carey, Cummins, McNeill, Ryan, Randall, Edwards, Thomas, McRae, Dougall, Lester, Puniard, Dunn and Smith. Many or these names are still to be found at Ascot, and one at least of Finlay's scholars, Mr. James McRae, Director of Education in Victoria, is still active in the forefront of education. He, however, is the finished product of Creswick Grammar School, rather than of Ascot State school, where he began. It was at Fiddian's - commonly known as "Fid's" - that he completed his education. The awakening of old memories among schoolfellows has served a useful purpose, and in this instance traced John Finlay - Mount Pleasant, 1857 - to his final school - Ascot, 1880. -
Yours, T. F. RYAN. Richmond.



Died Bright, VIC, January 1877 (shareable link to this entry)


"COUNTRY NEWS", Advocate (13 January 1877), 15 

A MOST distressing case of drowning (says the Ovens Register) has happened at Freeburgh, to a man named Finney, who is an old resident, and well-known in the Bright district. He had been attending a bazaar at the Chinese Camp, German Town, in the capacity of a musician, and was found dead the next morning in a waterhole. He was supposed to have fallen in on his way home. He leaves a wife and six children totally unprovided for.

FINNISS, Boyle Travers (Boyle Travers FINNISS; B. T. FINNISS; often B. T. FINNIS)

Musical amateur, songwriter, politician

Born at sea (off the Cape of Good Hope), 18 August 1807 (per Warbey); son of John FINNISS and Susannah MAJOR
Married (1) Anne Frances ROGERSON (d. 1858), Dublin, Ireland, 13 August 1835
Arrived Kingscote, SA, 11 September 1836 (per Cygnet)
Married (2) Sophia Florence Maud LYNCH, St. Matthews church, Kensington, SA, 3 May 1878 Died Kensington Park, SA, 24 December 1893 (TROVE tagged by Australharmony) (NLA persistent identifier) (Wikipedia (shareable link to this entry)


"SOUTH AUSTRALIAN LITERATURE AND MUSIC", The South Australian Advertiser (25 June 1860), 3 

We have upon our table two or three more specimens of South Australian literature and music, to which we propose devoting a portion of our space. We begin with the music: -

The Gathering : A War Song of Australia.
Words by B. T. FINNISS, Esq.; Music by Mrs. A. J. MURRAY.

Canst thou not read the mute Appeal?
Words by B. T. FINNISS, Esq.; Music by Mrs. A. J. MURRAY.

The first of these pieces is a spirited production, both as regards poetry and music, although the first two or three bars of the latter will be recognised as an old acquaintance by all who have heard "The Sea, the open Sea." The air is, however, exceedingly sprightly, and in good keeping with the words. The following is the song: -


Arm! sons of Australia! the clarion blast
That woke up your fathers is heard in the west;
Though Cressy and Waterloo tell of the past,
The blood of the victors flows deep in your breast.
Then arm! sons of Australia! arm, arm, arm.
Arm! sons of Australia! arm, arm, arm.

The flag that in triumph flaunts proud o'er the sea,
The banner of Britain, will lead you in war;
Her sons in the south are as dauntless as free,
And hurl back the menace that threatens afar.
Then arm! sons of Australia! arm, arm, arm.
Arm! sons of Australia! arm, arm, arm.

Your fathers were strong in the might of the bow;
Their war steeds charged fiercely with rider and spear;
Your rifles flash death when in front of a foe;
Your guns boom in thunder when battle is near.
Then arm! sons of Australia! arm, arm, arm.
Arm! sons of Australia! arm, arm, arm.

Fair land of the south! where, mid splendour and gold,
Thy daughters of beauty sit shrined in their halls;
The arm of the spoiler is ruthless and bold.
Then arm for the onslaught, 'tis victory calls.
Then arm! sons of Australia! arm, arm, arm.
Arm! sons of Australia! arm, arm, arm.

Fair land of Australia! the wanderer's home,
Where freedom and valour in triumph yet reign;
Thy sons will be true when th'invader shall come,
And "war to the knife" be the death-cry again.
Then arm! sons of Australia! arm, arm, arm.
Arm! sons of Australia! arm, arm, arm.

The other is a sentimental song, which we quote as an example of the author's poetic gifts in that direction. The air is characteristic and by no means unpleasing:


Can'st thou not read the mute appeal
That passion makes when true,
In signs that more then seem to feel
Yet have no power to sue.
The tender lustre of thine eyes
Beams like the starlit eve;
The language of the heart defies
The words that oft deceive.

And yet I would, I knew thy heart
By other signs as well
That rapture to my soul impart,
Which love alone can tell.
Thy beauty grows upon my sight,
Thy lips breathe out their spell,
Thy smiles come like the morning light -
My hopes responsive swell.

ASSOCIATIONS: Georgiana Murray

"THE NORWOOD PHILHARMONIC SOCIETY", The South Australian Advertiser (20 July 1861), 2

On Friday, the 19th instant, the first concert of this Society was held at the Town Hall, Norwood . . . Before the commencement of the entertainment, Mr. B. T. Finniss, M.P., ascended the platform and addressed a few remarks to the audience . . . He said he might remark that the Society originated only in February last, and not under the most encouraging circumstances, as there were many difficulties the promoters had had to oppose them . . . Mr. Finniss, in conclusion, mentioned that Messrs. Chapman and Compton had generously volunteered their services in organising the choir. After a few other remarks, Mr. Finniss announced the first piece - an overture, finely performed by the band. The four pieces of the first part consisted entirely of sacred music, selected from Haydn and Handel . . . The second part consisted entirely of secular music; the gem of the whole, in our estimation, was the fine old English madrigal, "Down in a flowery vale," performed by the entire choir, which was excellent, the only suggestion occurring to us being that an addition to the basso voices would have been an improvement. After this followed a song by Mrs. Smart, which was most deservedly encored . . . But we cannot omit to notice the superior performance of Mr. Betterdge on the contra-basso, Mr. Proctor on the flute, and Mrs. Wishart as soprano.

"NORWOOD PHILHARMONIC SOCIETY", South Australian Register (22 July 1861), 3 

ASSOCIATIONS: Charles Henry Compton (musician)l William Chapman (musician); Susannah Wishart (vocalist); Mary Ann Smart (vocalist); Henry Betteridge (double bass); Nicholas Proctor (flute)

? "NORWOOD PHILHARMONIC SOCIETY", The South Australian Advertiser (22 October 1861), 3 

On Monday evening the Norwood Philharmonic Society gave their second grand concert . . . The performance commenced with an introduction by the band, which was followed by Handel's chorus, "Sing unto God," sung by the whole company, comprising seven female and 14 male voices, and 11 instrumental performers, viz. - one cornopean, Mr. Mcculloch; one clarionet, Mr. Sumsion; two flutes, Messrs. Spiller and Proctor; five violins, Messrs. Chapman, Finniss, Chapman, jun., and Schrader; one bass viol, and one double bass . . .

ASSOCIATIONS: Robert McCullagh (cornopean); William Sumsion (clarinet); Emanuel Spiller (flute); Heinrich Schrader (violin);

Musical works:

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: Cesare Cutolo (composer, pianist)

FINSTER FAMILY (shareable link to this entry)

FINSTER, Arthur Guido (Arthur Guido FINSTER; Mr. A. G. FINSTER; Herr FINSTER)

Professor of music, musician, pianist, music teacher, bandmaster

Born Gorlitz, Prussia, c. 1823; son of Nathanael FINSTER and Charlotte HUEBLER
Arrived (1) NSW (VIC), ? c. 1849
Active Geelong, VIC, April 1851
Arrived (2) Melbourne, VIC, 5 March 1860 (per Madras, from Hamburg)
Married (1) Margaretha STAMM (d. 1870), St. Peter's church, Melbourne, VIC, 11 October 1860
Married (2) Sarah KENN, VIC, 1872
Died Prahran, VIC, 17 December 1892 (TROVE tagged by Australharmony) (shareable link to this entry)

FINSTER, Emily Mary Ann (Emily Mary Ann FINSTER; Miss FINSTER' Mrs. Christopher John ALGER)


Born VIC, 1861
Died Balwyn, VIC, 22 July 1931

FINSTER, Alwyn Guido (Alwyn Guido FINSTER)

piano tuner (grandson of Arthur Guido FINSTER)


[Advertisement], Geelong Advertiser (4 April 1851), 4 

Theatre Royal, GEELONG . . .
Leader of the Orchestra - Mr. Stainsby.
Pianist, Mr. Finster.
Prompter, Mr. Wilks.
W. LOCK, Lessee. J. H. S. LEE, Manager

ASSOCIATIONS: John Herman Selwyn Lee (actor, manager)

[Advertisement], Geelong Advertiser (19 April 1851), 4 

Theatre Royal, GEELONG.
Nights of performance, Monday, Wednesday, and Friday, in each week. EABTER MONDAY! LOTS OF FUN. A GRAND NEW COMIC PANTOMIME, MONDAY EVENING, APRIL 21st, 1851,
The performance will commence with a grand comic pantomime, entitled
THE DEMON OF THE BAR; Or, Harlequin and the Fairy Pivot . . .
Leader of the Orchestra - Mr. Stainsby.
Pianist, Mr. Finster.
Prompter, Mr. Wilks.
W. LOCK, Lessee.

[Advertisement], Geelong Advertiser (12 December 1851), 2 

. . . We, the undersigned, being desirous to obtain the public opinion regarding the late Proclamation of His Excellency the Lieutenant-Governor of Victoria, fixing the license fee for gold digging at Three Pounds per Month, request your Worship to convene a Public Meeting of the Inhabitants . . .
[signed] . . . Guido Finster . . .

Certificate of marriage; Public Records Authority Victoria (PAYWALL)

No. in Register 1230 . . . On [7 October 1860] at St. Peter's Melbourne, marriage by Banns was solemnized between us . . .
Guido Finster / Napier St. / Age 35 / Professor of Music / Bachelor / Birthplace Goerliz Russia / [parents] Nathanael Finster Storekeeper, Charlotte Huebler
Margaretha Stamm / Napier St. / 22 / Spinster / Birthplace Frankfort . . . dated [11 October 1860]

Ballarat and Ballarat district directory (1865), 59, 87

BALLARAT AND BALLARAT EAST . . . Finster, Guido, pianist, Skipton st

The Victoria Post Office directory (1866), 240, 280

SANDHURST . . . [240] Finster, Arthur, professor of music, Little Bull st

BALLARAT AND BALLARAT EAST . . . [280] Finster, Guido, pianist, Skipton st

"FINE ARTS EXHIBITION", Bendigo Advertiser (13 September 1869), 2

Miss Finster, a lady of tender years, proved herself quite a prodigy in her brilliant execution of solos on the piano from "La Somnambula" and "Robert le Diable".

"THE LYCEUM THEATRE", Bendigo Advertiser (22 October 1870), 2

. . . Miss Alice Jones, a very young lady and a pupil of Mr. A. G. Finster, played selections on the piano very cleverly for her age, and was encored . . .

"COMPLIMENTARY CONCERT AND BALL . . .", Bendigo Advertiser (14 November 1870), 2

. . . takes place to-night, in the Oddfellows' Hall, for the benefit of Herr Finster. It is under the patronage of the Deutschen Verein and the Foresters, and Hallas's celebrated band is to assist on the occasion.

"COMMERCIAL INTELLIGENCE", Bendigo Advertiser (7 January 1878), 2

Herr A. G. Finster, Professor of Music, announces that he will resume his professional duties to-day.

Index to Naturalisation Certificates, 1851-1900; Public Records Authority Victoria (PAYWALL)

Arthur Guido Finster / Professor of Music / Sandhurst / [age] 60 / [native place] Goerlitz, Prussia / [date of certificate] 17. 9. 83

"Funeral Notices", The Age (20 December 1892), 8 

THE Friends of the late Mr. ARTHUR G. FINSTER, musician (late of Bendigo), are respectfully invited to follow his remains to the place of interment, the Boroondara Cemetery, Kew. The funeral is appointed to move from his iate residence, No. 11 St. Edmond's-road, Prahran, on TUESDAY, 20th December, 1892, at 11 o'clock a. m.

[Advertisement], The Mercury (11 October 1919), 1


Lauren Mitchell, "A Bendigo trooper's tale", Bendigo Advertiser (18 March 2011) 

Former Bendigo WWI soldier Eugene Vogel Finster was one of the few survivors pulled from the rubble of the Bapaume Town Hall bombing in France on March 26, 1917 . . . Eugene was a second-generation Bendigo resident of Prussian descent. His grandfather, Arthur Guido Finster, was a musician and professor who arrived on the goldfields from Prussia in 1849 . . .

FIREBRACE, William Piggott (William Piggott FIREBRACE; W. P. FIREBRACE)

Amateur musician, vocalist

Born New Amsterdam, Guyana, 24 January 1832
Arrived Melbourne, VIC, March 1850
Died Prahran, VIC, 25 June 1908 (TROVE tagged by Australharmony) (NLA persistent identifier) (shareable link to this entry)


[Advertisement], The Argus (23 June 1860), 8 

The above Society will give a CONCERT at the Mechanics' Institute, Chapel-street, Prahran,
on Tuesday, 20th inst., consisting of Haydn's First Service, and a selection from the oratorio, The Creation.
Principal vocalists - Mrs. Goodliffe, Master Johnson, Mr. W. H. Williams, Mr. Angus.
Reserved seats, 2s. 6d. un-reserved seats, 1s. 6d. To commence at 8 o'clock.
W. P. FIREBRACE, Hon. Sec.

ASSOCIATIONS: William Henry Williams; Silvanus Angus; Mrs. Goodliffe; Master Johnson

"MR. W. P. FIREBRACE'S FUNERAL", The Argus (29 June 1908), 8 

. . . Mr. Firebrace was born at New Amsterdam, Berbice, British Guiana, and was the eldest son of Judge Firebrace, of Demerara, a division of British Guiana. He was educated in Great Britain, and came to Melbourne in March 1850. In the following year he entered the service of the Victorian Government as a clerk in the office of the registrar of the Supreme Court under Mr. J. D. Pinnock and subsequently became chief clerk. On the death of the prothonotary (Mr. J. Alfred Carter) he carried on the duties of the department until 1883, when he received the appointment of prothonotary - a position he held until his retirement from active duty about 12 years ago. Besides being a great reader and collector of books, Mr. Firebrace was an enthusiastic musician. For many years he was a leading member of the choirs at St Peter's Eastern hill, and All Saints', East St Kilda. Latterly he was a constant attendant in St Paul's Cathedral, and a generous contributor to its musical library, his gifts being always representative of the soundest school of English church music.

Bibliography and resources:

"Firebrace, William Piggott (1832-1908)", Obituaries Australia

FISCHER, George (Georg Friedrich FISCHER; George Frederick William FISCHER; FISHER [sic])

Musician, baritone vocalist

Born Hamburg, Germany, 13 August 1828 (on gravestone); son of Caesar FISCHER
Arrived Adelaide, SA, 6 December 1848 (per Alfred, from Hamburg, 20 August, via Rio de Janeiro, 17 October)
? Married (1) Rebecca STOCKFISCH, Adelaide, SA, 1850
Married (2) Emma Caroline Antoinette SOBELS (c. 1836-1918), Tanunda, SA, 5 April 1855
Died Jolimont, Melbourne, VIC, 9 February 1882 (TROVE tagged by Australharmony) (shareable link to this entry)

FISCHER, Minna (Minna Paulina FISCHER, Pauline, Miss Minna FISCHER; Mrs. Herbert FLEMING; Mrs. George CLUTSAM)

Vocalist, vocal teacher

Born Tanunda, SA, 20 January 1858; daughter of George FISCHER and Emma SOBELS
Married (1) Herbert FLEMMING (1856-1908), St. Peter's, Melbourne, VIC, 28 May 1879
Married (2) George CLUTSAM, London, England, 1908
Died London, England, 7 August 1941 (TROVE tagged by Australharmony) (TROVE tagged) (NLA persistent identifier) (shareable link to this entry)


Baritone vocalist

Born Tanunda, SA, 2 May 1862; son of George FISCHER and Emma SOBELS
Married (1) Mabel BURROWS, Adelaide, SA, 10 July 1889 (divorced 1891) Married (2) Agatha SCHEPER, Frankfurt, Germany, 5 April 1893
Married (3) Violet AGNEW, London, England, 28 June 1913
Arrived Sydney, NSW, 25 April 1915 (per Media, from Liverpool, as "Frank Sobell, musician", with wife and son)
Died South Yarra, VIC, 14 January 1934 (TROVE tagged by Australharmony) (shareable link to this entry)


In December 1848, Fischer "lately arrived from Hamburg" advertised his willingness to sing at parties and tune pianos. With his fellow new arrivals, Frederick and Albert Seyler, he appeared in a quarterly Conversazione with Georgiana Murray in January 1849. He presented his own concerts in Adelaide in 1850 and 1851, and entered into a lifelong business partnership with Robert Wiener. He later settled in Tanunda. He died in Melbourne in 1882.

His daughter Minna received early music education from Frederick Ellard in Adelaide and Lucy Chambers in Melbourne, and aged 16 joined the Italian Opera Company. After touring New Zealand and Australia and undertaking further study in Germany, she performed concerts in London and taught voice production. She married George Clutsam in London in 1908. Her pupils included her cousin, Elsa Stralia (d. 1945), daughter of Hugo Fischer.


"SHIPPING INTELLIGENCE", South Australian Register (9 December 1848), 3

Wednesday, December 6 - The ship Alfred, 635 tons, H. E. Decker, from Hamburg 20th August, and Rio de Janerio 17th October. Passengers - Rev. Pastor Kranewiter, and Klinkowstrom, Roman Catholic Priests; Doctor Sokolowsky, Surgeon; Frederick and Albert Seyler, merchants; Theodor Teichmann and lady, mining officer; Josephine Husse, governess; and G. F. G. Fisher, merchant; in the cabin . . .

ASSOCIATIONS: Frederick and Albert Seyler

[Advertisement], South Australian Register (27 December 1848), 2

MR. G. FISHER, lately arrived from Hamburg, has the honour to inform the public that he intends giving instructions in singing.
Mr. Fischer would be happy to sing at private parties.
Satisfactory references in Adelaide can be furnished.
Cards of address may be had at Platts's Library. Pianos Tuned.

"MECHANICS' INSTITUTE", South Australian Gazette and Mining Journal (1 February 1849), 3 

The quarterly Conversatione of this Institution was held in the new Exchange on Wednesday evening last . . . Mrs. Murray was, as usual, deservedly applauded. A new song, sung by her called "Summer Time," set to a sweet and simple air, was justly appreciated. Two songs in the German language were sung by Mr. Fischer, accompanied on the piano-forte by Mr. Seyler. The style was not such as we are accustomed to, and the extreme length of the songs must have been as distressing to the singer as they were to the audience. The assembly broke up shortly before 11 o'clock, after chanting the National Anthem . . .

"LOCAL NEWS", South Australian (2 February 1849), 2

. . . The gentlemen of the Choral Society gave their valuable assistance, and acquitted themselves well in the overture to Taneredi - it was most effective. The next song was by Mr. Fischer, accompanied by Mr. Sayler on the pianoforte. Perhaps the words being in German occasioned a want of interest; it was also so long as to be absolutely tedious. The abrupt transitions, too, from pianissimo to fortissimo were displeasing to an English ear. But a second song by the same gentleman was a piece of language in itself; it needed no knowledge of the words for a lover of music to appreciate it . . .

"MECHANICS' INSTITUTE", Adelaide Times (5 February 1849), 4 

. . . Mr. Fischer sang two German songs, with piano-forte accompaniment by Mr. Seyler. Although the bass modulations of the former were characterised by much sweetness and taste, his tenor was too harsh to produce a pleasing effect, and the injudicious length which he extended his misunderstood and plaintive melody produced more of ennui than of any thing else. It strongly reminded us of an enthusiast whom we heard once or twice droning out the "Sorrows of Werter," [sic] in most doleful and nasal tone . . .

"NATURALIZATION OF ALIENS", South Australian Register (21 July 1849), 1s

Colonial Secretary's Office, Adelaide. July 18, 1849.
The undermentioned aliens having memorialised the Government for admission to the rights and privileges of British subjects, his Excellency the Lieutenant-Governor has approved the several memorials, and has signed certificates of naturalization accordingly. The memorialists are reminded that by Ordinance No. 7, of 1846, they are required, within sixty days from the date of their certificates respectively to take and subscribe the oath of allegiance in the presence of the Judge or any Commissioner of the Supreme Court, or before the Registrar of the province:
(Date of certificate - 16th July, 1849.) . . . 13. George Fischer.
By his Excellency's command, B. T. FINNISS, Colonial Secretary.

[Advertisement], Adelaide Times (20 December 1849), 2 

And most positively his last appearance in Adelaide; upon which occasion, he will be assisted by the gratuitous services of
Mr. Coppin; Mr. Opie; Mr. Wallace; Mr. Ellard;
Herr G. Fischer; Herr Seyler; Mr. Lee; A Gentleman Amateur.
ON Thursday (This Evening), December 20th, 1849 . . . he celebrated comedy of SWEETHEARTS AND WIVES . . .
To be followed by a MUSICAL MELANGE, consisting of the most popular songs and instrumental performances of the present day,
by Messrs. Wallace, Ellard, Fischer, Seyler, Coppin, Lazar, and Miss Lazar . . .

"MR. FISCHER'S CONCERT", South Australian (22 January 1850), 2

We have much pleasure in calling attention to Mr. Fischer's advertisement, as he deserves all the encouragement the public can give to a really good vocalist. It was he who sang as an amateur a Mr. Gale's concert, and whom we mentioned in terms of high approbation. One of the gentlemen who will assist him is known to us by name only, as a most extraordinary performer: he is we are informed a relation of the celebrated Weber, and possesses no small share of his musical genius.

The review referred to, "MR. GALE'S CONCERT", South Australian (23 November 1849), 2 

. . . The gentleman who sang as an amateur, and whose name we suppose must not be mentioned, has a fine deep voice, and sings in splendid style. Each of his songs was a real treat . . .

The concert programme: [Advertisement], South Australian (20 November 1849), 3 

. . . this evening . . . PROGRAMME. PART I . . . 3. Song - Amateur
PART II . . . "Sun of Freedom," from the opera of Norma, Bellini - Amateur . . .

ASSOCIATIONS: Thomas Gale (vocalist)

[Advertisement], South Australian Register (30 January 1850), 1

Concert of Mr. G. Fischer,
On Wednesday, 30th January, 1850, AT THE NEW EXCAHNGE. to begin at 8 o'clock.
PROGRAMME: 1st Part.
1. Rule Britannia, quartette.
2. Overture, "Masaniello," Auber - Herr v. Weber
3. Serenade, Don Pasquale, Donizetti - Miss Lazar
4. Adelaide, Beethoven, Cornopean and Piano - Gentleman Amateur and Herr Cranz
5. Sun of Freedom, "Norma," Bellini - Herr Fischer
6. Herbei, Herbei, quartetto, Mozart
7. Loreley (national song) quartetto.
2nd Part.
8. Caprice, Henry Herz, piano solo - Herr Cranz
9. Recitative and Cavatina, "Bohemian Girl," Balfe - Herr Fischer
10. Grand March," Oberon," C. M. von Weber, Cornopean and Piano - Gentleman Amateur and Herr Cranz
11. Happy Heart, Loretta - Miss Lazar
12. Untreue (national song), quartette
13. Die Kapelle (the chapel), Conradin Kreutzer, quartetto
14. When the swallows homeward fly, F. Abt - Herr Fischer.
The quartettos will be executed by the "Deutsche Liedertafel" (German Song Society), who kindly promised their services. Tickets at 5s. each, to be had at Mr. Coppin's, "Royal Exchange," Mr. Lee's, Hindley-street, of Messrs. B. A. Amsberg & Co., and Mr. A. Wichmann, Rundle-street, and at the doors.

MUSIC: Agathe; or, When the swallows homeward fly (Abt)

"LOCAL INTELLIGENCE", South Australian Register (31 January 1850), 3 

Notwithstanding the very unfavourable state of the weather, there was a most respectable attendance at Mr. G. Fischer's Concert in the New Exchange last evening. As might have been expected from the pieces selected, the company was principally German, but there was a considerable number of English gentleman, and some ladies, also present. There was a great paucity of instruments (only a cornopean and piano-forte), but the gentlemen who performed on them acquitted themselves admirably . . . We cannot compliment Mr. Fischer on the distinctness of his intonation, or the correctness of his English; but he certainly exerted himself to the utmost, and for that deserved the applause which was most liberally bestowed on him by his admiring countrymen. Of Miss Lazar's two pieces, we were most pleased with the second, 'Happy Heart," which really deserved an encore; but by far the greatest treat of the evening was the quartettes by the "Deutsche Liedertafel," or German Song Society. These gentlemen executed several pieces with a taste, feeling, and precision that was highly creditable to themselves, and gratifying to the audience . . .

"DECLARATION OF CONFIDENCE IN MR. JOHN STEPHENS", South Australian Register (7 March 1850), 2s

. . . George Fisher, musician, North Adelaide . . .

[Advertisement], South Australian Register (13 March 1850), 2 

Amateur Dramatic Society . . . THIS EVENING, March 13th,
the Amateurs will have the honour of making their Brat appearance, at the New Queen's Theatre, in Morton's Comedy of "SPEED THE PLOUGH."
After which, Herr Fischer has kindly consented to sing . . .

[Advertisement], Adelaide Times (18 March 1850), 2 

THE First Concert will take place on Tuesday Evening, 19th March . . .
PROGRAMME. PART I . . . 3. Song, from the Opera of Norma (Sun of Freedom) - Bellini - Herr Fischer . . .
PART II . . . 7. Song (The Standard Bearer) - Speiler - Herr Fisher . . .

MUSIC: Probably The standard bearer [Die Fahnenwacht] (Lindpainter)

[Advertisement], Adelaide Times (25 March 1850), 2 

THE Second Concert will take place (to-morrow) Tuesday Evening, 26th inst.
PROGRAMME. PART I . . . Song - Herr Fisher . . .
PART II . . . Ballad, Der Haideritt (Ride through the heath) - Hetzer [Netzer] - Herr Fischer . . .

MUSIC: Der Haideritt (Joseph Netzer); also recording

"HERR CRANTZ'S CONCERT", Adelaide Times (12 April 1850), 3 

This concert took place last evening, at the Exchange, and was more fully attended than any other of the season. The music and artistes were almost exclusively German, and the audience in a great part so, but those of our own country who were present appeared to enjoy the rich treat just as much as though they understood what was going on. The chief attraction of the evening was the debut of Madame Crantz, who sang two duets with Herr Fischer, and an air from Weber's "Der Freischutz." The lady was very well received, and will prove a great acquisition to the musical corps of the colony . . .

"LOCAL INTELLIGENCE", South Australian Register (12 April 1850), 3 

. . . Madame Cranz was most favourably received . . . Herr Fischer as usual exerted himself successfully . . .

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

DER Pferdeverleiher und Zeitungs-Redacteur Herr GUSTAV DROEGE . . .
Bereiche seines Nicht - Wissens liegen.
GEORGE FISCHER. Kraeftiger, Bariton.

[Advertisement], Adelaide Times (20 April 1850), 4 

HERRN G. FISCHER diene auf seine in dem "South Australian" gemachte . . .

[Advertisement], South Australian Gazette and Mining Journal (25 April 1850), 2 

THE LAST PROMENADE CONCERT, A LA JULLIEN . . . On Thursday Evening, April 25, PROGRAMME. PART I . . . Song - "Der Heinvathstern" [sic] - A. M. Canthal - Herr Fischer . . .

MUSIC: Der Heimathstern (Canthal)

"LOCAL NEWS", South Australian (24 May 1850), 2 

On Wednesday evening, Mr. Wallace gave a grand vocal and instrumental concert at the Exchange. His Excellency and Lady Young were present, and the room was crowded to overflowing . . . We are almost tired of Mr. Gale's "My heart's on the Rhine," though his splendid voice is always acceptable . . . Herr Fischer's tones are equally fine, and have all the advantage superior science can give. He was much admired in the recitative and cavatina from the Bohemian girl, and in a duet with Mrs. Murray . . .

"MR. WALLACE'S CONCERT", South Australian Gazette and Mining Journal (25 May 1850), 3 

. . . Of Mr. Wallace's brilliant performances it is unnecessary to speak; and we have seldom heard Mr. Ellard to greater advantage. The other performances, with the exception of Herr Fischer's songs, are unworthy of notice.

[Advertisement], Adelaide Times (18 June 1850), 1 

Under the Patronage of His Excellency the Governor.
Grand concert OF G. FISCHER, To take place on Tuesday Evening, the 18th inst.
His Excellency and Lady Young have signified their intention of being present,
Part I.
1. Zollner's celebrated "Mullerleid" - Deutsche Liedertafel.
2. Duet (by desire) "Faust," (Spohr) - Mad. Cranz and Herr Fischer.
3. "Sudaustralischer Galop," Compose et dedie a M. Francois Dutton, by F. Ellard - Mr. Ellard.
4. Grand Air, "Figaro's Wedding" - Madame Cranz.
5. Duet, Violin and Piano - Mr. Wallace and Mr. Ellard.
6. "Two Nightingales," Duet - Herr Weiner and Herr Fischer.
7. Solo, Tuba Basso (by desire) - Herr Hunerbien.
8. "Die Kapelle," (The Chapel) C. Kreutzer - Deutsche Liedertafel.
Part II.
1. "Jaegerlied," Grand Chorus (Pohlenz) - Deutsche Liedertafel.
2. Solo, Violin - Mr. Wallace.
3. " Romanza," Nachlager - Herr Fischer.
4. Solo, Quartetto - Amateurs.
5. Song, Mr. Ellard.
6. Solo, Harmonium - Herr Cranz.
7. "The Two Roses," Duet - Mad. Cranz. and Herr Fischer.
8. "Air," Sonnambula, (Bellini) - Madame Cranz.
9. "Grand Chorus " - Deutsche Liedertafel . . .

{News], South Australian Register (19 June 1850), 3 

Mr. G. Fischer's concert at the Exchange Hall last evening attracted a brilliant but not a crowded company. His Excellency and Lady appeared in good health and spirits, and gave frequent indications of the gratification they derived from the performance, which, like all the German concerts, excelled in the choral pieces, but was sadly deficient of instrumental performers . . . Madame Cranz was received most favourably, although suffering from a severe cold, which compelled her to make great exertions, with diminished effect, to sustain her well-merited reputation. Mr. Fischer exerted his powerful voice to the utmost, with his usual success, being loudly applauded at the close of each piece . . .

"CONCERT", Adelaide Times (21 June 1850), 3 

. . . Mr. Fischer was in good voice, which he invariably modulated with his usual good taste. Herr Weiner [sic], seemed to suffer from nervousness, which was but natural, considering this to be his debut, but he is possessed of a rich, powerful bass voice, that requires only training and confidence, to render him a great acquisition to the Deutsche Liedertafel . . . The concert, upon the whole, went off well, but the want of more varied instrumental music was evidently felt throughout, a want that Mr. Fischer will probably supply on similar occasions for the future.

"THE CONCERT (LAST EVENING)", Adelaide Times (20 July 1850), 5 

The Exchange rooms were crowded yesterday evening to an excess, we never on any previous occasion witnessed, there being scarcely standing room for those fortunate enough to obtain a place at all within the folding doors of the hall. The attraction was the long announced Concert, in aid of the funds of the new German and British Hospital . . . Among the most successful "hits" of the evening, we may name the song from "Der Freischutz," beautifully executed by Madame Crantz; and the duet from Norma, by the same lady and Herr Fischer . . .

"MADAME CKANZ'S CONCERT", South Australian Gazette and Mining Journal (5 September 1850), 2 

On Monday evening Madame CRANZ gave her long-promised concert, which, to all genuine lovers of music was a treat of a high order. Perhaps the concert, on the whole, was a little too classical to be popular; and there is certainly, to many persons, more enjoyment in understanding than words of a piece of vocal music than when the meaning is left to be gathered almost entirely from the notes and the expression they convey. But we are quite certain that no one could have listened to the Scena from the Freischutz, so beautifully given in the original by Madame Cranz, and have been ignorant of the whole meaning of its immortal composer. On the other hand, the Three Students of Speyer, which Herr Fischer took pains to give in English, was made more distinct to the audience without suffering by the translation. Herr Fischer sang this song pleasingly and in exceedingly good taste . . .

MUSIC: The three students [Die Drei Liebchen] (Speyer)

"LOCAL NEWS", South Australian (19 September 1850), 2 

Mr. Moore's concert Yesterday evening was attended by a very large and fashionable company. We have seldom seen the Exchange more crowded. The whole went off exceedingly well . . . Herr Fischer's recitative and cavatina from the Bohemian Girl were exceedingly well sung . . .

[News], South Australian Register (19 September 1850), 3 

. . . We did not admire Herr Fischer's Recitative and Cavatina from the "Bohemian Girl;" but the depressing effects of that very dismal performance were dispelled by Mr. Ellard's brilliant Fantasia from "Il Puritani" . . .

"MR. MOORE'S CONCERT", South Australian Gazette and Mining Journal (21 September 1850), 3 

. . . The Serenade from Don Giovanni by Herr Fischer - who was accompanied by Herr Hunerbien on the guitar . . .

Register of members, No. 853 (15 October 1850), The United Tradesmens Lodge, Adelaide; United Grand Lodge of England (PAYWALL)

. . . [1850 Oct. 15] / Fischer, George / [Adelaide] / Musician . . .

"MR. WALLACE'S CONCERT", Adelaide Times (23 October 1850), 3 

. . . Of the vocal music we must particularize the Tyrolean Quartett sung by Madame Cranz, and Messrs. Cranz, Rodemann, and Fischer, which was delightfully executed; and the delicious trio, "This magic wove scarf," from the "Mountain Sylph," which was perhaps the gem of the evening . . .

[Advertisement], Adelaide Times (25 November 1850), 2 

PROGRAMME. PART I . . . 6. Song, from "Robert le diable" - Meyerbeer - Herr Fischer . . .
PART II . . . 5. Song - "The Standard Bearer" - Lindpainter - Herr Fischer . . .

"CHORAL SOCIETY'S CONCERT", South Australian Gazette and Mining Journal (19 December 1850), 3 

. . . Messrs. Rodemann, Weber, Fischer, and Wrener [Wiener] of the Leidertafel sung the beautiful quartette beginning, "In einem Kuhlem Grunde," [sic] which was loudly encored, a second quartette, almost equally beautiful, being substituted the second time . . .

MUSIC: In einem kühlen Grunde (arr. by Silcher)

[Advertisement], South Australian (10 January 1851), 3

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

On Tuesday next, the 21st instant, at the New Exchange.
1. Overture - Don Giovani [sic] - by the Orchestra
2. Quartett and Grand Chorus - The Day of the Lord - Deutsche Liedertafel
3. Solo - Piano - H. Herz, with Quartett accompaniment - Mr. Ellard
4. Duet - Mendelssohn - Mrs. Murray and Mad. Cranz
5. Solo - Violin - Mr. Moore
6. Song - Mrs. Moore
7. Solo, Quartett - Members of the Liedertafel
8. Grand Chorus, with Trumpet accompaniment - Deutsche Liedertafel.
1. Overture - Le Cheval de Bronze - Orchestra
2. Grand Chorus - Deutsche Liedertafel
3. Duet, Piano - C. M. v. Weber - Mrs. Murray and Herr Linger
4. Quartett - C. Linger - Messrs. Wallace, Hunerbein [sic], and Mater
5. Duet - Mad. Cranz and G. Fischer
6. Solo, Violin - 6th Air De Beriot - Mr. Wallace
7. Song - Mr. Ellard
8. Quartett Tirolienne - Mad. Cranz and Herr Cranz, Gentlemen Amateur & G. Fischer
9. Grand Chorus - Weber's celebrated Lutzow's Wild Chase - Deutsche Liedertafel
Tickets, 6s. each, to be had at Mr. Platts's, the principal hotels in town, and at the door. Concert to commence at eight o'clock.

"CONCERT", Adelaide Times (22 January 1851), 3 

Mr. Fischer's concert last evening was well attended, notwithstanding the heat of the weather. The reappearance of the Deutsche Liedertafel was the principal attraction, and this splendid chorus executed their several pieces in a manner calculated to enhance their reputation . . . Madame Cranz and Herr Fischer's duet in the second part, was vociferously and deservedly encored. We never heard Madame Cranz in better voice; and the repetition was admirable. The concert on the whole was a very good one, and we sincerely hope Mr. Fischer has profited by it in a pecuniary point of view, as he is an artiste fully deserving of the patronage of the public.

"THE CONCERT", South Australian Register (22 January 1851), 3 

Last night a most respectable assemblage filled the large room of the Exchange, attracted by the excellent programme put forth by Herr Fischer of the music to be performed at his Concert, and which, though perhaps partaking too almost exclusively of the German character to suit a mixed audience, was such as fully to realise the anticipations formed . . . There was, we are glad to say (for we are opposed to the system, except in rare instances), only one encore during the evening, and that wa deservedly earned by Madame Cranz and Herr Fischer in "Deh Con te," from Norma, which was admirably sung by them . . .

"HERR FISCHER"S CONCERT", South Australian Gazette and Mining Journal (23 January 1851), 3 

The concert at the Exchange on Tuesday was one of the best that has been given in Adelaide for some time. The performers included Madame Cranz, Mrs. Murray, Mrs. Moore, Messrs. Wallace, Ellard, Moore, Cranz, Fischer, and the whole strength of the Deutsche Liedertafel. The duett from Norma by Madame Cranz and Herr Fischer was beautifully sung, and was the only encore of the evening. Perhaps, considering the length of the concert, this was desirable, though we regretted that one or two other pieces were not repeated, particularly Weber's magnificent chorus, "Lutzow' Wile Jagd," the duett between Mrs. Murray and Madame Cranz, and one or two others . . .

"LOCAL NEWS", South Australian (24 January 1851), 2

Tuesday was an unfortunate evening for Mr. Fischer's concert. The sporting world had been engaged at Brighton, and the party at Government-house attracted most of the usual supporters of musical entertainments. Add to this the extreme heat of the day, which induced many to pass the evening at home. Thus the room was hardly half full, and the company, such as it was, consisted chiefly of Germans. We regret this, as Mr. Fischer deserves well of the musical public and his concert ought to have been profitable . . . The only other piece we need notice is a pianoforte duet from Weber, by Mrs. Murray and Herr Linger, which deserves every commendation. The whole was rather too long, it being eleven o'clock before the concert was ended.

ASSOCIATIONS: Frederick Ellard (pianist, vocalist); Mathilde Cranz (vocalist); August Cranz (vocalist); Andrew Moore (violinist); Rachel Moore (vocalist); Spencer Wellington Wallace (violinist, flautist); August Huenerbein (instrumentalist); Charles Mater (instrumentalist)

[Advertisement], Adelaide Times (31 October 1851), 2 

PART II . . . 4. "Schlummerleid," MASANIELLO - Herr Fischer . . .

POLITICAL DISABILITIES OF THE GERMANS. - MEETING AT TANUNDA", South Australian Register (29 August 1855), 3 

On the 22nd August some 60 Germans, residing in Tanunda and the neighbourhood, assembled in the large room of the Tanunda Hotel, which was tastefully decorated for the occasion, to discuss the present political position of the South Australians speaking the German language, and to form, as a centre round which the great number of Germans living in and near Tanunda, might rally, a German Club . . . The Rev. Dr. Mucke said grace, and Dr. Schomburgk gave then "The Health of Queen Victoria," amidst the greatest expressions of loyalty by all present, the Tanunda Liedertafel performing in first-rate style, "God save the Queen" . . . The meeting, after having elected a Committee for the management of the Club, and given their thanks to their hosts, Messrs. Wiener and Fischer, for their excellent entertainment, separated highly pleased with their evening's proceedings.

"HANDEL FESTIVAL. TO THE EDITOR", South Australian Register (20 April 1859), 3 

Sir - As a constant reader of your valuable paper I feel called upon to make a few remarks upon last week's performances of Handel's oratorios on the occasion of the centennial anniversary of that great composer's death. All those initiated are acquainted with the vast difficulties which even in Europe beset performances of this kind; and yet there each individual member of the orchestra, each solo singer, each performer in the chorus even, is a finished musician, and the conductor hardly ever hears or knows anything of practice - meetings, rehearsals, and the like - preparatory steps which the is content to entrust to his maitre de concert et de choeurs, taking the chief rehearsals only under his own direction. But how much more numerous are the obstacles that lie in the way of a conductor here as a prelude to such undertakings as the above.

A motley collection of musicians and amateurs for an orchestra, vocalists only in part equal to the execution of such lofty strains, and with such slender materials (for our young colony can muster no better), to have heard an oratorio of Handel's executed with even tolerable precision is surely a sufficient proof of the pains taken by the conductor, and of real zeal on his part to contribute his mite towards the perpetuation of the immortal master's fame.

It is, therefore, with pain and astonishment that I observe how, in your report of Thursday's and Friday's performances, every individual performer receives his due meed of notice or praise, whereas Herr Linger, the man who bore the whole burden, by his exertions earned success for the whole work, is scarcely mentioned, his merits are ignored, his services unrecognised. Doubtless, the modest mind of Mr. Linger can find in the success of his undertaking ample consolation for the indignity thus offered to him, and a sufficient reward for past trouble and anxiety in the consciousness of having well performed an arduous duty; but is it well that this city should, through her press, bear the stigma of ingratitude towards that very one of her citizens who alone enabled her worthily to celebrate Handel's death-day?
I am, Sir, &c.,
Tanunda, April 16, 1859.

[Mr. Fischer, we think, has not read so carefully as he might have done the reports he refers to, or he would have seen Mr. Linger's name mentioned in that of the former of the two concerts as having been leader on the occasion. The commendation bestowed on the execution of the various choruses must necessarily have amounted indirectly to a testimony commendatory of Mr. Linger's skill and pains taking effort prior to the performances and at the time. In the report which was compiled for the Summary of Monday last the following passage appears: -

"The 'Messiah' and 'Alexander's Feast' were the compositions selected, and the manner in which they were executed reflected the greatest credit on those to whom the supervision of the rehearsals and the conducting of the concerts were assigned, at well as upon the performers in general."

The supervision of the rehearsals mainly devolving upon Mr. Linger, and he being named in the report as having been conductor on the occasion of the public performances, we can safely acquit ourselves of any forgetfulness of the degree in which Mr. Linger, by his exertions and skill, most undoubtedly contributed to the success of the Festival. - Ed.]

"TANUNDA [From a Correspondent]", The South Australian Advertiser (30 August 1859), 2

A dinner was given on Thursday evening, in the Tanunda Hotel, to celebrate the birthday of Mr. Rudolf Reimer, the Editor of the Sud Australische Zeitung . . . After several songs by Mr. Weiner and Mr. Fischer, many pieces played by the band, and several speeches delivered, the company separated about 2 o'clock in the morning. We have to say that this was the greatest dinner which has been given at Tanunda.

"TANUNDA, June 24", South Australian Register (28 June 1870), 3 

. . . An interesting and successful entertainment in connection with the Tanunda Institute took place at the Tanunda Hotel on Tuesday, June 14, and notwithstanding the rough weather there were at least 200 visitors present . . . Mr. George Fischer, who was greeted with applause, delivered a prologue, and introduced the business. The first piece on the programme, "The Nosegay," was rendered by Miss S. Schroeder, the Misses Johanna and Minna Fischer, and Mr. Fischer in admirable style, even exceeding the high expectations of the audience. Miss Schroeder as Aunt Plague played capitally, whilst Miss J. Fischer performed her part remarkably well. The third young lady, Miss Minna Fischer, although only 12 years of age, afforded no less pleasure to the auditors. Mr. Fischer's superior dramatic qualifications are too well known to require description . . .

"MUSIC AND DRAMA", Australian Town and Country Journal (20 October 1877), 24-25  

[Advertisement], The Argus (6 July 1878), 11 

. . . ROBERT WIENER, late of Stephen street, in the City of Melbourne, Commission Agent, Deceased . . . that PROBATE of the WILL of the abovenamed . . . be granted to George Fischer and Louis Gerschel, both of the city of Melbourne, the executors named in and appointed by the said will. Dated this 6th day of July, 1878 . . .

"Marriages", The Argus (29 May 1879), 1 

FLEMMING - FISCHER. - On the 28th inst., at St. Peter's Church, by the Rev. Canon Handfield, Herbert Flemming, fourth son of Henry Horatio Flemming, Regent's-park, London, to Minna Paulina, second daughter of George Caesar Fischer, of Adelaide, S.A. No cards.

"Music and Drama", The Sydney Mail and New South Wales Advertiser (17 September 1881), 505 

The Carandini Concert Company was rather suddenly broken up in Japan. Miss Marion Linden, the pianist (a young lady from Ballarat), remains there to give lessons. The Carandini family are at present in Cooktown; and Mr. Otto Fischer, the baritone, of whom the French critics in Japan speak very highly, is now in Sydney.

"THE CORONER. SUDDEN DEATH", The Herald (11 February 1882), 3 

Dr. Youl held an inquest at the Melbourne Hospital to-day on George Friedrick Fischer, a commission agent, aged 53 years, who was found in an unconscious condition on the 9th instant at the Flinders street railway station, and died shortly after at the hospital. Dr. Barret, who made the post-mortem examination, found that the cause of death was pneumonia and valvular disease of the heart. The jury returned a verdict accordingly. Deceased left a wife and five children living in Jolimont.

"DEATHS", South Australian Register (11 February 1882), 4

FISCHER. - On the 9th February, at Jolimont, Melbourne, George Fischer, aged 59, formerly of Tanunda.

"DEATH OF MR. GEORGE FISCHER", South Australian Register (13 February 1882), 5 

News was received in Adelaide on Friday of the death of Mr. George Fischer, who was well known in Adelaide - first, as member of the firm of Wiener & Fischer, then as a publican at Tanunda and in Adelaide. The deceased was hurrying down stairs at the Hobson's Bay Station, on the Hawthorne platform, to catch a train, when he tripped fell on his head, and fractured his skull, which injury resulted in his death. Mr. Fischer leaves a wife and family in Melbourne, and a number of relations in Adelaide, including Mr. Hugo Fischer, a nephew.

ASSOCIATIONS: Hugo Fischer (nephew)

"THE SIR THOMAS ELDER SCHOLARSHIP", Evening Journal (25 June 1883), 2 

His Excellency the Governor was waited upon on Saturday, June 23, by Mr. Otto Fischer, the successful candidate for the scholarship founded by Sir Thomas Elder in the Royal College of Music, London. His Excellency congratulated Mr. Fischer on his successful examination, and promised to give him letters of introduction to some musical people in London which might be of service to him.

"On the Wing", Table Talk (29 May 1891), 13 

FROM German newspapers which arrived by the last mail, we learn that Mr. Otto Fischer, whose miraculous change of voice from baritone to tenor caused some discussion while the vocalist was in Australia, is now starring in Germany. He has not only changed his voice but his name and now appears as Herr Otto Fischer Sobell. His last appearance has been made at Wiesbaden on April 4. German newspapers speak highly of the Australian, who is stated to be a native of Tanunda. The Wiesbaden journal writes of the performance: . . . [copies review in German]

"MUSICAL NOTES", Evening Journal (13 August 1898), 5 

Mr. Otto Fischer, the first winner of the Elder Scholarship of Music, is now engaged on the singing staff of the Hampstead Conservatoire of Music, London, conducted by Mr. Cecil J. Sharp. The erstwhile Australian vocalist has, however, adopted the name of Otto Fischer Sobels. His wife is also engaged in teaching the piano at the same institution.

"THE ADELAIDE LIEDERTAFEL", The Register (22 September 1908), 6 

From "One of the Originators": - "The interesting account of the growth and progress of the Adelaide Liedertafel, as given in The Register of September 17, is worthy of a little further elucidation. The original founders were all members of the Deutscher Club, which used to meet at the Hotel Europe, at the corner of Gawler place and Grenfell street. A party of younger members who, under the leadership of Herr Carl Linger, carried out the musical programme of the club, having had a slight dissension with some of the older and less hilarious members, broke away from the Deutscher Club altogether, and assembled at the Hamburg Hotel, where they were heartily welcomed by "Father" Kopke. A set of rules having been drawn up and passed, Mr. Fritz Armbruster was elected President, and Mr. Schluter hon. secretary and librarian. The leadership was again undertaken by Herr Linger, and the members were:

First tenors, Messrs. Julius Eitzen, Nitsche, Reinhardt, and Schluter; second tenors, Messrs. Louis Maraun, Nettlebeck, and F. Wurm; first basses, Messrs. Oscar Ziegler, Braun, Schlemich, and Bielefeld; second basses, Messrs. F. Armbruster, Schierenbeck, and Eimer.

Thus in September, 1858, the Adelaide Liedertafel was founded; and from then on, under the conductorship of the beloved leader and under fresh and unrestrained conditions, was formed a new brotherhood. The words of the old "Waffenschmidt" express the personal reminiscences of the writer "Das war eine Kostlicke Zeit." Herr Spitzka, who joined about three years later, afterwards succeeded Herr Linger at leader, and occupied that position until his death through an accident. It is hardly correct, however, to say that this was the first "Adelaide Liedertafel," as a society under that name used to meet in 1854 and 1855 at Messrs. Wiener & Fischer's Coffee Rooms, in Rundle street. Mr. Fischer was a very sweet tenor, and among other members one recalls the names of Messrs. von der Heide, Schomburg, Henry Wurm, Lellman, and Butefisch; also Mr. Schulze, whose death was announced in The Register recently. Herr Carl Linger was also leader of this society, and the writer recalls many happy evenings spent in their midst. This select little company, which comprised many prominent singers and talented musicians, broke up when Messrs. Wiener and Fischer left Adelaide for Tanunda.

"SYDNEY WEEK BY WEEK", Table Talk (15 May 1913), 33 

Miss Violet Agnew, of Sydney, who has been in London for the past couple of years, is to be married next month to Mr. Otto Fischer Sobell, a notable Wagnerian singer, who, like Miss Agnew, is an Australian by birth. Mr. Sobell, however, left his native land at a very early age, and has won all his operatic laurels in Europe. Several years ago he re-visited Victoria and appeared on the Melbourne concert platform with great success. So far, Sydney has not heard the baritone, but it is on the tapis - that, after their marriage, he and his wife will visit New South Wales. Mr. Sobell had been offered the post vacated by Mr. John Coates in the Quinlan Opera Company, due in Australia in a few months' time, and he is also contemplating taking up professional work in Sydney. If he adheres to this plan it will be good news for Miss Agnew's family, who reside in Petersham. Miss Agnew, as Sydneyites will remember, is a beautiful young brunette, and she has cut quite a dash in London social and musical circles.

"DEATHS", The Argus (15 January 1934), 1 

SOBELL - On the 14th January, Otto Fischer Sobell, of 30 Tivoli road, South Yarra, husband of Viola Sobell, and father of James Otto, George Hamish, and brother of Mina Fischer (Mrs. Clutsam, London).

"PERSONAL", The Herald (15 January 1934), 7 

THE funeral of Professor Otto Fischer Sobell, 70, who died yesterday in the Alfred Hospital, took place at the Melbourne Crematorium, Fawkner Cemetery today. Professor Sobell was one of the most distinguished of Australian-born musicians, and was recognised as one of world's leading Wagnerian interpreters. He was born of German parents at Tanunda, South Australia, and was the first aspirant to win the Thomas Elder scholarship, which took him to England, where, at the age of 17, he sang the bass role of Hans Sachs in the Meistersingers of Nuremberg. He later sang almost every big operatic tenor part in England, Germany and Holland. He returned to Australia in 1914 at the invitation of Professor Marshall-Hall, and became one of Melbourne's leading singing teachers. For many years he was a member of the faculty of the University Conservatorium. Professor Sobelf was also a distinguished linguist. He spoke fluently 14 European languages. He leaves a widow and two sons.

"Out among the People", Chronicle (26 April 1934), 66 

REFERENCE in this column to Cecil Sharp, the notable collector of English folk songs and dances, awakened pleasant memories in the mind of Mr. W. Sanders, a former Adelaide journalist and musical critic, who is now more directly interested in pianos. "When I was a lad studying music I found Sharp very friendly," Mr. Sanders told me. "I can remember when he presented for the first time in Adelaide, in the Town Hall, Beethoven's 'Mount of Olives,' and Gaide's 'Crusaders.' At the eleventh hour the tenor, Otto Fischer Sobell, became indisposed, and at very short notice Maurice Marcus learnt the part, and came through with flying colors. Otto Fischer Sobell was the first Elder scholar, and John Dunn was runner-up. Sharp was their examiner." And Marcus was afterwards the manager of the old Tivoli Theatre.

Bibliography and resources:

"Adelaider Liedertafel 1858 . . .", Adelaide A-Z 

. . . An Adelaider Liedertafel formed in 1850-51 under the conductor Carl Linger, composer of "Song of Australia", rehearsed in Wiener-Fischer's cafe in Rundle Street, Adelaide, until disbanded 1855 when Robert Wiener and George Fischer left to operate Tanunda Hotel . . .

FISCHER, Hugo (Johannes Hugo FISCHER; Hugo FISCHER)

Baritone vocalist, concert manager, orchestra manager

Born Hamburg, Germany, c. 1851; son of Johannes Casear and Maria FISCHER; nephew or cousin of George FISCHER above
Arrived Adelaide, SA, c. 1877/78
Married Anna (Annie) Christiane CLAUSEN, Adelaide, SA, 4 December 1878
Died (suicide), Colac, VIC, 20 March 1901 (TROVE tagged by Australharmony) (shareable link to this entry)

FISCHER, Hugo (junior) (Francis Hugo FISCHER; Hugo Francis FISCHER)


Born Stepney, SA, 10 September 1879
Died Highett, VIC, 1954

FISCHER, Elsie Mary (Elsa FISCHER; alias Elsa STRALIA; Mrs. A. T. CHRISTENSEN)

Born Adelaide, SA, 1 March 1881; daughter of Hugo and Annie FISCHER
Died belgrave, VIC, 31 August 1945 (NLA persistent identifier) (shareable link to this entry)


"The Adelaide Liedertafel", South Australian Weekly Chronicle (22 June 1889), 15


[News], Camperdown Chronicle (26 March 1901), 2

. . .The deceased [Hugo] was about 50 years of age, and was a widower, his family being all grown-up. He was a well-built man, over six feet in height, and was a native of Germany. He came to Victoria many years ago with his brother [sic], Mr. Otto Fischer, who is now a baritone singer in London. The deceased was also a good baritone singer, and had been a concert manager for many years, and in this capacity he was well-known through the state. He was at times agent for Mr. Ernest Hutcheson, Mr. Phillip Newbury, and other popular concert organisations, and was also a fair pianoforte player himself. The deceased was of a genial disposition, and during his short stay in Colac made many friends who will regret to learn of his tragic end.

ASSOCIATIONS: Adelaide Liedertafel; manager for Ernest Hutcheson, Philip Newbury

"NOTED ARTIST. Death of Madame Elsa Stralia", The Age (1 September 1845), 10 

Bibliography and resources:

Diane Langmore, "Stralia, Elsa (1881-1945)", Australian dictionary of biography 12 (1990) 

"Elsa Stralia", Wikipedia 

FISCHER, John N. (John N. FISCHER; J. N. FISCHER; ? Johann Nepomuck FISCHER)

Lithographic printer, engraver, music engraver and printer, music publisher, music seller, musician, viola player, ? violinist

Born ?, son of Anthony and Christina FISCHER
Active Sydney, NSW, by September 1867
Died Sydney, NSW, June 1902 (TROVE tagged by Australharmony) (shareable link to this entry)


[2 advertisements], The Sydney Morning Herald (2 October 1867), 1 

LOST, about the Markets, some Written MUSIC, 6s reward. J. N. FISCHER, 266, George-street.

LOST, Yesterday, four sheets of Manuscript MUSIC, in George-street, by Mr. Fisher, engraver. The finder will be rewarded by leaving the same with him, or Messrs. ELVY and CO.

"NEW MUSIC", Empire (14 November 1868), 4 

Mr. J. R. Clarke of Hunter-street, is now displaying a commendable activity in the line of publishing new music, and his enterprise should meet the approbation of connoisseurs. The last production is the "Un Ballo in Maschera Quadrilles," arranged by a gentleman who has chosen to adopt as his nom-de-plume the designation of "Carl Roslein." The engraving of the music has been executed by Mr. Fischer, a clever German . . .

[Advertisement], The Sydney Morning Herald (8 January 1897), 2 

MUSIC.- Pieces for Violin and Piano, Violin Duets, Trios and Quartets by Beethoven, Mozart, Haydn, Hummel, Grieg, Schubert, Schumann, &c. J. N. FISCHER, 101 Clarence-street.

"Funerals", The Sydney Morning Herald (19 June 1902), 10 

FISCHER.- The members of the German Club and the Friends of the late Mr. J. N. FISCHER are kindly invited to attend his Funeral; to move from 10 Castlereagh-street, THIS THURSDAY [19 June], at 1.30 p.m., for the Necropolis . . .

"MUSIC", The Daily Telegraph (21 June 1902), 6 

An old musical identity in the person of Mr. J. N. Fischer passed away this week. The old viola player was the sole engraver of music in the Commonwealth, and was constantly engaged turning out music plates for the local publishing houses. His loss is a peculiar one; hitherto it has been impossible to induce skilled engravers to come out to Australia, and when the press of work was too great, manu-lithographic means have had to be resorted to, especially when the want of time precluded sending manuscripts to Europe. Consequently our music publishers now have a troublesome difficulty to face, and for some months at least all music plate work will have to be sent abroad for execution.

Bibliography and resources:

Prue Neidorf, A guide to dating music published in Sydney and Melbourne, 1800-1899 (M.A. thesis, University of Wollongong, 1999), 168 (DIGITISED)


Violinist, leader (Melbourne Philharmonic Society)


Violinist (Melbourne Philharmonic Society)

Active Melbourne, VIC, 1853 (TROVE tagged by Australharmony) (shareable link to this entry)


The name Fischer (or Fisher) does not appear anywhere in Carne's history of the Melbourne Philharmonic Society, A century of harmony. But a Mr. Fischer was leader of the band of the society in 1853, and (not certainly another man) W. Carl Fischer was honorary leader of the band for 5 years in the 1860s. Pending closer identification of earlier and later Fischers, the entries are grouped together here.

A "Mr. Fischer" ("Mr. F. Fischer") was listed as leader of the band of Melbourne's Philharmonic Society, and "Mr. Fischer" ("Mr. A. Fisher") as a violinist, in press advertisements in April 1853; by November 1854, when membership had expanded and Joseph Griffiths had taken over as leader, one "Mr. Fischer" was listed among the Philharmonic's rank-and-file violins.


[Unclaimed letters], The Melbourne Daily News (6 December 1850), 4 

. . . F. Fischer . . .

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

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

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

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

SECOND GRAND CONCERT. MELBOURNE PHILHARMONIC SOCIETY, Protestant Hall, THIS EVENING, WEDNESDAY, 27th April. Principal Vocal Performers - Miss Graham (her second appearance); Mr. Moran. Leader - Mr. F. Fischer. Director - Mr. G. Chapman. THE Band will consist of the following talented performers: Violins - Mr. A. Fischer, Mr. Strebinger, Mr. Thomson; Viola - Mr. Thomas; Basso - Mr. C. Elza and Mr. Hardman; Cornet-a-Piston - Mr. G. Chapman; Clarionet and Oboe - Sig. Blume; Flute- Mr. Rosenstengel. Pianoforte - Mr. Hertz and Mr. Thomson . . .

[Advertisement], The Argus (11 May 1853), 12 

GRAND GERMAN BALL. HERR LOUIS VOSS . . . On FRIDAY EVENING, MAY 18th . . . Musical Director, Herr Fischer . . .

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

MR. FISCHER'S Subscription Ball will be held This Evening, 25th inst.. at the Tersichorean [sic] Hall, Collin's-street . . . PROGRAMME. Quadrille- First Set Quadrille, Waltz, Polka; Quadrille-Lancers, Schottische, Valse a' deux tems [temps]; Quadrille - Parisienne, Polka; Cellarius and Galop; Quadrille-Polka, Waltz Valze a' deux tems, Schottische; Quadrille Caledonian, Polka, Galop Quadrille - Parisienne, Schottische, Polka; Save the Queen! . . .

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

MECHANICS' INSTITUTION - Mrs. Hancock's Grand Vocal and Instrumental Concert . . . Leader of the Band - Mr. Fischer . . .

[Advertisement], The Age (2 November 1854), 1 

. . . The PHILHARMONIC SOCIETY Will perform Handel's Grand Oratorio, THE MESSIAH . . . VIOLINS. Messrs. Griffiths, King, Fleury, Strebinger, W. Radford, M. Radford, Ryder, Peitzker, Fischer, Newton, Lewis, and Hurst . . .

FISCHER, (Wilhelm) Carl (Wilhelm Carl FISCHER; W. C. FISHER [sic, usu. 1860s]; W. Carl FISCHER; William Carl FISCHER)

Amateur violinist, conductor, composer (leader, Melbourne Philharmonic Society), merchant

Born ? Berlin, Prussia, ? c. early 1830s; son of Johann Wilhelm FISCHER
Active Melbourne, VIC, by January 1862 (or earlier)
Married Sarah Jane DREDGE, Christ Church, St. Kilda, VIC, 23 June 1866
Departed Sydney, NSW, 13 March 1897 (per Ormuz, for England)
Died England, early 1900 (TROVE tagged by Australharmony) (shareable link to this entry)

FISCHER, Jenny (Jane Sarah EDWARDS; Sarah Jane, "Jenny"; Miss EDWARDS; Mrs. William G. DREDGE; Mrs. W. Carl FISCHER)

Vocalist, music reviewer, critic (The Sydney Morning Herald), concert annotation (program note) writer, journalist

Born Gloucestershire, England, 13 April 1834; baptised Cirencester church, 1 June 1834; daughter of William and Sarah EDWARDS
Arrived Melbourne, VIC, 1856 (? by c. 1854)
Married (1) William Gilpin DREDGE (d. 1865), St. James's cathedral, Melbourne, VIC, 30 May 1857
Married (2) Wilhelm Carl FISCHER, Christ Church, St. Kilda, VIC, 23 June 1866
Died Darlinghurst, NSW, 6 October 1896, aged 62 (TROVE tagged by Australharmony) (shareable link to this entry)


Carl Fischer's March, "composed especially for the Festival of the German Association", was first performed on that occasion in Melbourne in December 1863. During that year and the following Fischer led the orchestra for the Melbourne Philharmonic Society, and his personal music library was source of two sets of parts performed in 1863, as the Society recorded its thanks:

At the third subscription concert, the honorary leader of the society placed at the disposal of the committee the complete parts of Meyerbeer's overture "L'Etoile du Nord," and of Weber's overture "Euryanthe." By this means these two compositions wore introduced to the Melbourne musical world. A vote of thanks was accorded by the society to Mr. W. C. Fischer for his kindness.

In 1866 he married Sarah Jenny Dredge, widow of his friend, the Philharmonic's late secretary W. G. Dredge; and in 1870, shortly before they moved to Geelong to open a ladies academy, Fischer auctioned:

Two genuine Cremorna violins, one an undoubted "Stradivarius" . . . to be disposed of by Art Union in Melbourne, on the 12th inst. They are the property of Mr. W. C. Fischer, an amateur musician of some note in Melbourne. The two instruments are valued at 200 guineas.

The Fischers were well-established in Sydney by the time this report appeared in 1881:

Some time since Mr. Lewis Scott, a well-known adapter and play-writer, in proposing the toast of 'The Press' at a picnic, said: 'The press and pressmen; may they never wear petticoats'." This was considered to be an allusion to Mrs. Carl Fischer, the [Sydney Morning] Herald critic, who is not very popular; and the other night, at the Austrian Band performance, Mrs. Fischer's husband took the opportunity to insult Mr. Scott, calling him derogatory epithets, for which Fischer was fined to-day at the Police Court in a sum amounting to three guineas.

Judge William Windeyer was a witness in the case.

Fischer was declared bankrupt in 1890-91; nevertheless, in February 1892, he was appointed a NSW commissioner for the 1893 Chicago World Exposition. After his wife's death, Fischer and his daughter (Mrs. Inskip) sailed for England.


Baptisms solemnized in the parish of Cirencester in the county of Gloucester in the year 1834; Gloucestershire Archives (PAYWALL)

No, 447 / June 1st / Jane daughter of / William, Sarah / Edwards / Cirencester/ Butcher . . .

"MARRIED", The Argus (9 June 1857), 4

On Saturday, May 30th, at St. James's Cathedral, by the Very Rev. H. B. Macartney, D.D., Dean of Melbourne, William G. Dredge, of this city, to Sara Jane, second daughter of William Edwards, Esq., of London.

[News], The Argus (22 January 1862), 5 

The annual meeting of the Melbourne Philharmonic Society was held last night, in the Mechanics' Institute. There was a large attendance of members, and Mr. John Russell was voted to the chair . . . The committee also suggested that the society should consider . . . the thorough revision of the constitution and rules of the society, and the appointment of a committee of twelve of the senior members of the society, whose business would be to draw up a report on the subject generally. The report, on the motion of Mr. Williams, seconded by Mr. Jones, was adopted unanimously. On the motion of Mr. Rutter, a committee, as recommended in the report, was appointed for the objects specified. The committee consisted of Messrs. Sumner, Russell, W. G. Dredge, Rutter, Elsasser, Gould, Fischer, G. L. Allan, Jones, Moxon, Johnson, and W. H. Williams. The committee was instructed to report to an adjourned general meeting, to be held on the 18th February.

"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, 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 . . .

"SHIPPING", The Age (7 October 1862), 4 

IMPORTS. - OCTOBER 6 . . . D. F. Weber, Sen., from Hamburg . . . 1 case music, Carl Fischer . . .

[Advertisement], The Age (9 December 1862), 1 

MELBOURNE PHILHARMONIC SOCIETY . . . Conductor: Mr. C. E. Horsley.
On Tuesday Evening, 9th December, 1862, When Herr Molique's Oratorio, "ABRAHAM"
Will be Performed, for the First Time in the Australian Colonies.
Principal Vocalists: Miss Octavia Hamilton, Mrs. Batten, Mr. T. J. Jackman, Mr. Silvanus Angus, and Mr. Farquharson.
Principal Violin: Mr. W. C. Fisher.
Band and Chorus of Two Hundred Performers . . .

"TOWN TALK", The Herald (21 January 1863), 5 

The annual meeting of the members of the Philharmonic Society was held last night, at the Mechanics' Institute . . . The following officers were elected for the ensuing year: - Sir Redmond Barry, president; T. J. Sumner, and John Russell, Esqs., vice-presidents; Mr. C. E. Horsley, conductor; Mr. J. J. Blundell, treasurer; Mr. S. G. Goold, organist; Mr. W. C. Fisher, leader of the orchestra; Mr. B. Black, librarian; Mr. W. G. Dredge, secretary; Messrs. J. J. Blundell, Job Judd, F. G. Moule, F. S. Dobson, W. C. Fisher, Harvie, Goold, Rutter, and Reynolds were elected as the committee of management . . .

"The Festival of the German Association", The Argus (29 December 1863), 5

. . . Next came some pleasing choral and orchestral performances. Among them was a march composed specially for the festival by Mr. W. C. Fischer . . .

"Das zweite deutsche Turn und Musikfest in Melbourne", Süd Australische Zeitung (15 January 1864), 3

"THE MELBOURNE PHILHARMONIC SOCIETY", The Argus (20 January 1864), 5

The following wore elected office-bearers for the year 1864: . . . conductor - Mr. C. E. Horsley . . . leader of the orchestra - Mr. W. C. Fisher . . . honorary secretary - Mr. W. G. Dredge . . .

At the third subscription concert, the honorary leader of the society placed at the disposal of the committee the complete parts of Meyerbeer's overture "L'Etoile du Nord," and of Weber's overture "Euryanthe." By this means these two compositions were introduced to the Melbourne musical world. A vote of thanks was accorded by the society to Mr. W. C. Fisher for his kindness; and also to Mr. W. G. Dredge, for the use of Mozart's "Jupiter" symphony, performed for the first time in Victoria at the same concert . . .

"MARRIAGES", The Argus (25 June 1866), 4

FISCHER - DREDGE. - On the 23rd inst., at Christ Church, St. Kilda, by the Rev. D. Seddon, M.A., incumbent, Wilhelm Carl Fischer, of Melbourne, only son of the late Johan Wilhelm Fischer, banker, Berlin, to Sara Jenny, widow of the late William Gilpin Dredge. No cards.

"THE INTERCOLONIAL EXHIBITION", The Age (25 October 1866), 7 

. . . Mr. Horsley, it need hardly be said, was the conductor . . . The principal violin was Mr. Edward King; the organist, Mr. David Lee, and the chorus master, Mr. Charles Radcliffe.
In the other parts of the orchestra there was this distribution: -
First Violins: Messrs. Ed. King, W. C. Fischer, Howson, Richty, Byron, Wigley.
Second Violins: Messrs Ryder, Schmidt, Megson, Wiedemann, Lewis, Peters . . .

[Advertisement], The Argus (18 January 1868), 3 

W. CARL FISCHER, of Berlin, pupil of C. Henning, Kapellmeister to His Majesty the King of Prussia, GIVES LESSONS on the VIOLIN. 3 Westbourne-terrace, Grey-street, St. Kilda.

ASSOCIATIONS: Carl Wilhelm Henning (from 1819, violin teacher of Mendelssohn)

[News], The Argus (10 September 1868), 5

Last night that well-established musical society the German Liedertafel gave one of their periodical entertainments to their friends at Hockin's Assembly-rooms . . . The small orchestra employed was constituted of stringed instruments reinforced by a flute and pianoforte (the latter being very effective under the hands of Mr. E. R. Weber), and was quite large enough for the room - a larger one, indeed, would have been less effective. Its leader was Mr. W. C. Fischer, formerly of the Philharmonic Society, and under his able guidance the two overtures that were played, "The Barber of Seville" and Auber's "Mason and Blacksmith" - a composition rarely heard in this part of the world - were performed exceedingly well. The latter - and which, as far as we could judge on a first hearing, Auber never wrote a more telling overture - was deservedly encored. We have frequently had the opportunity of hearing orchestral pieces arranged for a small number of instruments, but we must say that we never heard any played with greater effect than those of last night . . .

[News], The Argus (31 January 1870), 5 

An interesting "art-union" has lately been authorised by the Attorney-General, and the drawing will take place on the 12th February next. It is for disposing of two Cremona violins of undoubted authenticity, which, having come to Victoria under peculiar circumstances, do not easily find purchasers, while their owner is anxious to turn them into money. They are the property of Mr. W. Carl Fischer, an amateur musician of note in Melbourne, and have come to him through the bequest of his father, the late Johann Wilhelm Fischer, of Berlin. The first of these violins is by Stradivarius, and is inscribed "Antonius Stradivarius, Cremona, faciebat anno 1712," and sealed with his own seal. It has a regular pedigree, and was purchased by the elder Fischer in 1822 for 150 louis d'ors, or £140 sterling, at a sale of the effects of a celebrated musical connoisseur of Milan. It was a very popular instrument in Berlin, and De Beriot, Joachim, Carl Moeser, and others, used habitually to borrow it for their public performances in that city. The other violin is of the genuine Amati school, and bears the inscription, "Hieronymi Antonia Nepos, fecit in Cremona, 1640." It was purchased by the elder Fischer from Carl Moeser, the celebrated violinist, and Kapellmeister to the King of Prussia, (for 150 ducats, or £60). The "art union" is divided into 200 shares of one guinea each, and particulars aro obtainable from Messrs. Wilkie, Webster, and Allan, in Collins-street, and elsewhere.

[News], The Maitland Mercury (5 February 1870), 2

Two genuine Cremona violins, one an undoubted "Stradivarius," are to be disposed of by Art Union in Melbourne, on the 12th inst. They are the property of Mr. W. C. Fischer, an amateur musician of some note in Melbourne. The two instruments are valued at 200 guineas.

[Advertisement], Geelong Advertiser (3 November 1871), 1 


"NEW SOUTH WALES [From our own Correspondent] Sydney, March 7", The South Australian Advertiser (8 March 1881), 5

Some time since Mr. Lewis Scott, a well-known adapter and play-writer, in proposing the toast of "The Press" at a picnic, said:- "The press and pressmen; may they never wear petticoats." This was considered to be an allusion to Mrs. Carl Fischer, the Herald critic, who is not very popular; and the other night, at the Austrian Band performance, Mrs. Fischer's husband took the opportunity to insult Mr. Scott, calling him derogatory epithets, for which Fischer was fined to-day at the Police Court in a sum amounting to three guineas. Judge Windeyer was a witness in the case.

"Orchestral Concerts", The Sydney Mail and New South Wales Advertiser (31 May 1890), 1193 

The movement for continuing the Orchestral Concerts has so far taken definite shape that an executive committee has been appointed from the 60 ladies and gentlemen already enrolled . . . G. Norton Russell and W. Carl Fischer were appointed joint hon. secretaries and treasurers at the previous meeting . . . Mr. Fischer, from many years' connection with music in Europe and Australia, his five years' honorary leadership of the Melbourne Philharmonic orchestra, and his experience in the management of that society, brings good qualifications for the office he has undertaken . . .

"Bankruptcy Court . . . VOLUNTARY SEQUESTRATIONS", Australian Town and Country Journal (16 August 1890), 13

2708. Wilhelm Carl Fischer (trading as Carl Fischer and Co.), Alberto-terrace, Darlinghurst, merchant. Mr. Stephen, assignee.

"MUSICAL AND DRAMATIC NOTES", The Sydney Morning Herald (16 July 1892), 7 

Miss Bessie Doyle will play this evening at the Centenary Hull upon a genuine Stradivarius violin. The instrument, which has been kindly lent to her by Mr. Carl Fischer, of this city, has an interesting history. Mr. Fischer inherited the "Strad," and Amati, and one of the celebrated Niggini tenor violins, from his father, the late Johann Wilhelm Fischer, of Berlin. This gentleman, who was a wealthy patron of music, lived in a great old family mansion in Berlin, which had previously belonged to a Prince of the Lichtenstein family, and the old house became a musical rendezvous in the city. It long stood in state in its garden in the Burg-Strasse; but was swept away when the great German capital was modernised, and its spacious site is now occupied by the Berlin Exchange, one of the finest edifices the place can boast. Being well know as a patron of the fine arts - Andreas Romberg's Violin Caprice (op. 35) is dedicated to him - the late Mr. Fischer, in 1803, was invited to attend the sale of an unrivalled collection of musical instruments, the property of a Roman prelate and connoisseur. As the sale took place at Milan, Mr. Fischer was represented by an agent and he then purchased for 150 louis d'or the Stradivarius violin, from which Miss Doyle drew such sweet tones on Tuesday night. The louis d'or is valued at 17s, but as money had a greater purchasing power a century ago than it now has, the instrument cost its fortunate possessor the equivalent of at least £150. Although there are a great number of authentic "Strads" still in existence, their intrinsic excellence maintains their value in the market, which is quoted by authorities on the subject as varying between £100 and £500. It will be remembered that Wilhelmj played one of these instruments, as also did another of our visitors, Mme. Neruda, for whom it was purchased by the Duke of Edinburgh at a cost of £400. The late Mr. Fischer at the same sale secured the celebrated Naggini tenor, on which the maker's name, with the words "Brescia, anno 1647," is still visible. There are said to be only five such in existence, and a record of their whereabouts has been catalogued with care for the information of European dealers and connoisseurs. The possesion of those treasures brought many distinguished violinists to the Fischer mansion. Mr. Carl Fischer remembers De Beriot as a visitor at his father's house; that eccentric genius Ole Bull has made the Stradivarius discourse sweet music, and Carl Möser, the famous Berlin violinist, employed it regularly at the quartet concerts of his his day. About the year 1854 it was willed to Mr. Fischer, himself a skilled player, who has kept a tight hold upon it ever since. His grasp only relaxed under the influence of Bessie Doyles' sweet playing, to whom the treasured instrument has been lent until circumstances enable her to acquire one as worthy of her genius. Mr. Fischer declares "that that girl ought to have a Strad" - and most amateurs who have heard the youthful musician play will cordially echo the generous sentiment.

"Deaths", The Sydney Morning Herald (7 October 1896), 1

October 6, at her residence, 25 Upper William-street, Jenny, the dearly-loved wife of Carl Fischer, aged 62.

"DEATH OF MRS. CARL FISCHER", The Sydney Morning Herald (7 October 1896), 5

Many of our readers will learn with regret of the death of Mrs. Carl Fischer, who for many years past has been connected with the S. M. Herald and Sydney Mail, and was previously a contributor to the Melbourne Argus. Mrs. Fischer's death was due indirectly to a chill which she caught last Easter . . . Mrs. Fischer was a native of Gloucester, England, and was born in 1834. She arrived in Australia in 1856, and was married to the late Mr. William Dredge, well known in Melbourne for his abilities as a musician. In 1864, after the death of her husband, the deceased lady visited England, and returned the following year. A year later she was married at St. Kilda to Mr. Wilhelm Carl Fischer, a merchant. Mrs. Fischer was from 1870 to 1877 the conductor of a ladies' school in Geelong, which was established on a large scale. During that period her taste for journalism induced her to contribute musical critiques to several of the Melbourne papers. In 1879 she came to Sydney, and became associated with the Sydney press. She was an indefatigable, as she was a talented writer, her specialties being musical and dramatic contributions and social notes . . . Mrs. Fischer was entrusted with the responsibility of writing annotations for the organ recitals given by M. Wiegand, the City Organist, and she also discharged a similar commission in respect of the Hazon series of concerts. In respect of Mrs. Fischer's annotations for the organ recitals Sir W. P. Manning wrote a flattering letter in acknowledgment of the ability she brought to bear upon the work . . .

"THE WEEK", The Sydney Mail and New South Wales Advertiser (9 January 1897), 65 

On Monday, the 21st December, a meeting of subscribers to the late Mrs. Carl Fischer memorial fund was held at Miss Pedley's studio, Hunter street, with a view to closing the subscription list, and deciding as to the best means for disposing of the fund. Mrs. Theodore Boesen presided . . . the meeting resolved that in view of the proposed departure of Mrs. Inskip and Mr. Carl Fischer for England at an early date, Captain Inskip should be empowered to place Kenneth Andrew, the grandson of the late Mrs. Carl Fischer, for whose education and support the fund has been raised, at an English school, and preferably at the school of the Rev. James Inskip.

ASSOCIATIONS: Ethel Pedley; Teresa Boesen

"SOCIAL", The Sydney Mail and New South Wales Advertiser (13 March 1897), 545 

Again on Saturday the Orient Company's wharf presented an animated appearance on the occasion of the sailing of the Ormuz, among the passengers bound for Europe being Mr. Carl Fischer and Mrs. Esdaile Inskip, whose numerous friends seemed very loth to say good-bye to them . . . Many of us may hope to see them all again here, but the chances are very improbable, as it is the intention of both Mrs. Inskip and Mr. Fischer to settle at Surberton, near London, in which charming spot Captain Inskip has chosen his home . . .

"SOCIAL", The Sydney Mail and New South Wales Advertiser (26 May 1900), 1218 

The last London letters brought the sad news of the death of Mr. Carl Fischer, the husband of the well-known Mrs. Fischer, associated, as you may remember, for so many years with this paper and the "Sydney Morning Herald." The old gentleman, I hear, died at Ramsgate, at the residence of his daughter, Mrs. Inskip, heart disease being, I believe, the cause, and it seems sad that his wish of once more seeing the colonies should have been denied him. Previous to his residence in Sydney, which he left about three and a half years ago, he was living for a long time in Melbourne, where he was in business. Mr. Fischer was a keen business man, and, in addition, a very clever amateur musician. He had a special knowledge of the violin, possessing, among his treasures, a very fine old instrument. His musical criticisms were, consequently, valuable, and he is known, therefore, to have given much assistance to the work of the late Mrs. Fischer. He had numerous friends in Sydney and Melbourne, and his genial disposition, kind, good-hearted manner, and consideration for others will long remain in their memory. I was almost forgetting to add that He was a German by birth, born in Berlin, which made him a well-known identity both in Sydney and Melbourne German circles.

"ANGLO-AUSTRALIA", The British Australasian and New Zealand Mail (7 June 1900), 829

News come to us, via Paris, of the death of Mr. Carl Fischer, of Sydney, who has spent the last two years in Europe with his daughter, Mrs. Bertie Inskip.

FISHER, James Churchill (James Churchill FISHER; J. C. FISHER; Mr. FISHER; FISCHER [sic]; later CHURCHILL-FISHER)

Professor of music, vocalist, singing master, conductor, music teacher, composer

Born Portsea, England, 22 March 1826; baptised (1) New Chapel (Wesleyan), Portsmouth, 30 March 1826; (2) [registered] 23 December 1828; son of James FISHER (d. 1852) and Louisa CHURCHILL (m. 1825)
Arrived Sydney, NSW, 24 December 1852 (unassisted immigrant per Chaseley, via Melbourne, 10 December, from Liverpool, 20 August)
Married Emma HALL (1831-1910), Wollongong, NSW, 14 March 1854
Died Parramatta, NSW, 22 March 1891, "his 65th birthday" (TROVE tagged by Australharmony) (NLA persistent identifier) (shareable link to this entry)

Summary (to 1864):

James Churchill Fisher was born in Portsea, Hampshire, in March 1826, the eldest child of James Fisher, a mercer, and his wife Louisa Churchill, who had married the previous July. The family moved to Shrewsbury while James was still a child, and later to Liverpool, where James, his widowed father, and two younger brothers were all described as hosiers in the March 1851 England census.

His father having died in the second quarter of 1852, on 20 August James sailed from Liverpool on the Chaseley for Australia, and arrived in Sydney on Christmas eve. There is no independent record of any of his activities in 1853, but in Wollongong, in March 1854, he married Emma Hall (1831-1910), a recent immigrant from London. In the second half of the year he was engaged as a regular vocalist at James Smith Norrie's attraction, the Royal Polytechnic Institution, popular for its dissolving views, where he sand alongside Flora Harris, Frank Howson, and George Wilkinson. He also formed a regular association with the Mechanic's School of Arts, appearing that year as a solo tenor and glee singer in the weekly concert series organised by its singing class leader, James Boulton, and later with the institution's new secretary, Joseph Dyer, also a musical enthusiast.

By early 1855 he had succeeded James Johnson as conductor of the Sydney Choral Society (also known as the St. James Choral Society), where he was professionally assisted by soloists Flora Harris and Marianne Adcock, and accompanist Charles Harwood.

The singing class manual, part 1, 1855, James Churchill Fisher

In July 1855 he also tried to establish his own elementary singing class at the school-room of Joseph Beazley's Congregational chapel in suburban Redfern, Having first lectured on principles of congregational psalmody, by the next week he had produced a cheaply lithographed booklet, The singing class manual, based on John Curwen's Tonic Sol Fa method, the first part of which he advertised for sale for sixpence. However, there is no record of the class surviving, let alone thriving.

Having also in July conducted Handel's Dettingen Te Deum and excepts from Messiah for the Sydney Choral Society, in August he presented his own first professional concert, assisted again by Marianne Adcock, and Flora Harris and and her younger sister Gertrude Harris (making her first public appearance), and with Harwood again at the piano.

Early in 1856 he sang for recent arrival Anna Bishop's charity sacred concerts, and probably also in her opera chorus. Later in the year he appeared for another recent arrival, the so called "English Opera Company" (Julia Harland, Walter Sherwin, and Robert Farquharson) at the Prince of Wales theatre, as a minor principal, in small roles in Norma in July and Maritana (with Theodosia Guerin in the title role) in September.

Fisher later also recalled singing in operas with Catherine Hayes and Lewis Lavenu (in 1854-55) and under Anna Bishop's later conductor, George Loder (1856-57). Probably one of his last appearances as a professional stage singer was at the Lyceum Theatre in October 1857, with Sara Flower, the Howson brothers Frank and John, John Gregg, and his later regular colleague Charles Packer at the piano.

By early in 1858 he had relocated to the Kiama, on the coast south of Sydney. He lectured on congregational psalmody, and was trying to establish singing classes, both at Kiama and in rural Jamberoo, while also contributing for some time as a journalist to Robert Barr's local newspaper, the Kiama Examiner. During 1859, he was teacher at Spring Hill school, near Wollongong, and toward the end of that year was appointed first teacher at the Marshall Mount National School. His singing class there presented a successful Christmas concert in 1860, with the assistance of another local singing instructor, Henry Colley, cousin of his former Sydney musical colleague Edwin Colley. Fisher appeared again in a local concert for Colley's wife, Mary, in February 1861, at which two of his compositions, a solo song and a part song were given for the first time.

Having recently returned to Sydney, early in 1862 he appeared again as a stage singer in a concert for the Orpheonist Society, and again in a complimentary benefit to the conductor William Cordner, who would remain a colleague.

He taught at Fort Street National School, in 1862, and, for 1863, was appointed head master of the Paddington National School, where he remained for several years. He established a singing class in Paddington, and another at the School of Arts, and in April 1864 formed the Sydney Tonic Sol Fa Association, among whose first officers and committee members were Andrew Fairfax and Peter Dodds McCormick.


Register of baptisms, 1814-37, New Chapel (Wesleyan), Green Row, Portsea, Portsmouth; UK National Archives (PAYWALL)

James, son of James and Louisa Fisher, mercer, Portsea, was born March 22nd 1826, and was baptized March 30th, 1826 . . .

England census, 30 March 1851, St. Martin, Liverpool, Lancashire; UK National Archives; HO 107/2176 (PAYWALL)

196 [Scotland Rd.] / James Fisher / Head / Widower / 64 / Hosier / [born] Lincoln city
James C. Fisher / Son / 25 / [Hosier] / Hampshire, Portsea
Joseph / [Son] 20 / [Hosier] / [Hampshire, Portsea]
Henry / [Son] / 19 / [Hosier] / Shropshire, Shrewsbury
Louisa / Dau. / 16 / Scholar / [Shropshire, Shrewsbury]

"MARRIAGES", The Sydney Morning Herald (20 March 1854), 8

On Tuesday, March 16th, at Wollongong, by the Rev. Cunningham Atchison, Mr. James Churchill Fisher, of Sydney, late of Liverpool, England, to Emma, youngest daughter of the late Mr. William Hall, of Sutton, Surrey.

"ROYAL POLYTECHNIC INSTITUTION", The Sydney Morning Herald (4 August 1854), 4 

On Wednesday evening a Grand Entertainment was given at this Establishment, for the Benefit of the Widows and Orphans of the brave men who may fall in the contest of the Russian War. His Excellency the Governor General and suite, and a large circle of the Military, Naval, and Civil Officers of the Government, together with many leading families of the city, were present, the evening's entertainment being under the especial patronage of His Excellency Sir Charles A. Fitz Roy. By the cordial permission of Colonel Bloomfield and the Officers of H. M. 11th regiment, their splendid band was in attendance. The performances commenced with a concert: the selections being those of a martial and patriotic character, and airs illustrative of Home and Country. Mr. F. Howson gave the spirited song of "The Englishman," and the "Marseillaise Hymn," in excellent style. Miss Flora Harris was most successful in "Hearts and Homes," and "The Swallows are Returning." Mr. Wilkinson and the other vocalists gave "What are the Wild Waves Saying?" with admirable effect. Mr. Fisher, a debutant of much promise, sung a new song, "The Baltic Fleet," with considerable spirit . . .

"ROYAL POLYTECHNIC INSTITUTION", The Sydney Morning Herald (15 August 1854), 5 

The first of a series of lectures on Music was delivered in this establishment by Mr. J. C. Fisher. Persons commencing the study of music will receive much valuable instruction by attending these dissertations. The lecture was illustrated by ballads, glees, and madrigals, executed by Miss F. Harris, and Messrs. Wilkinson, Fisher, and Fishers, in an artistic manner. The applause received was well merited. The lecture was succeeded by a series of dissolving views of a very superior character, including many British scones of interest and historical notoriety, accompanied with appropriate songs and music on the pianoforte and apollonicon. After a brilliant display of chromotropes, the entertainment concluded with the national anthem.

[Advertisement], The Sydney Morning Herald (30 October 1854), 1 

CONCERT, for the benefit of Miss FLORA HARRIS, at the Royal Polytechnic Institution . . .
THIS (Monday) EVENING, October 30th, when she will be assisted by Mr. Wilkinson, Mr. Fisher, Mr. Fifers, Mr. Colley, Mr. Perry, Mr. Bolton.
PROGRAMME . . . Ballad, Mr. Fisher, "Wilt thou meet me there, love" - Hime . . .

[Advertisement], The Sydney Morning Herald (18 December 1854), 1 

Mr. JAMES BOULTON has the honour to announce . . . a series of Weekly Concerts . . .

[Advertisement], The Sydney Morning Herald (9 January 1855), 1 

Mr. BOULTON has the honour to announce that the Third of his series of Concerts will be given THIS EVENING, tje 9th instant.
Principal Vocalist. Miss Flora Harris.
Mr. G. Wilkinson; Mr. Colley; Mr. Walcot; Mr. Fisher
Admission. 2s. 6d. . . .

"THE SYDNEY CHORAL SOCIETY . . .", Bell's Life in Sydney and Sporting Reviewer (17 February 1855), 2 

. . . gave an open Concert on Thursday evening last, comprising selections from Judas Macabeus, Samson, and Mendelsohn's beautiful oratorio of Elijah . . . Great praise is due to Mr. Fisher, who officiates as conductor, for the pains he takes in drilling the chorus, and the success to which he has brought the Society. We trust that, at the next Concert, a complete Oratorio will be presented.

"CHORAL SOCIETY'S CONCERT", The Sydney Morning Herald (11 May 1855), 4

The concert given yesterday evening, by the Sydney Choral Society, was of a very superior description. The varied and beautiful compositions specified in the programme were, without exception, well executed. Berner's double quartette "the Student's Greeting," was encored, as were also the song "Thou are near," by Mrs. St, John Adcock, and "the Lily and the Rose" duet, by Miss Flora Harris and Mrs. St. John Adcock. The conductor was Mr. Fisher, and Mr. Harwood presided at the pianoforte. Notwithstanding the various other attractions, the school room was, as usual, crowded, and many of the leading families in the city were present. The society deserves commendation for its exertions in the cause of music, and the concerts they give from time to time. Such associations and entertainments cannot fail to be beneficial in a high degree to the interests of this colony, in stimulating others to cultivate a superior musical taste and by this means to extend a species of recreation and intellectual enjoyment, directly antagonistic to, and a powerful preventative of one of the most grievous and prevalent evils in the colony - the source of unnumbered woes. It is a mistake to suppose that music is necessarily and essentially the companion of the wine cup . . . We hope to see the Sydney Choral Society emulated by others, who will play their respective parts as creditably.

[Advertisement], Empire (4 July 1855), 1 

REDFERN SINGING CLASS. - On FRIDAY Evening next, July 6, a Lecture on Congregational Psalmody will be delivered by Mr. Fisher (Conductor of the Sydney Choral Society), in the Congregational School-room, Redfern. To commence at half-past 7 o'clock. Admission, free. After the lecture, a Class for instruction in vocal music will be formed . . .

[Advertisement], Empire (11 July 1855), 1

REDFERN SINGING CLASS. - On Thursday Evenings at half-past 7 o'clock, the class will meet for instruction in Singing, in the Congregational School-room, Redfern, commencing To-morrow, July 12. Cards for the current quarter, and the Singing Class Manual, (price 6d.) may be obtained of the conductor, Mr. FISHER, Botany-street, Redfern; or of A. WILLS, Secretary.

[Advertisement], The Sydney Morning Herald (18 July 1855), 1 

SYDNEY CHORAL SOCIETY . . . July 24th . . . PROGRAMME . . .

"ST. JAMES'S CHORAL SOCIETY", Bell's Life in Sydney and Sporting Reviewer (28 July 1855), 2 

This enterprising and successful society gave another open concert on Tuesday evening, assisted by the string band of the Philharmonic Society, and ably conducted by Mr. Fisher. The selections comprised Handel's Dettinger [sic] "Te Deum," most effectively rendered, and portions, of the "Messiah." The gems of the evening were "I know that my Redeemer liveth," and "He was cut off," both being very sweetly and excellently sung. The former, by Miss Flora Harris, was deservedly applauded, and fully proved her peculiar power of delivering sacred music with the requisite care and fervency. Miss Gertrude Harris, a debutante, and sister of the above young lady, created quite a sensation in the latter solo and was warmly encored. Her voice is a rich and powerful mezzo-soprano. The hall was crowded with a highly respectable audience.

[Advertisement], The Sydney Morning Herald (8 August 1855), 1 

MR. FISHER'S GRAND CONCERT. - New Concert Hall, Royal Hotel. THIS EVENING, August 8th.
Principal Performers: Miss Flora Harris; Miss G. Harris (her second appearance);
Mrs. St. John Adcock (who will make her first appearance, as a Pianist, these two years);
and Messrs. Fisher, R. Walcot, T. Holme, and E. Colley; assisted by an efficient and powerful Chorus.
Conductor Mr. Fisher; Pianoforte, Mr. Harwood.
1. Madrigal - "My Bonnie Lass, she smileth" - Morley
2. German Glee - "The Huntsman's Joy" - Pohlenz
3. Song - "Children of Earth, Farewell" - Rophino Lacy - Mrs. St. John Adcock
4. Trio - "This Magic-wove Scarf" (Mountain Sylph) - John Barnett
Miss Flora Harris, Mr. Fisher, and Mr. E. Colley.
5. Scotch Ballad - "Jock o'Hazeldean" - Mr. T. Holme.
6. Serenade - "Fondest, Dearest!" - Franz Abt
7. Song - "Would I were, sweet bird, like thee" (Stradella) - Flotow - Miss Flora Harris.
8. The Tramp Chorus - (Knight of Snowdoun) - Sir H. R. Bishop
An interval of ten minutes.
1. Glee - "Queen of the Valley" - Calcott
2. Duet - "All things are beautiful" - S. Glover - Miss Flora Harris and Mrs. St. John Adcock.
3. Quartette - "Lo! the early beam of Morning " - Balfe
4. Song - Scenes that are brightest," (Maritana) Wallace - Miss G. Harris.
5. Solo, Piano - Grand Fantasia on airs from "Lucrezia Borgia" - Beyer - Mrs. St. John Adcock.
6. Glee - "Lutzow's Wild Hunt" - C. M. von Weber
7. Song - "Zorindah, the Gipsy" - Paul Henrion - Miss Flora Harris
8. The Gipsy Chorus - (Bohemian Girl) - Balfe
Doors open at half-put seven, concert to commence at eight precisely.
Tickets, 2s. 6d. each . . .

"MR. FISHER'S CONCERT", Bell's Life in Sydney and Sporting Reviewer (11 August 1855), p. 2 

This gentleman, well-known in the private musical circles, as Conductor of the Sydney Choral Society, gave a Concert at the Royal Hotel Concert Hall, on Wednesday evening. We regret that the numerous attractions now presented by the Theatres prevented his having a numerous audience, for both the talent and industry he has displayed in advancing a superior class of music amongst us, deserve a better reward than that meted to him. He was assisted by the Misses Flora and G. Harris, Mrs. Adcock, and some gentlemen amateurs. The programme was well chosen, and its execution gave complete satisfaction. Miss Flora Harris was very well received, and her "Gipsy Song" especially received a determined encore. We were glad to observe that the audience evinced a unanimous feeling of support towards her in the unpleasant position she has been lately placed in. Miss G. Harris sang sweetly and effectively, and Mrs. Adcock gave her piano solos in her usual brilliant style.

"MECHANICS' SCHOOL OF ARTS", The Sydney Morning Herald (24 December 1855), 2-3 

We noticed, in our issue of Friday, that a conversazione took place on Thursday evening last, in the new Hall of the Sydney Mechanics' School of Arts . . . During the evening several glees were sung - most of them German. All were well received, but there was a strong partiality shown to the "Model British glee - "by Celia's Arbour" - the singers being Messrs. Colley, Fisher, Walcott, and J. Bolton . . .

"THE LATE CHEVALIER BOCHSA", Empire (9 January 1856), 5 

The funeral of the late N. C. Bochsa, who departed this life on the evening of Sunday last, took place yesterday morning . . . the remains of the deceased gentleman were conveyed to the Newtown Cemetery in a hearse drawn by four horses, followed immediately by two mourning coaches, and a vehicle containing the members of the Prince of Wales Orchestra, who performed various funeral marches from Beethoven, the Dead March from Saul, and a "requiem" arranged by M. Paling from the last composition of Bochsa. The procession closed with fourteen private carriages, occupied by various gentlemen, among whom we noticed, Messrs. Marsh, Johnson, Paling, Torning, the Howsons, Fisher, &c. Over the grave was sung the "requiem" which Bochsa composed for his own funeral on Thursday night last . . .

[Advertisement], The Sydney Morning Herald (7 March 1856), 1 

CONCERT HALL, Royal Hotel, THIS EVENING, March 7th, 1856. -
VOCALISTS - Madame Anna Bishop, Miss Flora Harris, Mrs. Guerin, Mrs. Gibbs, Monsieur Laglalse,
Mr. Fisher, Mr. F. Howson, and Signior Spagnoletti. A full and efficient chorus and orchestra, with a magnificent organ.
PART I . . . Quartette - "Cast thy burthen" (Elijah) - Miss Flora Harris, Mrs. Gibbs, Mr. Fisher, and Mr. F. Howson - Mendelsohn . . .
Leader, Mr. W. H. Paling. Conductor, Mr. C. S. Packer . . .

[Advertisement], Empire (10 March 1856), 1 

CONCERT HALL, ROYAL HOTEL. - THIS EVENING, Monday, March 10th, 1856.
PART I . . . Quartette - "Blessed are the dead" - (Last judgment) Spohr - Miss Flora Harris, Mrs. Gibbs, Mr. Fisher, and Mr. F. Howson . . .

"ENGLISH OPERA HOUSE", The Sydney Morning Herald (12 July 1856), 5 

The opera season commenced on the evening of Tuesday last, with Bellini's never-tiring "La Sonnambula." The occasion introduced to the Sydney public the new company who arrived in this colony, per the James Baines [Julia Harland, Walter Sherwin, Robert Farquharson] . . . The Allessio, as embodied by Mr. Stewart, was amusing and effective; and Miss Kate Warde, as Lisa, gave further evidence of the versatility of her genius and stage accomplishments. The subordinate characters, supported by good musicians, included Mrs. Gibbs, Mr. Fisher, &c. . . .

"ENGLISH OPERA HOUSE", The Sydney Morning Herald (16 September 1856), 4 

This establishment, true to its name, continues to be devoted to musical entertainment. Wallace's delightful opera of "Maritana," produced under the direction of Mr. C. Packer, was brought out on the evening of Saturday last with a success rather artistic than pecuniary. Mrs. Guerin, as Maritana, although merely a stock prima donna, gave claims of vocal excellence . . . The Don Caesar de Bazan of Mr. J. Howson - a well-known performance was received with the warmest tokens of commendation; while the parts of Don Jose Santarem and Lazarillo sustained by Mr. Stewart and Miss Warde, were tendered with unequivocal success. The subordinate characters of the opera received justice from Mrs. Gibbs and Messrs. Walcot and Fisher . . .

"CONCERT AT THE SCHOOL OF ARTS", The Sydney Morning Herald (12 October 1856), 5 

On Saturday evening Mr. Dyer, the secretary of the institution, provided a very pleasing musical entertainment, which, could it have been duly appreciated, would no doubt have lured a larger number from other amusements not so really interesting, and, possibly less free from objectionable associations. The thin attendance, however, did not interfere with the carrying out of a programme which contained many favourite glees, songs, and ballads, and some excellent music for the organ. Among the former were Sir H. R. Bishop's glee, "Sleep, gentle Lady" (in which Madame Lamont and Messrs. Wheeler, Fisher, Dyer, &c. took part); Lindpainter's celebrated song, "The Standard Bearer," and Purcell's "Mad Tom," (both by Mr. Dyer). Madame Lamont also sang two solo pieces, the sweet ballad entitled "The old mill," and the banquet song from "Lucrezia Borgia" II segreto per esser felice; Mr. Fisher sang Balfe's very favourite ballad - "In this old chair." Locke's music in "Macbeth" brought the entertainment to a conclusion, in this the solo parts were sung by Madame Lamont, and Messrs. Fisher and Wheeler. Mr. Packer presided at the organ and pianoforte, accompanying the vocal pieces . . .

"OUR LYCEUM THEATRE", Empire (26 October 1857), 4 

A concert, under the patronage of the officers of the 77th Regiment, was given on Saturday night at the Lyceum Theatre. The artistes who lent their assistance on the occasion were Madame Sarah Flower, Mr. F. Howson, Mr. J. Howson, Mr. T. Banks, Mr. J. C. Fisher, Mr. H. O. Thompson, Mr. John Gregg, and Signor Cavalini. Mr. Packer presided at the pianoforte . . .

"KIAMA (From the Kiama Examiner August 21) . . . JAMBEROO", Empire (24 August 1858), 2 

On Wednesday evening last Mr. J. C. Fisher repeated his lecture on Congregation Psalmody, in the Presbyterian Free Church. The Rev. Mr. Smith occupied the chair, and, at the close of the lecture, expressed, on behalf of himself and the meeting, great satisfaction at the effort of Mr. Fisher, to improve the sacred service of song. It is the intention of the lecturer, if a sufficient number come forward, to form a class in Jamberoo, similar to that in Kiama.

[Advertisement], Illawarra Mercury (22 November 1858), 3 

To the Editor of the "Illawarra Mercury."
SlR - On Monday last, the 15th instant, I forwarded the following advertisement for insertion in the "Kiama Examiner," to the proprietor of that paper. As Mr. Barr, however - for reasons best known to himself, but which the public will find no difficulty in guessing - has excluded it from his columns, I send it to you; and trust you will give it a place in your next issue.
I have the honor to be, sir, Yours respectfully,
JAMES C. FISHER, Kiama, 20th November, 1838.
MR. J. C. FISHER begs respectfully to intimate to the subscribers and friends of the above journal, that his connection with it ceased with the issue of the 6th inst. (No. 29). He wishes it, therefore, to be distinctly understood that he is no longer responsible for any article or articles which may hereafter appear in its columns, unless authenticated by his signature.
Mr. Fisher begs to return his sincere thanks to the numerous correspondents who have so obligingly assisted him during the short period of his connection with the "Examiner;" and regrets that circumstances have compelled him to decline the editorship of that paper.

[Advertisement], Kiama Examiner (18 December 1858), 1 

PIANOFORTES TUNED by J. C. Fisher. Apply office of this paper.

"BIRTH", Kiama Examiner (9 April 1859), 2 

On Friday April 1st at Spring Hill School, Mrs. Fisher of a daughter.

"MARSHALL MOUNT NATIONAL SCHOOL", Illawarra Mercury (22 June 1860), 2 

On Tuesday evening last a Lecture was delivered at the above School by Mr. Fisher, on "Congregational Psalmady" [sic] its history, practice, and abuses. The attendance was highly respectable, and, considering the prevalent epidemic, tolerably numerous, including a large number of ladies. An interesting and comprehensive historical sketch of the rise and progress of Church music, or Psalmody, was given by the Lecturer; after which he proceeded to explain the means by which a knowledge of the art of reading music and singing at sight may be most readily acquired. The system adopted by Mr. Fisher is called the "Tonic Sol-fa" method, invented by Miss Glover, of Norwich, and improved by Mr. John Curwen; and its great simplicity and perfect adaption to the end proposed was convincingly illustrated on the present occasion. After the musical scale, and the principles of the new notation bad been explained to the audience, they were enabled to read and sing a chant and a psalm tune, placed before them by Mr. Fisher, in very creditable style. It must be remembered that this was done by persons who, with scarce an exception, had never before attempted anything of the kind, and after a few minutes instruction only. The volume of tone produced was remarkably good and powerful, notwithstanding the influenza, from which many of the audience were suffering.

In the third part of his subject the Lecturer made some just - and stringent remarks on the various prevalent abuses of Psalmody. These were illustrated by several amusing anecdotes, and examples of the absurd and ridiculous effects produced by the injudicious choice of tunes, repitition of words, &c., so common in most places of worship. Allusion was also made to the practice of lining out the hymns customary in many congregations; that is, reading the verses of the hymn to be sung a couple lines at a time, without the least regard to the connection of thought and expression between the parts of the stanzas thus dismembered. Several other points in which reform is equally necessary, were also mentioned by the Lecturer, whose remarks were listened to throughout with much interest and attention.

We should have mentioned thaf the chair was efficiently filled by William Moles Esq., J. P.. Chairman of the Shellharbour Municipality, who made some interesting observations on the advantages of the study of music, particularly to the young. A vote of thanks to the Chairman, having been proposed by Mr. Fisher, and carried unanimously, Mr. Dunning rose and proposed that the thanks of the meeting be presented to the Lecturer, for his lucid exposition of the uses and abuses of psalmody. This motion having been put to the meeting and carried unanimously, Mr. Fisher, in returning thanks, announced his intention of opening a public class for instruction in vocal music, in accordance with the views advocated in his Lecture. After the names of a considerable number of ladies and gentlemen had been received for the proposed class, the meeting broke up, apparantly much pleased with the manner in which the evening had been spent.

"SHELLHARBOR. December 27", Examiner [Kiama, NSW] (29 December 1860), 2 

A Soiree Musical was held at Marshall Mount National School. The lovers of harmony had a decided treat in listening to the performance of Mr. Fisher's musical class, on Wednesday evening last. A very numerous company was present, the school-house being literally crammed full. It was pleasant indeed to see so much interest taken in the proceeding. The object of the entertainment, I believe, was to give an opportunity to the friends of the class to judge of the attainments of the pupils, as well as to cause one of those social gatherings which tend to create friendship and good feeling. It is not too much to say that the class under Mr. Fisher's able tuition, gave ample proof of having made wonderful progress in "the divine art."

The programme was divided into two parts, the first containing sacred, and the second part secular music. Mr. Fisher himself accompanied the vocalists upon the pianoforte. Mr. Colley, of Kiama, was present and assisted in the choruses. His fine-toned bass harmonising delightfully with the soprano of the fair vocalists.

Part the first consisted of a psalm - "Let us with a gladsome mind." Tune, Anesbury. [Amesbury] Hymn - "Midst sorrow and care." Sacred song - "Hear my prayer," was sung by Mr. Colley. The fine taste displayed in the rendering of this pathetic sacred song elicited considerable applause. Evening Hymn - "The Lovely Moon" was sang by the whole class. Also, the German Chorall - i"God is my strong salvation," and the Anthem - "Pray for the peace of Jerusalem." In listening to the above, it was impossible to avoid drawing the comparison between the delightful harmony so easily and simply effected, and the jargon by which some of the sublimest of sacred poetry is tinkered out in our places of worship.

The first part of the programme having been finished, the audience was addressed by the request of the teacher by the following gentlemen: - Messrs. McGill, Moles, Fraser, Poulton, Colley and Hall. The speakers all bores testimony to the evident skill and proficiency acquired by the musical class, and not a little flattering to both teachers, and taught were the expressions of gratification which fell from the lips of each speaker. One of the speakers said that he could not account for the rapid progress made by the class, otherwise than by considering it to result from the very excellent system adopted by the teacher, namely, the Tonic-Sol Fa.

Mr. Colley observed that he did not consider the system taught to be alone the cause of the rapid progress made, but it must chiefly be attributable to the talent and ability of the teacher. He did not altogether agree with the Tonic-Sol-Fa system, and considered that it was only merely useful in a very elementary point of view. He intended shortly conducting a class in Kiama, and he should teach by Hullah's system, which in his opinion was the preferable.

Mr. Fisher briefly explained the nature of the system by which he taught, and stated that he only advocated the Tonic-Sol-Fa system as the best possible means of teaching those ignorant of the art of reading music to read with ease and correctness much more speedily than by any other system. he had tried other systems and had found them wanting in an easy method of conveying the rudiments of music, and the ability of singing at sight in anything like a reasonable time. When his class was more advanced he would use them also to other systems, but as a basis for obtaining the more advanced musical notation by the older systems he would not yield the palm to any other system than the Tonic Sol-Fa, as invented by Miss Glover, of Norwich, and modified by Mr. Kewin. [Curwen] The speeches concluded, the company were regaled with abundance of cake, wine, &c.

The second part of the programme was commenced by a chorus, Morning song - "Hail, all hail!" This chorus was sung with much spirit. The slight nervousness evinced by the class in the commencement of the performance seemed now to have entirely vanished. The piece was loudly enchored, and lost not its favorable reception by a repetition. "Annie Laurie" was next sang by Mr. Fisher, and was followed by the glee - "Five times by the taper's light." Sang by the class. The song - "The tempest of the heart" (II Trovatore) was sang by Mr. Colley, and most certainly every heart present must have been moved by the touching and delightful rendering of this plaintive melody. The class next sang the chorus - "Never forgot the dear ones." The song of "the Englishman " followed by Mr. Fisher. This favorite Lyric of Eliza Cook's lost none of its charms on the present occasion. Mr. Colley came out next with the very plaintive and touching ballad - "I'm leaving thee, Annie." By request, Mr. Fisher sang the semi-comic patriotic effusion of Dibden's, "The tight little island." The performance concluded with the National Anthem, which was sang in right loyal style.

A vote of thanks was carried with acclamation to Mr. Fisher's musical class, for the very able manner in which they had entertained the audience. The company then separated, evidently highly gratified with the proceedings of the evening. I should mention that during the evening Mr. Fisher announced that he intended giving lectures monthly, upon various entertaining, and popular subjects, and that he had secured the co-operation of several gentlemen who would aid in the undertaking. The first lecture he would give himself upon astronomy in about one mouth. Due notice to be given.

"SHELLHARBOR [From our Correspondent] SOIREE MUSICALE AT MARSHALL MOUNT NATIONAL SCHOOL", Illawarra Mercury (1 January 1861), 2 

On Monday evening last a numerous company of friends and relatives of the pupils of the singing class taught by Mr. Fisher, assembled at the school-house, Marshall Mount, to hear the performances of the class. Considerable interest was manifested in the proceedings, the room was completely filled with company, and the members of the class certainly acquitted themselves in most admirable style . . . [a full account, largely agreeing with that above]

"CONCERT AT THE COURT HOUSE", Illawarra Mercury (19 February 1861), 3 

Mrs. Colley's Concert postponed from Friday week, came off on Friday . . . The ballad "Home of our Youth," composed expressly for Miss Barr, by James Churchill Fisher, Esq., was also well received; the pathos of which Miss Barr expressed with moving effect upon the audience; the poetry has been set to a melody appropriately expressing the sentiments it contains by the composer, the accompaniments is most tasteful and well calculated to sustain without concealing the pathetic theme of the melody . . . Mr. Fisher did '"I'm leaving Thee, Annie," and "When we recall the happy scenes," in a masterly style, especially displaying his power in that rare excellency of a distinct and audible pronounciation of every syllable. The effect of these ballads was very manifest in the marked expression of approbation given by the audience.

The unaccompanied part music including the glees, [lacuna], "Winds gently whisper," "O happy [?]", and the spirited part song of Mr. Fisher's, "See how [?] breaks the morning," performed for the first time on this occasion, were admirably rendered by the [? four] vocalists, due attention being paid to light and shade.

Mr. Fisher's power as a composer is only known to a few of his private acquaintances. We have no doubt if he would publish his productions, many of which we have had an opportunity of hearing, that they would become highly popular. The secular pieces which were given at his Concert, will compare with most of a similar class, and are far superior to many which the public have mado their own. In sacred music, Mr. Fisher's compositions are of the brightest order . . .

"MUSICAL AND DRAMA", The Sydney Morning Herald (21 January 1862), 4 

. . . The second concert of the Opheonist Society came off with great eclat on the 6th instant . . . Selections from Hadyn's Third Mass followed, beginning with the magnificent chorus "Kyrie Eleison," which was rendered in such a style as to give ample evidence of the powers of the assembled vocalists. The united talent of Madame Sara Flowor, Mrs. Bridson, Mr. John Gregg, Miss Ryan, Mr. Fisher, Mr. D. Callen and the valuable aid of several lady and gentlemen amateurs, were placed in requisition, and met with much appreciation . . .

[Advertisement], The Sydney Morning Herald (30 January 1862), 1

THIS EVENING (THURSDAY), January 30, Vocalists: Mesdames Sara Flower, Flora Harris, Bridson, Emma and Clelia Howson, Cordner, and Ryan;
Messrs. F. and J. Howson, J. C. Fisher, and Sussmilch, and a powerful chorus numbering nearly 200 VOICES . . .
PROGRAMME. PART I . . . Aria - Be thou faithful - Mendelssohn - Mr. FISHER . . .
PART II . . . Part Song - Good Night (composed expressly for this occasion by Mr. J. Fisher) . . .

"BIRTHS", The Sydney Morning Herald (6 September 1862), 1 

On the 4th instant, the wife of Mr. J. C. Fisher, of Fort-street National School, of a son.

[Advertisement], The Sydney Morning Herald (12 October 1863), 1 

Mr. J. C. FISHER will open a CLASS for instruction in Vocal Music, according to the above method, in the Paddington National Schoolroom, on THUR8DAY EVENING next, the 15th instant, at half-past 7 o'clock. Admission to the first lesson FREE.

"TONIC SOL-FA ASSOCIATION", The Sydney Morning Herald (13 April 1864), 4 

A meeting took place, last evening, at the Congregational schoolroom, Pitt-street, for the purpose of inaugurating an association, similar to the one that has been in existence for some years in England. The objects of this association are the study and culture of vocal music, and the diffusion of the system generally known as Mr. Curwen's, among the people. Mr. Hobbs presided, and, after a few prefatory remarks, called upon Mr. Fisher to address the meeting, who explained the object of their coming together, and the benefits that might be anticipated to be derived from the formation of a society of this nature. Several other gentlemen followed, and it was ultimately decided that an association should be formed, and to carry out this object a provisional committee waa appointed. Great unanimity characterised the proceedings of the meeting, which were closed in the usual manner by a vote of thanks to the chairman.

"TONIC SOL-FA ASSOCIATION", Empire (15 July 1864), 4 

This musical society gave their first public concert last night, at the School of Arts, with a most successful result. Notwithstanding the very unpropitious evening a large audience assembled, in fact much larger than could have been looked for, to listen to the excellent music discoursed to them. Mr. Fisher, the head master of the National School, has certainly inducted the principles of the Tonic system thoroughly into his pupils, and as these consist largely of the training and trained masters and mistresses of the various schools, we presume he has had less difficulty than is ordinarily met with from the intelligent members with whom he has had to deal, and who, judging by the result, must have entered into his plans with no little spirit and assiduity. Of course, so far as the public are concerned no difference could be perceived as to whether the system was tonic or diatonic, or whether the "do" was fixed or moveable. All they knew, or cared to know, was made apparent in the very excellent and finished manner to which the various parts of the judiciously arranged programme were executed. This is not the place to discuss the merits of the systems of either Hullah or Curwen; but we cannot do less than compliment Mr. Fisher upon the result of this, his first concert. The manner in which he conducted the music was very good indeed, and the admirable discipline apparent among his numerous and effective chorus was as creditable to them as effective in its operation. The rising and sitting down at the beat of the conductor, though small things in their way aid greatly the general effect.

The concert commenced with a portion of the "Kyrie" from Mozart's twelfth Mass, played on the organ by a gentleman amateur, but did not evince any great amount of practical ability. The chorale was nicely sung, being accompanied by the organ as was also the anthem succeeding it "Pray, for the Peace." The "Bells of Freedom" was so nicely sung as to elicit an irresistible encore, and in this the training was beautifully exhibited. The quartett "Never forget the dear ones" was also most beautifully sang, the alto being remarkably good and well sustained in the quartette. The "Volkslied" was also sung with capital taste. The part song, by male voices, "The Young Musician," was not so effective. "My own Native Lind," by Bradbury, a melody very much like that of Lilly Dale, was sung with great success, and then came the prettiest song of the first part, "Away o'er the wave," sung by a gentlemen amateur with much taste and expression, and whose voice is one of no little beauty, and bring sustained by a very lively and melodious vocal accompaniment, also excellently given, was enthusiastically encored, and well it deserved the compliment. "Spring Time," and "Good Morning," the latter a very pretty and original part song, by J. W. Berner, brought this part of the concert to a very successful termination.

The second part was equally good and included Mr. Fisher's composition "Soldier's of Christ," well executed by his choir, and a composition evidencing considerable talent in its composer. The remainder of the concert was all that could be desired, and the association has given its first concert in such a very pleasing and successful style as will doubtless largely increase the attraction of future announcements. The chorus deserve great praise for the admirable precision and delicacy with which they executed the various songs, and evince great taste in the almost military style of discipline with which they obeyed the instructions of the conductor. Amongst them were also noticed Mr. Wilkins, the active Inspector of schools, as well as several faces familiar to the public at all musical entertainments.

"UNDER THE HOLLY", The Sydney Morning Herald (23 December 1865), 6 

An extremely pleasing cantata, entitled "Under the Holly," has just made its seasonable appearance, the words having been written by Mr. Robert P. Whitworth, a gentleman whose facile pen and fertile brain have already won for him a highly reputable position as an Australian litterateur. The plot of the cantata (published by Messrs. Reading and Wellbank, and Messrs. Elvy and Co.) is of a very simple character, conveying the circumstances under which two Australian colonists, named Francis Norman and Henry Mortimer, find themselves when welcomed back to the West of England, after some years' absence in one of those colonies. They are received as strangers by a party of rejoicing peasants, who, according to ancient custom, are going round to their friends with the compliments of the season. The piece opens with a Christmas carol, apparently based upon one of those hearty old compositions which have been sung for hundreds of years in that part of England, and which is now presented to an Australian audience, purified from the alloy of a semi-barbarous dialect, and recommended by the music composed for it by Mr. James C. Fisher. The hero, Francis Norman, finds himself about to be supplanted by Sir Richard Trevelyan in the affections of his lady love, Alice Polwarth, falsely informed that her lover was dead, but who, nevertheless, manages in the end to appear and disconcert his presumptuous rival. The lady declares her unwavering affection for Francis, satisfies him that she has always been faithful to his memory, and the remainder of the evening is then passed in Christmas festivity. The personages introduced are Lady Alice Polwarth and Barbara (a peasant girl), for the soprano; Helen, a contralto; Francis Norman, tenore; Henry Mortimer, baritone; Sir Richard Trevelyan, basso; Arthur, second tenore; and Waller (an old farmer), basso. There is every reason to believe that this cantata will become a favourite entertainment. The closing portion of the piece is excellent, both in respect of the words and of Mr. Fisher's highly appropriate and beautiful music.

"SYDNEY", The Musical Times [London, England] (1 May 1866), 298

The Concert of the Tonic Sol-fa Society was extremely successful, and was rendered additionally interesting by the first performance of a Cantata, entitled, Under the Holly, the words by Mr. Whitworth, and the music by Mr. J. C. Fisher, the conductor of the Society. The music of this cantata appears to be of a most pleasing character, but without possessing much claim to originality. Several of the songs and choruses were well received: and the introduction of the old carol, "God rest you merry gentlemen," sung by a band of children in the distance, produced an extremely pleasing effect . . .

[Advertisement], The Sydney Morning Herald (28 December 1868), 1

MUSIC . . . "I'VE WAITED AND WATCHED," from the Cantata Under the Holly, by Mr. J. C. Fisher. Price 2s. 6d., per post 2s. 8d. . . .
J. READING and CO., Music Sellers and Publishers, 356, George-street, Sydney.

"INSOLVENCY COURT. SATURDAY", The Sydney Morning Herald (14 November 1870), 2

SURRENDER - James Churchill Fisher, of Woollahra, professor of music. Liabilities, £330 11s 6d. Assets, ££85. Mr. Mackenzie, official assignee.

"NEW MUSICAL WORK", The Sydney Morning Herald (22 June 1875), 5

We are informed that Mr. James C. Fisher has been for some time engaged on the composition of a new cantata for soli voices and chorus, entitled "The Emigrants," the poem of which was published in the Sydney Mail of last Saturday. We understand that the subject was suggested to the talented lady who wrote under the nom de plume of "Australia" by Mr. Fisher; from the attractiveness of the theme, the excellence of the poetry, and the success of the composer's previous work, "Under the Holly," it may reasonably be anticipated that a welcome addition will be made to the somewhat scanty store of Australian music.

"TO THE EDITOR", The Sydney Morning Herald (20 May 1879), 5

Sir. In troubling you with a few remarks on the letter of Mr. Hector R. McLean, in your issue of Tuesday last, I do not share Mr. McLean's alarm and dissatisfaction at the appointment of Signor Giorza . . . I agree with Mr. McLean in his opinion that the cantata and march should perhaps have been thrown open to com petition. But I question whether much would have been gained by such a course. All experience proves that compositions 'got up to order' for special occasions are almost invariably very doubtful successes. The subjects being generally of local and ephemeral interest musical works of that character are seldom heard more than once, and certainly never by their publication repay the time, trouble, and brain waste of their production. We have few 'laureates', whether poetical or musical in Australia, and I do not think any of us, however ambitious of artistic renown, need envy Signor Giorza the barren honours he may gain by the performance of his cantata and march. Neither do I think that his nationality will induce him to ignore the claims of compositions other than those of the Italian school . . .

Mr. James Churchill Fisher, 1882

"Mr. James Churchill Fisher", Australian Town and Country Journal (22 July 1882), 17 (portrait above)

THE subject of our sketch, who is well-known as instructor in vocal music under the late Council of Education and the present Department of Public Instruction, and also as the apostle of the tonic sol-fa method of teaching music, introduced by the late Rev. J. Curwen, arrived in this colony from England in December, 1852, having previously studied and practised music as vocalist, teacher and conductor for several years. His first public engagement in this colony was that of conductor of the Sydney Choral Society, then meeting in St. James's school-room, in which he succeeded the late Mr. James Johnson. From 1855 to 1858 Mr. Fisher was engaged on the opera stage in conjunction with Misses Catherine Hayes, Anna Bishop, Sara Flower, the Howsons, Messrs. Laglaise, Conlon, Sherwin, Farquharson, Lavenu, G. Loder, and others, at the old Victoria and Prince of Wales Theatres, but having, in 1859, decided on relinquishing the stage he was appointed the first teacher of the Marshall Mount National School, in the Illawarra district. While there he introduced the tonic sol-fa system of teaching music for the first time in Australia, and his exertions were so well appreciated by the residents, that, on leaving, he was presented with a handsome and valuable testimonial.

In 1861 Mr. Fisher was removed to Fort-street Model School, and, subsequently, in 1862 was appointed head master of the Paddington National School. At this school children's vocal concerts were introduced, and were so successful that his abilities as a teacher, of singing were fully recognised by the Board of National Education, which formally approved of the tonic sol-fa method; and appointed Mr. Fisher to conduct classes for the instruction of teachers. On the inauguration of the late Council of Education in 1867, the appointment of instructor of vocal music to the department, including the training of teachers of both sexes, was offered and accepted, and on leaving Paddington school he was again the recipient of a valuable recognition of his services from the parents of his pupils.

Since then the subject of our portrait has been engaged in this work. As a conductor of over 150 public performances Mr. Fisher is, perhaps, better known to our general readers. Many will remember the concert presided over by him at the old Prince of Wales Theatre, on February 20, 1868, when 500 children and 200 adults, under the title of the Vocal Harmonic Society, performed in the presence of H R.H. the Duke of Edinburgh and the largest audience ever assembled in that theatre. In 1870, he conducted the great centenary musical festival at the old Exhibition Building, also in the presence of H.R.H. the Duke of Edinburgh, when 700 children and 1300 adults performed in no less than four consecutive concerts. He also presided over the children's choir at the unveiling of Captain Cook's statue in Hyde Park, in 1879, and at the opening of the late international Exhibition in the Garden Palace, when "The Emigrants" was produced, and, in most cases, his public services have been given gratuitously.

As a composer Mr. Fisher is not without fame. His first cantata, "Under the Holly," the libretto being written by Mr. Robert P. Whitworth, was produced, in the first instance, on January 30, 1866, and has been repeated many times with great success. Another entitled "The Emigrants," the words being by "Australie," was produced by the Petersham Musical Society in 1880, and it is his intention that they shall both be again produced in Sydney about Christmas next, both being of strong Australian interest, and a number of our prominent vocalists and instrumentalists having volunteered their services for the purpose. He has also arranged and composed the contents of the "School Song Books" used in the public schools throughout New South Wales, and as some hundreds of thousands have been sold, they must have met with public approval. It may not be out of place to state that as a teacher of vocal music Mr. Fisher must necessarily have had great influence in cultivating the tastes of the young of the colony, and considering that he has had over 3000 teachers in training under his tuition, since 1862, together with over 300 pupil teachers, who are now engaged in the tuition of over 40,000 children, or who have had the training of some 200,000 since that date, it is not too much to say that our home pleasures, social harmony, and church choirs have benefited very, largely by his exertions, a taste for a most elevating art has been induced and encouraged, and its lasting effects must be felt throughout generations to come.

By his patience and consideration Mr. Fisher has thoroughly won the respect and esteem of his pupils, and as evidence of the fact they are now preparing a testimonial to be presented to him shortly under the patron age of Sir Alfred Stephen, Lieutenant Governor, K.C.B., K.C.M.G., Sir Patrick Jennings, K.C.M.G., Hon. J. F. Burns, M.L.A., W. H. Piggott, Esq., M.L.A., and other gentlemen. Messrs. John Macintosh, M.L.C., and Andrew Fairfax will be happy to receive subscriptions, already promised, in order that the lists may be closed at an early date, and some suitable recognition be made to one who has worked so assiduously for the welfare, education, and amusement of the community.

[Advertisement], The Sydney Morning Herald (3 March 1885), 3

NEW Patriotic Song, "Hang out the Banner;" music by Churchill Fisher; 1s. CLARKE, 73. Pitt-street.

"Original Poetry", The Cumberland Mercury [Parramatta, NSW] (31 January 1891), 1

NATIONAL BIRTHDAY ODE. January 26TH, 1891 . . . J. C. F., Parramatta, 23/1/91.

"Death of Mr. J. Churchill Fisher", The Cumberland Argus and Fruitgrowers Advocate [Parramatta, NSW] (28 March 1891), 7 

Mr. James Churchill Fisher, one of our best known musicians, died on Saturday last, 20th instant (his sixty fifth birthday). Mr. Fisher had of late lived a somewhat retired life in this district; but in earlier years filled one of the highest positions in the musical circles of Australia. He was, of course, especially well known in N. S. Wales; and his abilities and long experience in this country together wont to make him perhaps the most representative man of his class in the colony. In his early life in the mother country he was for some, time one of the solo singers in Lincoln Cathedral, and in other respects his marked abilities were frequently sought after. In 1852 - in his 26th year - he came to Australia, and made his home in the colony, mainly in the neighbourhood of Sydney. He occupied for many years the position of Instructor of Singing in the National (and, later, the Public) schools of the colony. He was also conductor in succession of the Sydney and Newcastle Liedertafels; also of the Sydney Harmonic Choir, etc. Under his conductorship many oratorios (including the Messiah, Elijah and Samson) were produced in Sydney for the first time; and it was mainly under his direction that the series of musical entertainments were given in the Garden Palace during the International Exhibition of 1880-1. He appeared in many operas with such world-famed vocalists as Madame Anna Bishop, Madame Sarah Flowers, Madame Carandini, etc. As a composer he produced, besides minor pieces, two cantatas - "Under the Holly" and "The Emigrants." The latter, it will be remembered, has been performed in Parramatta on more than one occasion. He acted as organist successively in Pitt-street Congregational Church, and in York-street Wesleyan Church - two of the most important places of worship in the metropolis. In musical matters, Mr. Fisher's authority and judgement was most highly respected; and his unassuming manner and sterling qualities secured for him not only an additional amount of esteem, but the goodwill and friendship of very many of his follow colonists, of nearly all classes. It may also be mentioned that, as a member of the Masonic brotherhood, he took high rank; being District Grand Organist, besides Master and Past Master of various lodges in the metropolitan district. For some time prior to his death Mr. Fisher had been in feeble health; but lately he seemed to have taken a turn for the better. The end came somewhat suddenly; the immediate cause of death being effusion of the brain and apoplexy. The remains of the deceased gentleman were interred in Rookwood Cemetery on Monday, the funeral being largely attended.

"The late James Churchill Fisher", The Cumberland Mercury [Parramatta, NSW] (28 March 1891), 1 

ON Sunday last another "item of humanity," whose name was but a few years ago familiar throughout New South Wales, and who in his day and generation had aided materially in building up one of the most attractive branches of the country's educational system, was called to his long rest.

James Churchill Fisher was a native of Portsmouth (England), and very early in life he manifested decided symptoms of musical talent. When quite a youth he took the solo parts - in the choir of the Lincoln Cathedral. Before leaving the Old Country he had made a name for himself in musical circles. Mr. Fisher arrived in Australia in 1851, among his fellow passengers being Sir Patrick Jennings and ex-Judge Faucitt, and in the early days of his colonial life he was associated - and honourably associated at different periods - with such bright stars as Anna Bishop, Catherine Hayes, Sara Flower, the Carandinis, John and Frank Howson, Lavenu, Lascelles, and Farquharson. Forsaking the pleasant if somewhat Bohemian life of those early days Mr. Fisher entered the service of the old National Board of Education, and did duty for some time in the Illawarra and other districts. His special forte, however, being remembered, he was summoned to the Metropolis, and for many years filled the post of principal singing master in the Training and other schools in Sydney. Very many of the teachers now in the service of the Slate, remember him with feelings of esteem and affection; somewhat erratic now and then, he proved himself an able and conscientious teacher, and a true lover of his art.

There was a time when James Churchill Fisher was almost facile princeps in the musical world of Sydney, and few movements in that line were complete without his aid and advice. At different times he filled the offices of conductor of the Sydney Choral Society (in which capacity he produced some of the chief works of the master minds of the world, oratorios such as Elijah or The Messiah, etc., for the first time in Australia) of organist and choir-master at the Pitt-street Congregational Church, at the York-street Wesleyan Chapel, and other important positions. Mr. Fisher was the author of many and varied compositions - of the words as well as the music. Among the best known are his two cantatas, "Under the Holly," which in days gone enjoyed considerable popularity in Sydney, and "The Emigrants," more than once performed in Parramatta. The "Exhibition" concerts conducted by him, also will be remembered by many with pleasure.

He wielded the pen with considerable facility, and his writings, both of prose and poetry, were characterised by earnestness and grace. Had he not been lacking somewhat in sustaining energy, he would have won for himself no mean name in the field of literature. The last of his published pieces appeared but six short weeks ago, in the columns of this journal under the well-known signature of J.C.F. It was, a National Birthday Ode, and though written, it may truly be said, almost literally under the Shadow of Death (for to the writer of this short notice he said quietly, smiling the while in a rather melancholy manner; "I shall never publish another word; let it go, as it is,") no one can read the lines without feeling that they breathe the spirit of true, poetry. As a painter, too, James Churchill Fisher possessed attainments of no mean order; some of his landscapes especially possess considerable merit. For some years, - indeed more or less since leaving the service of the Department of Instruction, Mr. Fisher was in anything but robust health. A few weeks ago he suffered a paralytic stroke, which completely prostrated him, and to which he succumbed on Sunday last, his sixty-fifth birthday. He was buried on Monday at the Rookwood Cemetery, the Rev. Charles Taylor officiating. Mr. Fisher had been long connected with the Masonic body, and held high and important offices under it.

"Death of Mr. J. C. Fisher", Australian Town and Country Journal (4 April 1891), 25

By the death of Mr. J. C. Fisher, which occurred at Parramatta on March 22, Australia has lost a true son of art. As a composer and musician he had few equals in Australia; and although it is not generally known, the deceased gentleman was also an artist of no mean order, some of his landscapes being worthy of more than passing praise. His first great musical composition was the Christmas cantata, "Under the Holly," first produced in the old Masonic Hall, Sydney, about 1864, when it made a great impression, and established for Mr. Fisher a reputation which he enjoyed till his dying day. The words of the cantata were by Mr. E. P. Whitworth. "The emigrants", the libretto of which was from the pen of "Australie", was produced some years later, and in some respects was more successful, than the first. The bass solo in this cantata took first prize at the New Zealand Exhibition in a contest among resident Australians for best original solo. Mr. Fisher also composed numberless capital voice exercises, dance pieces, and school songs, the latter being noted for their beautiful harmony. Mr. Fisher at one time was the possessor of an excellent tenor voice and sang with Mr. C. Santley in a duet on the occasion of that gentleman making his first public appearance in the old country. He also often sang with "Jack" Hatton, with whom he was a fast friend. He was for several years teacher in the national schools of this colony, and his great musical abilities soon manifesting themselves he was appointed, a few years later, musical instructor under the Council of Education, which position he held till a few years back. Mr. Fisher's name is also associated with many of the leading musical societies of Sydney. The deceased gentleman had been ailing for a long time past from paralysis, and his death on March 22 cannot be considered other than a happy release. His remains were interred at Rookwood on March 23, the Rev. C. Taylor, of Parramatta, officiating.

Musical works (extant sources):

The singing class manual, part 1 (Sydney; [The author], 1855)

Copy of at State Records Authority of NSW, NBNE/9, 1/372, folio 301 (see image above)

Under the holly, a cantata, words written by Robert P. Whitworth, music composed by James C. Fisher, for the Sydney Tonic Sol-Fa Association [word book only] (Sydney: Reading & Wellbank, 1865)

Musical numbers from the above published separately:

The land of gold, song, from the cantata of "Under the holly", as sung by Mr. Andrew Fairfax, words by Robt. P. Whitworth, music by Jas. C. Fisher (Sydney: G. Elvy, [1866]) (DIGITISED)

I've waited and watched, ballad, from the cantata "Under the holly", word by R.P. Whitworth, music composed and respectfully dedicated by permission to the countess of Belmore, by James C. Fisher (Sydney: J. Reading, [1868]) (DIGITISED)

A manual of the tonic sol-fa method, part 1; a complete exposition of the system as taught in the Public and Denominational Schools of New South Wales, with a large number of progressive exercises, by James C. Fisher, Singing Master to the Council of Education (Sydney: J. J. Moore, [1869])

[Advertisement], The Sydney Morning Herald (6 October 1869), 8 

Songs for home and schools, tonic sol-fa edition (Sydney: J. J. Moore, [1869])

[Advertisement], Sydney Mail (13 January 1869), 1 

Advanced school song book, a collection of songs for the senior classes in schools, selected, edited and arranged for equal voices, by James C. Fisher [2nd. ed.] (first edition, Sydney: J. J. Moore, 1870) 

Elementary School song book, part 1, selected, edited and arranged for two equal voices by James C. Fisher [2nd ed.] (Sydney: J. J. Moore, [n.d. ? 1873]) 

Elementary school song-book [part 4]: a collection of songs for the junior classes in schools, selected, edited and arranged for equal voices by James C. Fisher (Sydney: J. J. Moore, 1876) 

[Review], Australian Town and Country Journal (13 April 1878), 28

The emigrants, a dramatic cantata, poetry by "Australie", music by J. Churchill Fisher [word book only] (Sydney: [s.n.], 1880) 

ASSOCIATIONS: "Australie" = Emily Matilda Manning (1845-1890) (text, 1875)

Hang out the banner, Australian patriotic song and chorus, written by O. S. Wheeler, composed by J. Churchill Fisher [Sudan campaign] (Sydney: By the composer, [1885]) (DIGITISED)

Bibliography and resources:

Robin S. Stevens, "James Churchill Fisher: Pioneer of Tonic Sol-fa in Australia", in Jane Southcott and Ros Smith (eds), Community of researchers: proceedings of the XXIInd Annual Conference (Melbourne: Australian Association for Research in Music Education, 2002), 172-82;dn=672029095392530;res=IELHSS (PAYWALL) (FREELY DOWNLOADABLE PDF)

FISHER, Thomas Edmondson

Musician, bandmaster, mayor of Grenfall, composer

Born France, ? February 1830
Arrived Adelaide, SA, 1852
Died Grenfell, SA, December 1912 (TROVE tagged by Australharmony) (shareable link to this entry)


[Advertisement], The Grenfell Record (4 October 1879), 2

"SONG", The Grenfell Record (25 November 1882), 2

"The Hospital Ball", The Grenfell Record (12 November 1898), 2

. . . For some time past, there had been indications that the mobilisation of Mr. Fisher's orchestra was in progress: oft in the stilly night the air vibrated with the deep tones of the double bass, at the offset, causing dwellers in suburbs or the stranger within the gate to wonder whether they heard a voice from the tombs, or the warning note of Mr. Wragge's latest meteorological demon, Marco Polo. Coming nearer, many other instruments were heard under skilful manipulation, and one harmonious whole evidenced the successful efforts of a strong combination: cunning players upon stringed instruments, persuasive whisperers into brazen ears; a deft tintinabulator of ivories, and a r-r-r-rat-tat-tatter on the tenor-drum . . . On Wednesday night, the music was a great attraction, and completely justified anticipation. The band, winch was stationed below the stage, and occupied an orchestral-like enclosure, not far from the madding crowd, consisted of: - First violin, Mr. T. E. Fisher; second violin, Mr. R. Newman; cornet, Mr. J. Quigley; piano, Mr. E. H. Howarth; 'cello, Mr. T. Rabbets; double bass (string), Mr. W. Rabbets; tenor drum, Mr. H. Howarth (Mr. J. Dickinson - trombone - was unavoidably absent). Conductor, Mr. T. E. Fisher.

"OBITUARY", The Grenfell Record (17 December 1912), 2

. . . Mr. Fisher was born in France, but his school days were passed at Everton, Lancashire; he would have been 83 in February next. He received a superior education, and had travelled in many parts of the world. He was an excellent musician, and was at home with many instruments, and this accomplishment enabled him to render invaluable service, both in the social life of the town and in aid of its many institutions. Mr. Fisher came to Grenfell in 1866, and with the exception of a short residence in Parkes, from whence he returned in 1875, has been here ever since, and for many years and until quite recently, was senior partner in the well-known firm of Fisher and Frazer, of the Union Brewery. For many years he took an active part in the chief affairs of the town, and was perhaps the most outspoken and independent of all our public men . . .

FITTIPALDI, Eduardo (Eduardo FITTIPALDI; Chevalier FITTIPALDI; Signor FITTIPALDI; Edvardo)

Pianist, teacher, conductor, composer

Born Italy, c. 1844/5
Arrived Victoria, by February 1884
Died Mosman, NSW, 27 June 1910, aged 65 (TROVE tagged by Australharmony) (shareable link to this entry)


"INVITATION CONCERT", Hamilton Spectator (21 February 1884), 2 

[Advertisement], The Horsham Times (14 March 1884), 4

[News], The Argus (24 October 1890), 4

[News], The Argus (9 January 1891), 5

The Victorian Orchestra gave its usual bi-weekly concert at the Town-hall last evening. There was a good attendance, and the programme proved thoroughly interesting to the audience. The opening number was a novelty in the shape of an overture by Chevalier Fittipaldi, a Melbourne musician. It was composed in 1887 as the prelude to an opera under the title of "Bianca Capella" which has never seen the light of the stage. The overture is written in a good style, and met with a favourable reception . . .

"SIGNOR FITTIPALDI'S ARRIVAL", The Sydney Morning Herald (3 July 1907), 12

"DEATHS", The Sydney Morning Herald (29 June 1910), 8

Musical works:

List unto my pleadings (romanza; words from the Italian by Albert G. Dawes; music by E. Fittipaldi) (Melbourne: Atkin, Crawford &​ Co., [188-]) (DIGITISED)

For Britain, one and whole (song for one or two voices written and composed for the Imperial Federation League of Victoria, words by H. D' Esterre Taylor; music by Chevalier Ed. Fittipaldi) ([Melbourne]: G. Tytherleigh for the Imperial Federation League of Victoria, [1895?]) (DIGITISED)


Actor, manager (Prince of Wales Theatre, Sydney)

Born Ireland, c. 1831
Arrived Melbourne, VIC, 25 October 1859 (per Huntress, from Boston, 3 July)
Departed Australia, early 1868
Died New York, USA, 31 August 1885 (TROVE tagged by Australharmony) (shareable link to this entry)


"SHIPPING. ARRIVED (HOBSON'S BAY)", The Age (27 October 1859), 4 

October 25 — Huntress, American ship, 650 tons, W. Owens, from Boston 3rd July. Passengers - cabin: Mr. and Mrs Fitzgerald; and eleven in the steerage. Wilkinson Brothers and Co., agents.

"THEATRICALS. PRINCE OF WALES. ITALIAN OPERA", Bell's Life in Sydney and Sporting Reviewer (9 June 1860), 2 

. . . "Traviata," popularly known as "Camilo" was the "great card" of Wednesday evening: the "mounting" of which eclipses in splendour all Mr. Fitzgerald's previous managerial efforts - the ball room scene being grand in the extreme . . . Before we close our notice we must not forget the Conductor of the Operra, Mons. J. Paltzer . . .

ASSOCIATIONS: Eugenio Bianchi (vocalist, operatic manager); Jacques Paltzer (conductor)

[William Henry Williams], "DEATH OF Mr. ALEXANDER FITZGERALD", The Lorgnette (12 November 1885), 2 

The latest news from America notifies the decease of the above excellent actor and genial gentleman, which sad event took place at St. Catherine's Hospital, New York, from a severe attack of inflammation of the brain, on the 31st of August last (1885). He was buried shortly after by the committee of the Actors' Fund - one of the most successful institutions in America. The late 'Alec' Fitzgerald - as he was affectionately called by his brother and sister professionals - was born in Ireland, about 1831, and with his parents went to America when very young. His first appearance as an actor was at the National Theatre, Cincinnati, Ohio. After a time he went East, and played at the Bowery, New York, during the summers of 1855, 1856, and 1857, and in the ensuing year at the Broadway, in New York. At the end of the year, after a professional visit to some other American towns, he sailed for Australia. His first appearance in this part of the world took place at Coppin's Olympic, on the 3rd of Nov. 1859, when he appeared as Dan Macraisy, in the old-fashioned drama of Jonathan Bradiford. He quickly became a favorite with the public, and played a series of fine characters which speedily brought him into prominence. When Mr. Barry Sullivan became lessee and manager of the Theatre-Royal, Melbourne, he at once secured the services of my old friend 'Alec,' and never regretted his discernment in securing the services of so good an artist. On several occasions the late Mr. Fitzgerald played the part of Connor the Rash, The Knight of Arva, and by many competent critics was considered more than equal to the late Thomas Hudson, the Irish comedian, who made his Australian debut in that character at the Theatre Royal, Melbourne, March 14, 1859. When "Arrah-na-Pogue" was first produced in Australia at the Theatre Royal, Melbourne, by Mr. Barry Sullivan, Nov. 11, 1865, the late Mr. Fitzgerald appeared as Colonel Baginal O'Grady, and in that character achieved a signal success. Early in the year 1868 he returned to America fulfilling positions in Boston, Chicago, and other principal cities, as character-actor, stage manager, and leading man, until some few months before his demise. His first wife, the esteemed lady who was with him throughout his colonial tour, died in 1870. His second marriage took place on the 20th of May, 1873, when he espoused Miss Mary Orton. The late Alec. Fitzgerald was generous to a degree, and was more his own enemy than that of any other person.
W. H. W.


Soprano vocalist

Active Melbourne, VIC, by April 1855 (shareable link to this entry)

? See also Mrs. WALLACE


Soprano vocalist

Active Melbourne, VIC, by February 1856 (shareable link to this entry)


The documentation on these 2 singers (probably unrelated) is not always easily separable, and for convenience It is given here together for the time being.


"THEATRE ROYAL", The Argus (16 April 1855), 5 

The concert room of the embryo Theatre Royal was crowded on Saturday night. The orchestra at this establishment is very efficient . . . Mrs. D'Alton was the only vocalist on the occasion . . . Miss Louisa Swannell, a great favorite here, is expected to make her reappeaiance this evening. A Miss Fitzgerald, of whom we at present know nothing, is also spoken of as likely to appear at this establishment.

[Advertisement], The Argus (21 April 1855), 8 

CONCERT HALL, THEATRE ROYAL. PROMENADE CONCERT. Miss Fitzgerald is engaged, and will make her first appearance this evening,
Miss Swannell and Mrs. D'Alton are also engaged. Conductor, Mr. Callen.
Part I . . . Song - Up to the Hills; Miss Fitzgerald - Barnett . . .
Part 2 . . . Ballad - Sweet Mary of the Vale, Miss Fitzgerald - Ransford . . .

"CONCERT HALL", The Argus (23 April 1855), 6 

Herr Veit Rahm, the popular performer on the Zither, has been engaged ppged at this establishment. A Miss Fitzgerald made her debut on Saturday, and met with a favorable reception, although evidently suffering from extreme nervousness . . . Mrs. D'Alton and Miss Louisa Swannell are pursuing a most successful career, both ladies being nightly encored . . .

[Advertisement], The Argus (14 July 1856), 8 

KILMORE. - Grand Concert given by Herr Veit Rahm, the Celebrated Tyrolese Singer, Miss Fitzgerald, Mr. G. Hamilton, on Saturday, the 21st, and Monday, the 23rd July.

[Advertisement], The Argus (9 August 1856), 8 

SATURDAY EVENING GRAND CONCERTS. By Special Permission of his Excellency the Governor,
JAMES ELLIS, Late of Cremorne Gardens . . . begs to announce that . . . he will open
ASTLEY'S AMPHITHEATRE, On Saturday Evening next, For a short series of GRAND WEEKLY CONCERTS, On the same scale of splendor and completeness
as the celebrated Wednesday Evening Concerts of Exeter Hall, London.
Grand Band of Thirty Performers, Conductor: Mr. Callen.
Vocalists: Mrs. Testar; Mrs. Creed Royal; Mrs. Rickards; Miss A. Fitzgerald; Mons. Barre; AND Mr. Johnson . . .

"MOUNT BLACKWOOD (FROM OUR CORRESPONDENT) 22nd October, 1855", The Age (25 October 1855), 6 

We have plenty of amusements now at Blackwood. I may mention the splendid Concert Room belonging to the Golden Point Hotel, where Miss Fitzgerald, and Mr. Sawkins, a very clever composer of national songs, nightly delight the public of Blackwood.

[2 advertisements], The Argus (11 February 1856), 8 

MISS FITZGERALD, the charming vocalist, will Sing at Williams's Benefit to-night. Be in time.

DON'T Forget Charley Williams's Benefit, at the Queen's Arms, Emerald Hill, tonight.

[2 advertisements], The Argus (4 March 1856), 8 

IMMENSE ATTRACTION, National Hotel, Bourke-stieet. Engagement of Mr. J. W. Morgan, the celebrated Basso.

NATIONAL MUSIC HALL, Bourke-street. - Engagement of Miss Fitzgerald, the admired Soprano, with a Talented Company.

[Advertisement], The Argus (15 March 1856), 8 

NATIONAL MUSIC HALL, Bourke-street. Grand Concert Every Evening in the above well-known and splendid Saloon. The following artistes will appear :- Miss Fitzgerald and Messrs. Bardini, Macdonald, Morgan, and Cassidy; Pianist, Mr. Piper. Proprietor, Mr. Hutchinson.

[Advertisement], The Age (5 November 1856), 1 

NATIONAL MUSIC HALL, Bourke street east. - Engagement of Mrs. Wallace (late Miss Fitzgerald) the much admired Soprano.

[Advertisements], The Argus (25 April 1857), 8 

GEELONG MUSIC HALL, Sir Charles Hotham Hotel. - Miss FITZGERALD, the celebrated Irish Ballad Singer, will appear nightly . . .
Mr. NEWMAN, the unrivalled Comic Singer . . . Miss SUNDERLAND In favourite sentimental songs . . . Mr. WILLIAMS . . . in his Shakspearian comicalities . . . Mons. Greno, Violinist. Master Bush, the Colonial Wonder, Pianist . . .

[Advertisement], Bendigo Advertiser (3 November 1856), 3 

The following talented artistes hay# kindly volunteered their services on this occasion: -
MISS LOUISA FITZGERALD, The celebrated Soprano;
MR. PADDY DOYLE, The inimitable Irish Comic Singer;
MR. DONITHORNE, The favorite Basso, and delineator of Russell's songs;
MR. J. BURNS, The Comic characteristic Singer; MR. J. DWYER, The celebrated Dancer, will appear.
Conductor and Pianist, MR. J. W. WORDSWORTH, Assisted by Mr. Monaghan, Violinist, and Mr. Middleton, Violoncello . . .


Theatrical dancer, professor of dancing, school-master, convict

Born Manchester, England, 1805
Arrived Sydney, NSW, 25 July 1827 (convict per Guildford, from England 22 March)
Active Sydney, NSW, by January 1834
Married ? Hannah COLLINS (c. 1815-1869), NSW, c. 1834
Died Forest Lodge, Sydney, NSW, January 1886, aged 84 years (TROVE tagged by Australharmony) (shareable link to this entry)


THE FOLLOWING SENTENCES HAVE ALSO BEEN PASSED", Manchester Courier and Lancashire General Advertiser (11 November 1826), 4

Transported seven years . . . Henry Corlee, 20, and Dennis Fitzgerald, 22, for stealing handkerchiefs . . .

Convicts, bound indentures, Guildford, 1827, fols. 117v-118r; State Records Authority of NSW (PAYWALL)

60 / Fitzgerald, Denis / [age] 22 / reads / Catholic / [born] Manchester / Play actor / Ho. Rob'y / [tried] Manchester / 23 October [1826] / 7 years / [height] 5' 4" . . .

1828, NSW census, general muster; State Records Authority of NSW (PAYWALL)

4443 / [Fitzgerald] Dennis / 23 / Guildford / 1827 / 7 years / Cath. / [employment] Wm. Carter / [Residence] Hunter River

Certificate of freedom, 22/1307; 22 November 1833; State Records Authority of NSW (PAYWALL)

Prisoner's no. - 27/1079 / Name - Denis Fitzgerald / Ship- Guildford / Master - Johnson / Year - 1827 / Native Place - Manchester / Trade or Calling - Laborer / Offence - House Robbery / Place of Trial - Lancaster Q.S. / Date of Trial - 23 October 1826 / Sentence / 7 years / Year of Birth - 1805 / height 5 feet 4 & 1/4 inches . . . Had a Ticket of Leave No. 32/707 dated 20 July 1832, now surrendered & cancelled

[Advertisement], The Sydney Gazette and New South Wales Advertiser (11 January 1834), 1

THEATRE ROYAL, SYDNEY . . . THIS EVENING . . . A Comic Dance by Mr. Fitzgerald . . .

[Advertisement], The Sydney Herald (13 January 1834), 3

Theatre Royal, Sydney. THIS EVENING . . . MR. FITZGERALD will give his much admired COMIC DANCE . . .

"THE THEATRE", The Sydney Gazette and New South Wales Advertiser (14 January 1834), 2

. . . Between the play, and After-piece, Mr. Fitzgerald performed a Comic Dance in such a manner, as justly called forth the warmest plaudits of the audience. Mr. F. would be considered no contemptible acquisition at the second rate London Theatres . . .

"SYDNEY THEATRICALS", The Sydney Gazette and New South Wales Advertiser (19 April 1836), 3 

. . . Fitzgerald's Clog Hornpipe seemed to be much admired; it was encored. We may just observe, en passant, that if Mr. Fitzgerald had as much grace as nimbleness in all his movements, it would be no disadvantage to him . . .

"THE THEATRE", The Australian (23 September 1836), 2 

. . . A little boy has made his debut as a dancer. Mr. Fitzgerald must keep alive his practice, or this lad's rising genius will pluck those laurels which have hitherto been all his own.

"NEWS OF THE DAY", The Sydney Monitor (16 November 1836), 2 

. . . Two seamen were taken into custody on last evening by the constable on duty in the gallery at the theatre, for dancing sympathetically with Mr. Fitzgerald, who was then dancing the sailor's hornpipe on stage in the character of a sailor. They were discharged by the Bench with an admonition to restrain their excitement within moderate bounds on their next visit to the Theatre . . .

"THE THEATRE", The Sydney Times (23 September 1837), 2 

On Thursday se'nnight the Drama of The Evil Eye was performed for the first time in this colony, for the benefit of Master Jones and Mr. Fitzgerald . . .

ASSOCIATIONS: "Little boy" (September 1836 above), Stephen Jones (probably Fitzgerald's pupil)

"ROYAL VICTORIA THEATRE", The Sydney Herald (5 July 1839), 2 

TO-MORROW, July 6, 1839 . . .
After which, the favorite Hibernian Pas de Deux, by Mr. Fitzgerald and Miss Lazar . . .

ASSOCIATIONS: Rachel Lazar (dancer)

[news], The Australian (9 November 1839), 3 

Messrs. Collins and Fitzgerald take a joint benefit on Monday next. These gentlemen are old servants of the public - the latter in particular has always been a great favourite; we are not aware of any of the members of the Corps Dramatique, who have been honored with so much applause and so many encores as this gentleman has, and well has he merited them, though his talent may not be of the first order. Yet it is of that kind which has given the most satisfaction; no performance on the Sydney stage can possibly be perfect, unless Mr. Fitzgerald appears in it. We will pass over his claims as an actor, and notice him in the discharge of his duty as principal dancer; it matters little, whether Mr. Fitzgerald amuses' his auditors with Hornpipes, Comic Dances, Real Native Fandangos, he is sure to please, and his exertions have always been honored with an encore . . .

"ROYAL VICTORIA THEATRE", Australasian Chronicle (9 January 1841), 2

THIS EVENING (Saturday), January the 9th, 1841, will be performed THE OLD GENTLEMAN.
Dance, by Madame Veilburn's Pupils.-
Dance, Mr. Fitzgerald . . .
C. KNOWLES, Stage Manager.
T. SIMES, Acting Manager.

"THEATRICALS", Sydney Free Press (22 January 1842), 2 

We perceive by an advertisement in another column, that Messrs. Dyball and Fitzgerald will take their benefit at the Victoria on Monday night . . . Mr. Dyball is a very fair performer, and during the present season, has made considerable improvement in the histrionic art, he is therefore well deserving of the encouragement of the public. Respecting Mr. Fitzgerald, we can only say, that he is an excellent dancer, and in that capacity, is a highly useful man to the establishment . . .

[Advertisement], The Australian (27 October 1846), 2

. . . Aboriginal dance, by Mr. Fitzgerald . . .

"ROYAL VICTORIA THEATRE", The Sydney Morning Herald (27 May 1847), 2

Song, "Kate Kearney," Madame Carandini.
The Bohemian Polka, Signor Carandini, Misses E. and F. Griffiths.
Song, "Death of Nelson," Mr. J. Howson.
Naval Hornpipe, Mr. Fitzgerald . . .

[Advertisement], The People's Advocate and New South Wales Vindicator (24 July 1852), 2 

MONDAY AND TUESDAY, JULY 26 & 27 . . . Medley Dance, Mr. Fitzgerald . . .

[Advertisement], Illawarra Mercury (25 August 1856), 6 

MR. FITZGERALD'S First Quarterly Ball, at Mr. Cronan's Macquarie River, on MONDAY, 1st September.
Tickets, 5s.; Dancing, at Eight o'clock.

[Advertisement], Illawarra Mercury [Wollongong, NSW] (15 September 1856), 7 

MR. FITZGERALD, Teacher of Dancing, from Sydney.
For direction apply at the Mercury Office.

"Funerals", The Sydney Morning Herald (11 January 1886), 14 

THE FRIENDS of the deceased Mr. DENNIS FITZGERALD (first dancing master of Sydney) are respectfully invited to attend his Funeral; to move from his late residence, 77, St. John's-road, Forest Lodge, THIS (Monday) AFTERNOON, at quarter to 2 o'clock, for the Necropolis. ROBERT F. WOOD and CO., Undertakers, 807, George-st. S.; and Darling-st., Bal'n.

"THE LIVES OF GREAT MEN", Western Herald (4 February 1891), 2 

JOSEPH STAUNTON DONOHOE, ESQ. . . . Mr. D. married in 1879, Miss Rebecca Ryan, the daughter of well-known Sydney journalist. Mrs. D's. grandfather (Mr. D. Fitzgerald) was the first professor of dancing in the colony, and was master of the King's School, Parramatta . . .

Bibliography and resources:

Dennis Fitzgerald, Guildford, convict records 

FITZPATRICK, Catherine (Catherine MILLING; Mrs. Bernard FITZPATRICK)

Vocalist, choir trainer, school-mistress

Born Ireland, 1785
Arrived Sydney, NSW, 2 July 1811 (per Providence, with convict husband)
Died Sydney, NSW, 31 July 1861, aged 76 (shareable link to this entry)


Choral singer, memorist, historian

Born Dublin, Ireland, c. 1810; son of Bernard FITZPATRICK and Catherine MILLING
Arrived Sydney, NSW, 2 July 1811 (per Providence, with parents)
Married (1) Catherine POWER, NSW, 1839
Married (2) Margaret GILLIGAN, Goulburn, NSW, 1845
Died Goulburn, NSW, 8 November 1877, in his 68th year (TROVE tagged by Australharmony) (NLA persistent identifier) (shareable link to this entry)


Catherine Fitzpatrick and family accompanied her convict husband, Bernard, to New South Wales, on the Providence in 1811. Having lived at Parramatta and Windsor, the Fitzpatricks moved into Sydney in 1817, and shortly afterwards Catherine formed a choir for the informal Catholic chapel set up in the house of James Dempsey (not, as often reported, William Davis) after the arrest and expulsion from the colony of the priest, Jeremiah Flynn, in May 1818. As her son Columbus remembered in 1865:

I knew [James Dempsey] when I was a boy; he was then a rich man and used to often say nothing on earth gave him so much pleasure as to have it in his power to oblige a Catholic . . . when Father Therry came to the Colony [in 1820] he was surprised and delighted to find a couple of boys able to serve Mass and a good few people who could sing the church services, for my mother and a man named McGuire used to meet at Mr. Dempsey's to teach the youth of both sexes to sing, long before the arrival of Father Therry.

His brother Ambrose Fitzpatrick provided further detail in a letter to archbishop Moran in 1884 (transcribed [Duffy] 1866, 43-44):

It was in the house of Mr. James Dempsey in Kent Street . . . where the Blessed Sacrament was housed for a short time . . . To his house a few of the. Catholics used to resort on Sunday evenings to hear or assist in singing the Vespers. (My mother, rest her soul, being the leader of the singing.) . . . He had residing with him several old men who formed a little confraternity, as I was given to understand, who used to say the Rosary together on work days and the public came on Sunday evenings to join in the vespers.

Catherine apparently continued to train and direct the choir into John Joseph Therry's tenure, though, on Columbus's testimony, probably handed over control to the military bandmasters Joseph Reichenberg and Thomas Kavanagh while they were in Sydney between 1824 and early 1827.

Thereafter, according to Lea-Scarlett and Smith, Catherine continued directing the choir, and Waldersee noted an incident, one Sunday in April 1829, when she engaged in a dispute with the priest Daniel Power, who:

went up into the gallery where Catherine and two of her sons were singing in the choir. An argument ensued and the priest finally turned the Fitzpatricks out.

A year later when St. Joseph's chapel opened, she continued to conduct a choir there into the early 1830s.

Columbus's Reminiscences, remain a principal source of specific information about Catholic chapel music in the 1820s, and in particular details of the activities of Reichenberg and Kavanagh and their bands.


"DEATHS", The Sydney Morning Herald (3 August 1861), 1

On the 31st ultimo, at her residence, Union street, Sydney, Catherine, relict of the late Mr. Bernard Fitzpatrick, aged 76 years.

[Columbus Fitzpatrick, letter 1] "To the editor . . . C. FITZPATRICK, July 3rd, 1865", The Goulburn Argus (? July 1865); transcribed in full [Duffy] 1966, 13-18

In your issue of last Saturday [1 July 1865], after giving an account of the terrible misfortune that has occurred to the city of Sydney by the burning of St. Mary's Cathedral, you gave a short account of the laying of the foundation-stone, etc., and as there are now but few alive who were present on that occasion, and none who had a better opportunity of seeing and hearing all that occurred than I had, I think I would be remiss if I did not give you such of the details of that day's proceedings as I can call to mind upon so short a notice . . .

[14] . . . From the departure of Father O'Flynn until the arrival of Fathers Connolly and Therry, the Catholics met in Sydney at the house of a good old man named James Dempsey, on all Sundays and holydays, and there offered up prayers to the Almighty in their own way . . .

[16] . . . At all events [on 29 October 1820, Macquarie] the Governor consented to lay the first stone of the first Catholic church in Australia. The [17] day was fixed, and everyone of the officials, taking the cue from government house, tried who could do most to forward the work. Father Therry, who never put his light under a bushel, strained every nerve to make the scene an imposing one. The trenches were dug out, and a large quantity of stone placed on the ground; a marquee was erected, in which Mass was celebrated, and a procession formed which made a round of the site, while the choir chanted the various hymns appropriate for the occasion . . . I was then a boy serving at Mass, and it was part of my duty to hold the trowel until the time came for Father Therry to present it to the Governor . . .

[Columbus Fitzpatrick, letter 2] "To the editor . . . C. FITZPATRICK, [undated in Duffy]", The Goulburn Argus (? 1865); transcribed in [Duffy] 1966, 18-24

Sir, I promised you when concluding my last letter . . . to give you as my leisure served some further of my recollections on the progress of Catholicity in this country, as exemplified by the unremitting efforts made by Father Therry . . . [19] . . . I am led to this train of thought by reading a little work, published in Sydney, bearing the title of "St. Mary's," the writer of which . . . makes several mistakes . . . the writer says that Father O'Flynn left the Blessed Eucharist in the house of a devoted Catholic near the present site of St. Patrick's church. This is another mistake. Father O'Flynn left the Blessed Sacrament, in a pix, at the house of the late Mr. James Dempsey of Kent Street, near to Erskine Street, and next door to the then residence of Mr. Thomas Day, the boat-builder, which is not near St. Patrick's church. When Father O'Flynn came to this country he found, amongst other good and zealous Catholics, the late Mr. James Dempsey, a stonemason by trade, and who, having neither wife nor children in this country, was enabled to devote the better part of his time to works of charity and religious exercises . . . [when O'Flynn was forced to leave Sydney he] left the Blessed Sacrament in a pix with Mr. Dempsey, who consecrated the best room in his house for the safe-keeping . . . [20] . . . This room was converted into a little chapel, and it was no unusual thing on a Sunday, when Catholics could assemble to join in the prayers at Mass which were being read in that room, to see many of them kneeling under the verandah, aye even in the street . . . Catholics still continued to meet at Mr. Dempsey's until the arrival of Father Conolly and Father Therry . . . Among the many who came from distant parts in those days, there was one who I particularly remember, on account of his not only being a very fine man but also a very fine singer: we used to sing all the vespers in those days as they did in St. Mary's lately; his name was Francis Kenny, and he was afterwards a very wealthy man in this district, and was the father of the present Kennys, of Kenny's Point . . .


[Columbus Fitzpatrick, letter 3], "To the editor . . . C. FITZPATRICK, [undated in Duffy]", The Goulburn Argus (? 1865); reprinted as immediately below, and transcribed in full [Duffy] 1966, 25-32

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

. . . That you may fully understand how I became possessed of all this information, I may tell you that my mother was in her early life a Catholic schoolmistress in the City of Dublin, and that she followed my father to this country in 1811, when I was very young bringing an elder brother and myself with her. My mother had been reared a strict Catholic in times of persecutions in Ireland and had imbibed all the prejudices of that time against Government schools; she, therefore, determined at any and all risks to keep her children from schools where their Faith might be tampered with, and as there were none but Protestant schools in those days she was under the necessity of keeping us at home and teaching us herself, and as religion was in her opinion of paramount importance, she taught us not only our catechism and church services but also how to sing our hymns and vespers so that when Father Therry came to the colony he was surprised and delighted to find a couple of boys able to serve at Mass, and a good few people who could sing the church services, for my mother and a man named McGuire used to meet at Mr. Dempsey's to teach the youth of both sexes to sing, long before the arrival of Father Therry.

No man on earth loved music more than Father Therry did; he could not celebrate Mass in comfort without singing; he therefore went to great trouble to get the Catholic bandsmen to come and play at Mass. Sometimes the Colonel of a regiment would be jealous of his men playing in our church when he wished them to play at the church he went to, and then it was that Father Therry shewed the world his ability at persuasion, and if that failed, his unflinching determination to wrest from the authorities liberty of conscience for the poor soldier. Many is the battle he fought with majors, colonels, and governors on this subject, and often has he appealed to the Secretary for the Colonies or the Commander-in-Chief and as often as he did, so often did he gain a victory over these petty despots, and in four or five years after his arrival we had the finest choir in New South Wales.

In 1825 there were a great number of soldiers in this country and as it happened, the Bandmaster (Mr. Cavanagh) of the 3rd Buffs was a Catholic, as also the Bandmaster (Mr. Richenberg) of the 40th Regiment, an Italian and a great musician. Both regiments were stationed in Sydney at that time, and as Mr. Richenberg was only a hired bandmaster to the 40th Regiment he used to devote all his leasure hours to the instruction and formation of a real good choir, and I can say with truth that his exertions were crowned with success, for he had taught us to sing with his bandsmen, and it was a common thing to have five or six clarinets, two basoons, a serpent, two French horns, two flutes, a violincello, a first and tenor violin, and any amount of well-trained singers, all bursting forth in perfect harmony the beautiful music of our Church.

Oh! it makes my heart thrill when I think of those happy days. I have since then heard the organ of Saint Mary's; I have seen Dr. Reid, who was a great man, assisted by his sisters, and Miss Lane and a great body of singers, but they could not equal the choir formed by Mr. Richenberg. I never heard anything like it except once - that was the day on which our venerated Archbishop first landed in Sydney. On that occasion Dr. Ullathorne, new Bishop of Birmingham, had made every preparation for a grand High Mass, and poor Cavendish (who was drowned with his sister off Bradley's Head in after years) had charge of the choir; he exerted himself to the utmost and secured the assistance of a great cantatrice (Mrs. Rust) who happened to be in the colony at that time. Mr. Clarke the architect who was a fine singer also lent his aid, and those with the assistance of the regular choristers quite astonished the Bishop. Dr. Polding was only Bishop at that time and he did not expect to hear Mozart's Mass sung in Botany Bay, and well sung too: he was accompanied by several rev. gentlemen, some of whom were fine singers, amongst those were the Rev. Mr. Spencer, who afterwards went home, and the Rev. Mr. Sumner, who was the first priest ordained in these colonies. He could sing very sweetly at that time, but neither these nor the Rev. Mr. Watkins, who took charge of the choir, could ever equal Mr. Richenberg's choir, for he had so many bandsmen, and they played with such precision that finer music could not be found out of Europe.

There being as I said before two Catholic bandmasters in Sydney at that time, there was a spirit of emulation in the bands to see who could do most for the Church, and as Mr. Cavanagh the bandmaster of the Buffs was a fine singer, he gave us the benefit of his voice in addition to playing the violincello. Such choruses I have never since heard; we used to disturb Archdeacon Scott who used to officiate at times with Parson Hill - at St. James's, for our services were performed in the schoolroom in Castlereagh Street, which is quite close to St. James's, and although Archdeacon Scott and Parson Hill did all that men could do to seduce by promises of payment, by Government patronage or any other means, they never could induce one of our singers to apostatize, and although the bandsmen were allowed so much extra per day if they played in the church they would sooner play in the chapel for nothing, and I never knew of but one man who turned recreant, and even he got ashamed and came back after a while. I well remember how poor Pearson the organist of St. James's used to look after having his puny choir disturbed by one of our choruses, perhaps of a Christmas Day when our Gloria would be given with all the strength of our choir. Rich and poor, government officials and independent Protestants all came to hear the singing at Catholic Chapel, and often have I heard them say, "Well, really it is wonderful how these people can manage to get such a fine choir - we can't come near them." Nor could they . . .

ASSOCIATIONS: Joseph Reichenberg (master of the Band of the 40th Regiment); Thomas Kavanagh (master of the Band of the 3rd Regiment); James Aquinas Reid (musician); William Joseph Cavendish (organist); Margaret Rust (soprano vocalist); Francis Clarke (singer, architect); John Spencer (cleric, singer); Joseph Charles Sumner (cleric, singer; James Watkins (cleric, singer)

"Died" and "Funeral", The Goulburn Herald and Chronicle (10 November 1877), 5 

AT his residence, Auburn-street, Goulburn, on the 8th instant, COLUMBUS FITZPATRICK, aged sixty-eight years.

THE friends of the late MR. COLUMBUS FITZPATRICK are respectfully invited to attend his Funeral, which will take place THIS DAY (SATURDAY), the 10th inst., at THREE O'CLOCK p m. The procession will move from his late residence, Auburn-street. A. RICHARDS, Undertaker.

"DEATH OF MR. COLUMBUS FITZPATRICK", The Goulburn Herald and Chronicle (10 November 1877), 4 

It is with the most sincere regret that we have to announce the death on Thursday last of Mr. Columbus Fitzpatrick of this town at the age of sixty-eight. Mr. Fitzpatrick was born in Ireland, but came to this colony an infant, and he always considered himself and been considered an Australian. He received the rudiments of a fair education in Sydney, and there learned the trades of carpenter and builder. About forty years ago he settled in Goulburn and he has continued here ever since, following the trades mentioned, with which he combined that of undertaker. Being of an energetic nature and imbued with much public spirit, he took a leading part in all social and political questions . . . The deceased was of a warm and kind-hearted disposition, with considerable literary taste: and his knowledge of early events in New South Wales was so considerable that he was frequently advised to compile a history of the colony . . .

Bibliography and resources:

J. Cullen, "OLD-TIME PRIESTS. Father Jeremiah Francis O'Flynn", The Catholic Press (2 November 1916), 6 

E. J. Lea-Scarlett, "Fitzpatrick, Columbus (1810-1877)", Australian dictionary of biography 4 (1972)

Kit Smith, "The Veech Library Australian church music collection", The Australasian Catholic Record 82/2 (April 2005), 189-201

Edmund Campion, "A tradition in voice: Catherine Fitzpatrick", in Great Australian Catholics (Richmond: Aurora Books, 1997), 14

James Waldersee, "Father Daniel Power", Journal of the Australian Catholic Historical Society 2/2 (1967), (21-58), 37;dn=81114276463;res=IELAPA (PAYWALL)

[C. J. Duffy (journal ed.)], "Catholic religious and social life in the Macquarie era" [as portrayed in the letters of Columbus Fitzpatrick], Journal of the Australian Catholic Historical Society 2/1 (1966), (13-45), 17-19, 42-44;dn=81114276076;res=IELAPA (PAYWALL)

Patrick O'Farrell (ed.), Documents in Australian Catholic history: 1788-1883 (Sydney: G. Chapman, 1969), 32-33

Bernard Fitzpatrick ("Barney"), Australian royalty 

"FITZPATRICK, Bernard", Providence convict ship 

Bernard Fitzpatrick, Convict records 


Blind musician, ? convict

Born Ireland, 1804/5
Died Sydney, NSW, 26 September 1879, aged 74 (TROVE tagged by Australharmony) (shareable link to this entry)


Sydney City Coroner, Registers of Inquests and Inquiries, 1862-81; State Records Authority of NSW (PAYWALL)

No. 129 / September 29th / On Thomas Fitzpatrick. Aged 74 years . . . died from suffocation by drowning, but whether . . . accidental or otherwise the evidence does not enable us to say.

"Coroner's Court. SUICIDE BY DROWNING", Evening News (29 September 1879), 2

The city coroner held an inquest this morning at his offices in Hyde Park on the body of Thomas Fitz-Patrick, aged 74, a musician, and a native of Ireland. From the evidence it appeared that deceased went on Friday last to a dealer named Briggs, residing in Kent-street, and asked him to be allowed to leave his effects there, saying that he had a quarrel with his landlord and wished to move. Briggs refused to receive deceased's effects, but went with him to the Sir Waiter Scott Hotel, where he left them. Briggs had known deceived for five years, and he often heard him say he would destroy himself in consequence of his blindness, which made his life a misery. About 4 o'clock a waterman named John McCarthy saw deceased struggling in the water close to Pyrmont bridge. Assisted by a man who was on the bridge, he lifted him out of the water, and finding that he was breathing, McCarthy used such means of restoring animation as were in hie power, until senior-constable Power arrived with a cab and conveyed him to the Infirmary, where Dr. Vause for nearly an hour tried to restore animation by means of a galvanic battery and restoratives, but the old man died under the operation. The jury returned an open verdict. Deceased leaves no family in this colony, but is supposed to have three sons living in America. On his body was found a depositor's pass-book, of the Savings Bank of New South Wales, No. 142.006, showing a balance to his credit of 10 shillings. A depositor's pass-book of the Queensland Savings Bank was also found, together with other effects which he left at the Sir Walter Scott Hotel.

"CORONER'S INQUESTS", The Sydney Morning Herald (30 September 1879), 3

. . . I also found two letters addressed in the name of Thomas Fitzpatrick; I also found among deceased's effects a box with a violin and two bones in it, and a pair of green veils and green goggle glasses . . .



Active Beechworth, VIC, 1858 (? by see Thomas FITZPATRICK above) (shareable link to this entry)


"SMALL DEBTS", Ovens and Murray Advertiser (25 May 1858), 2

Thomas Fitzpatrick v John Mitchell. A claim for £2 10s for services as a musician. Verdict for complainant 16s and costs.



FITZ-STUBBS, Madeline Schiller (Mrs. Frank BLADEN)


FITZ-STUBBS, Percy (Thomas)

Go to main page Thomas Stubbs and his descendents

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