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A biographical register of Australian colonial musical personnel–F (Fla-Fz)

Dr GRAEME SKINNER (University of Sydney)


To cite this:

Graeme Skinner (University of Sydney), "A biographical register of Australian colonial musical personnel–F (Fla-Fz)", Australharmony (an online resource toward the history of music and musicians in colonial and early Federation Australia):; accessed 10 July 2020

- F - (Fla-Fz)

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 June 2020, and newly added documentation (including genealogical data) and Trove tagging now brings the page content up to 1860 close to completion.

FLANNAGHAN, James (bandmaster, 58th Regiment)


FLATAU, Berta Maud (Berta Maud FLATAU)

Composer (aged 10 years)

Born Morpeth, NSW, 28 June 1871
Died Forest Lodge, Sydney, NSW, 17 November 1882, aged 11 years (TROVE tagged by Australharmony) (shareable link to this entry)

Berta Maud Flatau, 1882


"BIRTHS", The Sydney Morning Herald (3 July 1871), 1

"Music and Drama", The Sydney Mail and New South Wales Advertiser (6 May 1882), 713 

[News], The Sydney Morning Herald (16 May 1882), 5

"Music and Drama", Australian Town and Country Journal (27 May 1882), 12

"Deaths", The Sydney Morning Herald (16 November 1882), 1 

FLATAU - November 13, at the residence of his parents, Bonatra, Forest Lodge, Reginald John Malcolm, son of John Marian and M. M. T. Flatau, aged 10 months.

"Deaths", The Sydney Morning Herald (18 November 1882), 1

FLATAU. - November 17, at the residence of her parents, Bonatra, Forest Lodge, Berta Maude, dearly beloved daughter of John Marian and M. M. T. Flatau, aged 11 years.

Musical work:

The Berta waltz by Berta Maud Flatau, aged 10 years, dedicated to my dear mother (Sydney: Elvy & Co., [1882]) (DIGITISED)

FLETCHER, Charles (Charles FLETCHER)

Musician, itinerant musician, band musician

Born London, England, c. 1815
Convicted Leicester Quarter Sessions, England, 3 January 1842
Arrived Hobart Town, VDL (TAS), 14 January 1843 (convict per Earl Grey, from Plymouth 5 October 1842)
Arrived Melbourne, VIC, late 1850 (TROVE tagged by Australharmony) (shareable link to this entry)



Leicestershire Mercury (8 January 1842), 2

"LEICESTERSHIRE. Epiphany Sessions . . . TUESSDAY, Jan. 4", Leicestershire Mercury (8 January 1842), 2

CHARLES FLETCHER, 27, charged with attempting to steal from the person of Prudence Adkins, on the 26th of October last, at Castle Donington. Prudence Adkins deposed that on the 26th of October, being Castle Donington statures, she was watching the policeman searching two girls, when she felt the prisoner's hand in her pocket. She then gave him in custody to the police. Mary spencer deposed to seeing the prisoner attempting to pick Prudence Adkin's pocket. Policeman Newbold who apprehended him said that prisoner stated if he had his hand in her pocket he had taken nothing. Prisoner, in defence, said he knew nothing about it - Guilty. Another charge against the prisoner for picking the pocket of Sarah Northridge, of Castle Donington, on the same evening, was gone into, and on which he was found guilty - seven years' transportation.

Charles Fletcher, convict record, Tasmanian names index; NAME_INDEXES:1392550; CON33/1/35$init=CON33-1-35p83 

8440 / Fletcher, Charles / Tried Leicester Q'r S, 3 Jan'y 1842 / 7 years
Emb'd 26 Sept'r 1842 / Arr'd 14 Jan'y 1843 / Protestant / Can read / Trade Musician on Board a Man of War /
Transported for Assault with intent to steal . . . / height 5/2 / Age 28 / [Native place ] London, Longacre /
. . . 23 May 1848 T. L.

"THE VAGRANT ACT", The Argus (12 December 1850), 2

Mr. Moor presided at the Police Court on Monday, and two or three cases under the Vagrant Act were brought before him. The first case was that of George Burdon, who was charged by Mr. Chief Constable Bloomfield with being a vagrant, having been fourteen days in Melbourne without having any other visible means of subsistence than that of going about from one public house to another playing "music" and asking alms. The defendant arrived from Van Diemen's Land in company with four others of the same stamp, who figured at the Collingwood election as "a band of musicians." When called upon to state how he obtained a living, Burdon said he brought about eight pounds with him from Van Diemen's Land, and that he had still three pounds left, that he was not aware that it was contrary to the law to play in public-houses; that he had been a fish hawker in Van Diemen's Land for ten years, and could produce many persons of respectability in Melbourne, who had known him in Launceston and Hobart Town; that he intended to follow the business of fish-hawker in Melbourne, and that he expected his brother, wife and family from Van Diemen's Land, with boats, masts, &c. Mr. Moor said he observed the man was described in the watch-house list as an "expiree," and he should like to know how the watch-house keeper had arrived at that conclusion. The watch-house keeper was consequently sent for, and said that, although he had not asked the man any question upon the subject, he had no doubt whatever that he was an expiree, nor indeed could any man with the slightest experience of such characters be mistaken. Mr. Moor considered the watch-house keeper ought not to have put the man down as an expiree upon merely his own conclusions, and that however little doubt there might be on the subject, he ought at least to have asked the question, or ascertained the facts before having prejudiced the accused party by merely assuming that he was an expiree. The man admitted readily that he was an expiree; that he hoped he should be allowed another chance; that he intended to go to work and get an honest living. Mr. Moor then pointed out to him the third section of the Vagrant Act, which requires that persons having been prisoners in Van Diemen's Land should register their names within a week at most after their arrival here. The man said he would register himself at once, but the fact is that not a single register has been made since the Act was passed, and there is no book kept for the purpose, so lightly have the provisions of the Act been though of. Mr. Moor said people talked a great deal about convictism from Van Diemen's Land, but if the Act were enforced he thought it would in great measure put a stop to it. Mr. John Stephen said the Act had been disallowed. Mr. Moor replied that no official intimation of that assertion had been received, and until the Act had been officially disallowed it remained the law of the land. - The bench allowed the man "another chance." Another man named Charles Fletcher, one of the same sort as Burdon, was also charged with being a vagrant He admitted that music was his "profession." and that he had been brought up in it from infancy. He was cautioned in the same way as his friend had been, and discharged upon a distinct promise that he would eschew music for the rest of his life. There are several others of the same gang still at large who will be apprehended if they remain in town.


Lecturer on music

Active Kew, VIC, 1859-62 (shareable link to this entry)


[News], The Argus (27 August 1859), 4 

Mr. Fletcher delivered a lecture on Music to the Kew Literary and Scientific Institute, on Thursday evening last. Mrs. Goodliffe, Mr. Angus, and other gentlemen kindly lent their assistance by giving some very pleasing vocal illustrations. There was a large attendance of members and friends.

ASSOCIATIONS: Mrs. Goodliffe (contralto vocalist); Silvanus Angus (bass vocalist)

[Advertisement], The Argus (13 May 1862), 8 



Violinist, band and orchestra leader

Born Beauvois, Pas-de-Calais, France, c. 1816
Arrived Melbourne, VIC, by April 1853 (from Mauritius)
Died Calcutta, India, 31 October 1875 (TROVE tagged by Australharmony) (shareable link to this entry)


Harpist, harp player (see single notice July 1861 below)

Born ? France, c. 1819 (aged "50" on arrival in Melbourne from Otago, NZ, in 1869)
? Died Madagascar, 26 July 1877


Fleury was perhaps related to (? a son of) Achille Fleury (fl. 1792-1837), violinist, still active in opera orchestras in Rouen in the 1830s.

There is no shipping record of Fleury's first arrival in Melbourne, presumably with his wife; however, when he first appeared in public for fellow violinist Joseph Megson at the weekly Thursday Concerts in April 1853, he was billed as "M. Fleury, from the Mauritius, the best solo violin known in the colonies".

In June 1853, at James Ellis's new Salle de Valentino, Fleury advertised a series of promenade concerts "a la Musard". "The Modern Paganini", as he was once billed by George Lewis at Astley Amphitheatre's in 1855, stayed on in Melbourne leading theatre and concert bands throughout the 1850s. An advertisement from August 1855 lists the members of his band at the Salle de Valentino.

Fleury relocated to Ballarat in and 1856, where, in addition to continuing his musical activities, he was contentiously granted a publican's license in 1859.

He toured to New Zealand with George Loder in 1862, and stayed on permanently in Dunedin.

During his years in New Zealand he returned to Australia to lead George Loder's Lyster opera orchestra in Sydney in 1865.

Having been performing with George Benjamin Allen's Royal English Opera Company in New Zealand early in 1875, he joined them for a season in Adelaide, en route to India. Fleury died of dysentery while with Allen's company in Calcutta.


[Advertisement], The Argus (5 April 1853), 12

Thursday Weekly Concerts, under the direction of MR. MEGSON.
ON THURSDAY NEXT, 7th APRIL, 1853 . . .
Solo Instrumental Performers: . . . Violin - Mons. Fleury, from the Mauritius, the best solo violin known in the colonies . . .
PROGRAMME . . . PART II . . . Air, (violin) "Le Romantique" Mons. Fleury - first time in Melbourne - Ghys . . .
Leader of the Band - Mr. Megson.
Pianist - Mr. Buddee . . .

MUSIC: La romantique (Ghys)

ASSOCIATIONS: Julius Buddee (accompanist)

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

On Thursday next, April 21 . . . For this evening only, Mons. Fleury, the celebrated Violinist,
will play Paganini's celebrated Solo, "the Carnival de Venise," on the Violin . . .

MUSIC: Le caranval de Venise (Paganini)

[Advertisement], The Argus (26 April 1853), 3 

MESSRS. BUDDEE & FLEURY'S Grand Concert, on Tuesday Evening April 26th, in the Mechanics' Institution.
Principal Performers: Mrs. Testar, Mrs. Hancock, Mr. Buddee, Mr. Fleury, Sig. Maffei, Mons. Barre.
Programme : PART I . . . Duet, (Violin and Piano) - Masaniello - Messrs. Fleury and Buddee - Auber . . .
Solo, (Violin) - Mons. Fleury - Hauman . . .
PART II . . . Duet, (Violin and Piano) - Guillaume Tell - Messrs. Fleury . . .

MUSIC: Perhaps the Variations, op. 8 (Hauman)

[Advertisement], The Argus (13 June 1853), 5

GRAND CONCERT. Monday, June 13th, 1853. At the MECHANICS' INSTITUTE . . .
The celebrated ALI-BEN SOU-ALLE, will perform on the new and wonderful Turkophone in his grand national costume.
Assisted by the following eminent artistes -
Vocalists: Mrs. Testar; Mons. Barre.
1st Violin. M. Fleury De Recuson; Cornet-a-Piston, Sig. Maffei; Pianoforte, Mr. Buddee; And, The Full Band of the Fortieth Regiment. Conductors M. Fleury, Mr. Johnson, and Mr. Buddee.
PROGRAMME . . . PART II . . . Duet - Piano and Violin - Mons. Fleury and Mr. Buddee - Fleury . . .

"THE CONCERT", The Argus (14 June 1853), 7 

As a proof of the strong appreciation of the people of Melbourne of any novelty in the musical way, the concert-room of the Mechanics' was crowded last evening to excess; in spite of the threatening weather, and the almost impassable condition of the streets. M. Sou Alle made his debut in full Turkish costume . . . M. Fleury played a piece very beautifully on the violin, and led the orchestra with much spirit, although probably with a little too much rattle and drive . . .

16 June 1853, second concert

[Advertisement], The Argus (15 June 1853), 3 

The celebrated Ali-Ben-Sou-Alle . . . will make his second appearance . . . on Thursday, 16th June . . .
Assisted by the following eminent artistes:
Vocalists: Mrs. Testar; Mons. Barre.
Premier Violin: M. Fleury de Recusson
Cornet-a Piston: Sig. Maffei.
Pianoforte: Mr. Buddee.
And, The Full Band of the 40th Regiment,
Conductor: M. Fleury.
PART I . . . Aria - Let the Bright Seraphim - (Trumpette and Quatuor Obligato) - Mrs. Testar - Handel . . .
PART II. Australia Waltz, executed by Messrs. Buddee, Maffei, Fleury, Ali Ben-Sou-Alle - composed by - Ali-Ben-Sou-Alle . . .
Grand Fantasie - Sur la Fiancee - Piano and Violin - Per Messrs. Buddee and Fleury - Lafond [sic] . . .

MUSIC: Grand fantaisie sur La fiancée [Auber] (by ? Lafont)

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

GRAND CONCERT. Monday, June 20th, 1853, At the Mechanics' Institution.
First appearance of MRS. GRAHAM, The celebrated Soprano.
Vocalists - Mrs. Testar, Mons. Barre.
First Violins - M. Fleury and Herr Strebinger.
Cornet a-Piston - Sig. Maffei.
Pianoforte - Mr. Buddee.
And the Full Band of the 40th Regiment.
Conductors- M. Fleury, Mr. Johnson, and Mr. Buddee.
PROGRAMME. PART I. Symphony - From Sym. No. 2. Introduction and 1st movement, Full Band - Beethoven . . .
Duo - from Masaniello, Violin and Piano (by desire), Mons Fleury and Mr. Buddee - Beriot.
Polka - Chatelaine, Full Band - J. C. Vanmaanen.
PART II. Overture - Zampa, Full Band - Herold . . .
Air, with variations - Violin Solo, Mons. Fleury - Fleury . . .
Quadrille - Napoleon, Full Band - Musard . . .
Valse - Douro, Full Band - Labitzky . . .

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

NOTICE. HERR STREBINGER begs to inform the public, that a false use his been made of his name by M. Fleury and Co., in the programme of a Concert advertised to take place at the Mechanics' Institute, on Monday Evening, the 20th Inst. He being under no engagement with those parties.
Herr S. takes this opportunity of announcing to the public this deception, and also to state, that he takes no part in any concert, other than his Farewell Benefit of the 28th Inst.

[Advertisement], The Argus (23 June 1853), 5

SALLE DE VALENTINO, (Late Noble's Circus,) Top of Bourke-street, east.
MR. JAMES ELLIS, lessee of Cremorne Gardens, Richmond, and formerly lessee of Cremorne Gardens, &c., London . . .
The season, necessarily brief, will commence with A Series of First-rate
PROMENADE CONCERTS, a la Muzard [Musard],
Conductor - Mons. Fleury.
Assisted by a numerous troupe of Eminent Vocalists,
Who will in their turn be supported by the Most Numerous and Talented Band Of Instrumental Performers ever heard in the Colony . . .

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

OPEN EVERY EVENING.- The Salle de Valentino, late Noble's Circus, top of Bourke-street, east. Grand Promenade Concerts, Conductor, Mons. Fleury. Admission, 1s.
SIGNOR D'ANGRI, in his Magnificent Greek Costume, will appear to-night at the Salle de Valentino. Greek National Airs and other novelties for the first time in the Colony.

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

OPEN Every Evening - Admission One Shilling - Salle de Valentino . . .
Grand Promenade Concerts. Conductor, Mons. Fleury.
Principal vocalists: Miss Graham, Miss Bourne, and Miss Louisa Urie, and Mr. Barlow, the celebrated nigger melodist.
Instrumental solos every evening . . .

[Advertisement], The Argus (23 August 1853), 8 

EXTRAORDINARY Attraction! Music for the Million!!
Ellis's Promenade Concerts at the Salle de Valentino.
The Italian Chorus every evening in selections from the grand Opera of Norma, under the direction of Signor Maffei.
The best band in the colony, Conductor, Mons. Fleury, will also produce the original and popular effects of the
Great Exhibition Quadrille, as it has never before been performed in the colony.
The Music of All Nations . . .

"MAFFEI AND FLEURY", The Argus (27 August 1853), 5 

We see that Signor Maffei and Mons. Fleury are to take a benefit to-night at the Salle Valentino. Two such favorites do not need anything from us to insure them a crowded house. So many have been frequently indebted to them for the pleasant wiling away of an otherwise dull evening . . . The programme is good, and Mr. Barlow "has kindly consented" to throw a little fun into the entertainment.

"SALLE DE VALENTINO", The Argus (12 September 1853), 5 

This favorite place of public amusement was crowded to excess on Saturday evening. Mr. Warden, the Scottish Humorist, drew forth rounds of applause by his facetiousness. The greatest praise is due to the conductor, Mons. Fleury, for the admirable manner in which he manages these evening Concerts, and it is gratifying for us to observe that his catering is so well and justly appreciated by the public.

"FINE ARTS EXHIBITION", The Argus (17 September 1853), 5 

There have been few places of public resort opened in Melbourne for some time past which present the attractions offered by this Exhibition; and we very much regret to announce that it closes this day. The band of Messrs. Fleury and Maffei will perform [as usual] in the great room, from two o'clock to five o'clock, p.m. . . .

[Advertisement], The Banner (29 November 1853), 15 

IMMENSE SUCCESS. The Wonder of Melbourne!
The Magnificent Music Hall in which the Grand Fancy Dress Ball was given on Thursday last,
on the site of Tattersal's Repository, Lonsdale-Street, opposite the Hospital.
GRAND MONSTER CONCERTS will be given on MONDAY, and every Evening during the week.
Principal Vocalists: Madame CARANDINI, of the Victoria Theatre, Sydney.
Miss Martin, Miss Graham, and Miss Urie.
MR. FRANK HOWSON, and Mr. Lavenu, of Her Majesty's Theatre, Haymarket, London.
A MONSTER BAND. Conductor - Mr. Johnson. Leader - Mr. Fleury.
Director of the Vocal department and Pianiste, Mr. Lavenu . . .

MONSIEUR FLEURY . . . The frequenters of the Salle de Valentino desirous of tendering to Monsieur Fleury (the talented leader and popular artist who directs the delightful concerts which they enjoy every evening) a testimonial of their appreciation of the services he has rendered to the art and to the enjoyment of the middle classes, have determined on opening a subscription for the purpose of presenting to him a suitable memento of his residence in this colony . . . the ceremony of presenting the testimonial to Monsieur Fleury will take place on Saturday evening, during the concert. By order of the Committee, CHARLES DON, Vice President.

"SALLE DE VALENTINO", The Argus (22 November 1853), 5 

It is some time since we have noticed the musical performances at this establishment; but the increased enthusiasm of the visitors bids fair to rank Melbourne among the musical cities of the world. It is only a few days since M. Fleury received a very handsome present from his admirers in the shape of a silver cigar-case and a handsome diamond ring, presented to him in a suitable address by Dr. Eades, which was feelingly acknowledged. If a thorough knowledge of his art is any recommendation to the pubic, we consider the manager of the band, Signor Maffei, equally deserving of consideration.

ASSOCIATIONS: Charles Jardine Don; Richard Eades

{Advertisement], The Argus (7 December 1853), 10 

LAST NIGHT . . . GRAND MONSTER CONCERT . . . Madame Carandini . . . Mr. Frank Howson . . . Mr. Lavenu . . .
A Band of nearly One Hundred Performers. Conductor - Mr. Johnson. Leader - Mons. Fleury . . .

The Salle Valentino, after the appearance of Madame Carandini; S. T. Gill, Melbourne 1854; State Library of Victoria

The Salle Valentino, before the appearance of Madame Carandini; Samuel Thomas Gill, Melbourne 1854; State Library of Victoria (DIGITISED)

The Salle Valentino, after the appearance of Madame Carandini; S. T. Gill, Melbourne 1854; State Library of Victoria

The Salle Valentino, after the appearance of Madame Carandini; Samuel Thomas Gill, Melbourne 1854; State Library of Victoria (DIGITISED)

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

CREMORNE GARDENS and the SALLE DE VALENTINO. - Mr. JAS. ELLIS begs respectfully to announce that, for a short time, and until the Gondola Steamers and other conveyances are laid on for the conveyance of visitors, the amusements at Cremorne will be discontinued . . . in the interval, he has determined to give a short season of superior Promenade Concerts, every Evening the Salle de Valentino, for which he has secured the services of the Best Band in the Colony - the names of the Artistes forming the Orchestra will speak for themselves -
Conductor and Leader, Monsieur Fleury; Clarionet, Mr. Johnson; Flute, Mr. Cooze; Tenor, Mr. Reed; Cornet a-Piston, Signor Maffei; Contra Bass, Mr. Hardman; supported by other performers of celebrity.
Madame Carandini, the prima donna of the southern hemisphere, and Mr. Lavenu, the eminent buffo singer from London, will appear every evening and sing their most popular selections. An entire change of programme every evening . . .

"MISS HAMILTON'S CONCERT", The Argus (29 April 1854), 5 

The Concert last evening at the Mechanics' Institution was well attended, and by a good-humored audience, who took very quietly a signal contre temps, viz., the absence of M. Fleury, who was to have played a violin solo, and a part in a duo with Miss Hamilton, but did not appear, so the lady's pianoforte performance was lost as well . . .

"THE SALLE DE VALENTINO", The Argus (4 July 1854), 5 

On Saturday night I went to the Salle de Valentino, to hear Mons. Fleury, who then took his farewell benefit. That is what it was called, but I hope to hear him often, as arrangements are in contemplation for securing his high professional abilities, and giving them more scope. The night was wet and the streets bottomless; but some hundred or two ventured to the Salle, and were rewarded by a very agreeable entertainment. I was vastly amused. The idea of an orchestra in full dress, wearing huge mud boots, tickled my fancy much. It seemed so thoroughly colonial. At the same time I saw it was indispensably necessary, unless the whole company had arranged to float to the concert room on the double bass . . . we had no programme, a great omission, for which, if repeated, I shall Impose the penalty of total silence. A concert without a programme loses half its interest. The opening overture was effectively executed, allowance being made for the canvass roof of the building, and we had afterwards some popular polkas and quadrilles admirably arranged for Mons. Fleury's orchestra, and in which he performed the very difficult task of leader and conductor in a manner somewhat like and worthy of the illustrious Jullien's own self. We had selections, too, from Scottish airs, arranged by Mr. Reed, and these were succeeded by Irish quadrilles, both of which nationalities were of course quickly recognised and much applauded . . .

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

SALLE E DE VALENTINO. - The Original Shilling Promenade Concerts will be resumed on Saturday, and continue every Evening during the week for a short series, previous to the removal of the Circus, the ground being required for another purpose. Best Band in Victoria. Conductor, Mr. Johnson; Leader, Mons. Fleury . . . JAMES ELLIS, Proprietor.

"SALLE DE VALENTINO", The Argus (21 August 1854), 5 

This place of entertainment has attracted during the past week a larger than average number of pleasure seekers. The entertainment consists of a vocal and instrumental concert, under the direction of M. Fleury, and, as the price of admission has been reduced to 1s., it would be difficult to point out where a more advantageous return for the money could be procured. On Saturday evening the orchestra received several valuable additions, a Chinese fete being the order of the day. Whether the celestials celebrate their festival by the performance of operatic overtures and polka music is not now very material. The audience on Saturday evening were not at all disposed to be critical in that respect. There was, however, a great display of paper lanterns, and the performance by the band of Jullien's Chinese Quadrille made this entertainment quite as characteristic as anybody desired . . . The overture to Guillaume Tell was spiritedly played, we must, however, protest against the excision of the beautiful andante which immediately precedes the principal theme. Several polkas, quadrilles, waltzes, &c., were well given, and some received great applause. Mr. Johnson, bandmaster of the 40th Regiment, conducted the orchestra.

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

ASTLEY'S AMPHITHEATRE, Spring-street. Sole Lessee, Mr. George Lewis . . .
1. - Grand Overture, arranged and performed by Mons. Fleury, and the Full Orchestra . . .
6. - Concerto Italian, Mons, Fleury and the Full Orchestra . . .

[Advertisement], The Argus (10 October 1854), 8 

The advancing spirit of improvement having determined upon the demolition of the popular place of amusement . . .
Grand Complimentary Night to Mr. Ellis . . . Monday, 10th October,
A Grand Bal Masque, Conductor or the Orchestra, Mr. Johnson. Leader, Mons. Achille Fleury, A Grand Monster Band . . .

"ASTLEY'S AMPHITHEATRE", The Age (9 November 1854), 5 

Absorbing as is the excitement which prevails with regard to the only singer which the "Green Isle" has ever produced, fertile as it has been in poetry and other branches of the Arts, still it is not all-absorbing, as the attendance which is nightly kept up at this favourite and well ordered place of amusement, abundantly testifies. The ordinary performances are now added to by a suite of equestrians and gymnastic performers, and in a few days the world renowned Tom Barry of the original Astley's celebrity, will make an appearance on these boards. Mrs. Hancock, Misses Hamilton and Warde, are daily becoming greater favourites, and the band, under the conductor Mons. Fleury is worthy of Jullien himself.

[Advertisement], The Argus (22 January 1855), 8 

SALLE DE VALENTINO, Bourke-street, east. the First Grand Masquerade of the Season . . . The Band (comprising the best artistes in the colony from Her Majesty's Theatre and M. Jullien's Concerts) will be led by Mr. Fleury . . .

"SUPREME COURT. FIRST NISI PRIUS SITTINGS. Wednesday, 14th March, 1855 . . . FI.EURY V. BLACK", The Argus (15 March 1855), 5 

Mr. McDermott, for plaintiff; Mr. Dawson, for defendant: The plaintiff is Mons. Fleury, the celebrated violinist, and the defendant is the proprietor of the Theatre Royal, Bourke street; and this was an action brought on a contract for work and labor performed in the shape of music supplied to the defendant.

Mr. McDermott opened the case, saying that the defendant, on opening his concert room, entered into a contract with his talented client to supply him with fifteen musicians at the rate of £70 per week. But on going one night, his client unexpectedly found the orchestra filled with a military band, whose services, no doubt, the defendant procured cheaper. The plaintiff was called and proved the agreement at £70 per week; and described his consternation at finding, after he had played two days, the strong position the military had taken up on the platform. This position of the 12th was impregnable, and the discomfited Fleury withdrew his forces, and, being unable to effect an amicable treaty with the plaintiff, brought his action.

The defence was that Mons. Fleury could only recover for the three nights his company played, and that the contract had been rescinded. The money for three nights had been paid into Court. Mr. Dawson said the defence was not a shabby lie. The facts were, that a military band had been engaged in the first instance; there was some doubt if they could be retained. Mons. Fleury entered into the contract. Defendant found he still could hare the band of the 12th, and a modification of the contract was mutually agreed to between plaintiff and defendant, that Fleury should play with his company three nights a-week, and the band the other three; the defendent was not to be turned over by the strict letter of the law, but the contract must be scanned according to common sense and fairness. The learned gentleman called -

Mr. F. Gregory, who swore that the defendant agreed, in his prepuce, to extend the six nights over the fortnight, playing every alternate night, and that the band should play the other six nights. After some hesitation he agreed to it.
Mons. Fleury: Ne-vare.

Witness continued: He afterwards came and said he should not play, as he could not, he found, get his company to consent. Cross-examined: This conversation occurred in French and English, between Mr. Black, Mons. Fleury, and himself. A paper was signed to this effect, and Mr. Black had the writing.

His Honor: Where is this paper?

It was found not to be forthcoming.

Mr. McDermott said he never saw a case so utterly broken down. The whole was an attempt to take in poor Fleury. The paper signed was suppressed, although given to Black; and what could be said in a case where documents were purposely suppressed. However, he saw by the jurors' faces they had made up their minds, and he should not trouble them with any further observations. Verdict for the plaintiff for the full amount claimed, with liberty for the defendant to reduce such verdict to £3, on the ground the work had not been performed.

"LEGAL NEWS. Wednesday, March 14, 1855. FLEURY V. BLACK AND ANOTHER", The Age (15 March 1855), 7 

ASSOCIATIONS: John Melton Black (theatre proprietor)

[Advertisement], The Argus (24 May 1855), 8


"SALLE DE VALENTINO", The Argus (9 July 1855), 5 

Fleury's quadrille band continues to attract large numbers to this establishment, which is now under the management of Mr. Coleman, whose regime has already caused a marked improvement in the respectability of the company to be manifest. M. Barre is nightly encored in "Mourir pour la Patrie," and others of the French national hymns; and a Mr. Campbell sings some comic songs of his own composition, abounding with cleverly hit off allusions to passing local events, with considerable eclat.

[Advertisement], The Argus (18 August 1855), 8

SALLE DE VALENTINO. Promenade Concert and Ball.
Open Every Evening. Admission One Shilling, M. Fleury, in returning thanks to the citizens of Melbourne for their very kind patronage, begs to say that no expense or exertion shall be spared on his part in making the Salle de Valentino the first place of its kind in this city.
M. Fleury promises also to make it his especial object to produce every novelty in Music, both vocal and instrumental and will not be satisfied with merely telling the public that he has an efficient band but will give their names, which, it is hoped, will be a sufficient guarantee of ability:
Instrumentalists: Violinists, Messrs. Reed 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.
Singers: Mrs. Byrne, whose style of singing has been so much admired; And an Irish Comic singer.
Gazza Ladra, - overture - Rossini.
Duette, "Lucrezia di Borgia," Baker and Hartigan.
La Sultana des fleurs (arranged for full band by M. Fleury).
Faust Valse (Diabolique) - Char. D'Albert.
Malta Quadrille . J. Kalozdy.
La Vie de Boheme - Chretien.
Napoleon Quadrille - Musard.
Gadogan Polka, composed by Kalozdy, Conductor of the Hungarian Band.
Solos by Mr. Hartigan and Polin every night next week.

"THE SALLE DE VALENTINO", The Age (6 September 1855), 5 

This place of amusement appears to be crowded every evening, and the strains of Mons. Fleury's band are as attractive as ever. Everybody appears to be disposed to take a look in at the Salle as a finish to the evening . . .

[Advertisement], The Argus (28 January 1856), 8 

FLEURY'S BALL - Astley's Amphitheatre.
Concert and Ball Every Evening in the Magnificent Dancing Saloon.
Engagement of the Celebrated Vocalists MRS. VINCENT, MR. VINCENT, and MR. YOULES.
Concert at Eight, Ball at Half-past Nine.
Sole Lessee, M. FLEURY. Admission, 1s.; Boxes, 2s. 6d.

"ROYAL AMPHITHEATRE", The Argus (26 February 1856), 5 

Yesterday evening being the first of the dramatic season, a numerous but not overflowing audience attended. Shortly before eight o'clock the curtain rose and the national anthem was sung by the company, Madame Carandini and Mesdames Evans and Moore taking up the solos. A cleverly written opening address was then spoken by Mrs. Poole . . . The drama of Isabella which we must take another opportunity of witnessing followed with other entertainments. The band here is small but good. The overture to the Pre aux Clercs was spiritedly rendered under the conduct of M. Lavenu, who assumes the baton at this establishment. The leader is M. Fleury.

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

Begs to intimate to his numerous patrons in Melbourne that he has returned to his old quarters, the SALLE DE VALENTINO, Which was in 1863, under his management . . .
JAMES ELLIS will commence his Winter Season on Monday, and continue Open Every Evening, with a Popular Ballet Divertissement By those talented Artistes THE CHAMBERS FAMILY And Auxiliaries.
Grand Ball at Nine o'clock.
Musical Director and Conductor, MONS. FLEURY, Who will preside over an efficient Orchestra, selected from the numerous Talented instrumentalists now in this city.
Mons. Fleury has just received the full score of all the new and favorite music lately produced and now in high fashion in London, Paris and Vienna.
For programme of the music of every evening in the week see bills . . .

Ballarat, VIC (from May 1856):

"BALLARAT . . . CONCERTS", The Age (28 May 1856), 3 

Two concerts were given on Saturday, the one in honor of her Majesty's birthday, the other on behalf of the Mechanics' Institute; the former at the Victoria Theatre, and the latter at the Star Concert Hall. I regret to say that the attendance was very meagre at both; and I believe the proceeds will scarcely clear expenses. The concert at the Victoria upon the whole came off well. The music both instrumental and vocal was in several instances excellent. The "German Chorus Society" performed their part well and were loudly applauded. The best vocalist was Herr Hoeg, who sung "Why do I weep for thee" in a superior manner, and was honored with an encore. Madame Constantia Onn, was well received, and was also honored with an encore. Great praise is due to the leaders of the orchestra, Mons. Fleury and Herr Richty, for the able manner in which they performed their parts, and it is to be regretted that their efforts failed to draw a better filled house.


"ANNIVERSARY OF AMERICAN INDEPENDENCE", The Star [Ballarat, VIC] (5 July 1856), 2 

Yesterday, shortly after two o'clock, upwards of one hundred gentlemen sat down to a most sumptuous entertainment provided at the Victoria Theatre, to celebrate the anniversary of American Independence . . . M. Fleury's band was in attendance, and enlivened the proceedings by playing various appropriate airs . . .

"COUNTY COURT OF BUNINYONG AND BALLARAT. Friday, 20th March", The Star (21 March 1857), 3 

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 . . .

ASSOCIATIONS: John Rimmer Vincent and wife

"POLICE COURT. Monday, 29th June . . . MUSICIANS' DISCORDS", The Star (30 June 1857), 2 

Paltzer v. Fleury, for abusive language. Complainant, the well known violinist, accused the defendant, another equally well known professor of the violin, with having shook his hand at complainant, near the police court, and used abusive epithets against complainant, calling him a low damned fellow, and a son of a mob.
Defendant Spoke through an interpreter, and declared that he had not used any had language at all. He had not called defendant a "gamin" or a "son of a mob," either in French or English.
Complainant.-I assure your worship he did call me a gamin, which is a great insult.
Defendant.-I did never use such word. The Bench fined defendant 5s. and 4s. 6d costs.

ASSOCIATIONS: Jacques Paltzer

"A BALLARAT PHILHARMONIC SOCIETY", The Star (5 March 1858), 3 

A meeting will be held this evening . . . for the purpose of inaugurating a society of the above description . . . We are informed that two great desiderata have been procured, viz: - a first class conductor and leader, the former in the person of Mr. A. T. Turner, singing master to the Denominational schools, and M. A. Fleury bas offered to fill the latter post . . .

"MONTEZUMA THEATRE", The Star (15 October 1858), 3 

Great as has always been the merit of the promenade concerts, the programme for this evening, we perceive, surpasses those of previous occasions. Messrs. Fleury and Miell announce this evening's performance to be under the patronage of the Ladies, the Bench, the Press, and the Bar of Ballarat. The richness of the programme will be evident to our readers when we inform them that the overtures to "Italiana in Algeria," "Zampa," "Haidee," and "La Dame Blanche," will be performed. Instrumental solos and duets will be performed by Messrs. King (clarionet), Ellis (trombone), and Labalestrier and Miell (cornets). The burden of the vocal department will be borne by Madame Vitelli and W. F. Sayer. With this exquisite weather and such a programme, the theatre ought to be well patronised.

Achille Fleury (18 October 1858), index to certificates of naturalisation, Victoria; Public Record Office Victoria (PAYWALL)

Achille Fleury / Artist and Musician / Ballarat / Age (on date of naturalization) 42 /
Native Place - Beauvois, France / Date of Certificate - 18. 19. 58 / No. of Certificate - 234 . . .

"THE CHARLIE NAPIER THEATRE", The Star (8 December 1858), 3 

. . . After the overture to La Gazza Ladra, excellently performed by M. Fleury's orchestra, Miss Provost appeared as Andy Blake, in the "Irish Diamond." This lady, though her true womanly nature clings to her in whatever part she represents, yet acted with great success, and her song of "Whiskey in the Jug," was encored . . .

[Advertisement], The Argus [Melbourne, VIC] (2 August 1859), 8

ARGYLE ROOMS. DANCING ACADEMY. Two Doors above Theatre Royal. OPEN THIS EVENING. FLEURY'S BAND. Admission, 2s. 6d. . . . Mons. FLEURY'S GRAND BAND . . .

"News and Notes", The Star (16 November 1859), 2

On Friday last Mr. Lewis transmitted to his Excellency the Governor a letter detailing the circumstances under which Mr. Daly, the police magistrate, granted a publican's license to Mr. Achille Fleury, of the Criterion Hotel, and on Tuesday he received a letter from the Private Secretary of his Excellency, which stated "That the communication had been placed in the hands of the Attorney General in order that Mr. Daly may be called upon for an explanation."

"NEWS AND NOTES", The Star (28 June 1861), 2 

The performance this evening at the Theatre Royal will be for the benefit of Mons. Fleury, a gentleman long and favorably known in the musical world of Ballarat. From the entertainments provided, we make no doubt but that Mons. Fleury will be heartily supported.

"NEWS AND NOTES", The Star (12 July 1861), 2 

The performance this evening at the Theatre Royal will be for the benefit of Mr. Symons . . . To be followed by a musical melange, in which Mons. and Madam Fleury will perform a duett on the harp and violin . . .

"THE WERRIBEE ENCAMPMENT [FROM OUR SPECIAL CORRESPONDENT] Melbourne, 18th April", Mount Alexander Mail (21 April 1862), 2 

. . . At 8 p. m., a large number were drawn together by the music of the Ballarat brass band, under their able leader, Mons. Fleury. For an hour or more this fine corps of performers executed operatic pieces, &c,, in really admirable style, and, though it may give offence to say so, your correspondent is bound to confess his opinion that the Ballarat band is the best he has heard in the colony. They play with a brilliancy and attention to light and shade that would enable them to pass muster as military musicians almost anywhere . . .

"THEATRE ROYAL", The Star [Ballarat, VIC] (2 June 1862), 1 supplement 

Though we can have had no wish that the Opera Company which has now occupied our stage far a week should quit it and leave a bad impression behind, we could have wished, both for its own sake and ours, that the engagement had opened as it has concluded. Saturday night the valedictory performance was of such a degree of excellence as to make us regret that a present renewal of the engagement is impossible . . . The weather was against success, no doubt, and so was it even on Friday - a fashionable night - the benefit of Miss Rosalie Durand, and the first performance of "Cinderella" on Ballarat. But the mischief had been done, and even one of Rossini's most brilliant comic operas failed to draw, until Saturday night arrived - the once a week, on which everybody must go to the theatre . . . The conductorship on Saturday evening devolved on Mr. T. King with M. Fleury as leader of the band. The accompaniments were rendered in a very satisfactory manner, and afforded efficient support to the limited circle of solo artistes . . .

ASSOCIATIONS: Lyster Opera Company

Dunedin, NZ (from September 1862):

[Advertisement], Otago Daily Times [Dunedin, NZ] (29 september 1862), 3 

ROYAL PRINCESS' THEATRE. TO-NIGHT . . . Donizetti's Grand Dramatic Opera, in Two Acts, entitled LA FIGLIA DEL REQGIMESTO, Or THE DAUGHTER OF THE REGIMENT. Tonio - Mr. Walter Sherwin. Maria - Madame Carandini . . . in order to place the Operas upon the stage in as effective a manner as possible, their orchestra is augmented by the engagement of Mons. Fleury, and Mr. J. Newton . . .

[Advertisement], Otago Daily Times (22 October 1862), 3

ROYAL PRINCESS' THEATRE . . . MORNING CONCERT. ON FRIDAY, 24th OCTOBER, 1862, On which occasion the following talented artistes will appear: Madame Carandini, Miss Emma Neville, Madame Whyte, Mr. W. Sherwin, Mr. J. Small, Mr. R. W. Kohler, Mr. Whyte, Mr. J. Kohler, Mons. Fleury, Mr. C. Cousins, Mr. T. Minton, Mr. Moss, Mr. George Loder, Conductor . . .


The departure of the detachment of the 70th Regiment, for Taranaki, was made the occasion of a great demonstration at Dunedin. The Fire Brigade, the Volunteers, and a powerful band, led by M. Fleury of the Princess Theatre, accompanied the detachment to the pier, and on their way thither they received parting cheers from thousands assembled in the streets to witness their departure.

"SHIPPING INTELLIGENCE . . . ARRIVED. MARCH 24", The Argus [Melbourne, VIC] (25 March 1865), 4 

Albion, O.S.S. Co.'s R.M.S.S., 600 tons, Edward Kidney, from Wellington 12th inst., via Canterbury 13th, Dunedin 18th, and Bluff Harbour 19th inst. Passengers - saloon . . . Monsieur Fleury . . .

"THE OPERA", Empire [Sydney, NSW] (25 April 1865), 4

The return of the company under the direction of Mr. W. S. Lyster, will afford no small gratification to the public of Sydney . . . The band was, perhaps, never before, so complete, and, under the able directorship of Mr. George Loder, must render its music in a style never yet surpassed. Mons. Fleury is leader, assisted by Mr. C. Eigenschenck, J. Hall . . .

"THE OPERA", The Sydney Morning Herald (6 May 1865), 7 

On Thursday evening last, Balfe's opera of "The Bohemian Girl" was produced . . . The next solo was by M. Fleury on the violin, performed as an introduction to the third act, being arrangement of Arline's opening song, "I dreamt that I dwelt in marble halls;" the rich glassy tone of M. Fleury, his delicate and expressive manipulation, formed the theme of admiration. As a matter of course, he was also called to repeat the solo. The performance of the orchestra is itself worth the price of admission . . .

"MEETING OF CREDITORS", The Press (31 January 1872), 3

Re Achille Fleury - First meeting at one o'clock - Mr. Cowlishaw, solicitor.

[Advertisement], Otago Daily Times [Dunedin, NZ] (2 June 1874), 3 

IN BANKRPTCY. NOTICE IS HEREBY GIVEN, that by an Order of the Supreme Court of New Zealand, Otago and Southland District, o£ this date, Achille Fleury, late of Dunedin but now of Christchurch, Musician, was adjudged a Bankrupt . . .

[Advertisement], Southland Times (26 February 1875), 3 

THEATRE EOYAL. ROYAL ENGLISH OPERA COMPANY . . . Conductor - Mr. G. B, Allen, Mus. Bac. Oxon. Leader Mons. Achille Fleury . . .

"ENGLISH OPERA", The South Australian Advertiser [Adelaide, SA] (6 April 1875), 2 

Many of our readers will be glad to know that we are to have a season of English opera at the Theatre Royal, to commence next Monday . . . The company is under the efficient directorship of Mr. G. B. Allen, Mus. Bac. Oxon . . . The print donna assoluta is Miss Alice May . . . Her career in New Zealand has been a complete success . . . The leaders of the orchestra are Mr. J. Hall and Mons. A. Fleury . . . the company being engaged only for 36 nights.

"ADMINISTRATOR-GENERAL'S OFFICE" Friend of India and Statesman [Calcutta, INDIA] (18 December 1875)

THE undermentioned Estates having come under charge of this office, all persons having claims upon, being indebted to, or holding property belonging to the said Estates, are requested to place themselves in immediate communication with the undersigned . . .
Achille FLEURY, a Violinist of the Orchestra of the Corinthian Theatre Calcutta, died at Calcutta on the 31st October 1875 . . .

"Death of Mons. Achille Fleury", The Herald [Melbourne, VIC] (20 December 1875), 2 

The mail from India brings news of the death of Mons. Achille Fleury, composer and violinist, the leader of the orchestra of Madame Alice May's Opera Company, and one of the oldest, as he was one of the best, conductors of an orchestra in the colonies. Mons. Fleury will be best remembered in Melbourne in connection with a grand series of promenade Concerts given at the Salle de Valentino, Spring-street (after the style of Jullien, with whom he was a fellow-worker at the Parisian Conservatoire), some twenty years since. He succeeded in making a very considerable fortune from his profession, but lost it afterwards in mining speculations. Mons. Fleury was one of the earliest to leave the colony during the first New Zealand rush, and after trying the goldfields he settled at Dunedin, where he played during the visit of H.R.H. the Duke of Edinburgh, at his H.R.H.'s request, a solo of his own composition, the merits of which were rewarded by the Prince with a present of a handsome diamond ring. He also ordered it to be printed, and took a thousand copies. M. Fleury was of an advanced age, and had for years been a martyr to rheumatic gout. The change of climate from the acute colds of New Zealand to the equally acute heat of India doubtless accelerated his death. He will be universally regretted in the profession.

"DEATH OF M. FLEURY", Southland Times (27 December 1875), 2

The Evening Star says: No one was better known, or more generally liked in Dunedin musical circles than Achille Fleury; and it is with feelings of deep regret, which we feel sure will be largely shared in, that we received the intelligence of his death, which occurred at Calcutta on the 31st of October last. A member of Mr. Allen's Opera Company, writing to a lady friend in Dunedin, who kindly placed the letter at our disposal, says. - "Poor old Fleury is dead. He played a few nights before he died. He had a very severe attack of gout for over two months, and had just got over it, and commenced playing again when he had an attack of dysentry, which killed him." From the same source we learn that though there were two other opera companies performing in Calcutta at the same time, Mr. Allen's troupe did better than the other two put together; and that on the whole they have been very well received in India.

"VIOLINS AND VIOLINISTS", The Ballarat Star (11 June 1888), 3 

. . . It comes next to say something of violin players; not of birds of passage like Miska Hauser, Wilhelmj, Remenyi, Rhodes and Poussard, but of performers who are or have been identified with our own City of Ballarat. Those whose memories carry them back 30 years, to the days of uncomfortable tents, and dirty stringy-bark huts, will of course remember two popular places of resort, the "Charlie" and the "Victoria," each supporting a capable orchestra, led respectively bv two French musicians, Mons. Fleury and Mons. Palzer [wic]. Mons. Fleury, with his long fair hair floating over his shoulders in massy curls, his coat sleeve lined with pink silk well turned back, is described as presenting an airy and fantastic appearance. He handled his violin with a light and jaunty air, and his playing was of that brilliant rippling kind, which charms the ordinary listener without allowing the artist to be lost sight of. Of Palzer it is said that he disdained the whimsical style of Fleury, aiming at a solidity that accorded well with his personal appearance. Dark, with close cropped hair, and scrupulously neat and prim in dress, his violin-playing was neat and crisp, without a trace of slovenliness, but wanting in the dash and go which characterised the performances of Fleury. Both appear to have been really good violinists, and when playing side by side, as sometimes occurred at the Philharmonic concerts, their styles united with excellent effect, each seeming to supply what the other lacked; Fleury impatient when a solid passage had to be negotiated which did not admit of display - Palzer in his element; for his breadth of tone and rigid accuracy found here their appropriate sphere. How a passage would occur in which the fairy whispers of Fleury's fancy revelled, and as his lingers flew along the instrument he would shake back his wavy ringlets, his visage beaming with enjoyment; while Palzer, rarely smiling, peered through his spectacles, and bending to his work, did it conscientiously, but apparently with less interest than possessed him in the more difficult passages. Those were the days of Lola Montez, the famous danseuse, to whom Palzer dedicated a pretty schottische, named after that erratic but fascinating creature. In a few years, however, a change came over Ballarat. People began to settle in homes, and to incline less to the "Charlie" and "Victoria," with the play first and the dancing afterwards; music in its higher branches became neglected; the talented violinists, Fleury and Palzer, had to go, and with them went the orchestras, which for years in the rough times had given delight to all who had a taste for the good things they remembered to have heard in the European centres . . .

ASSOCIATIONS: Jacques Paltzer

Bibliography and resources:

Adrienne Simpson, Alice May: Gilbert and Sullivan's first prima donna (New York & London: Routledge, 2003), 49, 61 (PREVIEW)

Anne Doggett, "And for harmony most ardently we long": musical life in Ballarat 1851-1871 (Ph.D thesis, University of Ballarat, 2006), passim (DIGITISED0

Clare Gleeson, "Begg's: the musical and electrical centre", Audio Culture: the noisy library of New Zealand music, posted 12 January 2016 

. . . The second original musical edition published by Begg's, Dunedin polka (1869) was dedicated to a visiting royal [prince Alfred]. The composer, Monsieur Achille Fleury de Reaisson [sic], was a Frenchman who led the orchestra at Dunedin's Princess Theatre . . .

Other resources:

Jacob Larwood, Theatrical anecdotes . . . (London: Chatto and Windus, 1882), 162-63 (DIGITISED)

NOTE: ? An ancestor of AF

Joann Élart, Catalogue des fonds musicaux conservés en Haute-Normandie: Tome I (Rouen: Universite de Rouen, 2004), 90. 154, 239, 250 (PREVIEW)

NOTE: Perhaps this Achille Fleury, violinist, was AF's father


[no forename given] PREVOT DE LA CROIX (b. c. 1821; d. 26 July 1877 - Nossi Bé, MDG, Madagascar, aged about 56 years old; previously married to N FLEURY DE RECUSSON

FLIGHT, Oscar (senior) (Oscar FLIGHT)

Musician, violinist, conductor

Active Bendigo, VIC, by c. 1884 (shareable link to this entry)

FLINDERS, Matthew (Matthew FLINDERS)

Flautist, songwriter, navigator

Born Donington, Lincolnshire, England, 16 March 1774
Active Australia, 1795-1800, 1801-03
Died London, England, 19 July 1814, aged 40 (NLA persistent identifier) (shareable link to this entry)


Flinders's father recorded spending 8 shillings buying his son a German flute in November 1788, when the boy was 14 (Dooley).

Flinders's journals and letters, especially during his detainment at Mauritius, mention music and playing his flute among his solitary and social pastimes, especially playing his part in duos and quartets by Ignaz Pleyel.


Matthew Flinders, private journal (17 December 1803 to 8 July 1814); State Library of New South Wales  (DIGITISED)  (TRANSCRIPT)

Matthew Flinders, journal, Mauritius, April 1804; State Library of New South Wales (IMAGE ABOVE)

[page 36] [Mauritius, 1804 April] Wednesday 16, Thursday 17 . . . My time is now employed as follows. Before breakfast my time is devoted to the latin language, to bring up what I formerly learned. After breakfast I am employed making out a fair copy of the Investigators log fro in lieu of my own which was spoiled at the shipwreck. When tired of writing, I apply to music, and when my fingers are tired with the flute, I write again until dinner. After dinner we amuse ourselves with billiards until tea, and afterwards walk in the garden till dusk. From thence till supper I make one at Pleyels quartettes; afterwards walk half an hour and then sleep soundly till daylight when I get up and bathe . . .

[42] 1804 July . . . Friday 10 Messrs. Pitots, merchants in the town dined today with Mr. Robertson and our mess. They were very agreeable and seemed interested to do him and me service. They have lent us books and music and behaved more liberally than is the customary to any strangers, but especially to prisoners and Englishmen.

[45] [1804] Saturday September 1. Mr. Pitot and a friend of his visited us today, and made up a party for Pleyels quartets, in which amusement we spent the evening agreeably.

[49] [1804] October Thursday 4th. Mr. Pitot spent a musical day with us since my last memoranda . . .

[70] [1805] . . . Journal of Sunday Aug 18th . . . Find myself better this morning than usual, and less head ach. Took up my flute and played the 1st. and 5th. Duo of Playels opera 9. Note, the first commences in a grand stile, and is sweetly plaintive in some parts of it. The Andante of the 5th. is marked for minuet time, whereas the time is 2/4. Must have all Pleyels musick when I return to England, that is set for the flute, and Mozarts, and Haydens, and some of Hoffmiesters and Deviennes, but the whole will be too expensive, musick is so very dear in England; and indeed so is almost everythinkg else . . .

[72] [1805] Tuesday Aug 20. In the afternoon, my friend Pitot came to see me, to concert measures for the transport of my self and baggage into the country; and soon after, Mr. Harenga brought me the permission from Mr. Monistrol to leave the meison Despeaux when I pleased, and to remain in the town until Friday . . . After tea Mr. P. engaged me to make one in a musical party . . . I dined with Mr. P.s family and in the evening was taken to a musical party, where some pieces were performed by superior players.

[86] [October 1805] . . . Monday 11. Mr. Murat and me went to dine with Mr. Chazal and the ladies by invitation, and I put my flute in my pocket in order to accompany Madame Chazal who is an excellent performer upon the piano harpsichord, and she has an excellent English instrument which had been taken in a prize, and for which she paid 1000 piastre . . .

[87] . . . November 1805 . . . Wednesday 27. This morning I went by appointment to spend the day with Mr. Chazal. After breakfast we walked out to look at several views towards the districts of Tamarinds & Black River and the Morne Brabant. The afternoon was occupied with music, in accompanying Mad. Chazals harpischord with the flute. This lady is indeed an excellent performer, and is besides one of the most agreeable women I have ever met with . . .

[89] [November 1805] . . . Friday 20. Saturday 21. Spent as usual; the weather again become fine. In the evening I walked to Mr. Chazals to meet my friend Pitot by appointment. In the evening we played some trios with the harpsichord, bass, and flute. I slept at Mr. Chazals . . .

[91] [1806 January] . . . Friday 3. I took my flute and went to dine with Mr. Chazal, in company with Mr. Labauve music occupied the afternoon and evening,

[114] 1807 Jan. . . . Wednesday 21. Fine weather in the morning and evening, but heavy rain at noon, as yesterday. Went after dinner to pay a visit to Mr. and Mrs. Chazal, accompanied by Mr. Labauve. After examining his paintings and drawings in chalk, I passed the evening in accompanying Madame in Stilbelts Sonatas whilst Mr. Labauve made a party at tric-trac with Monsieur: we found them both with head-achs and eaten up with vapours, but left them in better health and in good spirits.

[167] [1808 June] . . . Sunday 10. All our company went to the Bay of Tamarinds to fish and spend the day which we did gaily, having good success with the seine. Mr. Boucherville, commandant of the quarter, Mr. Cap-martin, and M.M. Duguilio joined us at dinner, so that we made all together about 25 persons. In the evening the ladies waltzed to my flute and afterwards we played at chess and cards. M.M. Pitot and Bayard left us after supper . . .

[187] 1809 February Saturday 11. Dull weather . . . In the afternoon went to Mr. Chazal with my flute, to accompany Madame in some sonatas of Pleyel and Rosetti. Passed the evening and slept there.

[190] 1809 March . . . Wednesday 29. Small rain at times. Copying music for Mad. D. to take to Bourbon for Mad. Desbasns.

[288] [1811 October] [London, England] . . . Saturday 5. Variable weather: wind Swtly. and strong. Arranging the contents of my trunk from India. After luncheon, called at Mr. Bonners, Standerts, and left my old Flute at Potters to be put to rights . . .

[288] 1811 Oct. [London, England] . . . Saturday 19. Rainy: wind light at N.W. Writing my introduction in the morning. Wrote letters to Mr. Roux and to Dr. Burney. Went out afterwards and bought music

ASSOCIATIONS: Successor of Richard Potter senior (1728-1806) (musical instrument seller); Dr. Charles Burney junior (school master)

A voyage to Terra Australis . . . prosecuted in the Years 1801, 1802, and 1803, in His Majesty's Ship the Investigator, and subsequently . . . with an Account of the shipwreck of the Porpoise, arrival of the Cumberland at Mauritius, and imprisonment of the commander during six years and a half in that island . . . vol. 2 (London: W. Bulmer, 1814), 393 (DIGITISED)

[April 1804] . . . both Mr. Aken and myself contrived to pass some months neither uselessly nor disagreeably . . . and between the employments of copying my bearing book and defaced journals, making some astronomical observations, reading, and the amusements of music, walking in the inclosure, and an old billiard table left in the house, the days passed along rather lightly than otherwise . . .

Original lyrics:

My evening song (Why Henry didst thou leave me, thus leave me here to mourn?) (MS song, music "by Haydn" [unidentified], words by Flinders, left incomplete at end, sent from Mauritius to his wife Ann, November 1805)

MS at National Maritime Museum, Greenwich; facsimile in Catharine Retter and Shirley Sinclair, Letters to Ann (Sydney, Angus and Robertson, 1999), 76; edition by Gillian Dooley

Bibliography and resources:

H. M. Cooper, "Flinders, Matthew (1774-1814)", Australian dictionary of biography 1 (1966)

Gillian Dooley, "My evening song", Alas! for the pelicans: Flinders, Baudin and beyond: essays and poems (Adelaide: Wakefield Press, 2002) 123-25;  archived at Flinders University academic commons (DIGITISED)

Gillian Dooley, "'When tired of writing, I apply to music': music in Matthew Flinders' life", Journal of the Britannia Naval Research Association 5/1 (2011); archived at Flinders University academic commons (DIGITISED)

"Matthew Flinders", Wikipedia

Flute, by Richard Potter senior (1728-c. 1806), Victoria a& Albert Museum 

"Potter's German flute", McGee flutes 

FLOOD, William Haydn (William Haydon FLOOD [sic]; W. H. FLOOD; W. Haydn FLOOD)

Professor of music, teacher of the pianoforte, composer

Born England, 1829; baptised Honiton, Devon, 14 October 1829, son of Joseph FLOOD and Mary HOARE
Married (1) Mary Ann TURNER, Bedminster, Bristol, England, 12 May 1856
Arrived Melbourne, VIC, by December 1862
Departed Melbourne, VIC, by early 1865 (for New Zealand)
Married (2) Anne Catherine Juliette GROUBE, NZ, 5 September 1865
Died Wellington, NZ, 17 July 1908, aged "78 years" (TROVE tagged by Australharmony) (shareable link to this entry)


He was a younger brother of Edwin Flood (1824-1848), organist at St Paul's Church, Honiton, Devon, who died aged only 24 on 29 April 1848, having nevertheless already seen through the press the early volumes of a huge sacred anthology, Psalmodia Britannica: a collection of psalms, anthems, chants, &c., in 12 books for the voice and piano-forte or organ, the later parts of which appeared posthumously


"THE SAPPHO'S THIRD CONCERT", Exeter Flying Post [Devon, England] (3 May 1849), 6

The third concert of this favourite and gifted songstress took place an Monday evening, in the theatre of the Athenaeum . . . the performances of herself, her father, and that prodigy, her little brother, Mozart Vinning, gave great delight . . . In the songs . . . that commencing "Right merrily boundeth the ocean wave," called forth a warm encore; as also that the audience were interested in hearing from Mr. Vinning, that this is by Mr. Haydn Flood, of Honiton, brother of the lamented Mr. Edwin Flood, who was so rapidly winning his way to high musical popularity and public favour, when his course was arrested by death. Mr. Vinning likewise mentioned, and evidently with friendly feeling and pride, that Mr. Haydn Flood already gives proof of possessing much of the musical talent of his late brother, and announced that the song is shortly to be published by Cocks and Co. . . .

"NEW MUSIC", Exeter and Plymouth Gazette (30 November 1850), 6

The Standard of Venice. London: Tolkien. A beautiful new song, the words by Stuart Farquharson, Esq., and the music by Mr. W. Haydn Flood, of Honiton, whose reputation is an ample guarantee for its high character. It cannot fail to be generally admired, it has been by all who have heard it.

"MARRIAGES", Taunton Courier, and Western Advertiser [England] (21 May 1856), 5

May 12, at Bedminster, Mr. William Haydn Flood, organist of St. Mary Redcliff, Bristol, to Mary Ann, second daughter of Mr. William Turner.

"ST. GEORGE'S, GLOUCESTER", The Musical Times (1 April 1860), 252

On the 6th of March, the members of the Choir gave a miscellaneous concert in the large School-room, which was filled to overflowing. Mr. W. Haydn Flood conducted, and performed some pleasing pieces on the pianoforte. The programme consisted of glees, songs, and duets, which were well received, especially those sung by Mrs. Smith, Miss Sanderson, and Mr. Williams.

[Advertisement], The Argus (6 December 1862), 3

MR. W. HAYDN FLOOD, PROFESSOR of MUSIC, No. 2 Prince's-terrace, Prince's-street, Fitzroy.

[Advertisement], The Argus (24 February 1863), 7

Le Bouquet de Victoria Quadrilles (most respectfully dedicated to the Ladies of Victoria, by W. HAYDN FLOOD, professor of music, teacher of the pianoforte.

[News], The Argus (4 March 1863), 5

We have received a very agreeable set of quadrilles, called Le Bouquet de Victoria, "composed for and most respectfully dedicated to the ladies of Victoria," by W. Haydn Flood, and published by the author, 108 Albert street, East Melbourne. They cannot fail to become favourites in the drawing-room.

[Advertisement], The Argus (4 March 1863), 7

MR. W. HAYDN FLOOD, TEACHER PIANOFORTE, &c., 108 Albert-street, Author of Le Bouquet de Victoria Quadrilles.

"BIRTH", Daily Southern Cross (20 July 1866), 4

On July 14. the wife of Mr. W. Haydn Flood, of a daughter.

"PERSONAL", Wanganui Chronicle (21 July 1908), 4

Mr. William Haydn Flood, who died in the Ohiro Home on Saturday, says the "Times" at the age of 78 years, was an old Maori war veteran, having served in the Wanganui Cavalry. The deceased, who was an able musician, practised as a music teacher in Napier many years ago. He was a First Life Guardsman and witnessed the funeral of the Duke of Wellington. In 1867 he was appointed conductor of the Wanganui Choral Society, and was also for a time organist of Christ Church, Wanganui.

Musical works (NZ):

The Akaroa waltz (for the pianoforte by W. Haydn Flood) 

The Canterbury Volunteer galop (for the piano forte by W. Haydn Flood) [1875] 

The Clifton waltz (for the piano forte by W. Haydn Flood) [18-?] 

Bibliography and resources:

"William Haydn Flood", Wikipedia

William Haydn Flood; Family tree 

FLOWER, Sara (Miss FLOWER; Miss S. FLOWER; Madame Sara FLOWER; Mrs. Sam HOWARD)
Go to mainpage Sara Flower

FOANS, James Milton (James Milton FOANS; J. M. FOANS)

Musician, minstrel, serenader, burlesque dancer and falsetto vocalist ("Lucy Long"), publican

Born ? USA, ? c. 1816 / c. 1824 / c. 1829
Arrived Sydney, NSW, 19 September 1852 (per Speed, from San Francisco, 28 July)
Married Margaret HENSHAW (STOK) (c. 1828-1870), Sydney, NSW, 27 July 1853
Active Toowoomba, QLD, until July 1876 (TROVE tagged by Australharmony) (shareable link to this entry)


Foans was probably born in the USA, though given that there is no record of his British naturalisation in Australia, the possibility that he was British-born should not perhaps be entirely discounted. From various Australian records of his age, he was born either c. 1816 (masonic membership, 1853, age 37), c. 1824 (shipping list, 1854, age 30), or c. 1829 (shipping list, 1855, age 26). There is no record of his death.

James Milton Foans arrived in Sydney from California in September 1852 as a member of John Cragin Rainer's minstrel company, which toured the colonies for the next 3 years as Rainer's Serenaders.

While in Sydney with the serenaders in July 1853, Foans married Margaret Henshaw, a widow from Tasmania (at her first marriage to Thomas Henshaw in Hobart in 1849, her surname was recorded as Stok [sic]).

The Rainer troupe finally disbanded after performances in Maitland in July 1855, and back in Sydney in September, Foans took over the publican's license for the Shakespere Tavern (on the site of "the Clown", as rebuilt by William Knight in 1847), conveniently opposite the Royal Victoria Theatre, in Pitt-street.

From this base he also continued to perform and travel occasionally in several high profile minstrel-serenader combinations, notably in Sydney with the Backus Minstrels in November 1855, the so-called "Ethiopian Serenaders" in June 1856, and the San Francisco Minstrels in December 1857, and in Sydney and Brisbane in July and August 1857 with the re-formed New Orleans Serenaders.

In November 1858 he was declared insolvent, and from that point onwards he lived, toured, and worked mainly in country areas in NSW, VIC, SA, and QLD. For instance, in April 1860 he was running a dance hall at the Kiandra diggings in the Snowy Mountains.

His wife, Margaret, died while they were living at Young, in South West NSW, in 1870.

Foans was in Queensland by mid 1872, and was documented for the very last time on 29 July 1876, about to give a concert at Toowoomba.


[Advertisement], Sacramento Transcript (8 February 1851), 2 

THE SABLE HARMONISTS respectfully announce to the public of Sacramento that they will give another Concert on Saturday Evening, February 8, 1851, At Lee's Exchange. The company consists of the most talented performers that have visited this country, viz: H. MESTAYER, R. MOORE, H. DONNELLY, T. KING, E. VAN RENSSELAER, J. M. FOANS. On which occasion they will produce all the latest Songs, Glees, Choruses and Dances of the day. Prices of Admission First Tier, $1; Boxes, $1.50. The room will be well lighted. jan24

"THE CONCERT OF THE SABLE BROTHERS", San Joaquin Republican [CA, USA] (14 January 1852), 2 

The Concert of the Sable Brothers, last evening, was well attended. They gave us some of the sweetest music we ever heard. Mr. Morey, we think, is the best violinist we ever heard. Mr. Morgan, as a banjo player, is unsurpassable. Mr. J. M. Foans, as a Negro delineator and vocalist, we are sure has not an equal in this country, and all who have heard him are in raptures . . .

"Shipping Intelligence", The People's Advocate and New South Wales Vindicator [Sydney, NSW] (25 September 1852), 14 

September 10. - Speed, barque, 365 tons, Cannell, from San Francisco the 28th July, in ballast. Passengers . . . Messrs. J. C. Rainer, J. P. Brower, M. W. White, N. Bryant, G. M. Jones [sic], F. Moran . . .

ASSOCIATIONS: John Cragin Rainer; Thomas P. Brower; M. W. (Bill) White; Neil Bryant

[Advertisement], Empire (22 September 1852), 1 

Messrs. Rainer, White, Bower, Bryant, Foans, and Moran.
TO-MORROW EVENING, Thursday, Sept. 23, At the Saloon of the Royal Hotel.
THIS Company, (the first to harmonize Negro Melodies, and originators of the present popular style of Ethiopian Entertainments, and whose success during the past ten years in the United States is without precedent in the annals of public amusements, and who, on their visit to England, had the distinguished honour of appearing before her Majesty Queen Victoria, Prince Albert, and the Court,) respectfully announce to the musical public of Sydney, that they will commence a series of their inimitable entertainments as above . . .

[Advertisement], The Argus [Melbourne, VIC] (4 December 1852), 8 

MECHANICS' INSTITUTION, First Grand Concert of Rainer's Original Ethiopian Serenadors, composed of Messrs. Rainer, White, Brown, Bryant, Foans, Moran. Monday Evening, Dec. 6th . . .

"MARRIED" [27 July 1853], The Argus (17 January 1854), 4 

On the 27th July, 1853, at Sydney, by the Rev. Francis Inchfield, by special license, J. M. Foans, of Rainer's Serenaders, to Margaret, widow of the late Thomas Henshaw, of Hobart Town.

Membership register, Australian Lodge of Harmony, Sydney, NSW, 17 August 1853; United Grand Lodge of England Freemason Membership Registers (PAYWALL)

Aug 17 / Aug 24 / Sept. 2 / Foans / James Milton / 37 / Sydney / Musician / . . .

"SYDNEY", The Courier [Hobart, TAS] (30 January 1854), 2 

We perceive that Lucy Long (Mr. J. M. Foans), of Rainer's Serenaders, has married a Mrs. Henshaw, a widow from Hobart Town.

"ROYAL VICTORIA THEATRE. Lucy Long's Benefit", The Courier [Hobart, TAS] (17 August 1854), 3 

To-Morrow evening the amalgamated claims of the fascinating and world-renowned Lucy Long, the pretty Dinah Rose, Lubly Rosa Teil, and their inseparable companion, Mr. J. M. Foans, the prince of tambos come before the music-loving, mirth-enjoying, and therefore sensible, portion of the community, in the shape of a benefit night for this most united little family of drollery and charms . . .

"VICTORIA THEATRE", South Australian Register (24 February 1855), 2 

In our notice of the last very successful performance in this favourite place of amusement, we omitted to state that it was announced that Monday evening next was fixed for the benefit of Mr. J. M. Foans, that most amusing "actor of all work," the veritable "Caleb Quotem" of the company. Foans is, in truth, deservedly a great favourite; his singing forms no inconsiderable portion of the general attractions of the company, and whether as the propounder of puzzling conundrums, as the fluent but unintelligible nigger conversationalist, the burlesque lecturer on mesmerism, or when he simulates - not the fair, but - the softer sex, and trips it "on the light fantastic toe," he is inimitable. Although not the leader, he takes a leading part in every performance, and may, of course, be expected to come out pretty particularly strong for his own benefit. The published programme presents a most tempting treat to all who love good music, cultivated singing, and graceful dancing. One feature in it is deserving of special commendation; we mean the introduction of the favourite plaintive air, "Mary Blane," a melody that has now become identified with our popular national music. With these professional claims, and with such an attractive programme, we think Foans is as certain to have a good house as he certainly deserves it.

"LICENSING SESSION . . . TRANSFERS GRANTED", The Sydney Morning Herald (5 September 1855), 5 

ASSOCIATIONS: Joseph Henry Faris (d. 1859)

. . . Shakespere Tavern, Pitt-street, from H. Faris to J. M. Foanes . . .

"ROYAL VICTORIA THEATRE", The Sydney Morning Herald (26 November 1855), 4 

THE entertainments will commence with the performances of the BACKUS MINSTRELS.
To conclude with the musical Burletta, entitled THE VIRGINIA CUPIDS.
Sam Johnson, T. P. Brower; Boss, J. M. Foans; Cuff, C. Backus; Pete Williams, Jerry Bryant; Dusty Bob, A. Morgan; Jim Brown, Barker; Julio, Burbank.
J. G. GRIFFITHS, manager.

ASSOCIATIONS: Charles Backus; Jerry Bryant; Otto N. Burbank; Thomas P. Brower; John Gordon Griffiths


Permission for music has been granted to James Foanes, Shakespeare Tavern, Pitt-street . . .

Certificate of publican's license, 23 April 1856; State Records Authority of NSW (PAYWALL)

At the Annual Licensing Meeting . . . at Sydney . . . on the 23rd day of April [1856] . . . to James Milton Foanes [sic] . . . for the House known by the Sign Shakspeare Tavern . . . in Pitt-street . . . sureties Thomas Martin of Church Hill, Sydney, and Joseph Faris of Woolloomooloo, Sydney . . .

"ANNUAL LICENSING MEETING, 1856 . . . GRANTED", Empire (15 May 1856), 5 

. . . James Milton Foans, Shakspeare Tavern, Pitt-street . . .

"PRINCE OF WALES THEATRE", The People's Advocate and New South Wales Vindicator (7 June 1856), 3 

The Ethiopian Serenaders; Messrs. D. F. Boley and W. A. Porter (late of the Backus Minstrels), Messrs. J. M. Foans, T. P. Brower, and Niel Bryant (late of Rainers Serenaders) and Mr. J. E. Kitts, (late of the New York Serenaders) have taken this Theatre for four evenings, the present being the last of the arrangement. This is to be regretted; for in the present dearth of musical talent in Sydney, an evening with this extremely talented corps vocale and musicale, is a very agreeable affair. On Wednesday, they were, on their reappearance, welcomed with much cordiality by a crowded audience; and the exceedingly well-rendering of the selections of songs, duets, choruses, burlesques, dances, &c. gave the highest satisfaction . . . This talented Company will take their Farewell Benefit this evening . . .

ASSOCIATIONS: Dorrel Fair Boley; James Edward Kitts; Thomas P. Brower; Neil Bryant; William A. Porter

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

SHAKESPERE TAVERN, Pitt-street, opposite the Victoria Theatre. - Novelty Extraordinary!! - Mr. J. M. FOANS, late ef RAINERS SERENADERS, has great pleasure in announcing to his friends, and the public in general, that he has secured, at a great expense, FOR TWELVE NIGHTS ONLY, the services of that deservedly popular comedian, humourist, comic delineator, &c, Mr. R. J. OSBORNE, who has lately arrived in the colony, and will appear every evening in the capacious saloon of the Shakespere Tavern.

ASSOCIATIONS: Robert James Osborne

"THE NEW ORLEANS SERENADERS", The Moreton Bay Courier [Brisbane, NSW (QLD)] (8 August 1857), 2 

On Wednesday evening the Serenades gave the first of a series of performances in the Mechanics' Institute . . . The company play the banjo, tambourine, bones, and fiddle, and the perfect harmony of the voices could only have been attained by long practice together. It would be almost invidious to make comparisons where all gave so much satisfaction, but the ballad "Lilly Bell" of Brower was decidedly the gem of the first part of the performance. The comic songs were admirably sung by Foans and Carson, and the Tyrolean imitations of Bowley were received with applause. Tho second part of the performance received the greatest share of favor. The beautiful duet "Robin Ruff" was effectively rendered by Brewer and Bowley, and received an encore; the ballad " We met by Chance" was also sung with much taste. Dave Carson's "Blue Tail Fly" and the Lecture on "Women's Rights" were much applauded. The instrumental performances were equally well received, a banjo solo, and a banjo trio, (introducing Foans' Madagascar Fiddle, which must be heard to be fully appreciated), were encored. The performances terminated with the song and dance of "Lucy Long." The charming Lucy was creditably portrayed by Foans; and he received a large share of the applause of the evening. The performances were continued on Thursday and Friday evening, and will be repeated this evening, being the last night but one of their entertainments.

ASSOCIATIONS: Dave Carson; Dorrel Fair Boley; Thomas P. Brower

"SAN FRANCISCO MINSTRELS, ROYAL HOTEL", The Sydney Morning Herald (1 December 1857), 5 

This troupe of serenaders commenced their novel entertainment on Wednesday evening, to a tolerably numerous audience. Their performances were successful, and drew forth loud applause. In the first division of the programme, (consisting of three parts), the song "We are coming, Mary," by D. F. Boley, and a sentimental composition, entitled "Lilly Bell," formed a pleasing contrast to the ludicrous melodies so characteristically given by Messrs. O. N. Burbank, J. M. Foans, and Carson. This latter gentleman received the first encore of the evening, in a new nigger song called "Wasn't that a pull back." The novelty of the entertainment was in the second part of the programme, which introduced Mr. G. W. Demerest, whose imitation of Fanny Elsler forms an important feature in the terpsichorean divertisement. Although a burlesque, it is replete with interest. Mr. Burbank, late of the Bacchus Minstrels, gave his well-known Rattlesnake Jig, and with Mr. Demerest danced the Drum Polka. In the comic song of "The Blue Tail Fly," Mr. Dave Carson is worthy of notice for his clever imitation of the teasing insect, with its bold humming sound. The melange terminated with a scene depicting a plantation festival. The minstrels have taken the Lyceum, in York street.


[Advertisement], The Sydney Morning Herald (29 May 1858), 1 

AMERICAN AMPHITHEATRE, Prince of Wales Theatre. -
Complimentary BENEFIT to JAMES M. FOANS,
under the special patronage of Captain O. S. Lovell, of the Royal Artillery, who has kindly conceded, for this night only, the services of his celebrated band.
The present appeal to the Sydney public originates from the numerous kindly feelings manifested towards Mr. Foans by a large circle of friends and admirers, amongst whom he is proud to state Messrs. Rowe and Marshall stand prominently forward; they having, upon hearing the circumstances attending Mr. Foam's loss of license, proffered, in the most handsome manner, the use of their noted troupe and stud for a FREE BENEFIT on his behalf.
Mr. Foans engages that bis "bill of fare" shall satisfy the greatest of theatrical gourmands, the most hypercritical of judges, and the laughter-loving, mirth-seeking community at large; and when, in corroboration of the above, it be told that the Incomparable and world-famed Hernandez, the classic Raphael, the astounding De Vere on the corde volant, the Gymnasts in their feats of strength, the Shakespearian Clowns in their "motley garbs," with their "quips, and cranks, and merrie gibes," - and the best vocal and Instrumental performers in Sydney, including the Artillery Band, - will be in the programme for that evening's entertainment, together with Mrs. Oates, the pleasing soprano, who will sing with Mr. Foans the favourite duett of "What are the Wild Waves saying!" and Mr. F. himself, in his much admired ballad, "We met by chance," as well as in the characteristic dance and chorus of "Lucy Long."
The beneficiaire feels assured that a numerous and discriminating auditory will not be wanting on this occasion to show their estimation of him as one of the original Rainer's Serenaders, a general caterer for their amusements, and also aa a respectable member of the corps dramatique. N.B.- Further particulars in future advertisements.

"INSOLVENCY COURT. MONDAY . . . SURRENDERS", The Sydney Morning Herald (16 November 1858), 4 

James Milton Foans, of Woolloomooloo-street, Sydney, gentleman. Liabilities, £175 2s. 3d. Assets - value of personal property, £10. Deficit, £165 2s. 3d. - Mr. Perry, official assignee.

"CONCERT - THE SABLE BROTHERS", The Maitland Mercury and Hunter River General Advertiser (1 February 1859), 3 

By an advertisement in another column it will be seen that our old friends, Messrs. R. F. Baker and J. M. Foans, the former of the New York and the latter of Rainer's serenaders, intend giving a concert in the School of Arts, West Maitland, to-morrow, Wednesday evening . . .

"ETHIOPIAN SERENADERS", The Goulburn Herald and County of Argyle Advertiser (17 December 1859), 2 

Mr. Foans, who has twice before visited Goulburn, and whose abilities are well-known, has once more arrived in town. He is accompanied by Mr. Porter, formerly of the Backus minstrels, and Mr. Radcliff, a violinist of whose performances we have heard a high character. They performed for the first time last night at Mr. Cohen's.

"KIANDRA", Goulburn Herald (4 April 1860), 2 

. . . New rushes were taking place every day; the last one is thirty miles this side from Russell's, at Ucumbene, to which place about two hundred have gone, but I cannot yet state with what success . . . the population, as a whole, are very orderly, and where there is one rowdy there are twenty ready to keep order. There are about 600 tents and 4000 people there now. Jones's circus and Foans' serenading company were performing to well-filled houses, boxing tents were crowded every night, and two or three prize fights were taking place every week . . .

"THE SNOWY RIVER . . . Kiandra, 9th April, 1860", Empire (2 May 1860), 2 

. . . There can be no doubt the shanty system has been allowed to assume gigantic proportions, but the gradual establishment of licensed houses, and the risk of seizures will soon render the continuance unprofitable, and as the diggers are likely to be supplied with varied amusements, they will no longer be resorted to. Mr. Foans, of Ethiopian celebrity, has opened the Criterion Music Saloon, floored to the length of 50 feet for dancing, which amusement will be varied by the very popular performance of the serenaders. As Mr. F. meets with a fair amount of encouragement, no doubt his efforts will be redoubled in the spring, and that his enterprise will meet with due reward. A circus is also now here, but leaves today, the spread of canvass being rather roughly treated in the late tempestuous weather. A few stray fiddlers and German singers complete the recreations, with the exception of prize fighting, which, however, appears to be much on the decline. There is little risk or danger now in traversing the township or diggings even after nightfall . . .

[Advertisement], The Sydney Morning Herald (21 January 1862), 1 

CHARLES WALSH'S SERENADERS, including the celebrated Mr. J. M. FOANS and his extraordinary pupil, HARRY RICE, will shortly appear.

"BAND OF HOPE", The Burrangong Argus (18 June 1870), 2 

On Thursday evening last, the long looked for magic lantern was exhibited in the Congregational Chapel before a large audience. This lantern shows a disc of 10 feet in diameter, and has two chromatrope slides; also, sixteen others of the best description, some of which are comical, and amused both young and old. The entertainment was accompanied with music and singing by Mr. Foans. In his usual style he sung "Father, Come Home," "Mother, I've Come Home to Die," &c. . . .

"DIED", The Burrangong Argus (9 July 1870), 2 

ON 7th inst., at her residence, Main-street, Young, after a protracted illness, MARGARET, the beloved wife of Mr. J. M. FOANS; aged 42 years. Sydney and Melbourne papers please copy.

"NEWS OF THE WEEK", The Gundagai Times and Tumut, Adelong and Murrumbidgee District Advertiser (16 July 1870), 2 

We perceive that the wife of Mr. J. M. Foans, the celebrated Ethiopian delineator, has expired at Young, after a protracted illness.

"ENTERTAINMENT", The Manaro Mercury, and Cooma and Bombala Advertiser (24 December 1870), 2 

On Monday and Thursday evenings last Mr. J. M. Foans gave an entertainment to a Cooma audience, a complimentary benefit being tendered him on Thursday evening. His performances are very good, and were well appreciated by the audience. We regret to add the attendance was not large.

"CHARLEVILLE", Queensland Times, Ipswich Herald and General Advertiser (13 June 1872), 3

About ten days ago Charleville was favoured by a great musical treat. Mr. Foans, the unrivalled nigger delineator, accompanied by Mr. McGuinness, pianist and violinist, and Mr. Williams, comedian, gave a series of entertainments, at Bradley's hotel, to very good audiences . . .

[News], The Darling Downs Gazette and General Advertiser [Toowoomba, QLD] (29 July 1876), 3 

A complimentary benefit will be given to Mr. J. M. Foans at the Royal Assembly Rooms on Monday evening next. Mr. Dent Bosco, the renowned ventriloquist, has kindly consented to assist in the entertainment, and Messrs. R. Burton and H. Thurston have volunteered their services . . .

Musical sources:

[Music] The popular song Miss Lucy Long, adapted to the pianoforte by T. Carr (Philadelphia: Osborne, [1842]) (DIGITISED)

[Illustrated sheet music cover only] Lucy Long, the celebrated Nigger song, as sung by Mr. Sweeny, arranged with new symphonies and an accompaniment for the piano forte (London: T. E. Purday, [c. 1842-44]) (DIGITISED)

On Lucy Long, see "Minstrel show", Wikipedia, and illustration 

Bibliography and resources:

Lois M. Foster, Annals of the San Francisco stage, 1850-1880, volume 1 (San Francisco: Federal Theatre Projects, 1936), 82 

On January 15 [1851] the "Sable Harmonists" made their first appearance at the Jenny Lind. McCabe lists members of this company as follows: R. Moore, H. Mestayer, C. Fisher, H. Donelly, T. King, J. M. Foans, E. Van Ranselaer. The troupe played here until the 19th, returning in February for a run which began in the Parker House saloon and ended in the theatre upstairs, February 22 to 28. This troupe, with some changes, appeared two years later under the same name at the Adelphi and did its part to further the momentum of minstrelsy in the west.

FOLEY, Bartholomew (Bartholomew FOLEY)

Hymn singer, psalm singer, executed convict

Born England, c. 1796
Convicted Old Bailey, London, 4 December 1799 (age "13", sentenced, death; commuted, life)
Arrived Sydney, NSW, 12 June 1801 (convict per Earl Cornwallis, from England, 18 November 1800)
Executed Sydney, NSW, 14 July 1814 (shareable link to this entry)


LONDON GAZETTE . . . DEC. 7, 1799, Hereford Journal [England] (11 December 1799), 2

"LONDON GAZETTE . . . DEC. 7, 1799", Hereford Journal [England] (11 December 1799), 2

Yesterday the Old Baily Sessions commenced, when 20 prisoners were tried, two of whom were capitally convicted, viz. Thomas Scott, for assaulting and robbing Major-Gen. William John Arabin, on the 31st of December, 1798; and Bartholomew Foley, for robbing the dwelling house of Isaac Pritty, of two guineas: eleven were convicted of felonies; seven were acquitted.

"EXECUTIONS", The Sydney Gazette and New South Wales Advertiser (16 July 1814), 2

On Thursday Bartholomew Foley, condemned for sheep stealing at Port Dalrymple, was also executed. He came a prisoner to this Colony about 13 years ago, a boy not exceeding 12 or 13 years of age; but depravity had grounded in his youthful principles, and he very soon exhibited occasions for pitying the miseries to which a propensity to error had doomed him in his youth. He was for the entire space of four or five years employed in the gaol gang; for as he approached to manhood he seemed only desirous of confirming himself in obdurate and determined vice. His crimes were very numerous, and his punishments frequent, till at length he unhappily became no further useful in society, than by a melancholy example to warn others against prosecuting a line of conduct so terrible as his had been. From the moment of his condemnation, however, he became the repentant sinner - the prodigal restored to hope. His temporal destiny he acknowledged to be just, and hoped forgiveness of his crimes in Heaven, as his penitence was sincere and full. At the place of execution he appeared with that firmness which the hope of mercy can alone bestow upon a suffering criminal. He sung two hymns, loudly, distinctly, and with such animated fervour as to give peculiar melody to his accents; and when about to be launched into eternity addressed the spectators in a speech, in which he reviewed his past life, declaring that from the age of infancy his crimes had involved him in pain and suffering; for that Providence had constantly persecuted him for his offences, and left him no shelter from the penalties of his iniquities. To the Rev. Mr. Cowper, who attended him with the kindest attention from the time of his condemnation, he behaved with the most reverential respect, and declared that to his pious attention he was indebted for the peace of mind which he then felt. About nine o'clock he was launched into eternity leaving the world in the firm hope of an eternal life and mercy in the world to come.

ASSOCIATIONS: William Cowper (chaplain)

Bibliography and resources:

BARTHOLOMEW FOLEY, 4 December 1799, Old Bailey online 

12. BARTHOLOMEW FOLEY was indicted for feloniously stealing, on the 31st of October , two guineas, the property of Isaac Pretty , in his dwelling-house . . . The prisoner did not say any thing in his defence. GUILTY Death. (Aged 13.) The prisoner was recommended to mercy by the Jury, on account of his youth. Tried by the first Middlesex Jury, before Mr. Justice GROSE. 

Colonial Secretary Index, 1788-1825; State Records Authority of NSW 

FOLEY, Bartholomew. Per "Earl Cornwallis", 1801
1800 Oct 13 - On list of convicts on board the "Earl Cornwallis" (Reel 6028; 2/8283 p.27)
1810 Feb 3 - Petition for mitigation of sentence (Fiche 3164; 4/1846 p.85)
1812 Jul 18 - Escaped from "Lady Nelson" bound for Port Dalrymple (Reel 6003; 4/3492 pp.145-6)
1812 Jul 26 - Recaptured and re-embarked on "Lady Nelson" (Reel 6003; 4/3492 p.148)
1813 Apr 30 - Escaped from Port Dalrymple (Reel 6003; 4/3492 p.217)
1814 May 14 - Had absconded from lawful employment in Van Diemen's Land.
Proclamation requiring surrender of before 1 Dec or he would be deemed an outlaw & dealt with accordingly (Reel 6038; SZ1044 pp.214-7)


Musician, professor of the flute, flautist

Active Melbourne, VIC, 1856 (shareable link to this entry)


[Advertisement], The Argus (13 February 1856), 1

M. FOOTE, Professor of the Flute, on Nicholson's principle, will give instructions on very moderate terms. Reference to be made from nine to eleven and three to five (this week), to the Queen's Arcade Office.

ASSOCIATIONS: Charles Nicholson

[Advertisement], The Argus (29 March 1856), 10

TILKES CITY HOTEL. Bourke street.
A GRAND SELECTION Of Vocal and Instrumental Music, (Solo and Concerted)
Will be given Every Evening in the New Splendid Music Saloon of the above Hotel by an efficient company.
The following artistes will have the honor of appearing -
VOCALISTS: Mr. J. W. Morgan, the eminent basso; Madame D. Butler, the celebrated soprano; Mr. Frank Martin, tenor.
INSTRUMENTALISTS - Violin, Mr. Clifford; Flute, Mr. Foote; Harp. Mr. J. Young; Concertina, Mr. George Clifford; Pianoforte, Mr. E. J. Piper.
Commence at Eight o'clock.

ASSOCIATIONS: Edward John Piper (pianist)

[Advertisement], The Argus (4 April 1856), 8 

TILKES CITY HOTEL . . . Flute - Mr. Foote . . .

"THE LATE POISONING CASE", The Age (1 May 1856), 2 

We are informed upon good authority that Mr. Tilke, the proprietor of the Hotel and Dining Rooms which have been rendered so unhappily notorious during the last few days, intends shortly to give a grand vocal and instrumental Concert, for the benefit of the sufferers . . .

ASSOCIATIONS: William Tilke; see, "POISONOUS PEA-SOUP. EIGHT PERSONS POISONED", The Argus (26 April 1856), 5 

[Advertisement], The Age (7 May 1856), 1

GRAND CONCERT, Under the Patronage of the Right Worshipful the Mayor.
A GRAND CONCERT will be held This evening, at Eight o'clock, at the City Hotel, on behalf of the necessitous sufferers by the late melancholy occurrence at that establishment.
The Committee are glad to announce that they have been promised the services of Mr. H. Johnson, and several members of the Band of the Fortieth Regiment.
PROGRAMME. Part 1st . . . Duett - Pianoforte and Flute - Messrs. Piper and Foote - Donizetti . . .
Part 2nd . . . Solo - Flute - Mr. Foote . . .

"CONCERT AT THE CITY HOTEL", The Age (8 May 1856), 3 

On Wednesday evening a concert which had been originated for the benefit of necessitous sufferers by the late unfortunate occurrence at this establishment, was held in the concert-hall of the hotel. The audience, which was numerous, and included a considerable number of ladies, certainly had the gratification of listening to one of the most pleasing concerts of miscellaneous music which have lately taken place in the city. The concert was got up by a committee of gentlemen, who took upon them the responsibility of providing a good entertainment, and of examining into the merits of such claims for assistance as might be preferred. The entertainment itself was the free offering of the artistes connected with the music-hall, and of several gentlemen, professional and amateur, who generously proffered their services . . . Mr. Foote's tasteful flute-playing, and Mr. Piper's pianoforte accompaniments, were also the theme of general admiration. An excellent band played at intervals throughout the evening . . .

FORD, A. F. (Mr. A. F. FORD; Mr. A. FORD; Mr. FORD)

Comic vocalist, agent

Active Sydney, NSW, 1853 (shareable link to this entry)

ASSOCIATIONS: Marianne Adcock; Flora Harris; John Howson; Ferdinand Rosenstein


[Advertisement], The Sydney Morning Herald (2 September 1853), 5 

ROYAL HOTEL. MR. SINCLAIR has the honor to announce that he intends giving a Vocal and Instrumental Concert, at the above Hotel, on THURSDAY, September 8th, when he will be assisted by the following artistes: Mrs. St. John Adcock, Miss Flora Harris, Mr. Roby, Mr. Ford, and Herr Hoffman. A. F. FORD, Agent.

[Advertisement], The Sydney Morning Herald (12 September 1853), 1 

ROYAL HOTEL. GRAND CONCERT. THIS EVENING, Monday, September 12th, 1853.
Miss Florra Harris, Mr. Sinclair (from the London and Provincial Theatres, his first appearance in this colony.) Mr. John Howson, Mr. Roby, Mr. A. Ford, and Mr. Ferdinand Rosenstein, the celebrated Pianist. MR. SINCLAIR begs to inform the public that his concert, which was postponed on Thursday Evening, in consequence of an accident in the family of Mrs. St. John Adcock, will positively take place THIS EVENING, when he hopes to meet with the same support so generously afforded him on that occasion.
Programme: - PART I:
Overture - Mr. Ferdinand Rosenstein
Ballad - The Voice that bids us Welcome
Home - Wrighton, - Mr. John Howson.
Ballad - In Happy Moments - Wallace,- Mr. Roby
Ballad - There is a Flower that Bloometh Wallace - Mr. Sinclair.
Ballad - Phoebe Morel - Miss Flora Harris.
Grand Scena - All is Lost Now - Bellini - Mr. John Howson.
Duet - Gently Sighs the Breeze - Miss Flora Harris and Mr. John Howson.
Overture - Mr. Ferdinand Rosenstein.
Ballad - I Must Depart from Thee - Glover - Mr. Sinclair, first lime in this colony.
Pestal - Mr. Roby.
Ballad - When we Recall the Happy Scenes - Balfe - Mr. John Howson.
Ballad - When I left my Norman Valleys - Meyerbeer - Miss Flora Harris.
Comic Song - Mr. Ford.
Recitative and Air - Death of Nelson - Braham - Mr. Sinclair.
Duet - What are the Wild Waves Saying - Miss Flora Harris and Mr. John Howson.
Tickets for front seats only, to be had at the Royal Hotel, and all principal music sellers. Admission - Front seats, 4s.; back seats, 3s. Commence at Eight o'clock precisely.

FORD, Thomas (Thomas FORD; Mr. T. FORD)

Professor of music, choral conductor, tenor vocalist, government singing master, singing class instructor, conductor and secretary (The Musical Union)

Born Bristol, England, c. 1832; son of Thomas FORD (d. VIC, 1883) and Elizabeth CARRIER (d. VIC, 1878)
Active Melbourne, VIC, by 1860
Died Ivanhoe, VIC, 19 June 1921, aged 89 (TROVE tagged by Australharmony) (shareable link to this entry)

FORD, Alfred (Alfred FORD; Mr. A. FORD)

Tenor vocalist

Born c. 1841; son of Thomas FORD (d. VIC, 1883) and Elizabeth CARRIER (d. VIC, 1878)
Died Ivanhoe, VIC, 31 August 1921, in his 81st year (TROVE tagged by Australharmony) (shareable link to this entry)


Ford was the founding honorary secretary of Melbourne's Musical Union and (more or less interchangeable) Orpheus Union in May 1860.

His younger brother, Alfred, later a public notary, was also an amateur singer, who frequently appeared as a soloist with the Melbourne Philharmonic Society in the later 1860s and 1870s.

One, possibly two sisters, Miss Ford (otherwise unidentified) and Miss J. Ford were also musical amateurs.


"THE MUSICAL UNION", The Age (11 May 1860), 5 

The Musical Union, as the second attempt to establish a Choral Society within the suburb of Collingwood has been designated, was founded a few months ago in Fitzroy, for the practice of vocal and instrumental music . . . We must not infer from this, however, so far as the persons of whom this new body is formed, that it is radically distinct from the parent society in Melbourne, for we discern that many of its ablest members are also members of the Union; and that many more having given their assistance, the new society is already in a position to hold public rehearsals of an effective and attractive character . . .

ASSOCIATIONS: Parent society = Melbourne Philharmonic Society

[Advertisement], The Argus (30 May 1860), 8 

ORPHEUS UNION - REHEARSAL THIS EVENING, at 8 o'clock Thos. Ford, Hon Sec.

[Advertisement], The Argus (29 September 1860), 8 

In connection with the LADIES' BENEVOLENT SOCIETY,

"THE MILITARY CONCERT ON SATURDAY NEXT. To the Editor of . . .", The Herald (18 January 1861), 5 

. . . on Saturday next . . . a Military Concert is to be given in aid of the funds of the Benevolent Asylum, from three to six o'clock, in the Botanic Gardens . . .
THOS. FORD. Richmond, 16th January, 1861.

[Advertisement], The Argus (13 February 1861), 8 


[Advertisement], The Argus (25 July 1861), 8 

MUSICAL UNION-REHEARSAL THIS EVENING. Band at 7, Mozart's Symphony in D. Chorus at 8, Mendelsohn's St. Paul. THOMAS FORD, Hon. Sec.

[Advertisement], The Argus (25 July 1861), 8 

MUSICAL UNION - REHEARSAL THIS EVENING. Band at 7, Mozart's Symphony in D. Chorus at 8, Mendelsohn's St. Paul. THOMAS FORD, Hon. Sec.

[Advertisement], The Argus (9 October 1861), 8

MUSICAL UNION.- The MESSIAH will be REHEARSED on Thursday, at 8 precisely, for concert to be given at the Theatre Royal, in connection with Lyster's Grand Opera Company. Band at 7. Mozart's Symphony in D. THOMAS FORD. Hon. Sec.

"THE ORPHEUS UNION. SECOND CONCERT", The Herald (6 November 1862), 5 

The members of the Orpheus Union gave their second concert of the season, last night, at the Town Hall, Prahran. The audience was numerous and fashionable . . . Beethoven's vesper hymn was meritoriously rendered by Miss Mortley, the Messrs. Ford and Mr. Angus, assisted by the choir, who sang with praiseworthy evenness . . . Kucken's famous part song, "The Young Musicians," was excellently rendered, Mr. Ford, whose voice has much improved since we last heard him, especially distinguishing himself in the tenor solo . . . A part song, "How can the birds help singing," and "A Soldier's Love," in which Mr. Ford was assisted by the chorus with a correctness, evidently the result of careful rehearsals and careful study . . . The proceeds of the concert will be devoted to the purchase of a harmonium for All Saints Church, Prahran.

"NEWS OF THE DAY", The Age (7 April 1863), 4 

The Easter Soiree and Ball of the Musical Union, was held last night at Hockin's Assembly Rooms . . . The first part of the evening was occupied with musical selections, and a number of part songs and solos were very nicely sung. The ladies who distinguished themselves in the latter class, were Miss O. Hamilton, Miss Mortley, Miss Ford, and Miss James, Mr. G. R. G. Pringle wielded the baton, and some of the concerted pieces proved very effective . . . During the evening the company had an opportunity of examining a variety of specimens of the fine arts, most of which were lent by Mr. T. Ford for the purpose . . .

"AMUSEMENTS, &c.", The Age (25 April 1863), 6 

On the evening of Good Friday, the oratorio of "Elijah" was performed at the Theatre Royal, in accordance with our usual custom, by the Musical Union, the chief singers being Mr. Farquharson, Mr. Ford, Miss Octavia Hamilton, Miss Mortley, and Miss Beaumont. The oratorio was most successfully rendered.

[Advertisement], The Argus (25 March 1867), 8

MR. THOMAS FORD, professor of music and teacher of singing, having recovered from his late Illness, will RESUME TEACHING on and after Monday, 26th inst. Professional communications to care of Mr. W. H. Glen, music seller, Collins-street, Melbourne.

[Advertisement], The Argus (3 July 1867), 8

MR. PRINGLE'S SINGING CLASSES, Mechanics' Institution.
Mr. THOMAS FORD, conductor of the Orpheus Union and professor of singing at Wesley College, having arranged with Mr. Pringle for continuing the above classes, respectfully invites the attendance of the members and other ladies and gentlemen desirous of joining, at the Mechanics' Institution, on Wednesday evening, at half past 7 o'clock, when Mr. Pringle will introduce Mr. Ford to the members.

[Advertisement], The Argus (7 October 1867), 8

MR. THOMAS FORD'S SINGING CLASSES, Mechanics' Institution, Wednesday Evenings-Elementary, half-past 7; Advanced Class, half-past 8 o'clock.
A Concert, consisting of glees, songs, part songs, and madrigals, will be given by the members on Wednesday evening, October 9 . . .

"THE ORPHEUS UNION CONCERT", The Argus (15 October 1867), 7

After a long and unexplained silence, the Orpheus Union gave last night the third concert of the season, leaving on the minds of the audience at its conclusion a sentiment of thankfulness that this excellent little society still remains intact. Were there a dissolution, it would be greatly missed, for it has a sphere of large usefulness to occupy, not only in nourishing a love of part-singing, which is apt to be too much neglected in favour of more pretentious displays, but in supplying a want only partially met by the "philharmonic" associations of the metropolis. We may then sincerely congratulate the Union upon its re-appearance, and hope that, under the able conductorship of Mr. T. Ford, its future career will increase its credit.

"RECEPTION OF THE DUKE OF EDINBURGH", The Argus (21 November 1867), 5

. . . The children of the Emerald-hill schools, numbering upwards of two thousand, assembled on the magnificent platform prepared for them on Friday afternoon last, and rehearsed the National Anthem, under the conductorship of Mr. Thomas Ford. The children sang with much spirit and great precision of time. Mr. Ford has announced two other grand rehearsals for this afternoon and tomorrow, in order that every success may attend the demonstration . . .

[Advertisement], The Argus (13 January 1868), 8 

MR. THOMAS FORD'S SINGING CLASSES, Mechanics' Institution, Melbourne. -
Members are respectfully requested to attend on Wednesday evening next, January 15, 1868. Elementary class, half-past 7; advanced class, half-past 8 o'clock precisely.

"HORSLEY AND KENDALL BENEFIT CONCERT", The Argus (29 August 1870), 7

. . . On Mr. Horsley presenting himself at the conductor's desk he was greeted with great cheering. Previously to the commencement of the concert an interesting ceremony took place, in the presentation of a very elegant baton of silver, ornamented with gold leaves, on which were inscribed the names of the principal works of the composer, "Euterpe" being the last. As the presentation and reply were carried on in dumb-show-in consequence of the overpowering murmur of the audience we reproduce them here for the benefit of such readers as are interested. The address was read by Mr. Thomas Ford, a member of the committee . . .

. . . The cantata "Euterpe," as a composition, was noticed by us at length on its first production, a few weeks since, so that we need on this occasion do little more than comment on the manner of its performance . . . The leading voices engaged in the production of the cantata were those of Madame Simonsen, Miss Lucy Chambers, Mr. Beaumont, Mr. A. Ford, and Mr. E. Amery. The No. 2 quartette and chorus, "When in her sacred fanes," was a failure, Mr. A. Ford omitting to put in an appearance in consequence, we were told, of being unable to extricate himself in time from the crowd by which he was surrounded, it was, however, performed in a manner . . .

[News], The Argus (13 September 1872), 5

The opening of the new organ at the Wesleyan Church, Emerald-hill, took place on Wednesday night, before a numerous assemblage . . . There was a chorus of about 35 voices, mostly of a good stamp. Their contributions, together with various duets, trios, and quartetts by the leading voices, made up the rest of a very respectable concert of sacred music. Mr. Thomas Ford was the conductor.

[News], The Argus (8 May 1876), 5

The members of the South Melbourne Glee and Madrigal Society, under their conductor, Mr. Thomas Ford, gave their third concert and social evening last night in the Masonic-hall, Ferrars-street, Emerald-hill . . .

[Advertisement], The Argus (6 February 1880), 8

Open Daily from 11 a.m. to 5.30, and from 7.30 to 10 p.m.
GRAND PART SONG CONCERTS, By the State School Scholars of the Emerald-hill, Sandridge, and South Yarra districts. 350 Voices.
Conductor, Mr. Thomas Ford.
1. Part Song, "Winter School Song" - Hullah.
2. Part Song, "The Mill Wheel" - German.
3. Part Song, "Como to the Hills Away" - A. Hume.
4. Part Song, "The Lurly" - German.
5. Part Song, "Float Away" - German.
6. Part Song, "Farewell" - German.
7. Part Song, "The Village Chorister" - J. Moschelles.
Interval of Five Minutes
8. Chorus, " Victorian National Anthem" - J. Summers.
9. Part Song, "The Plough Boy" - Hullah.
10. Round, "The Clock" - Anon.
11. Part Song, "Christmas" - Murley.
12. Part Song, "Good Night" - Anon.
God Save the Queen . . .

Alfred Wooley Greig, "SIDELIGHTS ON THE SIXTIES", The Argus (5 December 1916), 5

. . . Among those classes for whom these forms of amusement had no attraction we find at this time a widespread interest in the cultivation of vocal and instrumental music. The Philharmonic Society was already an institution of some years' standing; while in the late fifties various suburban singing classes and glee clubs had come into being. In 1860 a "Musical Union" which strove to foster the formation of a good amateur orchestra, and an "Orpheus Union", in which part-singing was to have its highest development, began their closely-associated career, Mr. Thomas Ford, who is still enjoying a green old age amongst us, being honorary secretary of both bodies. It is noteworthy that at the first public concert given by the Musical Union, on May 10, 1860, when the "Creation" was produced in a church in George street, Fitzroy, the tenor soloist was a young clerk of 17 or 18, named Edward Armes Beaumont, who shortly afterwards was to enter upon a career as an operatic singer, which terminated recently enough to make it a sort of connecting link between present and past generations of music-lovers . . . The Orpheus Union practised for about twelve months in private before venturing to invite public criticism. On February 27, 1861, they took part in a concert given in the Mechanics' Institute (now the Athenaeum), in Collins street, before an audience consisting of the Governor (Sir Henry Barkly), Lady Barkly, and "nearly all the professional celebrities and well-known amateurs and musical connoisseurs in the city". Mr. Ford's recollections of this occasion are interesting. The first item, rendered by the part-song society, was Mendelssohn's "Song of the Night", and when its members, taking their cue from a softly-hummed keynote, rose to their feet and burst forth into harmony without any instrumental accompaniment, the audience sat spell-bound, under a new sensation. The close of the number was received in breathless silence, and as the singers resumed their seats a whisper went round among them that their initial effort had been a failure. But the rapturous applause which greeted them when they stood up to essay their second number soon re- moved the misapprehension; and the news-paper report of the concert admits that "the Orpheans established their right to high consideration" . . .

"Reunion of old Pupils", The Argus (19 November 1917), 8 

More than 150 former pupils of the Church of England Grammar School, North Melbourne, of which the late Percy Walker was principal, met in a reunion at the Francatelli Cafe on Saturday night. The "girls" were specially invited. Representatives of Essendon and the John Marshall associations were present, as were Captain J. Haughton, a former teacher, and the old singing master, Mr. Thomas Ford. The director of Education regretted his inability as an old boy to be present . . .

"DEATHS", The Argus (20 June 1921), 1

FORD. - On the 19th June, at his residence, 130 Ford street, Ivanhoe, Thomas Ford, J.P., beloved brother of Alfred Ford, of Ivanhoe, aged 89 years. (No flowers.)

"DEATHS", The Herald (31 August 1921), 12 

FORD. - On the 31st inst., at his residence, "Inverlochey," Noel and Norman streets, Ivanhoe, Alfred Ford, Notary Public, of 456 Little Collins street, Melbourne, the beloved husband of Margaret L. A Ford, in his 81st year.

[News], The Argus (19 September 1921), 12 

Under the conductorship of Mr. A. J Pallett, the fourth concert of the Heidelberg and District Musical Society will be held on Tuesday in the Ivanhoe Hall. The programme will include the cantata "Lay of the Bell" (Schiller, Romberg), and will commence with the part song "The Long Day Closes" (Sullivan) which will be sung as a tribute to the late Mr. Alfred Ford, who was president of the society.

Bibliography and resources:

"Thomas Ford", Residents of Upper Beaconsfield, Upper Beaconsfield One-Place-Study, Person Page 158 

John Houghton Hinds . . . applied for a license to occupy his selection of 320 acres (amended to 319 acres 3r 38p) in the Parish of Gembrook on 7 May 1874 . . . On 2 June 1880 he transferred the leased property to Thomas Ford of St Vincent's Place Albert Park, Professor of Music - Music Master. The transfer fee was 5/-. Ford applied to pay the difference between the total rent paid and the value of the property @ £1 per acre. Ford obtained freehold title to the land on 17 November 1881 when he paid the balance of the money for the land [Property Titles.; Public Records Office Victoria, C/T 1315-927 - Thomas Ford of Albert Park Music Master]

FORD, William (William FORD; W. FORD)

Bookseller, stationer, publisher, bookbinder, music retailer, music publisher

Born London, England, 22 January 1816; baptised St. James, Clerkenwell, 21 February 1816, son of Robert FORD (d. 1830) and Margaret BROWN (1785-1853)
Active NSW, by August 1844
Trading as W. Ford, Sydney, NSW, August 1844 to October 1847
Trading and W. and F. Ford, Sydney, NSW, October 1847 to October 1853
Married Annie COX (1833-1919), Pimlico, London, England, 15 May 1855
Trading as Blundell and Ford, Melbourne, VIC, January 1864 to 1869
Died St. Kilda, VIC, 31 July 1880 (TROVE tagged by Australharmony) (shareable link to this entry)

FORD, Frederick (Frederick FORD; F. FORD)

Bookseller, publisher, music publisher

Born London, England, 3 July 1817; baptised St. Mary, Islington, 30 July 1817, son of Robert FORD (d. 1830) and Margaret BROWN (1785-1853)
Arrived Sydney, NSW, 1847
Married Clarissa Clara JONES (1831-1911), Congregational church, Sydney, 3 April 1851
Died QLD, 21 January 1879, "aged 61 years" (TROVE tagged by Australharmony) (shareable link to this entry)

And see also (TROVE tagged by Australharmony)


William Ford was probably only recently arrived in Sydney when in August 1844 he took over the business of Thomas Clarke, bookseller and stationer, at 554 George-street. Evidently keen to diversify early into publishing, he issued his first pamphlet, General education vindicated, a report of a select committee of the Legislative council, the following month.

His first musical publication, in January 1846, was The currency lasses by Isaac Nathan, typeset by Nathan himself, the printer unidentified. This was closely followed in May 1846 by Nathan's ode on Leichhardt's return, printed by Thomas Strode, who had recently returned to Sydney from Melbourne. In October 1846 he published the first (and only) instalment of Nathan's series of Lectures on music, printed by Statham and Forster.

He also imported and sold and range of new and popular music from London, as in his advertisement of January 1847.

In October 1847, William advertised that he had "admitted my brother, Mr. Frederick Ford, recently arrived from England, a partner."

That same month William advertised the Overture to Nathan's Don John of Austria, that last musical title to appear under his sole imprint.

It was followed, probably late in 1847 and early 1848 by four vocal numbers under the brothers' dual imprint, Canst thou bid the hand, I dare not say how much I love, I'll go to sleep, and The visions of youth

All four of these extracts were also included in the earlier part of Nathan's The southern Euphrosyne, first advertised in the same October 1847 advertisement as the Overture offprint for forthcoming publication on 1 January 1848. The release was apparently delayed, and in fact the Fords never went on the publish the title, though is it likely that the printing of most, if not all, of the early part was completed while they were still involved in the project. Nathan had probably parted ways with them by mid 1848, and the Euphrosyne was eventually completed, with Thomas Forster printing (according to Nathan) only the last four sheets, in Autumn 1849. It was not first advertised for sale until August 1850, by which time Kern and Mader were managing Nathan's publications locally.

The Fords' last advertised musical publication, in August 1850, was the first part of a projected series, The people's tune book, a collection of hymn and metrical psalm tunes, no copy of which has survived.

Meanwhile, in September 1848, Frederick had also become a business partner of the merchant, David Jones, and in April 1851 married Jones's daughter, Clarissa.

William probably largely managed the business thereafter, and in October 1853 announced its sale to James Waugh (d. 1867) and Joseph Cox (d. 1870). Shortly afterwards he sailed for England, from where, for the next three years he acted as buying agent for Waugh and Cox. While in London, in May 1855, he married Cox's niece, Annie Cox. They returned to Australia, and settled in Melbourne, where, from 1862 until 1869, William was in partnership with James Blundell as Blundell and Ford.

Frederick died at Boonara, Burnett, QLD, in 1879, and William at St. Kilda, VIC, in 1880.

See list of music publications of W. Ford and W. and F. Ford: 

See all publications of W. and F. Ford (WorldCat):"W+and+F+Ford" 


Baptisms solemnized in the parish of St. James, Clerkenwell . . . in the year 1816; register 1813-16, page 235; London Metropolitan Archives (PAYWALL)

No. 1876/ [baptised] 21 [February 1816] / William / [Son of] Robert & Margaret / Ford / Spencer Street / Packer / [born] 1816 Jan'y 22'd . . .

Baptisms solemnized in the parish of Islington . . . in the year 1817; St. Mary's, Islington, register 1813-20, page 187; London Metropolitan Archives (PAYWALL)

No. 1494 / [born] July 3, 1817 / [baptised] July 30 [1817] / Frederick Son of Robert and Margaret / Ford / Nelson Terrace / Packer . . .

[Advertisement], The Sydney Morning Herald (9 August 1844), 4 

ALL persons indebted to the above estate are requested forthwith to pay the amount of their respective debts to Mr. William Ford, on the premises as above, or to Mr. Robert Vance, who have respectively been appointed by the trustees to receive and give discharges for the same . . . August 7.

[Advertisement], The Sydney Morning Herald (29 August 1844), 3 

ANNOUNCEMENT. THE undersigned having purchased the stock-in-trade and good-will of the business of Mr. Thomas Clarke, (formerly Evans), Bookseller and Stationer, George-street, respectfully begs to apprize his friends and the public of Australia that he has just opened several cases shipped by the first houses in London, consisting of Books and Stationery of the best description . . . WILLIAM FORD. 554, George-street, Opposite the Bank of Australasia.

"BOOKBINDING", The Sydney Morning Herald (26 July 1845), 2 

His Excellency the Governor has directed it to be notified, for the information of departments, that Mr. William Ford is the contractor for such bookbinding as may be required by Government during the present year.

[Advertisement], The Sydney Morning Herald (17 January 1846), 1 

CURRENCY LASSES. ON MONDAY, the 26th instant, (being the 58th Anniversary of the Colony) will be published, price 2s., an Original Song, entitled
THE CURRENCY LASSES, Inscribed, with great devotion and respect, to THE FAIR SEX OF AUSTRALIA.
W. FORD, Bookseller and Stationer, 554, George-street.

[Advertisement], The Australian (26 May 1846), 1 

ARRANGEMENTS having been entered into for the immediate publication of the Music set by Mr. Nathan to those beautiful Stanzas by E. K. S., on Dr. Leichhardt's return from Port Essington, Mr. Ford has the honour to make known to the public that the song is preparing for the press, and may shortly be obtained.
554, George-street.

[Advertisement], The Sydney Morning Herald (12 October 1846), 1 

Part I - Price, 5s., in Royal Quarto.
THE First, Second, and Third of a Series of Lectures on the
Giving an historical account of the origin, rise, and, progress of the Science, from the earlest period up to the present time, with 'Progressive Exercises for improvement on the Pianoforte, Harmony, Modulation, and for the cultivation of the Human Voice, from the first rudiments to the most refined and elaborate details of a perfect mastery of the art: forming a work of instruction for the pupil, and a work of reference for the master.

[Advertisement], The Sydney Morning Herald (4 February 1847), 1

W. FORD has just received from his correspondent in London a very choice collection of the newest and most fashionable music, selected with great care, and comprising LODER'S NEW and favourite opera THE NIGHT DANCERS, BENEDICT'S grand opera of THE CRUSADERS, WALLACE'S MARITANA.
Pianoforte music, arranged by DOEHLER, THALBERG, WALLACE, BEETHOVEN, CZERNY, GLOVER, &c., &c.
Quadrilles and Waltzes, German Songs, Italian Songs
Instruction Books for the Pianoforte, Flute, Violin, and Cornopean
Pianoforte Duets, New and Popular Songs
Music for the Flute, Violin, and Cornopean
ALSO, The Book of Beauty for the Queen's Boudoir - a splendid Illustrated Musical Annual, for 1847, containing one hundred and twenty pages of new poetry and music.
W. Ford begs leave to acquaint the ladies of Sydney, that he will receive regular supplies of all the NEWEST and most FASHIONABLE music.
For sale, one of Pask's French Cornopeans, with crooks, &c., complete, in case.
And a splendid toned Violin, by Cremona.
W. FORD, 554, George-street.

"SHIPPING INTELLIGENCE. ARRIVALS", The Sydney Morning Herald (19 June 1847), 4 

JUNE 18 - Oliver Cromwell, ship, 478 tons, Captain Alexander, from London, having left the Downs on the 23rd February. Passengers - Mr. H. Hayes, Mr. F. Ford, Mr. G. Ross, Mr. J. Ross, Mr. J. Nicol, Mr. W. Johnson, Mr. J. Davis, and Mr. J. Paul.

[Advertisement], The Sydney Morning Herald (2 October 1847), 3

NOTICE. - I have this day admitted my brother, Mr. Frederick Ford, recently arrived from England, a partner.
My business will henceforth be carried on under the style or firm of W. and F. Ford.
WILLIAM FORD, Stationer and Bookseller, 554, George-street.

[Advertisement], The Sydney Morning Herald (28 October 1847), 3 

THE SOUTHERN EUPHROSYNE, AND LADY'S MAGAZINE, will be ready for circulation the 1st of January, 1848, to contain interesting oriental moral tales, chiefly from the Hebrew, Persian, Chaldee, and Arabic, with notes, anecdotes, illustrations, original poetry, music for voice and pianoforte, &c.
As a limited number only of this annual will be printed for this colony, those who desire to possess copies are solicited to make early application to the publishers, Messrs. W. and F. Ford, where names will be received until the 20th of December; the subscription list must then close.
From, royal quarto. Subscribers; £1; and to non-subscribers, £1 5s.

"EXPORTS", The Shipping Gazette and Sydney General Trade List (18 March 1848), 71 

March 16. - Bermondsey, barque, 507 tons, Captain Banes, for London . . . 1 case music, 1 case books, 2 cases China goods, W. and F. Ford . . .

[Advertisement], The Sydney Morning Herald (30 August 1850), 1 

THE PEOPLE'S TUNE BOOK, a collection of OLD, NEW, AND ORIGINAL CHURCH MUSIC, suited to all the varieties of METRICAL PSALMODY, and adapted as well for Social and Domestic Devotion as for Public Worship. ARRANGED FOR FOUR VOICES, with an Accompaniment for the Organ or Pianoforte.
Booksellers and Publishers,
554, George-street.

"CHURCH MUSIC", The Sydney Morning Herald (31 August 1850), 5 

We have received the first number of "The People's Tune Book," which contains sixteen of the tunes most commonly used in churches for the metrical psalms, and the price being only a shilling it ought to find an extensive body of purchasers among those who are anxious to enable themselves to join with propriety in that delightful portion of public worship - the singing of psalms and hymns.

"MARRIED", The Sydney Morning Herald (4 April 1851), 3

On the 3rd April, at the Congregational Church, Pitt-street, Mr. Frederick Ford, bookseller, George street, to Clarissa, second daughter of David Jones, Esq., of Hyde Park.

[Advertisements], Empire (7 October 1853), 1 

JAMES W. WAUGH, in returning thanks to his friends and the public for past favours, begs to intimate that he has, in conjunction with Mr. Joseph Cox, with whom he has entered partnership, purchased the good-will and Stock-in-Trade of the Messrs. Ford, and that the business will in future be carried on under the name of
WAUGH AND COX, Booksellers, Stationers, &c., 554, George-street.

WILLIAM FORD begs to return thanks to his numerous friends and the public for the liberal support and encouragement he has received during the last ten years he has been engaged in the Bookselling and Stationery business. In retiring therefrom, he has the pleasure to recommend as his successors Messrs. James W. Waugh and Joseph Cox, and he trusts that the same patronage that has been bestowed upon him will also be continued to them. 554, George-street, October 1st, 1853.

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

WAUGH AND COX, Wholesale and Retail Stationers, Booksellers, &c., beg respectfully to apprise their friends and the public that they have lately received a large addition to their already extensive stock, and are in daily expectation of a further supply from their agent, Mr. William Ford, whose thorough knowledge of the goods required for this market will place them on the most advantageous footing . . .

"MARRIAGES", Bell's Weekly Messenger [London, England] (19 May 1855), 7

FORD - COX. - May 15, at Camberwell, by the father of the bride, William Ford, Esq., of Berkhampstead, to Annie, second daughter of the Rev. John Cox, of Somerset terrace, St. George's road, Pimlico.

[Advertisement], The Sydney Morning Herald (23 May 1856), 1 

WAUGH and COX, Wholesale and Retail Stationers, Booksellers, &c. . . . are in daily expectation of a further supply from their agent, Mr. William Ford, whose thorough knowledge of the goods required for this market place them on the most advantageous footing . . .

[Advertisement], The Age (30 January 1862), 1 

NOTICE. - I have this day admitted as PARTNER in my Business Mr. WILLIAM FORD, formerly of Sydney. The business will in future be carried on under the name and style of BLUNDELL and FORD. JAMES J. BLUNDELL. 44 Collins street west, 29th January, 1862.

"Deaths", The Sydney Morning Herald (19 February 1879), 1 

FORD. - January 24, at Boonara, Queensland, Frederick Ford, aged 61.

"Deaths", The Argus (2 August 1880), 1 

FORD. - On the 31st ult., at his residence, Punt-road, South Yarra, of apoplexy, Mr. William Ford, late of Blundell and Ford, stationers, Melbourne, aged 64 years.

Bibliography and resources:

Prue Neidorf, A guide to dating music published in Sydney and Melbourne, 1800-1899 (M.A. thesis, University of Wollongong, 1999), 169

FORD, William Henry (William Henry FORD; W. H. FORD)

Theatre manager, burlesque performer, actor, theatrical and musical memorist and historian, costumier, "Father of the Australian stage"

Born Bermondsey, London, 1830; son of Henry and Charlotte FORD
Arrived Sydney, NSW, 1848
Married Catherine SNELLING (GOLDEN), NSW, 1857
Active Melbourne, VIC, by c. 1869
Died Fitzroy, VIC, 26 June 1916, aged 87 (TROVE tagged by Australharmony) (shareable link to this entry)



Born NSW, 1846; son of Henry SNELLING and Catherine GOLDEN; stepson of William Henry FORD
Married Phoebe SIMMONS (c. 1846-1892), VIC, 1883 (first child with her 1878)
Died Balmain, NSW, 1914

FORD, Maggie (Margaret FORD; Miss Maggie FORD; Mrs. Allan HAMILTON)

Actor, dancer, vocalist

Active professionally by 1872

FORDE, Florrie (Flora FLANNAGAN; Florrie FORDE [sic])


Born Fitzroy, VIC, 16 August 1875; daughter of Francis Lott FLANNAGAN and Phoebe CAHILL (SIMMONS)
From 1883, stepdaughter of Tom SNELLING-FORD
Died London, England, 18 April 1940


Ford's reminiscences (tagged), addressed in letters to J. M. Forde (below), and published in sports papers in the first two decades of the 20th-century, are an important source of information about the colonial Australian stage, including recollections of stage singers and other musicians.


[Advertisement], The Sydney Morning Herald (23 February 1860), 1 

ROYAL ALBERT THEATRE, corner of King and Sussex streets. - Lessee and manager, Mr. W. H. Ford. -
Mr. FORD most respectfully begs leave to inform his friends and the public of Sydney that he intends opening-the above place for public amusement on SATURDAY EVENING next. Having spared neither pains nor expense in decorating it for dramatic performances, he sincerely trusts that he will meet with public patronage. For particulars see bills.
The great Australian actress Miss BLANCHE GREY, with a talented company, is engaged.

[Advertisement], The Sydney Morning Herald (3 March 1860), 1 

ROYAL ALBERT THEATRE, - TO-NIGHT the greatest talent in Sydney. Open every evening. Pianist, Mrs. Gibbs ; violinist, Mr. John Gibbs. Admission-stalls, 1s.; parquette, 6d.; back seats, 3d. Manager, Mr. W. H. FORD.

"SCHOOL OF ARTS", Northern Argus [Rockhampton, QLD] (27 January 1872), 2 

Mr. Ford was welcomed on Wednesday night at the School of Arts with an excellent house, and the hearty applause he received proved that the audience were well pleased with the entertainment he provided for them . . . The Burlesque of Norma was greeted from beginning to end with hearty applause; Mr. Ford mado a capital Norma, and was ridiculously tragic, and was made love to in the most approved style by Pollio (Miss Maggie Ford) who possessed more than sufficient attractions to tempt the priestess to forgot her sacred position, and to worship at the shrine of love, a fault which many priestesses before her time and after, committed without being found out . . . The songs and duets were given with due effect and the curtain dropped amidst the heartiest applause.

"MUMMER MEMOIRS", Sydney Sportsman (16 December 1908), 2 

. . . I am not quite 80 years old, I am now in my 79th year . . . I came to Sydney in 1848, just 60 years ago. I did not play in Charles Kean's Company, as I was with Barry Sullivan the whole time the Keens were in Australia. They may intend McKean Buchanan; I was with him. I was not with Charles Mathews; I was travelling when he was here. Likely enough they mean Julia Mathews. I was for some years in the same company with her. That I did appear at 6 years of age is quite true, not that I did anything wonderful, but I admit I was a "hard case" when I was that age, and being my grandmother's "boy". I pretty well hard "the run of the ship." My grandmother was connected with Astley's years before I was born; she was a great favorite with every one in the theatre, and "Little Billy," meaning my self, was petted by the ladies of the company. I was a favorite with the stable hands; I loved to be among the horses. I was on the stage in nearly every piece, as Mr. Ducrow used to admire scenes that had youngsters in them. It is also correct that I was at both the Surrey and Victoria Theatres. I was nothing great, but I was useful. I did much better as a nipper at 6. I used to hear my grandmother speak of the Kings. The fourth George was a great patron of Astley's. On the tops of the bills were always the words, "Under the patronage of King George IV.", with the Royal arms. King George IV presented the theatre with a magnificent chandelier, as I mentioned previously. I may be the oldest living actor of the English stage, as it is 72 years since I commenced (in 1836). When Mr. George Coppin was alive, he was the "father" of the English stage; I know that I come next. However, it does not matter. I am very poor, and the honor of being "father" of the English stage will not bring grist to the mill. Mr. Coppin, Mr. R. Stewart, senr., dear Nellie, and Mr. Bland Holt, were all good to me. I would have been all right but for the financial crisis of 20 years ago, when I lost all my savings, some thousands, as did many other retired members of the profession. I have one "friend," however, that always sticks to me - the gout. I have him in both feet and both hands; it is a terrible affliction . . .

"DEATHS", The Daily Telegraph (13 July 1914), 8 

SNELLING-FORD. - July 12th. 1914, at the residence, of his son, Mr. B. Ford, 102 Phillip Street, Balmain, Thomas Henry Snelling-Ford, aged 68 years. R.I.P.

"AT POVERTY POINT", The bulletin (6 August 1914), 9 

Tom Ford, recently dead in Sydney, was for a long term an identity in Melbourne. His step-father, W. H. Ford, ran a theatrical costumier's business, and Tom was his right-hand man. Ford, sen., was dresser to G. V. Brooke, who was very partial to young Ford. The latter was a good vocalist and banjoist. A few years ago he returned to his native land, and there snuffed out. He had a sister, Maggie, well known on the stage, now resident in Sydney, and better known as Mrs. Allan Hamilton. W. H. Ford may be safely called the father of the stage, as some 80 years ago he was appearing in an act with his parents, who were members of Ducrow's famous equestrian company in London. He also strutted his hour or so upon the stage, running shows in N.S.W. and Queensland as far back as 60 years ago. He claims to have given Shiel Barry (Andy Donohue) his first start, and was costumier to Wm. Saurin Lyster through most of his operatic campaign. Although hurrying on to his 90th year W. H. F. still enjoys fair health.

"DEATHS", The Argus (27 June 1916), 1 

FORD. - On the 26th June, at 170 Brunswick street, Fitzroy, William Henry Ford, the beloved father of George, Jack, and Cyril Ford, Mrs. G. P. Carey, Mrs. G. Lister, Mrs. Allen Hamilton, Mrs. Phillips, and Mrs. MacDonald, in his 87th year. Requiescat in pace.

"FUNERALS", The Argus (28 June 1916), 1 

FORD. - The Friends of Mr. W. H. FORD (late theatrical costumier) are respectfully invited to follow his remains to the place of interment, Coburg Cemetery. The funeral will leave 170 Brunswick street, Fitzroy, THIS DAY (Wednesday, 28th inst.), at 2 o'clock. JOHN DALEY, Undertaker, Latrobe and Spring streets, Melbourne.

"THEATRICAL PERSONALITIES", Winner (28 June 1816), 10 

Mr. W. H. Ford, known by the older generation of theatregoers as a prominent burlesque actor of the "sixties," died on Monday at 170 Brunswick street, Fitzroy, aged 87. Mr. Ford came to Victoria from England in 1848, and for many years was a contemporary of the late G. V. Brookes, the late Geo. Coppin, and more recently with Mr. Bland Holt, playing leading parts with many companies in the States. He retired from the stage in 1896, and acquired a business in Bourke street, but retired a few years ago. He leaves five daughters and four sons, one of whom is on active service.

"AT POVERTY POINT. T. O. I.", The bulletin (6 July 1916), 9 

W. H. Ford, the reputed "Father of the Stage," died last week at Fitzroy (Vic.), in his 86th year. He had been an invalid for many years. Born in London, of theatrical parents, in 1830, he was on the stage at Astley's at seven years of age. In the late 'forties he came to Sydney and applied for employment at the Victoria, then open only three days a week. The caretaker advised him to look for some other job, as the stage meant starvation in Sydney. So he went on a station in what is now Queensland; and at Christmas he converted the woolshed into the Theatre Royal, Tarampa, for the amusement of the Cameron family and visitors. Several entertainments were given, and two cattle-buyers from Brisbane advised him to start shows in that township. On this suggestion he built the first theatre in Brisbane, and later another in Ipswich. Thus he drifted back to Poverty Point. When Johnson built the old Scandinavian Hall, Castlereagh-street (the Sydney Tivoli is now on the site), W. H. Ford became the manager. Prior to that he had been associated with G. V. Brooke, and later with Barry Sullivan, as costumier. He tried Maoriland with Clarence Holt in the early 'sixties, but the climate crippled him. He had numerous children well known in the profession, among them George, Jack and Cyril Ford, Mrs. G. P. Carey, Mrs. G. Lister and Mrs. Allan Hamilton.

"Noted Australian Actress Dead . . . LONDON. Thursday [18 April]", The Herald (19 April 1940), 8 

The former Melbourne music hall artist, Miss Florrie Forde, who was 65, collapsed and died after spending the afternoon entertaining patients at a naval hospital. An Australian comedienne who became very popular in the English music halls, and In pantomime, Florrie Forde gained a reputation in her own country before she went to London in 1897. Born in Melbourne in 1876. she made her first appearance in Sydney in 1893, and was subsequently engaged by the late George Rignold for pantomime. She was principal "boy" in "The House That Jack Built," at Her Majesty's, Sydney, and played William in the burlesque "Black Eyed Susan." Then she was given a vaudeville contract by the late Harry Richards, and she also appeared in some more stage productions before she went to England. Florrie Forde made her first London appearance on the August bank holiday of 1897. For many years she was a favorite at the leading halls in the United Kingdom, and she was principal "boy" in a number of pantomimes in London and the provinces. Some of her more popular songs were "Down at the Old Bull and Bush," "She's a Lassie from Lancashire," "Waltz Me Round Again, Willie," "Has Anyone Seen a German Band?" "Has Anybody Here Seen Kelly?" and "Only a Working Girl."

Bibliography and resources:

Tony Martin-Jones, "Florrie Forde: her early life, in Australia" (2013-16) 

FORDE, Joseph Michael (Joseph Michael FORDE; J. M. FORDE; "Hayseed", "Old Chum")

Amateur actor, journalist, theatrical and musical memorist

Born Dublin, Ireland, 9 May 1840; son of John FORDE (1815-1882) and Mary LEONARD (d. 1878)
Arrived Melbourne, VIC, 12 September 1857 (per General Windham, from Liverpool, 16 June, with father)
Married (1) Ellen CREEDEN (c. 1841-1918), VIC, 1862
Arrived Sydney, NSW, by mid 1871
Married (2) Anne Besley RIGNEY, Sydney, NSW, 3 September 1918
Died Hazelwood, NSW, 3 May 1929, aged 88 (TROVE tagged by Australharmony) (TROVE tagged) (NLA persistent identifier) (shareable link to this entry)

ASSOCIATIONS: Edward Arnold (employer, for c. 3 years 1859-61), John Norton (newspaper owner); William Henry Ford (informant, above)


"NEWS OF THE WEEK", The Melbourne Leader (12 October 1861), 3 

The memorial to the late Miss Ellen Mortyn, for which an amateur dramatic performance was recently given at the Royal Princess Theatre, has been erected in the New Cemetery. The memorial consists of a tomb covering the entire grave, and is composed of Italian marble, on a Yorkshire landing, and bluestone base, about eight feet by four, and three and a half or four feet high, and bears the following inscription: -
"Here lieth the mortal remains of the once gifted Ellen Mortyn. This simple tribute to her worth as an actress was subscribed for by the inhabitants of Victoria at a public benefit in the Royal Princess Theatre, Melbourne, 30th August, 1861, under the auspices of the Amateur Benevolent Comedian Club. - J. M. Forde, Honorary Secretary."

"FREE PUBLIC LIBRARY", Evening News (11 July 1871), 2 

The following donations have been received since September last: . . .
From Mr. J. M. Forde: Four numbers of the Hobart Town Gazette for 1825 . . .

"DEATHS", The Sydney Mail and New South Wales Advertiser (6 July 1878), 5 

FORDE. - June 21, Mrs. Mary Forde, the beloved mother of J. M. Forde, of Sydney, aged 63 years.

"DEATHS", The Herald (27 July 1882), 2 

FORD - On the 24th inst., at Fitzroy, Mr. John Forde, journalist, aged 67 years. R.I.P.

"A NORTON LETTER. JOHN NORTON WRITES ON LIFE To Historian, "Old-Chum" Forde", Truth (20 May 1917), 12 

"Old Sydney . . . TOLD BY OLD CHUM. No. 964", Truth (9 May 1926), 20 

. . . To-day, May 9, ushers In "Old Chum's" 87th year, for over 36 of which he has contributed to "Truth" under various pen-names, names used to fit the articles. This was originated by the late Mr. John Norton, the founder, practically, of the paper . . .

For police cases and court work generally "Bucket" was used. On articles of country travel, the result of "Old Chum's" business trips to various centres, "An Ex-Commercial' was used. On legal articles, "Mark Meddle" was used, being a character, "a pettifogging village attorney," in the comedy of "London Assurance." "Ammadah Sleek," a sanctimonious character in "The Serious Family" was adopted in various questionable church matters; "The Oldest Inhabitant" and "T.O.I." were used in old Australian items.

"Hayseed" was used in the "Sportsman" generally, racing items, sporting biographies and theatres. "The Man About Town" for city items. "Bush Lawyer," "Mickey Tree," "J.M.F.", and "T." were all used, and have now been laid aside, and "Old Chum" has taken their place.

I hope to be forgiven for this "blowing my own trumpet." What the late Mr. John Norton thought of my work will be found In his letter to me written in Melbourne on my 74th birthday. The letter will be found in "Truth" (Sydney) June 2, 1917, and it was copied into all the issues of "Truth" in Australia and New Zealand in the same month.

"OBITUARY . . . MR. J. M. FORDE", The Sydney Morning Herald (4 May 1929), 21 

The death occurred at Hazelbrook, blue Mountains, last night of Mr. John Michael Forde [sic], whose writings under the nom de plume of "Old Boomerang" were widely known throughout the State. He would have celebrated his 89th birthday next week. Mr. Forde had a valuable collection of old Sydney records, etchings, and documents of great historical interest, and he wrote continuously during the last 10 years about old residents and places in and around Sydney. He is survived by Mrs. Forde and a family. The funeral will take place at Lawson Cemetery this afternoon.

"OLD CHUM", The Sydney Morning Herald (8 May 1929), 16 

"DEATHS", The Sydney Morning Herald (9 May 1929), 10 

FORDE. - May 3, 1929, at Hazelbrook, Joseph Michiel Forde [sic], aged 88 years.

Bibliography and resources:

Allan Rost, "Joseph Michael Forde 'Old Chum' (1840-1929)", Descent 34/1 (March 2004), 7-15;dn=200404403;res=IELAPA (PAYWALL)

FORDER, Henry (Henry Thomas FORDER; Henry FORDER)

Blind musician, organist

Born Ballarat, VIC, 1857; son of James FORDER and Bridget REIDY
Active Melbourne, VIC, by 1869
Married Kate NOONAN, VIC, 1882
Died Prahran, VIC, 1925 (shareable link to this entry)


[News], The Argus (1 February 1869), 5

. . . a boy named Henry Forder, only ten years of age, and so small that those in the room could scarcely see him perched on the organ stool, performed a voluntary on that instrument, the theme of which was Handel's Hailstone Chorus. He had only been a pupil for four or five months, and his instrumentation was surprising. The musical education of the children reflected great credit upon Mr. Greenwood's teaching, as did their general appearance upon the general management.

ASSOCIATIONS: Samuel Greenwood (teacher)


. . . H. Forder, the well-known blind musician, who is an inmate of the asylum, played on the organ . . .

[News], The Argus (31 March 1882), 5

. . . It has been mentioned to us that Henry Forder, a former pupil of the institution has lately been appointed organist at the Presbyterian Church, St. Kilda . . .

"A WORLD WITHOUT LIGHT", The McIvor Times (26 April 1883), 3

"BLIND MUSICIANS", Grey River Argus (23 August 1898), 3

"A SENSATIONAL BOLT", The Argus (12 December 1900), 8

A sensational bolt took place in High street, Armadale, yesterday afternoon about 4 o'clock, which resulted in injuries to Mr. Henry Forder, a blind piano-forte tuner, living at 110 Newry street, North Carlton, and also to his wife, Kate.

"MELBOURNE GOSSIP", Examiner (18 January 1907), 8

"HARMONY AND DISCORD", The Argus (22 January 1907), 8


Music printer, general printer, publisher, newspaper proprietor

Active as "Statham and Forster" (proprietors of The Australian), Sydney, January 1844 to March 1847
Active as "T. Forster", Sydney (at Pitt-street north address), NSW, July 1847 to ? October 1849, or May 1851 (TROVE tagged by Australharmony) (shareable link to this entry)

ASSOCIATIONS: Edwyn Henry Statham (printer, publisher); Isaac Nathan (composer, publisher)


[Advertisement], The Sydney Morning Herald (12 October 1846), 1 

Part I - Price, 5s., in Royal Quarto.
THE First, Second, and Third of a Series of Lectures on the
Giving an historical account of the origin, rise, and, progress of the Science, from the earliest period up to the present time, with 'Progressive Exercises for improvement on the Pianoforte, Harmony, Modulation, and for the cultivation of the Human Voice, from the first rudiments to the most refined and elaborate details of a perfect mastery of the art: forming a work of instruction for the pupil, and a work of reference for the master.

[Advertisement], The Australian (15 July 1847), 2 

NOTICE OF REMOVAL. THE Proprietor of THE AUSTRALIAN JOURNAL begs to intimate . . . that the business office will, on and after Monday next [19 July 1847], be carried on in the premises adjoining Dr. Bland's. in Pitt-street . . . THOMAS FORSTER, Proprietor. Sydney, July 14, 1847.

[Advertisement], The Australian (22 July 1847), 2 

NOTICE. THE Business of THE AUSTRALIAN JOURNAL and General Printing Office, heretofore conducted at No. 575, Lower George-street, will henceforth be carried on at No. 334, Pitt-street, adjoining the residence of Dr. Bland . . .
THOMAS FORSTER, July 22, 1847.

[Advertisement], The Australian (22 October 1847), 2 

LETTER-PRESS and COPPER PLATE PRINTING, of every description performed with neatness and despatch, at reduced prices; and in a style not to be excelled in any Office in Sydney.

[Advertisement], The Sydney Morning Herald (20 October 1849), 1 

PRINTING OFFICE. FOR SALE by Private Contract, complete, or in lots to suit purchasers, the Whole of the PRESSES, TYPES, and Printing Materials of the late Australian Newspaper and Job Office. For particulars apply to Mr. S. LYONS, Auctioneer, George-; or at the Office, 334, Pitt-street, adjoining Dr. Bland's.
N.B.-There is sufficient type. &c., to bring out a paper the Herald's size, and every necessary article ready to hand to proceed with at a moment's notice. October 19.

"ABSTRACT OF SALES BY AUCTION THIS DAY", The Sydney Morning Herald (6 May 1851), 3 

MR. S. LYONS. . . . at the office, adjoining Dr. Bland's, 334, Pitt-street North, at 12 o'clock, Printing Type and Material.

Musical works:

The first, second, and third of a series of lectures on the theory and practice of music, delivered at the Sydney College, New South Wales, giving an historical account of the origin, rise, and progress of the science, from the earliest period up to the present time, with progressive exercises for improvement on the piano-forte, harmony, and modulation; and for the cultivation of the human voice, from the first rudiments to the most refined and elaborate details of a perfect mastery of the art: forming a work of instruction for the pupil, and a work of reference for the master, by I. Nathan, musical historian and theorist to his late reverend majesty, George IV., professor of singing and composer to her late royal highness, the princess Charlotte of Wales, author of the "Hebrew Melodies," the "Musurgia Vocalis," &c. (Sydney: W. Ford; London: Cramer, Addison & Beale, 1846); on verso of titlepage: "Sydney: STATHAM AND FORSTER, PRINTERS, 575, GEORGE-STREET." (DIGITISED) (DIGITISED)

Merry freaks in troublous times, an historical operatic drama in two acts by Charles Nagel, esquire, the music composed by I. Nathan (Sydney: By the composer, [n.d.]); on verso of titlepage: "T. FORSTER, PRINTER, PITT-STREET NORTH, SYDNEY." (DIGITISED)

The southern Euphrosyne and Australian miscellany, containing oriental moral tales, original anecdote, poetry and music, an historical sketch with examples of the native aboriginal melodies put into modern rhythm and harmonized as solos, quartettes &c., together with several other original local pieces, arranged to a piano-forte accompaniment by the editor and sole proprietor I. Nathan (Sydney: [W. and F. Ford for] I. Nathan; London: Whittaker & Co., [n.d.; c. early 1849]); [foot of page 168]: "SYDNEY: - FORSTER, PRINTER, 334, PITT-STREET, NORTH." (DIGITISED) (DIGITISED)

But see at foot of "ERRATA" page:

NOTE: The Editor desires it to be understood, in reference to the above Errata, that the Printer whose name is attached to this work, is not ammenable for these inaccuracies, inasmuch as only four sheets were printed by him.

Other resources:

Volume 31: James Macarthur papers relating to J. C. Pott and The Australian, 1842-1850; State Library of New South Wales (DIGITISED)

Bibliography and resources:

Prue Neidorf, A guide to dating music published in Sydney and Melbourne, 1800-1899 (M.A. thesis, University of Wollongong, 1999), 169 (DIGITISED)

"The Australian (newspaper, 1824-48)", Wikipedia

FORSYTHE, Sophia Maria (Sophia Maria FORSYTHE; Miss FORSYTHE; FORSYTH [sic]; "the juvenile pianiste"; Mrs. Charles BATLEY)

Juvenile pianist, vocalist, dancer

Born ? England/Scotland, c. 1835; daughter of Margaret FORSYTHE
Arrived Sydney, NSW, July 1842 (assisted immigrant per Earl of Durham, from London)
Departed Sydney, NSW, 16 July 1845 (per Meg Merrilies, for England)
Married Charles BATLEY, Paris, France, 24 July 1852 (TROVE tagged by Australharmony) (shareable link to this entry)


Sophia Forsythe arrived in Sydney in July 1842 with her mother Margaret, widow of a Major Forsythe, apparently as assisted immigrants per the Earl of Durham, the same ship on which Maria Hinckesman came.

Sophia first appeared in public, billed as "a JUVENILE PIANST, from London (only eight years of age), pupil of Miss Hinckesmann" at her teacher's 12 October 1842 concert at the Royal Hotel. According to W. A. Duncan, she "played some variations on Rossini's Non più mesta exceedingly well . . . and a waltz of no very thin or juvenile construction" (the variations most likely some, if perhaps not all, of Henri Herz's famous op. 60 set).

Another concert was organised for Sophia's own benefit by leading local professionals (including the Band of the 80th Regiment) in January 1843, no doubt in response to her mother's financial plight (Margaret was declared insolvent later that month).

Having meanwhile taken vocal lesson with Madame Gautrot, she was advertised, as well as playing a piano solo, to sing a duet with Eliza Gibbs. Hinckesman, however, did not appear at the benefit (plausibly, as Sophia's teacher, she was one of Margaret's creditors).

The press documented nothing further of Sophia until January 1845 when a fancy ball was advertised, again for her benefit, at the Royal Victoria Theatre. A second benefit ball was held for Sophia in July, "previous to her departure for England", during which she introduced another new talent, dancing the "much admired Cachouca".

Sophia was not the first to dance the "much admired Cachouca" (perhaps to the castanet song Cachoucha by Charles Blondel) in the colonies. Rachel Lazar had done so in 1839 in Sydney and 1841 in Adelaide, and Mrs. Brock and Jospeh Chambers had done so again in Sydney in March 1842. A import parcel of music sold by Jabez Heydon in June 1843 included print editions of "Quadrilles, waltzes, mezourkas, cachouchas, galops, contre dances, &c."


"THE MUSICAL WORLD", The New South Wales Examiner (13 July 1842), 3 

We are informed that by the Earl of Durham, the musical world has received a valuable addition by the arrival of Miss Hinckesmann, together with Mrs. and Miss Forsythe. Miss Hinckesmann, it is said, was pianist to her Majesty Queen Victoria, and will in the course of a few weeks give a concert in Sydney - the full particulars of which will be shortly announced.

[W. A. Duncan], "MISS HINKESMANN'S CONCERT", Australasian Chronicle (13 October 1842), 2 

. . . In fact, [Miss Hinckesman's] style, particularly in legato passages, may be characterised as decidedly good, and we have no doubt that she will prove a very eligible instructress, as indeed the debut of her young pupil proved. This very young lady played some variations on Rossini's "Non più mesta" exceedingly well, and on being encored, substituted with good taste a waltz of no very thin or juvenile construction. There was a fair attendance, though a much larger audience might have been expected if sufficient publicity had been given to the intended performance.

"Miss Hinckesmann's Concert", The Sydney Gazette and New South Wales Advertiser (15 October 1842), 2 

We were much pleased to see a good attendance at Miss Hinckesman's concert on Wednesday evening. The fair Bénéficiare, though labouring under great nervous excitement, displayed talents as a pianiste, that decidedly qualify her as a teacher. Her juvenile pupil contributed at least as much as her own performance to justify her claim to the latter title . . .

[Advertisement], The Sydney Morning Herald (5 January 1843), 3 

Mr. and Mrs. Gibbs' first appearance at at Concert in Sydney.
A GRAND EVENING CONCERT will be given at the Royal Hotel, on
Wednesday, January 11th, to commence at eight o'clock,
for the benefit of Miss Forsythe, the Juvenile Pianist,
who will appear as a Vocalist upon this occasion.
In addition, the following eminent professors have kindly promised their valuable assistance:-
Vocal Performers - Mrs. Bushelle, Madame Gautrot,
Mrs. Gibbs (who will sing a duet with Miss Forsythe, pupil of Miss Hinkesmann, and Madame Gautrot),
the Debutante (pupil of Mrs. Bushelle) who was to favourably received at Mrs. Bushelle's last concert; Mr. Griffiths, Mr. Robinson, and several gentlemen amateurs.
Instrumental Performers - Miss Hinkesmann, Miss Forsythe,
Mons. Gautrot, Mr. Walton (who will preside at the piano), and Mr. Gibbs, who will make his first appearance in this colony at a concert, and has kindly consented to play a solo.
Tickets, 7s. 6d. each, to be had of Mr. Ellard, and Mr. Aldis, George street; Mr. Rolfe, Pitt-street; Mr. Sparkes, at the Royal Hotel; and at Mr. Tegg's, bookseller.
N.B.-The splendid Band of the 80th Regiment will perform during the evening.

"CONCERT", The Australian (11 January 1843), 2

We have been requested to call the particular attention of the lovers of music, to the Concert to take place this evening, at the Royal Hotel, for the benefit of the Juvenile Pianist (Miss Forsythe). This young lady, (who we beg to remark is only eight years of age, and of whose talents as a performer on the Piano-forte, report speaks in no measured terms,) will receive the assistance of the principal vocal and instrumental professors of music in Sydney. We look forward, also, to considerable pleasure in the exercise of the talents of Mr. and Mrs. Gibbes, which we are given to understand, are far above mediocrity. It is believed that the entertainment will be well and most respectably attended.

"THE CONCERT", The Sydney Morning Herald (12 January 1843), 3 

Yesterday evening, the concert, for the benefit of the "Juvenile Pianist," came off at the Royal Hotel. So far as numbers went the concert was well attended. The young lady for whose benefit the concert took place, Mrs. Bushelle, Mrs. Gibbs, and Madame Gautrot, were the only ladies who came before the audience. The young lady was very kindly received, and Mrs. Bushelle's "Wanted - a Governess" was encored, as it well deserved. Mr. Gibbs' solo on the violin was well-executed, and M. Gautrot's solo on a single string surpassed the expectations of most. The programme as originally issued was not followed, and this led to some surprise, especially as Miss Hinckemann, "Pianist to the Queen," did not appear at all. When there is another concert, it would be as well that the serving men about the hotel should behave with something like decency and respect to the audience, as well as to the performers; and moreover, that no portion of the room should be turned into a larder.

"In the Insolvent Estate of Margaret Forsythe, of Castlereagh-street, Sydney, widow", New South Wales Government Gazette (27 January 1843), 149 

"INSOLVENT COURT . . . SCHEDULES REGISTERED JAN. 24", The Australian (27 January 1843), 3 

Margaret Forsyth of Castlereagh-street, Sydney widow: amount of debts, £120 1s.; assets. £89 15s.; deficiency, £31 6s.

"SCENE AT THE ROYAL HOTEL ON THE CONCERT NIGHT OF THE JUVENILE PIANIST", The Satirist and Sporting Chronicle (4 February 1843), 2 

[Advertisement], The Sydney Morning Herald (28 January 1845), 3

MISS FORSYTH respectfully announces her intention of giving a BALL in the Saloon of the Royal Hotel,
TOMORROW EVENING, the 29th instant, when she trusts she will be favoured with the patronage of those kind friends who encouraged her on a former occasion, and hopes her endeavours to please will meet with their approbation.
Miss Forsythe has engaged a professional lady, who will, in the course of the evening, dance two celebrated PAS SEULS; and Miss F,, will, for the first time in this colony, have the honour of dancing the much-admired and far-famed
CACHOUCHA, and will also perform on the Pianoforte several pleasing airs for the amusement of her friends.
The Orchestra will be conducted by Mr. Gibbs.
Tickets, 3s. 6d., to be had at Mr. Ellard's Music Saloon, George-street; Mr. Moffit's, Bookseller, Pitt-sfreet; and of Miss Forsythe, from eleven to one, at the Royal Hotel.

"FANCY BALL", The Australian (29 January 1845), 3

A Fancy Ball is to take place at the Royal Hotel this evening, for the benefit of Miss Forsythe, whose precocious musical accomplishments have obtained for her a name and celebrity in New South Wales. We hope that the young lady will be well supported, and from the preparations that have been made, we doubt not that a numerous assemblage of the young ladies will take place. Mr. Alderman Wilshire and other respectable citizens have, we are informed, signified their intention of patronising Miss Forsythe.

[Advertisement], The Sydney Morning Herald (7 July 1845), 1

A GRAND FAREWELL BALL for the benefit of MISS FORSYTHE, previous to her departure for England, at Mr. Clark's Assembly Rooms, King-street on WEDNESDAY, July 9, 1845.
In the course of the evening Miss Forsythe will play some favourite airs on the pianoforte; and will also dance the much admired Cachouca.

"SHIPPING INTELLIGENCE. DEPARTURE", The Sydney Morning Herald (17 July 1845), 2 

July 16 - Meg Merrilies, barque, Captain Thompson, for London. Passengers . . . Miss Forsythe . . .

"MARRIED", Empire (7 January 1853), 2 

MARRIED, At the British Embassy, Paris, on the 24th July, 1852, Sophia Maria, only daughter of the late Major Forsythe, to Charles Batley, Esq., Maida Hill, London. Miss Forsythe gained much celebrity in Sydney, some few years back, as the Juvenile Pianiste.

FORTUNE, Mary Helena (Mary Helena WILSON; Mrs. Joseph FORTUNE; "M. H. F.")

Author, poet, songwriter

Born Belfast, Ireland, c. 1833
Married Joseph FORTUNE, Melbourne, Canada, 25 March 1851
Arrived Melbourne, VIC, 3 October 1855 (per Briseis, from Glasgow, 24 June)
Died Melbourne, VIC, 1911 (TROVE tagged) (shareable link to this entry)


"SONG OF THE GOLDIGGERS. By M. H. F.", Mount Alexander Mail (14 December 1855), 6 

Hurrah for the free new land!
And hurrah for the diggers bold!
And hurrah for the strong unfettered right
To search in the hills for gold!
Turn up the sods, my strong free mates,
And dig with a fearless hand;
For there's not a castled lordling here,
ln all this glorious land . . .

[4 more verses] . . . Kangaroo, Dec. 10th, 1855.

Bibliography and resources:

"Mary Fortune", Wikipedia

FOSTER, Joseph (Joseph FORSTER)

Musician, cornet player, teacher, drum-major (40th Regiment, second tour)

Born c. 1826
Arrived Melbourne, VIC, 5 November 1852 (with regiment per Vulcan, from Cork)
Died Hotham, VIC, 1 October 1872, aged 46 (TROVE tagged by Australharmony)

See also Band of the 40th Regiment (second tour)


"POLICE", The Argus (14 May 1857), 6 

Margaret Barnett was charged by Drum Major Foster with drunkenness and abominable cruelty to a child . . .

[News], Advocate (5 October 1872), 9 

THE remains of the late Drum-major Joseph Foster, who died on Tuesday, were interred on Thursday in the Melbourne General Cemetery with military honours. Deceased had been connected with the volunteer force since 1864. He was drum major of the 40th regiment for a long period, went through the Afghanistan campaign during 1839 and 1840, with General Nott; he also carried a medal and star for Candahar, Gusnee, and Cabul, as well as a star for Bunghapoor in 1843, and received lately a medal for the New Zealand campaign. Owing to his long illness he has left his family in anything but prosperous circumstances.

"DEATHS", The Argus (10 October 1872), 4 

FOSTER. - On the 1st inst at his residence, Cobden Street Hotham after a long and painful illness, Mr. Joseph Foster, formerly drum-major H.M. 40th Regiment, and late of the Victorian Volunteer Carlton Rifles, aged 46 years. Home papers please copy.

"FLAGSTAFF HILL. By EDWARD C. O. HOWARD", The Argus (24 March 1823), 9 

. . . The arrival of the 40th Regiment, under the command of Lieutenant-Colonel Valiant by the Vulcan troopship on October 19, 1852, may be associated with the Flagstaff Hill as the men's camp, where I witnessed the tents being pitched was only a short distance from the western slope of it, the officers' quarters being in a large dwelling owned by Mr. Edmund Westby, which stood in Latrobe street, close by. It was demolished many years ago. The soldiers came up the river from the bay in the steamers Diamond and Maitland, upon the former of which I often travelled in the early days, and when nearing the wharf the band played the air from "Maritana," "In Happy Moments." After landing on November 5, the delay being caused by a supposed case of smallpox on board, the soldiers, headed by their band, led by Drum-major Foster, a splendidly built man, over six feet in height, with a commanding figure, marched to their canvas habitation at the west end of Latrobe street, pending the completion of the corrugated iron barracks in Spencer street. I was standing in the street that day when the soldiers passed. During the afternoon the Lieutenant-Governor and Captain Conran visited the camp.


. . . In 1851 I lived near the west end of Latrobe street close to the spot where the soldiers of the 40th Regiment were under canvas pending the completion of the iron barracks close by. The band of the regiment, under the conductorship of Mr. Johnston, whom I remember well, was exceptionally good. It played frequently at the officers' quarters in the evenings, and the music was much appreciated by neighbours. Drum-Major Foster was a fine looking man, more than 6ft. in height, and at the head of the regiment he was a commanding figure. He was a wonderfully good cornet player, and he gave lessons on that instrument. One could hear the bugles and kettle-drums in the early mornings on the slope of the hill leading down to the swamp . . .

ASSOCIATIONS: Edward Cussen Ormond Howard 1839-1934


Violoncello player (Royal Victoria Theatre, Hobart)

Active Hobart, TAS, 1853 (shareable link to this entry)


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

THE LESSEES have the pleasure to announce that . . . it will open for the season, on the above evening . . .
Leader of the Orchestra, Mr. THOMPSON.
1st. Violin - Mr. MYERS.
2nd do - Mr. DIME.
Clarionet - Mr. GASCOYNE.
Violincello - Mr. FOTHERINGHAM.
Ophoclelde - Mr. WOOD.
Horn - Mr. J. THOMSON.
Cornet-a-Piston - Mr. THOMSON.
Tympani - Mr. AITCHIE . . . In the course of the evening the Orchestra will perform the Overtures to "La Dame Blanche," "Caliph of Bagdad," and the "New Hauss Quadrilles" . . .
Acting Manager - Mr. F. B. Watson . . . LESSEES: Messrs. Davies and Watson.

ASSOCIATIONS: John Charles Thompson (leader, violoncellist); Edward Myers (violin); Feltham Bold Watson (lessee, manager)

FOWELL, Newton Digby (Newton Digby FOWELL; Newton FOWELL; Mr. FOWELL)

Midshipman, amateur musician, guitarist, contact reporter

Born South Brent, Devon, England, 30 July 1868
Arrived Botany Bay, NSW, 20 January 1788 (midshipman per Sirius, from Portsmouth, 13 May 1787)
Died at sea, 25 August 1790 (NLA persistent identifier) (shareable link to this entry)


Fowell was a junior officer on the Sirius on its voyage to Australia in 1787-88. Before leaving England, he added at the end of a letter to his parents dated 4 March 1787:

There is Music for Rosina set for the Guitar. Thank you to send it if the ship comes to Porstm[ou]th.

Presumably an edition of songs from William Shield's comic opera Rosina, if it did indeed arrive with him in Australia, it is the earliest identification of an actual copy of a piece of art European music to have been landed. If he also brought a guitar, it may have been, along with George Worgan's piano, one of the first European instruments imported. So, too, the fife Fowell mentioned in another letter (12 July 1788), reporting on events on his third day in the colony:

January 21 [1788]. The Governor accompanied by Capt. Hunter & some other officers went in Boats to examine Port Jackson . . . The next day [22nd] one of the Party took a fife on Shore played several tunes to the Natives who were highly delighted with it especially at seeing some of the Seamen dance.

See in chronicle: 


Letter, Newton Fowell to his parents, 4 March 1787; SL-NSW, ML MSS 4895/1/7 (PAGE IMAGE)

Letter, Newton Fowell to his parents, 12 July 1788; SL-NSW, ML MSS 4895/1/18, page 5 (PAGE IMAGE)

Bibliography and resources:

Newton Fowell Papers and Letters in the Mitchell Library [transcripts], University of Sydney, SETIS

Heather Clarke, "Sailor's hornpipe", posted 10 February 2011, Australian colonial dance

"Newton Digby Fowell", Design & art Australia online (DAAO) 

FOWLE, A. (Andrew FOWLE; FOWL) = Andrew FAWL

Clarinet player (Band of the 12th Regiment)

FOWLER, Frank (Francis Edmund Town FOWLER; Frank FOWLER)

Journalist, playwright, author, writer on music

Born Pimlico, London, England, 12 August 1833; son of Charles and Jane FOWLER
Arrived Sydney, NSW, 4 December 1855 (assisted immigrant per Kate, "22 / short hand reporter")
Married Rachel CLARKE, NSW, 9 February 1856
Departed Melbourne, VIC, April 1858 (per Royal Charter, for Liverpool)
Died Kensington, London, England, 22 August 1863 (TROVE tagged by Australharmony) (TROVE tagged) (NLA persistent identifier) (shareable link to this entry)

FOWLER, Rachel (Rachel CLARKE; Mrs. Frank FOWLER; Madame REILOFF) = Mrs. G. F. JACKSON

Soprano vocalist, pianist, teacher of piano and singing


Fowler wrote a characteristic preface for the deluxe Australian album 1857 published by Jacob Clarke, who also published Fowler's literary journal The month.

Fowler's Eva ("ostensibly based on Uncle Tom's Cabin") played at the Lyceum in Sydney in August 1856, with music by John Winterbottom.

Fowler also commented on Sydney and Melbourne music in his Southern lights and Shadows (esp. page 34 below), published after he returned to London. However, an editorial in the Sydney Empire in July 1860, on the subject of mendacious testimonies of returned Australian colonists, cited as bywords:

. . . the ridiculous falsehoods of FRANK FOWLER, or the inventions attributed to MISKA HAUSER.

Fowler's most interesting and substantial musical remain, however, is the bullocky song, transcribed in Southern lights, below.

While in Sydney in 1856, Fowler married Rachel Clarke. Their eldest son was Frank Harry Fowler (below), musician and composer. After Fowler's death, Rachel performed in London under the stage name of Madame Reiloff, before she and her children returned to Australia. She remarried in Sydney, and was active as a singer and music teacher as Mrs. G. F. Jackson.


List of immigrants per ship [Kate] . . .; December 1855; State Records Authority of NSW (PAYWALL)

Fowler Frank / 22 / Short hand reporter / Pimlico Midd'x / Charles & Jane Mother at Pimlico Father dead / . . .

[Advertisement], Empire (25 August 1856), 1 

[Advertisement], The Sydney Morning Herald (25 August 1856), 1

OUR LYCEUM THEATRE, under the management of Messrs. Craven and Stephens. -
and the whole of the powerful company with numerous auxiliaries.
On MONDAY, August 25th, the performances will commence with (first time)
an entirely new dramatic story (founded on Mrs. H. B. Stowe's popular work),
and written expressly for Miss A. M. Quinn, with new plot, scenes, situations, and characters by Frank Fowler, Esq., Member of the Literary Institute of the British Empire, &c, of
The overture and entire music composed and arranged by M. Winterbottom;
the new and appropriate scenery painted by Mr. Guy; the panorama of New Orleans by Mr. Thomas; the nigger dances and serenades by the Ethopian Minstrels engaged expressly to give effect to the delineation of slave life!

Leaf I - Kentucky. George Harris (a Creole slave), Mr. H. T. Craven; Drover John (a Kentuckian), Mr. Lambert; Uncle Tom, Mr. J. H. Vinson; Sam (a persistent nigger), Mr. W. H. Stephens; Squibby, Mr. Reading;
Sambo, Mr. German; Bingy, Mr. Brenny. Selby's house and plantation.
In the course of the piece - Chorus - "I'll throw myself away," Messrs. Brenny, Reading, German, &c.
Apartment in Mrs. Selby's house. Interior of Uncle Tom's cabin. Another part of Selby's plantation. Barroom of a Kentucky tavern. Rocky pass and wood. The escape.

Leaf II - The Mississippi river. Penetrate Partyside, Mr. W. H. Stephens; Eva, Miss A. M. Quinn. Saloon dock of Mississippi steamer. Deck of steamer, and grand panoramic view of Mississippi river. (Thomas.)
Chorus - "Mississippi am a berry fine boat," with banjo and tamborine accompaniment, Messrs. Brenny, Reading, and Felix German.
Deck of steamer, and panoramic view of New Orleans. (Thomas.) Chorus - "Boatman's Chaunt," Messrs. Brenny, Reading, and German.

Leaf III - New Orleans. Topsy, Mrs. H. T. Craven. Drawing-room in St. Clair;s mansion - Aunt Vermont's bedchamber - Garden at St. Claire - St. Claire's death chamber.

Leaf IV - New Orleans and its vicinity. Simon Legree (a slave owner), Mr. Drummond (from Theatre Royal, Melbourne, his first appearance). Sale room of a slave warehouse - Chorus, "Old Folks at Home."
Scene 2. Apartment at St. Clair's - Court-yard and exterior of Simon Degree's house, with whippingpost - Apartment at St. Clair's - Fall of the Iast leaf - Chamber and death-bed of Eva! . . .

[Advertisement], Empire (25 December 1855), 1

"THE WAR AND WHAT I KNOW OF IT." FRANK FOWLER, ESQ., Fellow of the Literary Institute of the British Empire, Member of the Parliamentary Corps of the House of Commons, and Reporter in the Sebastopol Committee, purposes to deliver his
FIRST ORATION; in the Large Hall of the SCHOOL OF ARTS, on FRIDAY EVENING next . . .

"OUR LYCEUM. EVA", Empire (26 August 1856), 4

The play of Eva, ostensibly founded on Uncle Tom's Cabin, but with new scenes, language, and situations, from the pen of Mr. Frank Fowler, was produced at the Lyceum for the first time last evening with unqualified success. The manner in which the piece was placed on the stage reflects great credit on the management, the details being well arranged with a view to scenic effect. The incidental songs and dances were entrusted to a band of Ethiopians - for once legitimately introduced upon the stage. Excepting an occasional "hitch," almost inseparable from the first appearance of a new play, - the performance of last night may be pronounced perfect.

A panorama of the Mississippi, painted by Mr. Turner, appropriately illustrated the steamboat scene, and was much admired by those of the audience whose attention was not engrossed by what was passing in the foreground. The parts of the drama which have been added to the original tale were those which elicited the greatest applause from the audience; indeed, the principal male character of the piece, is a Yankee gentleman of the broadest possible humour, quite a distinct personage, from any mentioned in Mrs. Stowe's novel. The plot, too, is in a great measure original, Eva being carried through the four acts, and made the centre figure, round which all the other characters revolve. The language put into the mouth of the "little evangelist" is generally appropriate and beautiful, and as expressive of the exquisite ideal as the necessary limits of the play permitted. Her death scene, in the particulars of which there was considerable variation from the book, was extremely impressive. In the character of Uncle Tom, the outline of the story was vigorously filled up. The scenic arrangements of the piece were also designed hy Mr. Fowler, and many of them - especially the burning down of the whipping-post in front of Legree's house were curried out with great dramatic effect.

All the leading characters of the piece were ably rendered; the Eva of Miss Quinn calls for high commendation. It is, the first character indeed in which we have seen the infant artiste thoroughly appropriate to the juvenility of her years and genius. We learn that the piece was written with the expectation that she would be the heroine, and the selection lins turned out a happy one, as the ideal is of so rare nnd delicate a nature as to be well portrayed only by one as young and unsophisticated. A child can best express the feelings and movements of a child; and in the present case the stage illusion is perhaps heightened by the impression that, in the impersonation of this exquisite character, the actress has little to learn - or rather to unlearn - in realising the pure-mindedness and diffusive affection which distinguish the Eva immortalized by Mrs. Stowe. The Uncle Tom of Mr. Vinson, the Partiside of Mr. Stephens, the St. Clair of Mr. Russell, and last-though not least the Drover John of Mr. Lambert, also call for honourable mention.

The overture and incidental music, conducted by Mr. Winterbottom, were appropriate and pleasing. At the conclusion of the piece (which will be repeated this evening) the author was loudly called for, and Mr. Fowler bowed his acknowledgments from the front of the stage.

"REVIEW", The Sydney Morning Herald (6 July 1857), 8

The Month: A Literary and Critical Journal. Edited by FRANK FOWLER. Published by J. R. Clarke, 205, George-street, Sydney; W. Kent and Co., Paternoster Row, London.

Such is the title page which, on the 1st of July, greets us on our literary table, with the glad tidings that another attempt has been made to establish monthly periodical literature in Sydney . . .

"CLEARANCES. APRIL 3", Empire (5 April 1858), 5 

LONDON, steamer, 609 tons Cottier, for Melbourne. - Mrs. Jackson, Miss Jackson, Mr. H. Jackson, 3 children, and nurse; Mr. and Mrs. Frank Fowler . . .

[Editorial], Empire (17 July 1860), 4

THESE was once a time when the testimony of "a returned colonist from Australia" would have been viewed with great suspicion in the House of Commons, and denounced with indignant ridicule by the Times newspaper. There is just as much reason as ever for receiving their statements with caution; but Mr. MATTHEW HENRY MARSH has now come to be acknowledged as an authority, and his sayings are cheered in the House and quoted in the great journal just as if they proceeded from the fountain of truth itself. The fact is, however, that not all the ridiculous falsehoods of FRANK FOWLER, or the inventions attributed to MISKA HAUSER, can compete with the mendacious statements of Mr. MARSH. He is the very GULLIVER of Australian politics . . .

ASSOCIATIONS: Matthew Henry Marsh; Miska Hauser

"DEATH OF MR. FRANK FOWLER", The Sydney Morning Herald (13 October 1863), 8

The literary world will hear with regret that Mr. Frank Fowler, the chief promoter and secretary of the Library Company, expired on Saturday last, at his residence, Oakley Cottage, Hammersmith. The deceased had only just passed over his thirtieth birthday when arrested in what promised to be an exceedingly brilliant and useful career. He was born on the 12th of August, 1833. When about eighteen years old, he delivered a series of public lectures in London on the American poets, which attracted attention in literary circles. He subsequently enlisted in the more arduous ranks of journalism. He obtained an engagement, while yet little more than a stripling, as a parliamentary reporter on the corps of an old-established metropolitan journal; he also contributed largely original articles on political and other subjects to newspapers and magazines. Having had his attention drawn to the Australian colonies he proceeded to New South Wales, and was not long in making a reputation in its capital He started a monthly magazine in Sydney - the first of the kind, we believe, in an Australian colony. The influence thus acquired by him may be imagined when it Is stated that he was invited to stand as a candidate for the representation of one of the electoral divisions of Sydney at the general election in 1857. He accepted that invitation, and at the poll obtained nearly 1800 plumpers, the largest number of votes, we are told, ever up to that moment recorded in favour of a single candidate. He did not, however, find the social or political state of the colony quite to his taste, and strong inducements to return to England were offered him, under which he quitted Australia for his native land in that ill-fated vessel the Royal Charter. Mr. Frank Fowler wrote "Southern Lights and shadows," which speedily ran through a large edition.

Published works:

Preface to Australian album 1857 (Sydney: J. R. Clarke, 1857)

. . .The idea of a purely musical album - that is, a book filled with the original productions of our own artistes - is, I think, peculiarly happy, and one which the Australian public will readily appreciate. The value of such a work must be apparent to every one. For instance: Miska Hauser - may the shadow of his Cremona never grow less! - enraptured us all with that glorious bit of musical tessellation called the Bird on the Tree; and yet had not the publisher of this book obtained the composition from the Miska it must have been entirely lost and forgotten . . . And so with other pieces in this volume. They are all new - all colonial. Here, in this city - they were played, printed, and published. True, some of the composers are foreigners; but still this book is as much an Australian production as a cluster of grapes from the German vineyards at Kissing Point. We can send the work home as a specimen of what we can do out here at Botany Bay - as an index of our education, refinement, art-feeling. And it is fitting we should attest our social progress by some unusual publication of this character. Nothing else will do it so completely and so well. It vindicates our connexion with old-world genius and skill; and proves that we are not destitute of some of the haughty lineaments of European civilization.

Southern lights and shadows: being brief notes of three years' experience of social, literary, and political life in Australia (London: Sampson Low, 1859)


(34) . . . The "Prince of Wales" was generally devoted to opera, and here I have heard Bellini, Meyerbeer, and even Verdi and Beethoven as carefully rendered as at any theatre in London, the two Italian opera houses only excepted. Madame Anna Bishop was generally first-lady, Miss Sarah Flower contralto; Messrs. Laglaise and Coulon - not quite unknown names - tenor and bass; and Messrs. Lavenu and Loder, men of some English reputation, leaders of the orchestra. At the "Prince of Wales" I heard a Miska Hauser fiddle. He plays Beethoven like Ernst, Paganini like Sivori . . . 

(108) . . .. . . This bullock-driving cannot be a very pleasant life, although there is a certain smack of romance in camping out at night with a mob of oxen bellowing around, and the companion-drivers on watch attending to the fires - where the damper is cooking and the iron kettle boiling for to-morrow's breakfast - or only leaving their warm occupation for the warmer one of driving in "strays," with song and shout loud enough to make the deserters scamper. These bullock-songs are uncouth snatches generally improvised by the drivers themselves, but not destitute of a wild, runic poetry, as the following verses from one of them will show: -

Olle! heigh-ho!
Blow your horns, blow,
Blow the Southern Cross down if you will;
But on you must go
Where the fresh gullies flow,
And the thirsty crane wets his red bill.

Olle! heigh-ho!
Drink, boys, as we go,
Pass the brandy - let each take his fill:
On, "Strawberry," on,
Run, "Blossom," come run,
There is light enough left for us still.

Olle! heigh-ho!
"Blossom," gee-woh,
There is water spread out for us here,
Fill horns while you may,
There is no one to pay,
But Mine Host up above, for such cheer!

[Of course "any schoolboy" knows the Southern Cross is the great Constellation of Transpacifica.]

[109] Now, there may be some who object to that last line; but to me, when I heard it roared out by an olive-complexioned semi-ruffian tearing along after a mob of cattle with a brandy flask and revolver at his side, and the moon rising above a mass of "mackerel" clouds, and throwing long level lines of light upon a more advanced portion of the herd standing, some with their heads turning back, upon the summit of a wooded hill, in the distance, - I thought that same last line, rudely clothed as the idea involved in it may be, really orthodox and devotional. Strange that the boisterous fellow who, in these Australian solitudes, first thundered out the song after his loitering cattle, should have thought of Mine Host at all!

Bibliography and resources:

S. B. Clark, "Fowler, Francis Edmund (Frank) (1833-1863)", Australian dictionary of biography 4 (1972)

FOWLER, Frank Harry (Frank Harry FOWLER; Frank FOWLER junior)

Musician, teacher, composer

Born Sydney, NSW, 11 March 1857; son of Frank FOWLER and Rachel CLARKE
Departed Melbourne, VIC, April 1858 (per Royal Charter, for Liverpool, with parents)
Arrived Sydney, NSW, by May 1867 (with mother)
Married Fannie Adele ELLARD, NSW Died Sydney, NSW, 10 December 1893, aged 36 (TROVE tagged by Australharmony) (shareable link to this entry)

FOWLER, Fannie Adele (Mrs. Frank Harry FOWLER) = Fannie Adele ELLARD = Miss Ethel ADELE


Son of the author and journalist Frank Fowler (1833-1863) (above), Frank Harry Fowler was born in Sydney in 1857, but was taken to London by his parents in 1858

Fowler senior having died in London in 1863, in 1867 he returned permanently to Sydney with his Sydney-born mother and musician, Rachel Fowler (Madame Reiloff).

Frank Harry was a pupil of Charles Packer.

His mother, who had since remarried, to the singer and composer G. F. Jackson, had been a pupil of Bennett Gilbert in London, and in September 1875, mother (as Mrs. G. F. Jackson) and son advertised jointly in Sydney as teachers of singing and piano.

In 1885, Frank junior married the pianist, and later actor, Fannie Adele Ellard (who appeared in public as Miss Ethel Adele), only daughter of the pianist and composer Frederick Ellard.


"BIRTHS", The Sydney Morning Herald (12 March 1857), 1

On the 11th instant, at her residence, 161, Liverpool-street East, Mrs. Frank Fowler, of a son.

"SCOTTISH CONCERT", The Sydney Morning Herald (25 May 1875), 5

A concert, composed solely of Scotch music, was given last night in the Masonic Hall, in aid of the widow and children of the late corporal Spence, No. 1 Company D. B. Highlanders . . . Mr. Frank Fowler presided at the pianoforte . . .

[Advertisement], The Sydney Morning Herald (7 September 1875), 1

MRS. G. F. JACKSON (pupil of Bennett Gilbert, London) in conjunction with her Son, Mr. FRANK, FOWLER (pupil of Charles Packer), gives Lessons in Singing and Piano.

"Marriages", The Sydney Morning Herald (24 November 1885), 1

FOWLER - ELLARD. - October 26, at the Pro-Cathedral, Newcastle, by the Rev. C. Withey, Frank Harry, eldest son of the late Frank Fowler, to Fannie Adele, only daughter of the late Fred Ellard.

"MISS SHERWIN'S FAREWELL CONCERT", The Brisbane Courier (10 October 1887), 7

One of the notable features of [Amy Sherwin's farewell] concert was the excellent performance by the orchestra under Dr. Walters's baton, of a set of waltzes entitled "Triste Pensieri", which has just been written by Mr. Frank Fowler, of Brisbane. This gentleman has long enjoyed a high reputation both as a pianist and composer, but we think this latest work excels anything he has as yet given to the public. These waltzes contain none of those tiresome musical, or rather non-musical, maunderings which seem to be the stock-in-trade of most waltz writers of the day. They are original conceptions, crisp and tuneful, and treated in a thoroughly musician-like manner.

"THE AUSTRALIAN MARSELLAISE", Warwick Argus (28 July 1888), 2

"Deaths", The Sydney Morning Herald (11 December 1893), 1

FOWLER. - December 9 at Prince Alfred Hospital, Frank Harry, the dearly-beloved eldest son of the late Frank Fowler, aged 36 years. Home papers please copy.

[News], The Brisbane Courier (20 December 1893), 5

Mr. W. A. Caflisch, in a letter warmly appreciative of the late Mr. Frank Fowler, a well known Brisbane musician, who died very suddenly in Sydney a few days ago, makes an appeal which is likely to meet with hearty response. Mr. Fowler, he tells us, has left a widow and four children, the youngest only a few weeks old, almost if not quite unprovided for. The appeal is to Mr. Fowler's old friends, to his pupils, and to all musicians, both professional and amateur, that they will do something to help in their deep affliction the family of one who never allowed the suffering to appeal to him in vain.

"BRISBANE LIEDERTAFEL", The Brisbane Courier (23 May 1894), 6

"MARRIAGES", The Argus (17 January 1914), 13

FOWLER - ANDRADE. - On the 6th January, at Armadale, by the Rev. Charles Strong, Frank Harold Gordon Fowler, second son of Mrs. Fannie Fowler, of Wimmera Place, St. Kilda, and the late Frank Fowler, R.A.M.. to Florance Vera Andrade, youngest daughter of William Andrade, of Melbourne.

"FUNERALS", The Sydney Morning Herald (13 August 1928), 9

FOWLER. - The Friends of Mrs. FANNIE ADELE - FOWLER are kindly notified that her remains were privately Interred in the Church of England Cemetery, Northern Suburbs, on SATURDAY, the 11th instant . . .

"Miss Ethel Adele", The Brisbane Courier (20 August 1928), 12 

? "FIFTY YEARS AGO", The Courier-Mail (7 December 1937), 12

Musical works (Frank Harry Fowler):

The Australian marseillaise (words: A. Meston) (Brisbane: H. J. Pollard, [1888]) 

The Queensland national march; supplement to Queensland Figaro (26 May 1888) 


Musician, serpent player, bandsman (with Band of the 99th Regiment), bandmaster (Hobart Artillery Band), ophicleide player, double bass player

Born Middlesex, 1822; son of John FOWLER (c. 1801-1879) and Anne BANASTER (c. 1798-1882)
Active with regiment, Sydney, NSW, by July 1844 (? but did not arrive with 99th in 1843)
Married Sarah TUBBY (d. 1895), Sydney, NSW, 1847
Arrived with regiment, Hobart Town, VDL (TAS), 11 July 1848 (per Sir Edward Paget, from Sydney)
Died Hobart, TAS, 14 August 1910 (TROVE tagged by Australharmony) (shareable link to this entry)

ASSOCIATIONS: Band of the 99th Regiment

FOWLER, George William (George William FOWLER; G. W. FOWLER; W. FOWLER; FOWLER, jun.)

Musician, cornet player, ? flute player

Born Hobart, TAS, 5 January 1864; son of George FOWLER and Sarah TUBBY
Married Annie Benigna SUMNER (c. 1868-1952), St. Mary's cathedral, Hobart, 4 September 1884
Died Sydney, NSW, 5 August 1943, aged 79 (TROVE tagged by Australharmony) (shareable link to this entry)


Fowler's name first appears in the paylists of the 99th regiment (which do not normally indicate bandsmen) for the quarter July to September 1843, and so may he have joined the regiment after its arrival in the colony, perhaps having previously served with another regiment in Australia.

After following the 99th regiment briefly to New Zealand, Fowler senior had apparently settled in Tasmania by c. 1857. He was band serjeant of the Hobart Volunteer Artillery Band in 1861, and performing regularly in concert and theatrical orchestras. He was closely associated with such other local musicians as Giacinto Gagliardi and Alfred Jackson Dentith, with the latter as managers of Dentith and Fowler's Band.

His younger son, George William performed as a professional soloist in Tasmania for several years, before leaving for Sydney in August 1888.


Quarterly paylist, July to September 1843, 99th regiment (Australian Joint Copying Project, from Records of the UK War Office) 

. . . 1868 / [private] Fowler George . . .

"THE BAND OF THE 99TH", The Sydney Morning Herald (4 September 1844), 3

We would recommend such of our readers who have not yet heard this Band no longer to defer that enjoyment, for we can sincerely assure them that this Band of the 99th is one of the most complete military Bands that has ever gratified the inhabitants of our city. The general observer may not be aware that this Band possesses several advantages over ordinary bands. For instance, the 99th have no less than eight beautifully toned C and Bb Clarionets, and one in Eb, which play together in perfect harmony. Their flutes are equally good, nor are they open to the rebuke ajustez vos flutes, for they keep together in excellent tone, forming as it were one unbroken chain of linked sweetness. Their trumpets again produce a clear martial intonation, free from those disagreeable shrill "cork cutting" sounds which set one's teeth on edge. Indeed, there is scarcely a performer in their masterly Band who is not competent to play a solo in a respectable style on his peculiar instrument. Their bass instruments are of the first description, for in addition to the Bassoons, the Serpent, and last though not least the Ophecleide, which from the full rich grave yet mellifluous tones it is capable of sending forth in the hands of a skilful performer, (and we have the authority of a professor of acknowledged judgment in all matters connected with music for saying it could not be in better hands than the present performer in the 99th) is a powerful auxiliary in any orchestra - they have also the Bombardone. As this latter instrument was hitherto unknown in this colony we need not apologise to our readers for introducing a brief account of it. The Bombardone appears to be an instrument of modern invention, of a deep intonation partaking of the bass qualities, both of the Bassoon and of the Ophecleide. Its compass extends three octaves from F two octaves below the bass clef to F above the baas staff. Some amateurs are of opinion that the Bombardone owes its origin from the ancient Bourdon, a kind of drone bass, a deep unchangeable sound, which formerly accompanied a melody or series of notes moving above it. In days gone by, the word Bourdon signified the drone of a bagpipe. We find also the term sometimes applied to the double diapason, or lowest stop, in French and German organs; but whatever may be the conjectures of amateurs on this point, it appears to us that the Bombardone is nothing more nor less than a magnificent improvement on the Bombardo, which was a wind instrument, much resembling the bassoon, formerly used as a bass to the hautboy. The Bombardone, therefore, although it cannot be considered the skeleton of the Bombardo, it may, from its extended compass and superior strength of tone, be justly termed the giant of the ancient race of Bombardoes.

[Advertisement], The Australian (29 November 1845), 1

. . . Flutes - . . . A. Hill.
Oboes - Messrs. R. Martin, W. Cleary.
Principal Clarinets - Messrs. W. Martin, A. Cleary.
Clarinets - Messrs. Lillingston, Bromley, Hepperon, and Simpson.
Cornet de Piston - Mr. J. Roche.
Horns - Messrs. McCullum, Thompson, Hamilton, and Poole.
Trumpets - Messrs. McNamee, Smith.
Bassoons - Messrs. Hill, Davidson, McGuiness.
Serpents - Messrs. Fowler, Whittaker.
Trombones - Messrs. McLaughlin, Leo, Ennis.
Ophecleides - Messrs. T. Martin, Waterstone.
Bombardone - Mr. Blackie.
Triangle - Mr. Cavanagh.
Kettle Drum - Mr. Vaughan.
Side Drum - R. Lunn.
Cymbals - T. Mullins.
Long Drum - J. Stretten . . .

[Advertisement], The Mercury (15 May 1861), 3 

Hobart Town Volunteer Artillery Band.
ALL Applications for the Artillery Band, to be made in future to the Band Serjeant,
Mr. George FOWLER, at the Survey Office.

"BIRTHS", Launceston Examiner (9 January 1864), 4 

At Hobart Town, on 5th inst., the wife of Geo. Fowler, of a son.

"OPENING OF THE NEW TOWN HALL . . . THE MUSICAL FESTIVAL", The Mercury (25 October 1866), 3 

. . . Haydn's grand oratorio the "Creation" was selected and performed for the first time on Thursday, September 27th, with a band and chorus of nearly 200 performers. As all honor is due to these ladies and gentlemen for their services on the occasion, we record their names as follows:
. . . Orchestra - Violini, Messrs. W. Russell, A. J. Dentith, Mulhall, H. Pratt, Fryer, Evans, Doran, and Behrand;
Viola, Mr. G. Briant; Violoncelli, Messrs. J. Vautin and R. Johnson; Contra Bassi, Messrs. J. Briant and J. McGuinness;
Flauti, Signor Gagliardi and Mr. F. Abbott; Clarionetti, Messrs. J. Duffy, Lumb, and Gapin;
Cornet-a-Piston, Mr. Thomas; Tromboni, Messrs. J. Thomas and Paterson;
Ophicleide, Mr. G. Fowler; Fagotti, Messrs. J. Biggs and J. E. Pinker; Tympani, Mr. G. Thomas . . .
conductor, Mr. Frederick Packer . . .

[Advertisement], The Mercury (21 September 1869), 1 

SIGNOR GAGLIARDI . . . he has just completed the engagement of the following Orchestra - . . .
Leader of the Orchestra, Mr. W. Russell; Second Violins, Mr. L Thomas and a Gentleman Amateur;
Viola, Mr. Brown; Violoncello, Mr. H. Roberts; Flutes, Signor Gagliardi and his pupil, Amateur, Mr. G. Smith;
Clarionet, Mr. W. Simpson; Cornet, Mr. G. Thomas; Oboe, Signor Gaghardi;
Contrabasso, Mr. Fowler, Ophicleide, Mr. Pattison, Batterie; Mr. Gabbott.

"THE MUSIC AT THE BALL. TO THE EDITOR OF . . .", The Tasmanian Tribune (13 September 1872), 3 

SIR, - In your excellent report of the Manchester Unity Ball you state that some of the music was forwarded by Signor Gagliardi expressly for the occasion. This is a mistake. - The whole of the music belongs to me, and was lent by me to the band. By inserting this you will oblige, yours, etc..

"THE COLONISTS' BALL", The Tasmanian (31 May 1873), 5 

. . . The band, under the leadership of Mr. George Fowler, was seated on the platform before the organ . . .

"LOCAL", The Tasmanian Tribune (1 December 1875), 2 

The first of the series of Promenade Concerts under the direction and management of Messrs. Dentith, Fowler, and Russell was held at the Town Hall last evening and we are pleased to say proved a complete success, both, as regards the attendance, and the reception of the performers. These comprised the names of Messrs. Dentith and Russell as first violins; Mulcahy, second violin; J. Briant, tenor; Patterson and Fowler, double basses; cornet, Harwood; flute, Fowler, jun.; and clarionet, Simpson; piano, Walton; drum, Gabbett, and the programme of selections from the works of the most popular masters . . .

[Advertisement], The Mercury (28 December 1877), 3 

NOTICE. - LATE CITY BAND. - I have received an Official Letter from the Colonial Secretary to RETURN immediately the UNIFORM, INSTRUMENTS, and MUSIC belonging to the Government, and I request that they be returned without delay.
GEORGE FOWLER, Office-keeper, Lands and Works Office, Hobart Town, December 27, 1877.

"MARRIAGES", The Mercury (20 September 1884), 2 

FOWLER - SUMNER. - On September 4, at St. Mary's Cathedral, by special license, by the Rev. T. O'Callaghan, George William, youngest son of Mr. George Fowler, to Annie Benigna, fourth daughter of Mr. John Sumner, both of Hobart.

"THE ORCHESTRAL UNION CONCERT", The Mercury (27 March 1886), 2 

There were, we find, four ex-members of the old Glee Club present at, and taking part in, the performance of The Lay of the Bell, on Thursday evening, who also look part in it 25 years ago, when it was last given in Hobart under Mr. Tapfield's baton. The name omitted in our notice was that of Mr. George Fowler, who then, as now, played the double bass in the Orchestra. Mr. H. L. Roberts, too, played the flute on the former occasion, and not the 'cello.

"TELEGRAMS", Daily Telegraph (18 September 1888), 2 

The Sydney Evening News says that at the opening of the University Palace Rink, Mr. G. W. Fowler, the well-known Tasmanian cornet player, gave some first-class selections. Mr. Fowler is the son of the caretaker of the Lands and Works Office.

"The 99th Regiment", The Mercury (12 October 1905), 5 

Mr. George F. Marsden, whose father was one of the notable 99th, writes that Mr. R. Shea, late signalman, was not quite the last member of the 99th Regiment in the Commonwealth. Mr. George Fowler, late head office-keeper of the Government, who is still living in Hobart, was also a member of that Regiment.

"DEATHS", The Mercury (15 August 1910), 1 

FOWLER. - On August 14, 1910, at his residence, Werona, 381 Argyle-street, North Hobart, George Fowler, in the 89th year of his age. For 38 years office-keeper Lands Department. Funeral will arrive at the Mortuary Chapel, Queenborough Cemetery, on Tuesday Afternoon, the 16th lnst., at 3 15.

"MEN AND WOMEN", Daily Post (15 August 1910), 5 

One of the few survivors of the famous 99th Regiment, in the person of Mr. George Fowler, died yesterday. Mr. Fowler was born in Middlesex 89 years ago, and came out to Tasmania with the 99th Regiment in the early days of the island. He took part in many of the thrilling episodes which occurred when the island was known as Van Diemen's Land, and fought through the Maori war. After having retired from active military work, the deceased took the position of Office keeper of the Lands Department, and he held the position for 38 years, when ill-health compelled him to resign.

"Old Man Badly Hurt In Fall", The Sun (31 July 1943), 3 

George William Fowler, 79, of Richmond-road, Rose Bay, was seriously injured when he fell from a tram in New South Head-road, near Kent-road, Rose Bay, last night. After falling, he was struck by a tram coming from the opposite direction. He was later admitted to St. Vincent's Hospital, with fractured wrists and a probable fracture of the skull, while his left ear had been torn off.

"DEATHS", The Sydney Morning Herald (7 August 1943), 16 

FOWLER - August 5, 1943, at St. Vincent's Hospital, George William (late of North Sydney) beloved husband of Annie and father of Annie (Mrs. Read), Myrtle, and George, aged 79 years.

"DEATHS", The Sydney Morning Herald (12 May 1952), 12 

FOWLER Annie - May 10 1952 at hospital, Annie Fowler of Flat No 5. 238 Campbell Parade Bondi Beach (late of 57a Curlewis street Bondi) relict of the late George William Fowler and dearly loved mother of Annie Jack (deceased) Myrtle and George. Requiescat in pace.

FOWLER, Robert (Robert FOWLER)

"Professor of dancing", barber and hairdresser, ? former convict

Active Hobart Town, VDL (TAS), 1846 (shareable link to this entry)


Fowler, sometime barber and hairdresser, was before the court in Hobart in 1846 for running an unlicensed "dancing school", at which Barnard Hill assisted as violinist.


"DISORDERLY HOUSES", Colonial Times (31 July 1846), 3

We are pleased to find that some attention has been bestowed upon the prevention of a nuisance - to call it by the mildest term - which prevails to some extent in this city: we mean the existence of disorderly houses, unlicensed, and therefore illegal. On Wednesday, a case was brought forward at the Police-office, by the Senior District Constable, Mr. Symonds, against Robert Fowler, on an information charging him with keeping, on the 18th of July, a certain room for the purposes of public entertainment, to wit, dancing, &c., the same not being licensed according to law: for this offence the defendant had rendered himself liable to a penalty of £50 and costs. Mr. Symonds conducted the case for the prosecution, and Mr. Wynne appeared on behalf of Mr. Fowler.

"POLICE", The Courier (1 August 1846), 2

Robert Fowler was brought before the Bench on Wednesday, on an information preferred by Senior District Constable Symons, charging him with keeping a disorderly house. Mr. Wynne appeared for the defendant, and the case occupied a great part of the morning. It appeared in evidence that the wife of the defendant has recently advertised the opening of a Board and Lodging House, "in the London style," in Macquarie-street, the defendant carrying on his business of a barber, in Liverpool-street, but eating and sleeping at the new establishment. Over the stairs leading to the first floor, the defendant had caused to be painted, in conspicuous characters - "Dancing School!" - The large upper front room was cleared of every vestige in the shape of furniture, except two or three stools, upon one of which sat an aged man of the name of Barnard Hill, with a cracked fiddle, from which he produced, for the dancers, not notes "in liquid sweetness long drawn out," but the description of rude sounds which it is his wont to draw forth for the boisterous revellers alt wakes and weddings. It appeared that the persons who resorted to the school to take lessons of this antediluvian "professor" of the divine arts of music and graceful motion, were men and women of bad character; so much so, indeed, that several respectable residents of the neighbourhood have been afraid to leave their premises after night-fall, under an impression that their property would be insecure. Dancing, quarrelling, and fighting were kept up all night, to the scandal of public morals and the peace of the neighbourhood. Fowler's defence was, that he was not responsible, as the establishment belonged to his wife, and not to himself. It was proved, however, that he stood at the door of the "Dancing School" every night, and exacted an admission fee . . .

FOX, Mrs. (Mrs. FOX)

Contralto vocalist, pianist (Castlemaine Philharmonic Society)

Active Castlemaine, VIC, 1858-63 (TROVE tagged by Australharmony) (shareable link to this entry)


Not to be confused with Sarah Hannah Fox, contralto vocalist, below


"THE PHILHARMONIC SOCIETY'S CONCERT", Mount Alexander Mail (26 May 1858), 2 

We heartily congratulate the members of the Castlemaine Philharmonic Society on the unequivocal success of their first subscription concert . . . Ladies and gentlemen took part, Mr. Moss acting as conductor. It had been announced that Mr. Woodin would preside at the piano; but it was explained that that artist had refused to fulfil his promise, except under conditions with which the society could not comply. In these circumstances Mrs. Fox was called on, and we are sure no one regretted Mr. Woodin's contumacy . . .

[Advertisement], Mount Alexander Mail (7 January 1859), 5 

ON FRIDAY, JANUARY 7th, The Opera Company will give
A GRAND SACRED CONCERT Consisting of selections from the Sublime ORATORIOS OF
To give greater effect to the Magnificent Choruses of Handel and Haydn:
MEMBERS OF THE Castlemaine Philharmonic Society, With other Ladies and Gentlemen, have kindly offered their services . . .
Musical Director - Mr. Linly Norman . . .

"CASTLEMAINE PHILHARMONIC SOCIETY", Mount Alexander Mail (25 February 1859), 4 

. . . The concert of the Society on Wednesday Evening was really admirable, and when we bear in mind that they had not the assistance of professionals - astonishing . . . The trio, "Breath soft ye winds," was sweetly rendered, and the duet, "The depths of the ocean," by Mrs. Gardiner and Mrs. Fox, received the honor of the first encore . . . The great feature of the evening was Locke's music from Macbeth, which was most creditably rendered, reflecting the greatest honor upon the conductor, Mr. F. Moss . . .

"THE PHILHARMONIC SOCIETY", Mount Alexander Mail (3 August 1859), 3 

On Monday evening, this society gave a grand concert at the theatre, which was attended by a most respectable and attentive audience. The concert was conducted by Mr. Moss; Mrs. Fox presided at the piano; and Mr. Vincent played the harmonium. The first part of the programme consisted of Mozart's "Twelfth Mass" . . . The second portion of the concert, it being the Centenary of Handel, consisted of selections from the "Messiah," "Judas Maccabaeus," and "Theodora" . . .

"CONCERT AT THE THEATRE", Mount Alexander Mail (Vic. : 1854 - 1917), 10 October, p. 2 

On Friday evening, the Castlemaine Philharmonic Society gave a concert at the theatre for the benefit of the funds of the hospital . . . The song of "Twas on a Bank" was rendered by Mrs. Fox with great taste, and a very fair amount of musical skill . . . The duet of the "Merry Maidens" was very well performed by Mrs. Gardner and Mrs. Fox, and drew down an encore . . . The duet of "O Lovely Sleep" by Mrs. Gardner and Mrs. Fox deserves to be mentioned, likewise the quartette "Thou preparest a table," composed by Mr. F. Moss, the conductor of the concert, which was led by Mr. Howson . . .

"THE PHILHARMONIC SOCIETY", Mount Alexander Mail (16 March 1860), 2 

The Soiree of the Mechanics' Institute came off oh Monday evening, and was well attended . . . The members of the Philharmonic Society, under the experienced generalship of Mr. Moss, during the evening ably performed a variety of glees, duetts, Mrs. Fox presiding at the pianoforte . . .

"THE PHILHARMONIC SOCIETY", Mount Alexander Mail (1 October 1860), p. 2-3 

On Thursday evening the Philharmonic Society of Castlemaine, assisted by several members of the Sandhurst Society, gave another concert at the Theatre. The selections comprised the whole of Haydn's Third Mass, two choruses from Mendelssohn's "As the Hart pants," and the greater portion of Mozart's well-known Twelfth Mass . . . [3] . . . Mrs. Fox, we need hardly say, acquitted herself admirably in the contralto solos, and we regretted that they did not afford more scope for the display of a sweet and well cultivated voice . . .

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

. . . Mesdames Fox and Gardiner followed with the lively duet, "Let Music and Song," and well merited the applause they received . . . The solo "O Had I Jubal's lyre," was very neatly sung by Mrs. Gardiner, and the duet, "Come ever Smiling Liberty," by the same lady, and Mrs. Fox, was repeated at the desire of the audience. The rather weak but pleasing contralto of Mrs. Fox was advantageously heard in the solo, "Return O God of Hosts." Kent's fine quartette, "Thine, O Lord," for soprano, alto, tenor, and bass, was warmly welcomed, and the unaccompanied trio from Elijah, by Mesdames Fatherly, Gardiner, and Fox, was so much appreciated that but for the lateness of the hour it would undoubted have gained an unanimous da capo . . .

"PHILHARMONIC SOCIETY'S CONCERT", Mount Alexander Mail (31 October 1862), 2 

The members of this Society gave a Concert last night at the theatre . . . There were only two compositions mentioned in the programme - one, Romberg's music to Schiller's "Lay of the Bell" and an original Mass in C, by Mr. Moss, the Conductor, and produced in its entirety before the public, for the first time . . . Mesdames Fox and Gardiner sung with their accustomed taste and skill, and Messrs. Balm, Cooper (of Maldon), Hasler, and other gentlemen, acquitted themselves well . . . In the Incarnatus and the Agnus Dei, particularly in the last, Mrs. Fox's alto part was rendered with much sweetness . . .

"CONCERT", Mount Alexander Mail (2 December 1862), 3 

The Concert, given by the members of the Philharmonic Society, for the benefit of their talented conductor, Mr. F. Moss, took place last night, at the Theatre . . . The second part consisted of Mr. Moss's Mass in C, which we have previously noticed as an exceedingly creditable composition. Mr. Balme, Mr. B. Butterworth, and Mrs. Fox were entrusted with solo parts in the secular music, but it is simple justice to Mrs. Fox to say that her song, "Sweet spirit, hear my prayer," was the gem. The fair vocalist interpreted the music sweetly and naturally, and she received a well-merited encore . . .

"PHILHARMONIC SOCIETY'S CONCERT", Mount Alexander Mail (27 March 1863), 2 

The Concert of the Philharmonic Society, last night, though far from the least attractive they have given, was worse attended than any of the preceding ones. This misfortune was due to the rival attractions of the Presbyterian Bazaar, and the Fire-Brigade dinner . . . Mrs. Gardner and Mrs. Fox dung Mendelssohn's beautiful duett for soprano and alto so well, that it was awarded an unanimous call for repetition. The fair Vocalists, on the conclusion of their effort, were even more enthusiastically cheered than at first . . . Mrs. Fox gave Glover's "Leaving the O1d Home," but it did not elicit many expressions of gratification . . .

FOX, Sarah Hannah (Sarah Hannah BEAUMONT; Mrs. John Henry FOX; Mrs. J. H. FOX; Mrs. FOX)

Contralto, mezzo-soprano, soprano vocalist

Born Norfolk, England, 1838; baptised 16 December 1838, Ingham; daughter of Edward BEAUMONT (1807-1880) and Hannah LACK (1813-1889)
Arrived Melbourne, NSW (VIC), 18 August 1848 (with parents, immigrants per Cheapside, from London and Plymouth, 21 May)
Married John Henry FOX (1830-1903), Melbourne, VIC, 1856
Active Adelaide, SA, 1861-63
Died North Melbourne, VIC, 17 June 1913, aged 74 (TROVE tagged by Australharmony) (shareable link to this entry)


One of two active singer sisters of tenor Armes Beaumont, Sarah (Mrs. John Henry Fox, from 1856) was one of Melbourne's leading contralto vocalists for over 20 years, first as an oratorio soloist for the Melbourne Philharmonic in the late 1850s and 1860s, and later, following her brother's move to the dramatic stage, appearing in opera roles in the early 1870s.

Usually billed simply as "Mrs. Fox" from her first public appearance in Melbourne in 1858, and during her two years in Adelaide (1861-83), from the later 1860s onwards she was typically identified as Mrs. J. H. Fox. Typically given contralto parts in concert and oratorio when younger, she later typically sang soprano parts in opera. She first notably ventured into the upper range when she performed Handel's Let the bright seraphim in Adelaide as early as 1863.


(1) South Australian pianist Adelaide Porter, from November 1900, Mrs. J. H. Fox

(2) Mrs. Fox, contralto vocalist and pianist, of Castlemaine, VIC, 1858-63


[Advertisement], The Argus (23 December 1857), 8

MELBOURNE PHILHARMONIC SOCIETY. Sixth Subscription Concert . . .
EXHIBITION BUILDING. Christmas Eve, 24th December 1857, MESSIAH.
Principal Vocalists: Mrs. Hancock, Miss Octavia Hamilton, Mrs. Fox,
Mr. Ewart, and Mr. Farquharson . . .

"PHILHARMONIC SOCIETY'S CONCERT", The Argus (26 December 1857), 4

. . . Miss Hamilton and Mrs. Hancock sang the soprano music very commendably; and Mrs. Fox sang the air "Thou didst not leave his soul in Hell," in a style which elicited marked approbation . . .

"THE PHILHARMONIC SOCIETY", The Age (7 January 1858), 5 

The Philharmonic Society gained new laurels on Tuesday evening by their admirable interpretation of Mendelssohn's grand oratorio "Elijah" . . . The only passage assigned to Mrs. Fox was the sweet air "O rest in the Lord," but this she sang in a manner so highly satisfactory that we could not help regret ting that the arrangements of the programme did not admit of our hearing her in another solo. She, however, took part in the beautiful unaccompanied trio "Lift their eyes," in which all the voices were most beautiful attuned . . .

"THE PHILHARMONIC SOIREE", The Age (30 December 1859), 5 

The soiree in connection with the Melbourne Philharmonic Society was held in the Exhibition Building last evening . . . We content ourselves with subjoining the programme without further remark: -
"The Chough and Crow," chorus; "The Sailor's Grave," Mr. E. Beaumont; "When the Silver Moon," Miss Bailey; "Mrs. Watkins's Party," Mr. Farquharson, and on being encored, "The Tight Little Island;" "A Dream of joy," Mrs. Batten ; "The Syren and Friar," Miss Mortley and Mr. C. Blanchard;
"Truth in absence," Mrs. Fox . . .

MUSIC: Truth in absence (Harper)

[News], The Argus (13 June 1861), 5 

The Orpheus Union, who have hitherto been content with taking part in occasional concerts in which they have, however, been most warmly appreciated, gave, last evening, the first of a series of musical entertainments, in the Mechanics' Institute . . . The solo parts were excellently taken by Miss Griffiths . . . and by Messrs. Ford, Beaumont, and Angus . . . Misses Griffiths, Mortley, and Beaumont, were quite successful in Henry Smart's pretty trio, "Rest thee on this mossy pillow," and Mrs. Fox, Master Cooke, and Messrs. A. Ford and Angus won equally so in Pohlenz's part song "The swallows" . . .

"THE CHOIR AT WHITE'S ROOMS", South Australian Weekly Chronicle (24 August 1861), 2 

The length of our report of the meeting at White's Room, to celebrate the laying of the corner-stone of the Rev. Mr. Cox's Chapel, prevented us from paying a well-merited compliment to the Choir, who so kindly and efficiently enlivened the proceedings of the evening by their very excellent performances. It comprised about 60 per formers, members of most of the choirs in connection with the various chapels in North and South Adelaide . . . Amongst the performers we noticed several old favorites, whose names we need not mention; but we think, without appearing invidious, we may venture to allude to a lady who we believe is new to the musical word of Adelaide - Mrs. Fox - who sung the solo part in Mozart's anthem, "But thou didst not leave his soul in hell;" her voice is at the same time sweet, mellow, and powerful, and without any apparent effort, its rich tones filled the large hall and delighted the audience; she sings also with artistic precision. It has been said by some who were present that, as an amateur performance, that on Wednesday evening has never been surpassed in Adelaide . . .

"TOPICS OF THE WEEK", South Australian Weekly Chronicle (14 February 1863), 5 

The Adelaide Philharmonic Society gave a concert of secular music at the Assembly Rooms on Wednesday evening . . . Mendelssohn's duet, "Zuleika and Hassan," was well rendered by Mrs. Fox and Mr. Beaumont . . . After "The Queen's Letter," which was sung by Mrs. Fox, with her accustomed sweetness, Mr. S. Wilkinson gave "Man the life boat" . . .

MUSIC: Suleika und Hatem (Mendelssohn, op. 8 no. 12, actually by his sister Fanny); The queen's letter (Hobbs)

"TOPICS OF THE WEEK", South Australian Weekly Chronicle (30 May 1863), 4 

The oratorio "Samson" was repeated by the Philharmonic Society, at the Assembly Rooms, on Tuesday evening . . . Mrs. Fox sang "Let the bright Seraphim," and though her voice was weak in some of the passages, it was quite as strong as could be expected after singing, as she did, through all the chorusses. The high and difficult trumpet accompaniment was performed by Mr. Chapman on the cornopean. It is the first time it has been publicly attempted in the colony, and Mr. Chapman's performance was very successful . . .

ASSOCIATIONS: William Chapman

"TOPICS OF THE DAY", The South Australian Advertiser (23 July 1863), 2 

In reference to a paragraph which appeared in yesterday's paper, we are requested by Mrs. J. H. Fox to state that her brother, Mr. E. A. Beaumont, was at Canterbury with Messrs. Poussard and Douay's company, convalescent, on June 19. The party had been so successful there, that they intended performing throughout New Zealand.

"TOPICS OF THE DAY", The South Australian Advertiser (5 August 1863), 2 

We understand that Mrs. J. H. Fox, who has been for some time favourably known in the musical circles here as a pleasing and talented artiste, proposes giving a farewell concert in the Pirie-street lecture room, prior to her departure for Victoria. Several amateurs and musical friends have kindly volunteered their services to assist in making the entertainment as pleasing as possible. The public have received many favours from Mrs. Fox, who has more than once given the benefit of her musical abilities in aid of charitable and benevolent objects, and we feel sure the country generally will reciprocate what she has done for them, by aiding in this, her last performance in Adelaide.

"PHILHARMONIC CONCERT", The Argus (6 September 1865), 5

The third subscription concert of the Melbourne Philharmonic Society, for the present year, was given last evening, at the Exhibition Building. The performance consisted of Haydn's oratorio, the "Creation" . . . Mrs. Fox sang the beautiful soprano solo, "With verdure clad." This lady possesses a pure tone, and is improving in style, but we regret to observe a tendency now and then to sing sharp in the upper notes . . . The trio, "Most beautiful appears," by Mrs. Fox, Mr. Ewart, and Mr. S. Angus, evidently pleased the audience . . .

"GALATEA SECUNDA", The Argus (4 October 1867), 5

. . . "Galatea Secunda" is in five parts, and we may say at the outset that the interest is greatly weakened by a characteristic inequality of merit in the words . . . It is refreshing to turn to the next part, and find far more worthy words -

"The votive song, the festal dance,
Shall greet each step of thine, advance
'Midst city throngs; in fern tree glade,
No Cyclop lurking in the shade.
Where late the savage sought his game
In lonely forest, thou shalt find
Labour, with sturdy frame and mind;
And every river at thy name
Shall tremble with a lasting fame,
As did thy Spring when first it gush'd
From AEtna's foot, with love-dreams flush'd."

This is charmingly set as an accompanied trio, for soprano, tenor, and bass; and it was admirably sung by Mrs. Fox and Messrs. Amery and Donaldson . . .


. . . Then followed Rossini's "Stabat Mater" . . . The "Inflammatus et accensus," the " Cujus animam" and "Pro peccatis" were the best of the solo performances, Mrs. Fox, in the first named, displaying powers for which wo have not hitherto given her credit. The subsidiary choral part in this number was also extremely good, and the effect on the words "In die judicii" was all that could be desired . . .

"ORPHEE AUX ENFERS", The Argus (30 March 1872), 6

. . . The scene opens upon a landscape - Thracian, of course - with the dwelling-places of Orpheus (Mr. Lascelles) and Aristosos (Mr. Beaumont) on either side . . . Diana (Mrs. Fox) enters grieving sorely that Actaeon had not been in his usual hiding-place that day, because she had always been aware of his presence, although she never "let on" to anybody about it . . .

"DEATHS", The Argus (21 June 1913), 13

FOX. - On the I7th June, at Silloth Terrace, 157 Flemington road, North Melbourne, Sarah Hannah, relict of the late John Henry Fox, and beloved mother of Mrs. M. Samuel and F. P. Fox, aged 74 years. A colonist of 64 years. (Interred privately on June 19.)


Mr. Edward Armes Beaumont, the finest tenor singer Australia has produced, and whose name 25 years ago was a household word throughout the Commonwealth, died at his residence, Flemington road, North Melbourne, at an early hour yesterday morning. For some weeks past his health had been failing, and his advanced age, 72 years, made his death not quite unexpected. His sister, Mrs. J. H. Fox (also a well-known singer), with whom he had been living, and to whom he was greatly attached, died a few weeks ago, and her demise undoubtedly hastened his end . . .

Bibliography and resources:

Alison Gyger, Civilising the colonies: pioneering opera in Australia (Sydney: Pellinor, 1999), 148, 174, 176, 240, 245 ("Mrs. Fox")

"Beaumont, Edward Armes", Obituary Australia


German musician, vocalist, clown

Born ? Germany, c. 1835
Active Launceston, TAS, by 1851
Died Dapto, NSW, 9 July 1856, aged 21 (TROVE tagged by Australharmony) (shareable link to this entry)


"The Amphitheatre", The Cornwall Chronicle (8 March 1851), 148 

The performances at this place of amusement last evening were decidedly the best of the season - and the applause bestowed by the audience manifested that the exertions of the talented artists were justly appreciated. As equestrians, Messrs. Ashton, Hunter, and Mills stand unrivalled; the youthful Petite Polaski is a prodigy; and the "broad grins" visible on many country faces, while Mr. Felix was exhibiting in the ring, proved him worthy of the appellation of a clown . . .

[Advertisement], The Cornwall Chronicle (15 March 1851), 165 

. . . On Monday evening, March 17, being for the BENEFIT of MR. J. ASHTON . . .
Comic Song, Mr. Felix . . .

Bibliography and resources:

W. G. McDonald, Nineteenth-century Dapto (Wollongong: Illawarra historical Society, 1976), 46

[45] . . . The First Register of St. Luke's, recording . . . burials to 1874 is still in existence . . .
[46] . . . the burial of "Henry Frahlig called Felix . . . a German Musician in Ashton's Equestrian Circus," who died, aged only 21, on 9 July 1856. (DIGITISED)

Mark St. Leon, "Horseman or no horseman: circus in Van Diemen's Land, 1847 to 1851", Tasmanian Historical Research Association: Papers and Proceedings 55/2 (July 2008), 86-107;dn=545898401156495;res=IELHSS (PAYWALL)

[101] . . . An early advertisement (Cornwall Chronicle, 1 February 1851) listed the following members of Ashton's company: Mr. and Mrs. Ashton, Master Lapittite [sic; La Petite?] Polaski, J. Hunter, H. Mills, A. Palmer, H. Felix, J. Risley, Mr. Rosetta, and Mr. J. Hudson and a "grand orchestra" . . . [102] . . . H. Felix may have been the German musician Harry Frahlig who died at Dapto (NSW) in July 1856, while travelling the Illawarra with Ashton's Circus . . .

FRANCIS, Benjamin (Benjamin FRANCIS)

Amateur vocalist, merchant, publican, Jewish community leader, synagogue singer

Born London, England, c. 1796/99; son of Moses and Sarah FRANCIS
Sentenced to life, Somerset Assizes, Taunton, 27 March 1819
Arrived Sydney, NSW, 18 December 1819 (convict per Recovery, from England, 31 July 1819)
Active Sydney, NSW, 1826 (Sydney Amateur Concerts)
Married Elizabeth SOLOMON, NSW, 1836
Active Hobart Town and Launceston, VDL (TAS), 1840s
Died Sydney, NSW, 18 May 1873, in his 78th year (TROVE tagged by Australharmony) (shareable link to this entry)


"SWINDLER", Sun [London] (19 September 1818), 3

Thursday afternoon [17 September], Benjamin Francis, a Jew, from London, called at the shop of Mr. Cripps, jeweller, Stall-street, and selected a gold watch, for which he offered 30 guineas; the shopman was not prepared to make the deduction, in the absence of Mr. C. (the watch being marked 35l.); however, Francis requested that it might be put by for him, and he would call the next day, and bring the money: He did so; and told Mr. Cripps that he was commissioned to look out a gold watch with appendages, and provided Mr. C. would take 30 gs. for the watch he would pay him; this being agreed to, he looked out a chain and seals, amounting to 18l., which together came to 49l. 10. His commission, he said, only amounted to 48l., if Mr. Cripps would take that sum, he would go to his friend, and get a check for the amount, leaving strict orders for the bill to be made out in the name of Mr. James Johnson, and the articles to be carefully made a parcel of. About half-past six he returned with the check, drawn on Sir B. Hobhouse and Co. Mr. Cripps suspecting it, immediately gave it to his young man to go to the private entrance of the Bank, and inquire if it was good. Francis observed that the check was very good, and Mr. Cripps might rely on its being punctually paid; but followed the lad to the door, and snatched the check out of his hand; Mr. Cripps then sent for an officer; and F. was conveyed to the Guildhall, and the check taken from him, which he had torn in pieces; but after much difficulty it was made perfect. He was on Saturday committed by the Mayor for trial. He had in his possession a large cane with a sword in it, several flints, &c. and triplicates of several watches. - (Bath Herald, Sept. 18.)

"SOMERSET LENT ASSIZES", Taunton Courier, and Western Advertiser (8 April 1819), 2, 3

[2] . . . Benjamin Francis, 22, for forging a draft, with intent to defraud Richard Cripps. - Death Reprieved . . .

[3] . . . Benjamin Francis, aged 22, was capitally indicted for forging draft on Messrs. Hobhouse and Co. with intent to defraud R. Cripps. Prosecutor is a jeweller at Bath . . . The jury found the prisoner guilty. DEATH. The prosecutor recommended him mercy.

[Prisoners from] Taunton Assizes, March 27th 1819, Ilchester Gaol, register 1808-22, folio 236; Somerset Archives (PAYWALL)

3436 / Benjamin Francis / [Age] 22 [sic] / . . .

Convict indentures, 1818-19; State Records Authority of NSW (PAYWALL)

Francis Benjamin / Somerset Assizes 27th March 1819 / Life / London / Clerk / 23 / 5'6' / dark [hair] / dark [eyes]. . .

[Advertisement], The Sydney Gazette and New South Wales Advertiser (29 April 1820), 4 

BENJAMIN FRANCIS most respectfully begs leave to acquaint the Inhabitants of Parramatta, that he has opened a small retail Shop, situate in George-street, next House to Mr. Larra's; where he has now for sale green and black tea, sugar, oil, tobacco, snuff, pipes, handsome India prints, calicoes, black silk handkerchiefs, some beautiful veils, lace shawls, &c., cotton balls, thread, pins, a small assortment of the best perfumery and cutlery, snuff & tobacco boxes, looking glasses, frying pans, pepper and ginger at 3s. per lb &c. &c. B. F. humbly solicits the Inhabitants attention and custom, by assuring them, that he will always exert his utmost endeavours to meet their approbation; and pledges himself that the articles herein specified are of the best quality, and at the most reduced prices.

[Advertisement], The Australian (29 December 1825), 4

B. FRANCIS most respectfully begs leave to acquaint the Inhabitants of Parramatta and its vicinity, that he has opened the house formerly occupied by Mr. Wright, at the corner of Church-street, Parramatta, as a shop; where the undermentioned goods may be had at the lowest Sydney Market prices: Tea, sugar, tobacco, snuffs, calicoes, prints, longcloths, shirting . . .

"MR. SIPPE'S BENEFIT CONCERT", The Monitor (13 October 1826), 5

. . . Braham's delightful song, "Is there a heart that never loved", introduced a candidate for vocal fame, viz. Mr. B. Francis; this gentleman possesses a voice at once melodious and powerful, and needing only cultivation and a greater degree of confidence. Reiterated cries of encore were at length silenced by a repetition of this universal favourite . . . Mr. Sippe displayed much skill in his performance of an "Air with variations on the piano-forte," which with Braham's truly national song and recitative, "The Death of Nelson," sung by Mr. B. Levey, and a comic song by Mr. G. Paul, closed the first act . . .

ASSOCIATIONS: Sydney Amateur Concerts; George Sippe (pianist); Barnett Levey (vocalist); George Paul (vocalist)

MUSIC: Is there a heart that never loved (Braham)

[Advertisement], The Australian (3 January 1827), 2

SALES BY AUCTION . . . BY MR. PAUL . . . At the Residence of Mr. B. Francis, George-street, opposite the Market-place, on Wednesday the 10th instant, at 11 o'clock, THE WHOLE OF HIS STOCK IN TRADE; comprising English prints, longcloths, calicoes, ginghams, ladies dresses, nankeens, jeans, kerseymere, pocket handkerchiefs, thread, tapes and bobbin, marking ink, quills, crockery, decanters, butler coolers, sail cullers, China preserves . . .

Sydney Quarter Sessions. TUESDAY, JANUARY 16", The Sydney Gazette and New South Wales Advertiser (17 January 1827), 3 

William Money was placed at the bar, charged with stealing a gilt watch and a black silk handkerchief, the property of Benjamin Francis, of Sydney, on the 17th of December last. Benjamin Francis being sworn, deposed, that the prisoner was a servant in his employ . . .

"THE NEW SYNAGOGUE", Launceston Advertiser [VDL (TAS)] (4 October 1844), 2 

On Friday last, the foundation stone of the Jews' Synagogue in this town, was laid by B. Francis, Esq. The procession formed upon the occasion was the most interesting and imposing exhibition ever made in the town of Launceston. The Worshipful Master of the Masonic Lodge having consented to attend with the brethren of the order in costume, the procession was formed at their lodge room . . . preceded by the fine band of the 96th regiment, which attended by permission of Colonel Cumberland . . . The Prayer, composed for the occasion, invoking the divine blessing on the building about to be erected to his glory, was then read by B. Francis Esq. . . .

See also Form of Prayer read at the Ceremony of laying the Foundation Stone of the New Synagogue in St. John's-street, Launceston, on Tuesday, the 18th day of Tishi, 5605, corresponding to the 1st Day of October, 1844, as reprinted complete in "LAYING THE FOUNDATION STONE OF THE JEWISH SYNAGOGUE", Colonial Times (8 October 1844), 3 

"CONSECRATION OF THE NEW SYNAGOGUE, ST. JOHN STREET", The Cornwall Chronicle (28 March 1846), 241 

The very imposing ceremony of Consecrating the New Synagogue in St. John-street, took place on Thursday afternoon, commencing at three o'clock . . . Mr. Anderson presided at the piano, and was assisted by a choir of vocalists. The music used on the occasion, was composed by Mr. Anderson. Previous to the commencement of the service, an introductory Symphony from Mozart, was taste fully executed by Mr. Bishop, and two members of the military band . . . The Consecration Anthem by the late Rev. D. H. Hirschel (father of the late Chief Rabbi) was performed, Mr. Francis taking the solo parts, choruses by the whole of the choir . . .
Solo. - Our Lord, our God, with ardent love.
Still to his people bound,
Bade them uprear a glorious house;
There let his praise resound:
That all the world may own with one accord,
How nobly Israel glorifies the Lord.
Chorus. - Goodly and blest is Jacob's dwelling,
His tents all other tents excelling . . .
Then followed another anthem - solo, and chorus, as before, after which, the Sacred Scrolls were taken out of the Ark, the Reader repeating a psalm, which was responded to by the congregation. The Sacred Scrolls being handed to Mr. Francis, that gentleman, sang the following Prayer, for the Queen and Royal Family . . . The musical department was ably managed, under Mr. Anderson's superintendence. The fine-toned piano, at which he presided, was well calculated to exhibit Mr. Anderson's abilities to advantage. Of the solos, and the choruses generally, whether as regards composition, or execution, nothing was wanting to justify the most sanguine expectations of the audience, and to afford them the very highest gratification . . .

ASSOCIATIONS: James Henri Anderson

"DEATHS", The Sydney Morning Herald (19 May 1873), 1 

On Sunday, the 18th instant, at his residence, Milton House, Myles-buildings, Cumberland-street, Mr. BENJAMIN FRANCIS, in his 78th year, an old and much esteemed colonist, deeply lamented by his sorrowing widow, and regretted by a numerous circle of relatives and friends.

Headstone: Benjamin Francis, who was gathered to his Fathers trusting in God's Mercy on Sunday, 18 May 1873 - 1 Yar 21 5633. After enjoying a life of 78 years, passed in domestic devotion & worldly integrity, leaving a name honoured in the community, a memory of peerless worth to his dearly loved widow & foster family & a remembrance everlasting to a large circle of faithful friends

Bibliography and resources:

John Levi, These are the names: Jewish lives in Australia, 1788-1850 ( (PREVIEW)

Benjamin Francis, Recovery, 1819; Convict records 

FRANCIS, Sophie (Sophie FRANCIS; Sophia; Madame FRANCIS)

Pianist, teacher of music and French (pupil of Sigismond Thalberg)

Born c. 1816
Arrived Melbourne, VIC, 15 October 1854 (per Calcutta, from Southampton, 4 August)
Died Fitzroy, Melbourne, VIC, 29 November 1873, aged "57" (TROVE tagged by Australharmony) (shareable link to this entry)


[Advertisement], The Argus (21 October 1854), 8

MADAME FRANCIS, Pianist pupil of Thalberg, and of the Conservatoire Opera of Paris, arrived by the Calcutta, begs to inform the nobility and gentry of Melbourne, that she will give instructions on the pianoforte, after a new method, which has been so successful in England. Address, Crown Hotel, Lonsdale-street west.

[Advertisement], The Kyneton Observer (6 December 1860), 3

CONCERT By Special Desire, at the DUKE OF KENT HOTEL
MONDAY, 10TH DECEMBER, Assisted by MR. BARLOW, the celebrated Comic and Negro Singer.
Pianiste - Madame FRANCIS
Violinist - Mr. LEECH
Comet-a-Piston - Mr. ROGERSON
"Overture - "Fra Diavolo"
Glee - "Awake AEolian Lyre"
Song - Mr. Lyons
Glee - "Hark! 'tis the Bells"
Lily of the Valley Waltz - D'Albert - Band
Comic Song - Mr. Barlow.
Glee - "The Sun's Gay Beams"
Song - Mr. Gowling
Solo Violin - De Beriot - Mr. Leech
Glee - "Dame Durden"
Interval of Ten Minutes
Overture - "Tancredi" - Rossini
Glee - "Here in Cool Grot" - Earl of Mornington
Song - Mr. Hughes
Glee - "To all you Ladies now on Land" - Callcott
Mr. Barlow's Negro Entertainment
Laughing Galope - Farmer - Band
Song - Mr. Weir
Duett - "Hark! the Goddess Diana" - Mr. Weir & Mr. Hughes
Solo - Pianoforte - Madame Francis
Finale - "God Save the Queen" . . .

"THE GLEE CLUB", The Kyneton Observer (15 December 1860), 3 

On Monday evening last this club, by desire, gave another of their entertainments in the hall of the Duke of Kent Hotel, on which occasion, in spite of the inclemency of the weather, the darkness of the night, and the dampness of the ground, the room was well filled by even greater numbers than on the last occasion. The inimitable Barlow assisted by giving his valuable services, upon whose appearance a burst of applause was the signal. He opened with his "Jaunting Car," which was sung by him in that rich, rare, and funny mood peculiar to himself. The same may be said of all his performance, and what is so astonishing, he appears as fresh to his audiences now as he did upon his first appearance in the colony, eight years ago. The Members of the Glee Club sang with their usual ability, and deservedly received great applause. Madam Francis presided at the piano-forte, and from her execution upon that instrument it is evident she possesses musical skill and ability of no ordinary kind. At this lady's period of life, it is somewhat painful to see her reduced to the necessity of playing at a common Saturday night free-and-easy at an hotel.

ASSOCIATIONS: Robert Barlow (vocalist)

[News], Maryborough and Dunolly Advertiser (9 June 1862), 2 

The Maryborough Garrick Club have had their first rehearsal . . . Mr. Mealy, has kindly undertaken to put the stage into proper order . . . Madame Francis has offered her services gratuitously as pianist, as has Mons. Boullimer whose services as violinist will be most acceptable.

[Advertisement], Maryborough and Dunolly Advertiser (8 August 1862), 5 

PIANOFORTE TAUGHT by Madam Francis at her residence at moderate charges. Balls and parties attended. For particulars apply to Madam Francis, Mariner's Reef; opposite crushing machine.

The dancing saloons of Ballarat East, which appeared to have been effectually put down by the amendment of the Wines, Beer, and Spirits Statute are springing up afresh under very much the same fostering influences as the old ones. Several of them exist in various parts of the town, but the police have their eye on them, and it is not likely they will long be allowed to go unchecked. Indeed, one of them has already been selected as a target. Madame Francis was on Saturday night visited by Inspector Ryall and Sergeant Larner. When the officers went there they found some fifty larrikins and a few women of the town assembled, and making violent efforts, with the aid of a couple of very bad musicians, to keep up dancing with spirit. Madame Francis at a small bar was selling some doubtful-looking liquor, believed by those who drank it to be brandy. Sergeant Lamer, however, believing it to be poison, secured a bottle of it, and intends to have it analysed. Meanwhile Madame Francis will be proceeded against for selling liquor without a license, and it is just possible that enough brandy will be found in the liquid to secure a conviction.

"TOWN COURT. Monday, 27th January . . . CAUSE LIST", The Ballarat Star (28 January 1873), 4 

Police v. Sophia Francis, selling drink without a license on the 18th instant. Ellen Rice said that on the 18th instant she was in the defendant's dancing-room with several other females; she had some drink in a room away from the dancing-room. She had lemonade and a dash of brandy, and her two companions had drink also. She placed half-a-crown on the table, and received a shilling change. A man named Nugent served them with the drink and took the money. Senior-constable Cox said that he visited Madame Francis' dancing-room, and saw a young man selling drink over the counter. He tasted some very good brandy there, and in another bottle it was quite different stuff - a mixture. Mr. Lewis appeared for the defence, and called Joseph Nugent, who said that he served Ellen Rice with lemonade and ginger wine. The girl was under the influence of drink at the time. Ellen Knight said she was drinking with Ellen Rice; the latter called for lemonade and brandy, but got lemonade and ginger wine. The bench was of opinion that the case was not proved, and dismissed the information.

"POLICE. TOWN COURT. Thursday, 10th July", The Ballarat Star (11 July 1873), 4 

Madame Sophia Francis was charged with being the occupier of a house frequented by idle and disorderly persons. Mr. Purcell appeared for the defence. Sergeant Larner said the house was frequented by idle and disorderly persons and prostitutes. On Saturday night he saw such persons in the house; there were also young girls in the place. He had cautioned the defendant. Constable Thompson said the house was in the Main road, a little below Eureka-street. He saw several prostitutes in the house on Saturday night. He noticed "Long Bridget" and "Ginger Nell." Constables Sheridan and Cobb also deposed to seeing improper characters dancing in the room. Mr. Purcell submitted that it was the duty of the prosecution to show that the persons who were said to frequent the house were without visible lawful of support. The persons named by the police might have had £2O in their pockets. It had not been proved that there were reputed thieves on the premises. He pointed out that people who paid for their admission into a place of amusement could not be refused admittance. John Kelly said he was doorkeeper at the establishment of Madame Francis, and his orders were not to admit any drunken or disorderly persons. The house was closed about 11.30 p.m., and never later than 11.15 p.m. Gilbert Reid, bootmaker, said he had lived for four years next to Madame Francis', he did not know of any disorderly conduct in the dancing establishment. Mr. Purcell pleaded hard for his client to be discharged with a caution. Mr. Gaunt said that every day complaints were made to him by mothers of daughters who had been taken away by low acquaintances to the dance house in Main road. The bench was determined to put a stop to the place, and sentenced the defendant to one month's imprisonment, cautioning her against re-opening her establishment.

"'TOWN POLICE COURT. THURSDAY, 10TH JULY . . . NEGLECTED CHILDREN . . . CAUSE LIST", The Ballarat Courier (11 July 1873), 4 

Mary Bromley and Mary Coyle, two girls of about fifteen years of age, who had been found in Madame Francis' dance-room in the Main road, were charged as above. Mr. Gaunt felt disposed to send them to the Reformatory, but as the sister of Coyle and the mother of Bromley offered to find them a home and take care of them, they were discharged.

Police v Sophia Francis, prosecution for being the occupier of a house frequented by persons having no visible lawful means of support . . .

"INQUESTS", The Argus (5 December 1873), 6

. . . On the same day [4 December] Dr. Youl held an inquest at Fitzroy on the body of Sophie Francis, aged 57, a teacher of music and French. She was always called "Madame Francis," and said she had no relatives. For the last three weeks she lodged at the house of Mary Ann Kieley, wife of a cab proprietor, in Gertrude-street, Fitzroy. On Saturday she was apparently well, but in the afternoon complained of pains in the stomach. She went to bed, and a mustard poultice was applied. She was seen several times, given some tea, and said she was better at about 7 o'clock; but at about 9 o'clock she was found to be dead. Dr. Livingstone, who had made a postmortem examination, deposed that the cause of death was rupture of an abscess in the peritoneum. Verdict accordingly.

[News], The Ballarat Courier (9 December 1873), 2 

Madame Francis is dead, and the dance-room for conducting which she was sent to gaol for a month, is now in the hands of Wm. Ah Hong, who was yesterday brought before the Town Police Court on the same charge as his predecessor . . .

Bibliography and rsources:

Sophia Francis, Find a grave 


Organ-blower (amateur), seraphine owner, gentleman, amateur sailor, rower

Born Somerset, England, 2 April 1809; baptised Carlton Musgrove, son of Roger FRANKLAND and Catherine COLVILLE
Arrived Hobart Town, VDL (TAS), 18 August 1831 (per Drummore, from Mauritius)
Departed Hobart Town, VDL (TAS), 13 November 1835 (per Sir Charles McCarthy, for the Cape of Good Hope)
Died Cheltenham, England, 1843; buried Leckhampton, 28 December 1843, aged "35" (TROVE tagged by Australharmony) (shareable link to this entry)


Seraphine owner, surveyor-general

Born Somerset, England, 31 January 1800; baptised, Walcot St. Swithin, 27 March 1800, son of Roger FRANKLAND and Catherine COLVILLE
Arrived Hobart Town, VDL (TAS), July 1827
Died Hobart Town, VDL (TAS), 30 December 1838 (TROVE tagged by Australharmony) (NLA persistent identifier) (shareable link to this entry)


Register of baptisms, Walcot St. Swithin, 1773-1800; Somerset Achives (PAYWALL)

1800 / March / 27 / George, the son of the Rev'd Roger Frankland and the Hon'ble Catharine his Wife, was baptized. Born Jan'y 31, 1800

Register of baptisms, Yarlington church, 1750-1813; Somerset Achives (PAYWALL)

Arthur, son of the Rev'd Roger Frankland and the hon'ble Catherine his wife, was born the second day of April 1809, and having been previously baptised in the parish of Charlton Musgrove) was here received into the Church on the twenty fifth day of June 1812

[News], The Hobart Town Courier (20 August 1831), 2 

Arrived on Thursday the 18th, the bark Drummore, Captain Petrie, from Port Louis, Mauritius, 3d. July, with a cargo of sugar, tobacco, and other goods. Passengers Arthur Frankland, esq., J. T. Sloane, esq., Mr. Green, Mr. Carey.

"(To the Editor)", The Hobart Town Courier (3 September 1831), 2 

August 27, 1831. - Sir, I have read in your last number a statement copied from the Hampshire Telegraph relative to an alleged mutiny in the 99th regiment, supposed to have taken place at Mauritius. As I have very recently left that colony where I have been residing for the last 5 years, I could not have failed to become acquainted with so serious an affair as the described mutiny had it really taken place, being myself a member of the 99th mess, and at the period alluded to, an aide-de-camp to Sir Charles Colville . . .
your humble servant, ARTHUR FRANKLAND.

[Advertisement], The Hobart Town Courier (21 September 1832), 3 

PET MONKEY LOST. A Small Female Monkey having escaped from the premises of G. Frankland, Esq., in Macquarie-street, any person returning the same to Mr. Arthur Frankland, will be rewarded. DESCRIPTION. Face - Black; Insides of the hands - Black; Tail - Rather long Has lost a considerable portion of hair on one side, from a scald. Answers to the name of Adelaide.

[News], The Sydney Gazette and New South Wales Advertiser (9 November 1833), 2 

. . . We are much pleased to observe the rivalship in aquatics existing between this and the sister colony. Mr. Arthur Frankland, a gentleman from Hobart Town in order to take the shine out of our corn-stalks sent purposely for his boat, and bade defiance to the colony . . . The Dispatch the first boat in the Derwent, was manned by a select crew, and steered by the veteran Cadman . . .

"Mr. Gordonovitch's concert . . .", The Hobart Town Courier (31 October 1834), 3

. . . Mr. A. Frankland kindly assisted Mr. Leffler in his performance on the Seraphine, a new instrument, combining in a small compass the sostenuto effect of the organ with the distinctness and sweetness of the piano forte; Mr. A. Frankland, on this occasion, by means of a pedal, inflated the instrument with air - he was much applauded . . .

"MR. GORDONOVITCH'S CONCERT", Trumpeter General (31 October 1834), 2 

. . . The audience, through the kindness of Mr. Arthur Frankland, was gratified by hearing a new instrument called the seraphine, which appears to be an improvement, and a very great one on the chamber organ. Mr. Frankland's conduct, in connection with this concert throughout, was highly honorable and creditable to his feelings, and has made a most favorable impression on the public mind . . .

ASSOCIATIONS: George Gordonovitch (vocalist); Edmund Leffler (seaphine player)

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

Sailed on the 13th, the Sir Charles McCarthy, John Walker, R.N., for King George's Sound, and Cape of Good Hope. Passengers, Major Douglas, Master Douglas, A. Frankland, esq. . . .

'Death", The Austral-Asiatic Review, Tasmanian and Australian Advertiser (1 January 1839), 7 

We sincerely regret to announce the death, on Sunday evening, of George Frankland, Esq., Surveyor General of this Colony, nephew of Sir Thomas Frankland, Bart., also of Lord Colville, his mother being sister of that nobleman and of General Sir Charles Colville, G. C. B. late Governor of the Mauritius. The premature death of this lamented gentleman is attributed to the breaking of a tumour in the head, originating in an old injury, aggravated by the present distressing disease.

[Advertisement], The Austral-Asiatic Review, Tasmanian and Australian Advertiser (14 April 1840), 3 

Seraphine. FOR Sale, a remarkably fine-toned Seraphine, late the property of Mr. Frankland, deceased; or it will be exchanged for a Piano Forte. Apply to Mr. Reichenberg, opposite the Barrack Gate. April 13, 1840.

ASSOCIATIONS: Joseph Reichenberg

Burials in the parish of Leckhampton in the county of Gloucester in the year 1843; Gloucestershire Archives (PAYWALL)

No. 532 / Arthur Frankland / Cheltenham / Dec. 28th / 35 . . .



Active ? Hobart, TAS, 1854-55 (TROVE tagged by Australharmony) (shareable link to this entry)


The early advertisements for The Tasmanian Lyre in November 1854 refer to the inclusion of a "Galop, by Miss Fraser", though the work that finally appeared in March 1855 was the The Louisa Schottische (Hobart: Huxtable & Deakin, [1855]).

She was perhaps a relative of Peter Fraser, the colonial treasurer.


[Advertisement], The Courier (13 November 1854), 3

THE DELACOURT BOUQUET. By the Author of A Year in Tasmania. Dedicated to Lady Denison, and the Ladies of Tasmania . . .
To be followed in a few days by the
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.

[Advertisement], Colonial Times (7 March 1855), 3

Just published, and on Sale at HUXTABLE and DEAKIN'S
THE TASMANIAN LYRE; a Sequel to the Delacourt Bouquet, containing:
The Lanarkshire Polka, composed by Miss Josephine Villeneuve Smith.
L'Esperanza Waltz, by the Editor.
The Louisa Schottische, by Miss Fraser.
The Wivenhoe Quadrilles, by A. S. Hill, 99th Regiment.
The F. J. C. Waltzes.
The Sylvandale Schottische.
The Wanderer's Farewell; words by the Editor, music by F. M. Henslowe, Esq.

FRASER, Katherine Sandell (Catharine; Katherine Sandell HILL; Kate HILL; Mrs. Colborne FRASER; Madame Colborne FRASER)

Pianist, teacher, composer

Born Gloucester, England, 1845; baptised North Nibley, 2 February 1845, daughter of Rowland HILL and Elisabeth CURNOCK
Married Colborne FRASER (1837-1901), Montreal, Canada, 1868
Arrived Sydney, NSW, by January 1876 (from USA)
Died Surry Hills, NSW, 26 October 1883, aged 39 (TROVE tagged by Australharmony) (shareable link to this entry)


English census, 1861, Cheddar, Somerset; UK National Archives, RG 9 / 1674 (PAYWALL)

Rowland Hill / Head / 44 / Stay Maker / [born] Somerset, Cheddar
Elizabeth [Hill] / Wife / 47 / [born] Gloucester . . .
Kate Hill / Dau'r / 16 / Governess / [born] Gloucester [North Nibley]

[Advertisement], The Sydney Morning Herald (17 January 1876), 2

MRS. COLBORNE FRASER, Teacher of Vocal and Instrumental Music. Pupil of "Thalberg" "Brinley Richards" and "Loder." Mrs. Fraser has been a teacher for ten years - was organist at the Church of the Ascension, in Chicago, U.S., but ill-health obligated her removal to a warmer climate. The following testimonial from Mdlle. Ilma De Murska will speak for itself:-
"I have heard Mrs. Fraser, play, and can certify that she is a very good musician and can recommend her as a clever teacher of music.
ILMA DE MURSKA, Arnott House, Wynyard-square."
Mrs. Fraser will receive pupils at her residence, 425, Pitt-street, opposite St. Andrew's School, either day or evening, or will visit pupils at their homes. Terms, moderate; reduced when more than one pupil in the family.

ASSOCIATIONS: Sigismond Thalberg; Henry Brinley Richards; Edward Loder; Ilma De Murska

"PROTESTANT HALL", The Sydney Morning Herald (5 October 1881), 6

[News], The Sydney Morning Herald (30 January 1882), 6

"THE PENRITH POLKA", Australian Town and Country Journal (29 April 1882), 27 [795]

"READING AT THE TEMPERANCE HALL", Evening News (29 August 1882), 3

"MRS. COLBORNE FRASER'S CONCERT", The Sydney Morning Herald (19 July 1883), 8

"Deaths", The Sydney Morning Herald (27 October 1883), 1

FRASER. - October 26, 1883, at 20, High Holborn-street, Surry Hills, Sydney, Katherine Sandell Hill, aged 39, wife of Colborne Fraser, of Quebec, Canada, and eldest daughter of the late Rowland Hill, of Cheddar, Somerset, England. English papers please copy.

FRASER, Lachlan (Lachlan FRASER; Lauchlan; Mr. L. FRASER; Mr. FRASER)

Precentor (Presbyterian), singing class instructor, baker

Born Scotland, 8 May 1821; baptised Speymouth, Moray, 20 May 1821, son of Lachlan FRASER and Marjorie GRANT
Married Eliza SCARLET, Glasgow, 1841
Arrived Melbourne, VIC, ? by 1854
Died Sandhurst (Bendigo), VIC, 6 December 1889, aged 68 (TROVE tagged by Australharmony) (shareable link to this entry)

FRASER, Lachlan (junior) (Lachlan FRASER)


Born Glasgow, Scotland, 25 December 1841; son of Lachlan FRASER (above) and Eliza SCARLET
Arrived Melbourne, VIC, 11 August 1854 (per Cairngorm, from Greenock, with mother)
Died East Brighton, VIC, 21 April 1934 (TROVE tagged by Australharmony) (shareable link to this entry)


"PRESBYTERIAN CHURCH", Bendigo Advertiser (15 August 1856), 3

. . . the chief object of the meeting . . . was to present their late Precentor, Mr. Fraser, with a mark of the esteem and respect the congregation bore him, and a slight memento of their grateful appreciation of his valuable services during the last eighteen months, while leading the psalmody of the congregation . . . They afterwards proceeded to elect a Precentor in the place of Mr. Fraser; and the establishment of two singing classes was agreed on - one perfectly elementary, the other more advanced . . .


"MR. POLLARD'S CHORAL REUNION", Bendigo Advertiser (28 August 1860), 3 

. . . Master Lachlan Fraser delighted the Scotch portion of the audience by singing two or three comic Scotch songs in good style . . .

ASSOCIATIONS: Joseph Henry Pollard

"DEATH", Bendigo Advertiser (11 December 1889), 2 

FRASER. - On Sunday, 6th December, at his residence, Lyttleton Terrace, Sandhurst, Lachlan Fraser, aged 68 years.

"THE LATE MR. LACHLAN FRASER", Bendigo Advertiser (11 December 1889), 2 

"OBITUARY", The Argus (23 April 1934), 6 

Mr. Lachlan Fraser who died on Saturday in his 93rd year was for 58 years in the service of the Bank of Victoria. Born at Glasgow (Scotland) Mr. Fraser came to Australia when 12 years of age . . .

"ST. ANDREW'S PRESBYTERIAN CHURCH, BENDIGO", Bendigo Advertiser (15 August 1914), 4 

. . . Mr. Lachlan Fraser, son of one of the earliest members of the church, remembers the marriage of Mr. Nish with Miss Young [in September 1855] . . .

FRASER, Simon (junior) (Simon FRASER)

Precentor (Presbyterian), singing instructor

Active Hobart Town, VDL (TAS), by 1847; and until 1861 (TROVE tagged by Australharmony) (shareable link to this entry)


Perhaps a son of Simon Fraser, bootmaker, who died in Hobart in 1853, aged 59.


[Advertisement], The Courier (27 November 1847), 5

Vocal Music. THE undersigned intends, on the second Monday of January next, to open a
VOCAL MUSIC SCHOOL for the reception of pupils (juvenile and adult), where the advantage of all the scales will be correctly explained and taught, and especially adverting to the table of transposition, without a knowledge thereof many who are not readily brought to see the necessity of thus transposing the semitones in the manner described, because they cannot perceive more difficulty in singing a tune in E with four sharps, than in C without any. The table of transposition will be taught with the solfeggio, which is according to the established rules of modulation and harmony; this will at once strengthen the pupil's mind, and show forth the science in its true light. The solfeggio, on which the science so much depends, will be taught and read in every key in the different series; after the learner has made himself perfect master of the scales and tables will attend to the first lessons for practice, &c.
Terms for teaching, £3 3s. per quarter. Simon Fraser, Junr., Precentor, St John's Church, Macquarie-street.

? "DIED", Colonial Times (13 January 1853), 2

At his residence, Melville-street, SIMON FRASER, sen., aged 59. The funeral will take place on Saturday, the 15th, at half-past two o'clock. Friends are respectfully invited.


A petition was read from Simon Fraser appealing against a decision of the Session of St. John's, dismissing him from his post as Precentor. Parties having been heard, after discussion and deliberation the following deliverance was come to: That the Kirk Session do not appear to have gone beyond their duty in animadverting on Mr. Fraser's conduct in interfering with the Sunday school, and should, therefore, be protected in the exercise of their jurisdiction; that, nevertheless, Mr. Fraser seems to have acted from a mistaken view of his position rather than through any intention to do what was wrong; that the Presbytery, therefore, recommend to the Session to repone him in his office after he expresses his regret for his conduct when summoned to appear before them, and giving his assurance that he will be obedient and respectful to the minister and Session in all time coming.

"THIRTY POUND COURT . . . FRASER v. Ross, AND OTHERS", The Mercury (8 February 1861), 2

Simon Fraser, sued John Ross, Henry Davison, and Robert McCrackon for £25 half a year's salary as Precentor at St. John's Presbyterian Church from 30th June to 31st December, 1860.

Plea - not indebted, and that plaintiff was discharged for misconduct and was not entitled to receive salary from that time.

Mr. Adams appeared for the plaintiff. And Mr. Crisp for the defendants.

The plaintiff deposed that he was appointed Precentor of St. John's in 1852, by James Carmichael, the then Manager, and he had since continued such Precentor. He received a letter from Mr. Hull, 3rd January 1860. He had received his salary to July 1st last, from Mr. Hull, the Manager. He now claimed £25 but he did not perform the duties the whole of the half year having been prevented by the session.

Cross-examined. - I did duty part of one Sunday. I received this letter on the 15th June, 1860 from the minister, the Rev. Mr. MacClean, purporting to be a dismissal. I remember a Mr. Lowe of Battery Point, establishing a singing class at the School Room, he interfered with my duty, and I objected. I told him he ought to be ashamed of himself that he was going to usurp my office, to do the duty for less salary one half, that the £25 saved might go into the pocket of the minister alone. I said that in the public room. My conduct was not very violent. Mr. Lowe complained of my conduct and the matter was brought before the session. It is the ordinary tribunal to try spiritual matters, but not money matters. I was summoned to the session and appeared, but declined to be tried by two of the Elders, as interested parties.

Re-examined. - There were four Elders. Two of them were supporting Mr. Lowe. I objected to Mr. Lowe holding the class, because it was my duty to teach the children. I had been instructed by letter (24th April, I860) to teach the children, on Sunday afternoons. Mr. Lowe's class met on a week-day, Wednesday evening, when there is religious service in the schoolroom, and it was my duty as Precentor to lead the singing at the service.

By Mr. Crisp. - Mr. Lowe began the teaching a few minutes before the service.

By the Commissioner. - Mr. Lowe is a schoolmaster at Battery Point. I can't account for how Mr. Lowe came there to teach the children. I believe he is a seat-holder.

Mr. H. M. Hull, deposed that he was a Manager of the Church, duly elected, for 1860. The defendants are the present Wardens or Trustees of the Church.

Mr. Adams. - Do you know whether Mr. Lowe had any right to hold a singing class in the school room?

He had no authority from the managers to use the school-room for any purpose. He was distinctly informed by myself by instruction from the managers. I was the Minister's manager, and had two votes under the Church Act. Mr. Lowe was not a paid servant of the Church at all. It was plaintiff's duty to teach the children and conduct the singing.

Cross-examined. - Mr. Lowe's attendance was an interference, and decided to be so by the managers.

By His Honor. - Mr. Lowe had only recently arrived from Launceston, and had taken a sitting in the Church, but he had not paid for his sitting, and had no right there.

Mr. Crisp submitted that the plaintiff must be nonsuited on several grounds. The action was brought under the 1 Vict. No. 26, the Church Act, but there was no evidence that St. John's came under the operation of that Act. Also that, if within the meaning of the Act, it was not shown that the present defendants were liable. It was not possible for one set of trustees to bind their successors; and it was a mere personal liability on the part of those who appointed Mr. Fraser. Again, the rule of law was that the trustees (Churchwardens) could only make contracts that were beneficial to the Church. But assuming that these objections could be over ruled, by the 8th section of the Church Act, the Minister's clerk was expressly excepted from the cognizance of the wardens. His learned friendhad misconceived his remedy even supposing that the objections were overruled. It could not be work and labor done where there had been no service rendered.

Mr. Adams. - We dispute that he even was dismissed.

The Commissioner said he had better reserve these points and let the case go on.

Mr. Crisp then addressed the jury for the defence. He said he complained of the insulting conduct of the plaintiff, who, under the 8th section of the Act, was the Minister's officer: and he had been discharged by the Minister. The question of misconduct was a question for the jury; and if they thought the plaintiff had been guilty of the misconduct alleged, they would say that he was not entitled to a farthing. For the sake of the congregation, as well as the plaintiff, he hoped and had no doubt that the jury would do equal and impartial justice.

Mr. James Carmichael, one of the Elders of St. John's, proved that Mr. Lowe's class did not interfere with the duties of the Precentor. The Precentor was the Minister's Clerk. On one occasion when Mr. Lowe was holding his singing class, by request of the children, half an hour before Wednesday evening service, plaintiff came in in an outrageous manner accompanied by Mr. Reed, and asked Lowe what right he had there, usurping his place? Lowe said he was not usurping his place nor interfering with his duty, but was only teaching the children. He came there by Mr. McClean's order and at the request of the children. Plaintiff told him to drop the singing; that he had agreed to take £25 and was going to put the other £25 into the minister's pocket. Witness told plaintiff he had no right to interfere at all. A complaint was made to the Session, comprising the minister and four elders, and plaintiff was summoned, and appeared; he objected to their proceedings; and spoke very loud; and said it was an illegitimate court and he should go to St. Andrew's, where he should get justice done. The Session proceeded and resolved to dismiss him for his rude conduct. He was dismissed.

Cross-examined -The four elders were James Reed, Thomas Stewart, James Keene, and James Carmichael. He said he would not be tried at that court at all, ho should not get justice, he should go to St. Andrew's to be tried by their Session. He did not object to me personally, that I heard. Mr. Lowe was a teacher in the Sunday school and the children he was teaching to sing were Sunday school scholars. It is optional with the Precentor whether he teaches the children or not. In the Scotch Church, it is not usual for the minister's clerk to attend baptisms, funerals, and marriages, all his duty is to sing to the congregation. I ordered Mr. Fraser out of the room at the Session; when he said he would not be tried there, I said he had better walk out.

Mr. Crisp. - But that was not ordering him out?

Certainly not (a laugh.)

Mr. Crisp.- You only gave him a piece of advice! (a laugh.)

Mr. James Keene, another Elder, corroborated the evidence of the last witness. He was Superintendent of the Sabbath School, in conjunction with young Mr. McClean, son of the Minister. The children wished Mr. Lowe to teach them singing for half-an-hour in the week, and Wednesday evening at half-past six was fixed upon. Notice was given in the school and in the church, and plaintiff made no objection. The singing went on for about two months, when the managers refused to give them the gas, (laugh). The manager had no right to interfere with the Sabbath School. On the evening before referred to, Fraser came and charged him with having offered to do the duty at £25, and put the other £25 into the Minister's pocket. He ordered Lowe to stop singing, which he did. He was very violent in his manner. Witness also deposed that the Minister's Clerk and the Precentor were one and the same person.

Mr. Adams-What aro the duties of the Minister's clerk?

To lead the singing.

Is it the duty of the Precentor to attend the burials?

No, nor of any one else. I was one of the Elders present at the session when Mr. Fraser appeared. He objected to be tried because they were an illegitimate set (a laugh).

You say the notice of Mr. Lowe's class was given from the pulpit, and that Mr. Fraser did not object. If Mr. Fraser had objected in church would you not, as an Elder, have turned him out?

I can't answer that.

The Commissioner - I think sufficient to the day would be the evil in that case.

A letter from the Rev. R. McClean, the Minister of the church, notifying the dismissal of plaintiff from the office of Precentor was then put in.

Mr. Hull recalled by Mr. Adams, deposed that there was no such office in the Church of Scotland of Tasmania as Minister's clerk. He was not aware that there was such an office in that Church anywhere, and had looked into the law on the subject. Burn's Ecclesiastical Law says "Precentor" means a leader of the choir.

By Mr. Crisp - I have been a member of the Church of Scotland for three years, and for seven years at school went to the Church of Scotland, so that I have had ten years' experience of the usages of that Church.

Mr. Adams addressed the jury in reply, contending that the dismissal of the plaintiff from the office of Precentor was not justified. That there was no misconduct on the part of the plaintiff, and assuming there had been, that the managers were the persons to deal with this officer.

His Honor charged the jury that the better way would be to find for the plaintiff, subject to the points which had been taken.

Mr. Crisp would prefer that the case should go to the jury on the merits.

His Honor then said they would take the facts into consideration, and he left it to them to say if the misconduct was such as to justify the dismissal, and if the Session had the power to act in the matter.

The jury found a verdict for the defendants.

"COURT OF REQUESTS . . . SATURDAY, FEBRUARY 16, 1861 . . . FRASER v. ROSS & OTHERS", The Mercury (18 February 1861), 6 

Mr. Adams, pursuant to notice, moved that the verdict for the defendants herein might be set aside and a new trial granted . . . The Commissioner complied with the motion so far as to set aside the nonsuit, and made the case a remanet to the next court, but on payment of costs of the day.

"COURT OF REQUESTS. Thursday, March 7th", The Mercury (8 March 1861), 2

Simon Fraser sued John Ross, Henry Davidson, and Robert McCracken wardens of St. John's Presbyterian Church, for £25, two quarter's salary as Precentor, to the 31st December 1860 . . . Plaintiff deposed that he performed the duties of Precentor at St. John's to the 30th June 1860, after which he was prevented by Mr. Keene and Mr. Carmichael, two of the Elders, from performing his duties . . . [Mr. Crisp] contended that plaintiff, who was minister's clerk, was properly dismissed for misconduct. He then detailed the circumstances of the refusal of Mr. Fraser to allow Mr. Lowe to teach the children singing . . .

The duties of the Precentor were here explained by the witness [Rev. John Storie, officiating minister], to be present on all occasions of public worship at the direction of the minister, to sing the Psalms, to lead the congregation in the vocal part of worship, to publish banns of marriage, in requests for public prayer, he makes the intimation from the clerk's desk, and occasionally he is employed to act as Session clerk . . .

Mr. James Reid, an Elder of St. John's Church, deposed that on the Wednesday evening in question plaintiff and witness went to the school room, where Lowe had some of his own school children from Sandy Bay and half-a-dozen little children of the Sunday-school, and Fraser objected to their singing ranting Methodist tunes (a laugh), and said he would go out till the service began. Mr. Keene, who was there, said they should come and sing if "all the devils in hell opposed it" (a laugh) . . .

By the Jury - The Precentor is a leader of the psalmody: we have at St. Andrew's, what I consider the same thing, the organist. If that person were to offend Mr. Storie, he could have no voice in dismissing him; that is a matter for the managers who are appointed by the congregation . . .

After an hour's deliberation the jury returned a verdict for the plaintiff, damages, £8 6s. 8d. Jury - Messrs. E. Allen, R. Ballantyne, G. Cherry, and S. Clifford.

"PRESBYTERY OF TASMANIA. WEDNESDAY, 6TH NOVEMBER, 1861 . . . ST. JOHN'S KIRK SESSION", The Mercury (8 November 1861), 3 

The Clerk laid upon the table a letter from Simon Fraser, complaining that the certificate from the Kirk Session of St. John's, which the Presbytery at their last meeting had found should have been granted, was still refused by that Session. Upon the matter being explained, the Rev. R. McClean, Moderator of the Session, did, in presence of the Presbytery, give the required certificate.

? [Advertisement], The Tasmanian Times (24 August 1867), 2 

BOOTS AND SHOES REPAIRED . . . THE undersigned is son of the late Simon Fraser of the Golden Boot, of Macquarie Street, who was patronised by Her. Majesty's beloved Uncle, when H.R.H. the Duke of Clarence. The above mentioned Simon Eraser was master shoemaker of the 40th Regiment at the time. Mrs. Fraser, who resides with her son was principal chamber maid at Lochaber, and near the ancient province of Moray, Gordon Castle, and had the honor of attending on Lord Seaforth, Lord Glenparry and the Laird of Colloden; had the honor of looking at his Gold Snuff Box, at his request, set in diamonds. Also the Golden Spars of H.R.H. the Duke of Clarence for two days. COLIN FRASER.

FRASER, Simon (Simon Alexander FRASER; Simon FRASER)

Bagpiper, violin, flute, concertina, and accordion player, stockman

Born Port Arthur, VDL (TAS), 13 February 1845; son of Hugh Alexander (Archibald) FRASER (1795-1893) and Mary ANDERSON (1825-1889)
Married Florence (Flora) MACMILLAN, Mount Battery station, Mansfield, VIC, 5 November 1872
Died Mansfield, VIC, 17 April 1934 (TROVE tagged by Australharmony) (NLA persistent identifier) (shareable link to this entry)

ASSOCIATIONS: Pupil of Peter Bruce, c. 1884-85

FRASER, Hugh (Hugh Archibald FRASER; Hugh FRASER)

Bagpiper, pipe major

Born Mansfield, VIC, 1879
Died Cheltenham, VIC, 19 February 1970 (TROVE tagged by Australharmony) (shareable link to this entry)

FRASER, John (John Thomas FRASER; John FRASER)


Born Mansfield, VIC, c. 1881
Died East Melbourne, VIC, 8 September 1913, aged 32 (TROVE tagged by Australharmony) (shareable link to this entry)

Hugh Fraser (left) and Simon Fraser (right), Warrnambool, 1908 (photo: Scott Barry, Warrnambool)

Hugh Fraser (left) and Simon Fraser (right), Warrnambool, 1908 (photo: Scott Barry, Warrnambool)

"CHAMPION PIPERS", Leader (18 January 1908), 24 (also includes a photo of John Fraser) 

Summary (from Gillison):

The Frasers were all musical and Simon played the violin, flute, concertina, accordion and bagpipes. His mother, who claimed descent from the MacCrimmons, traditionally hereditary pipers to the clan MacLeod, taught him the piobaireachd (pibroch) vocables, secretly handed down by word of mouth and by lilting from mother to eldest son. These vocables are known as "canntaireachd". He was also taught the secret language of the pipers in which by inserting extra notes a warning could be given.

About 1816 Simon's father had written down the canntaireachd direct from Iain Dubh MacCrimmon and these he handed on to his son. When an appeal came from folklorists in Scotland, seeking lost piobaireachd vocables, Simon Fraser sent tunes; many of these letters and manuscripts are now in the National Library of Scotland, Edinburgh . . .

He learned the craft of making stock-whips from Nangus Jack, an Aboriginal stockman whose whips were treasured by pioneer stockmen . . .

On 25 November 1872 at Mount Battery station, Mansfield, he married Florence (Flora) MacMillan, a skilled Scottish dancer. With five of their eight children Fraser formed a band, touring Victoria and once playing on request at Government House. Two daughters played clarinet and piccolo; three sons, piano, second violin and harp; Simon played first violin.

His son Hugh was a champion piper of Australia and, taught by his father, also made excellent stock-whips; both men declared that plaiting kept their fingers supple for fingering the pipes.


1845, births in the district of Port Arthur; Tasmanian names index; NAME_INDEXES:992337; RGD33/1/28/ no 456$init=RGD33-1-28-p599 

[No.] 32 / 456 / [born] February 13th 1845 / [no forename given] / Male / [son of] Hugh Alexander Fraser / Mary Fraser, formerly Anderson / [rank of profession of father] Overseer Port Arthur . . .

Letter, from Simon Fraser, Benalla, Victoria, 13 February [? 1892], to Catherine Anderson; uploaded by descendent to

Benalla, Victoria, Australia, February 13th ["1893"; ? 1891/2]
My dear Aunt,
I have just received a letter written by you in March 28th 1889 to one of your cousins [Catherine Macdonald] & she sent it to me shortly after you wrote but I never got it till now. In this letter you are enquiring if she knows where your sister Mary Anderson & Donald Anderson was. Mary Anderson (Mrs. Hugh Fraser) was my dear mother & she died just 20 days before you wrote the letter - March 8th 1889. Angus Anderson another relation who lives at Murchison Victoria saw me the other day at the Melbourne Highland Sports & he was telling about you writing & when I would get the letter. I have just received it & I now write to you hoping with God's blessing to find you in good health. It was a great blow to me when my mother died & also to my wife who was deeply attached to her. My mother worked very hard all her life & reared 12 children 9 boys & 3 girls all of whom are living. My father is still alive & well & he is a great aged nearly 100 years old. In the year 1853 my mother was told that her father & mother & all the family died of fever. Consequently she never inquired about them since. I have heard her speak of Catherine her sister which I suppose to be you. I have never heard about your brother Donald but if you get this letter try & let me know where he is & I will find him if he is in Australia. I trust in God that this will find you all right as nothing could give me more pleasure than to hear for any of my dear mother's relations. I am living in Benalla with my wife & family. I have 8 children & I principally earn my living by whip making. I also play the violin & I get a good deal of playing to do. I also play the Highland Bagpipes & one of my boys Hughie 12 years of age is a great Pibroch player on the Bagpipes. He got a special prize at 10 years of age for Pibroch playing in Melbourne, & last month he won six prizes altogether. I have taken several prizes myself also we compete every year at the different sports in Melbourne & Victoria. Should you get this letter all safe kindly send us your portrait & I will send you mother's & some of our own. I will now conclude [? sending] our own kindest love [? hoping that] God will spare us to meet some day.
I remain your affectionate nephew
Simon A. Fraser

Simon A. Fraser
Violinist & Piper

"EARLY HISTORY OF EUROA. No. 4. By C. L. DEBOOS", Euroa Advertiser (30 October 1908), 5 

. . . The principal sources of enjoyment were dances, frequently held at one another's houses, the music being violin and tambourine, concertina and sometimes the Jew's Harp, the violinists being old Purss, Bill Curtis, Tom Ducrow and Simon Fraser (concertina player from Mansfield), who afterwards became a good violinist, and in later years the champion bagpipe player of Victoria . . .

[Advertisement], Advocate (4 April 1908), 2 

SIMON FRASER & SON, Warrnambool. Teacher of National Dancing; Bagpipes and Violin. Best Stockwhip makers in Australia.

"THE HIGHLAND PIPE AND ITS MUSIC (by Simon Fraser, Warrnambool)", The Colac Herald (23 September 1910), 6

About the year 1650, Patrick Mhor Maccsimmon [sic, MacCrimmon) went to Italy and studied music there for a short time to see if any improvement could be made in teaching the pipes according to the Italian system. It is well known that the Italians play, or used to play, a kind of bagpipe, so I suppose that was the reason Maccsimmon went over to Italy. It was about the time also that the dot (.) as a tune mark was discarded, and more complicated time marks adopted to puzzle anyone but experts in Sheata ireachd [sic, Canntaireachd]. Patrick Mhor composed some very excellent pibrochs, and I have no doubt that he gained knowledge by going to Italy. In regard to Macleod's book of pipe language, I will explain some of the plans adopted to keep the secrets of this peculiar and mysterious system. I will explain how the first pibroch in the book has baffled so many to try and translate it correctly. Mr. Thomason, in his book called "Ceo Mhor, or Great Music,", says he cannot make anything of it, and gives it unedited. This is what is called the "Comely Tune" and was, I believe, a sacred piece, as I have heard a Gaelic hymn sung to it when a boy. This tune was also called the sacred tune, and some times the Ludag or little finger tune, from the fact that no piper was considered perfect unless he could perform the Hiririn or little finger beat, without drawing the finger across the chanter, as is usually done in this beat. There is another beat in this tune - Hor-oro Vi-o - that I have not seen in any other pibroch. It is also a difficult beat to perform. In MacLeod's book this is the first tune, and there are the lines missing, and by trying to translate it without these lines, is the point on which they have failed. It was a favorite tune with the Maccsimmons for teaching on account of the peculiarity of the beats that I have mentioned. The Macgregor's salute was another tune used in teaching the pupils the Hiririn beat in drawing the little finger across the chanter. My late teacher, Peter Bruce, could play both those tunes splendidly, and it was a treat to hear him perform these beats in the different ways. It was he who showed me how to play the missing lines of the comely tune, which explains how other tunes in the book have been altered, so that it takes an expert in pipe playing to translate Macleod's book. There is a good deal of difference in the two versions. The three missing lines being added, the tune written accordingly to the true scale of the Maccsimmons. This is an example of one of the plans adopted, and further on in the book we find tunes with too many beats added, and half of the lines missing. The tunes were mostly written in triple time as the Macsimmons took this idea from the Trinity being perfect. The Greeks are said to have done the same in their music, and the Macsimmons may have taken the idea from them. But whether they did or not, their best tune were composed on this principle, especially the sacred pieces. Glengarry's Lament was composed on the time principle by Archibald Munro in 1828, and it was wailed forth by six pipers on that occasion, and so perfectly played that my father, who was present, told me that you would think there was only one piper playing. This shows that after the Maccsimmons, there were others who adopted the triple time. I think that all the tunes in Macleod's book should be written in triple time, as I believe this was the idea of the composers. I don't suppose for a moment that the Macsimmon's system will be ever adopted again by many pipers, as the ordinary notation has become the rule. However, a knowledge of both notations is necessary to become a good Pibroch player. The pipe language is the true guide for taking out the beats properly, and by learning to sing the vocables is also the best guide for memory. I will now explain the system of teaching by the Macsimmon's verbally, which was as follows: - Each pupil went into the room by himself, as they never taught pupils in presence of one another. The teacher would sing the vocable and then play it on the chanter. Then the pupil would try it himself and had to be perfect at it before he would get another lesson. The pupils were not taught the scales as we do now, consequently it took years to play properly, but when they left the college they were considered perfect. The teacher would not persevere with them if they had not the strong musical talent necessary to become a good player. This system of playing enabled the Maccsimmons to keep the pupils a long time on their hands, so that it took sometimes 12 years to become a finished player. They were generally well paid for teaching, as it was chief's pipers as a rule, they had to instruct. They also taught each different beats and tunes so that they would not learn too soon, and by this system of teaching verbally it enabled them to keep their secrets very close, and by noting down their tunes in the same manner as the Macleod's book, they were very successful in their plans. They became celebrated all over Scotland for their teaching and playing, so much so that no piper was considered perfect unless taught or finished by them. They were the greatest players and composers of pibrochs that ever lived, and like the immortal Beethoven, their compositions cannot be improved upon by alterations. The pibroch is the class music of the pipe, although reels, strathspeys, and marches specially composed for the instrument ground well upon it. Still it is a mistake to try reels and strathspeys upon the instrument that was intended for the violin. I can make and play both instruments, and when I hear music performed on the pipe that was intended for the violin, I cannot help feeling sorry that this is so often done. The continual alterations of pipe music in the different book is also a great mistake as the original copies are good enough if well played. Let those who want to alter the tunes compose some of their own and leave other composers' works alone. It is also a great drawback to judges at competitions when pipers play different settings on the same tunes.

"THE HIGHLAND PIPE AND ITS MUSIC. (by Simon Fraser)", The Colac Herald (16 December 1910), 4 

During the last twelve months a great deal of discussion has been going on in Scotland as to the origin of the Maccrimmons' and their music, but no one seems to know where those celebrated pipers came from. As far as I have read no one appears to know that in 1826, Neil Macleod wrote a book containing 50 pibrochs, and a complete history of the Maccrimmons'. He had it printed, but as it contained opinions offensive to some people of that time, his friends would not let him publish it. Many years ago I saw two copies of this work, and according to Macleod, one, Petrus Cremmon, or Crimmon, went over from Cremona (Italy) to Ireland, some time in 14th century, and settled down there. Their fame as pipers soon began to spread, and one of the Macleods of Dunregan Castle (Skye), went over to Ireland to hear them play, and being greatly pleased with their playing of the pipe, he persuaded dun colored John, and his Donald, to go back to Skye with him, and start a college for pipe music. Macleod says also in this book that Petrus Cremmon settled in a part of Ireland where the Mac was used, such as MacShane, MacCarthy, and numerous other Macs.', so Petrus adopted this too, and that was the origin of the name, Maccrimmon. The oldest known pibroch as a lament is a lament for King Brian, composed by Petrus Cremmon, and the idea of the lament was taken by him from Jeremiah 48th chap., 36th verse. It was also Petrus who is supposed to have written the language which is called Sheantaireachet [sic, Canntaireachd] or Maccrimmon music, which was afterwards perfected, by Donald, and his son, Patrick Mhor Maccrimmon, in the Island of Skye. The singing of this music, as well as playing it, was quite common in the Highlands of Scotland till the battle of Culloden, when a powerful check was given to the Highlanders and their arms. Music and garb had to be laid aside, and according to history is as follows: - Shortly after Culloden in 1747, the State sought to kill the Highland garb, and passed most repressive measures against it. The oath of administration at Fort William and other places was as follows: "I do swear, as I shall answer to God at the great day of judgment, that I shall not, nor shall have, in my possession any gun, pistol, or any arm whatsoever, and I never use tartan, plaid, or any part of the Highland garb; and if I do so may I be cursed in all my undertakings, family and property, may I never see my wife and children, father, mother, or relations. May I be killed in battle as a coward, and be without Christian burial in a strange land, far from the graves of my forefathers and kindred. May all this come across me if I break my oath." As the above oath had to be taken by pipers as well, it is no wonder that the pipes and music were neglected. However, when George the Third came to the throne, this oath was abolished, and the kilt and pipes were allowed to be used but, during the interval a great deal of the old music was lost, and the few who retained their music were very particular about parting with it. However, John Duth (the last of the Maccrimmons), was more liberal than many others and he not only taught Meil Macleod gesto, but he also gave him all the history of the Maccrimmnons, and the most of their music as well. Had Macleod been allowed by his friends to publish his first book, there would have been no necessity for all the discussion that has taken place of late years in Scotland. As it is, all we have of the original music of the Maccrimmons is a small book published by Maclecod in the year 1828 which only contains 20 tunes. This book is difficult to translate, being written in the oldest system of notation, which it very puzzling to all excepting the expert in these lines. However, as Dr, Bannatyne (who is the only expert of pipe language in Scotland) has started a pipers' society, he may possibly have this all but lost art, revived, which would be a benefit to learners on their national instrument. The advantage of this system over the ordinary notation is that you sing the tunes in what is called beats or vocables, and any one acquainted with ordinary notation can write the music down without any aid but the memory. There are very few pipers who could write down a pibroch from memory only, and this was always the great advantage of the Maccrimmon system, and anyone learning to sing the tune in vocables can learn much easier to play properly. La, tra-vi-a-ta are all vocables in pipe language, and this is the name of an Italian opera, which is one of the links of evidence that the Maccrimmons came originally from Italy. If enthusiasts of pibrochs in Scotland would only pull together, and assist Dr. Bannantyne it is possible that we might yet have a standard book of pibrochs to play from, which would be of great assistance to judges at competitions, and would do away with a lot of the dissatisfaction among competitors at the various sports where piping competitions are held.

"Personal", The Urana Independent and Clear Hills Standard [NSW] (12 September 1913), 2 

The death occurred in Melbourne on Monday night of Mr. John Fraser, the well-known piper and dancing master, of Albury. He had suffered from diabetes for the past twelve months, and recently went to Melbourne to be treated by a specialist. The deceased, who was only 31 years of age, was a native of Mansfield. He was a member of a family who earned fame in the domain of Scottish music and dancing. His father is regarded as the greatest authority on pipe music in Australia, and his brother, Mr. Hugh Fraser, of Albert Park, is acclaimed as the champion piper of the Commonwealth. The late Mr. Fraser, too, won many championship medals for playing and dancing.

"DEATHS", The Age (18 April 1934), 1 

FRASER. - On the 17th April, at Mansfield Hospital, Simon Alexander Fraser, dearly beloved husband of the late Florence Fraser, aged 90 years. Mother and father reunited. At rest. - Inserted by his loving family.

"MANSFIELD", The Argus (18 April 1934), 10 

At a meeting of the Mansfield Jockey Club it was decided to abandon the race meeting this season - Mr. Simon Fraser a past champion piper of Australia who at one time held the world's championship for whip plaiting and who presented a whip to the present King when he visited Australia as Duke of York died in the Mansfield hospital aged 81 years. He was the father of Pipe Major Hugh Fraser.

Other sources:

Typescript copies of letters from Simon Fraser to The Oban Times about piobaireachd (from National Library of Scotland, papers on piobaireachd compiled by A. K. Cameron, MSS 9613-24; Australian Joint Copying Project (DIGITISED)

Letters from Simon Fraser of Warrnambool and Geelong and Archibald MacDonald of Geelong to the editor of the Oban Times concerning pipe music in Australia and the Gesto and MacCrimmon notation. Filmed selectively: ff. 36-37, 41-42, 110-11, 135, 140, 142, 145, 152, 158-60.

"Who was Simon Fraser? The Simon Fraser letters", 1-8 

Includes transcriptions of Simon Fraser's letter to The Oban Times, 1908-14; and see also: 

Simon Fraser collection, National Library of Scotland; descriptions below edited from A checklist of bagpipe music manuscripts held in the National Library of Scotland (Historical Committee of the Piobaireachd Society, 1986)

MS 9613 - Simon Fraser's annotated copy of A. MacKay, A collection of ancient Piobaireachd (Aberdeen, Inverness, and Elgin, 1838; actually the reprint of 1899); Canntaireachd has been added below by Simon Fraser. Cuttings relating to Fraser have been pasted in at the front. v + 171 + 14 pp. This and the following items (MSS 9613-9624) relating to Simon Fraser, of Warnambool, Australia, were collected by A. K. Cameron of Montana, USA . . . First tune called "My King has landed in Muidart" has handwritten note stating "Bruce MacArthur played this tune one note higher" in black ink. Each tune has handwriting below the notes of the tune. Some in Italian, most in Gaelic . . . "The young Laird of Dungallon's Salute" has a note above "Salute of birth of McLeod?" in pencil. +14 pages are the historical and Traditional notes on the Piobaireachds.

MS 9614 - Annotated copy (A. K. Cameron) of J. F. Campbell, Canntaireachd: articulate music (Glasgow, 1880).

MS 9615 - Annotated copy of N. MacLeod, A Collection of Piobaireachd or Pipe Tunes as verbally taught by the MacCrummen Pipers (Edinburgh, 1880). MS corrections by Fraser . . . Some annotations by A. K. Cameron. 20 tunes altogether, such as "Royal Oak that saved King Charles", "Isabel Nich Kay", "Lament for King James", "Kilchrist". Tune #5 has handwritten, "Dungallons Salute: as modern name" in red ink. Above tune #15 handwritten in red ink is "McKinnon's Pibroch". Tune #17 handwritten in red ink "Lament for Colin Roy MacKenzie" (Ceol Mor Pg. 316) Tune #18 handwritten in red ink and black, "Lament for Giordano Bruno by unknown Bruno" below this in black "Lament for Bruno".

MS 9616 - Simon Fraser. Cover page "The Australian Manuscript Book" on both books. No. 1 & 2. Translated into staff of the Canntaireachd collection of MacLeod of Gesto (MS 9615). Example of tunes are "The Head of the Little Bridge", "Lament for King James", "Royal Oak", 31 ff.

MS 9617 - Simon Fraser, copies of piobaireachd in staff notations (with some Canntaireachd) by Simon Fraser/ Examples of tunes are "The Children's Lament", "James MacDonald's Lament", "Culloden", "George the third's Lament", "Chisholm's Salute", "The Bells of Perth".

MS 9618 - Miscellaneous scraps of piobaireachd in various hands (including those of Simon Fraser, A.K. Cameron, and Dr. J. D. Ross Watt), ca. 1920-30, ff. 1-65; Some tunes are written on back of letters, etc. Various articles about piping and dancing. Letters from John L. MacArthur, 1930, ff. 66-68; Letters to A. K. Cameron in connection with the recovery of his papers from the heirs of Simon Fraser, 1935-38, ff. 69-79, 79ff.

MS 9619 - Copies of extracts of letters from Simon Fraser to A. K. Cameron and Dr. J. D. Ross Watt, information about Canntaireachd and giving descriptions of certain sections of tunes. Fraser speaks about the makings of bagpipes saying that one wood is better than the other. 395 ff.

Acc. 7927 - Copy [photocopy] of Simon Fraser's Piobaireachd Book, 1930. All in hand writing, none professional. Various tunes.

Acc. 11613 - Photocopy of a notebook of piobaireachd of Simon Fraser (early 20th cent.).

Bibliography and resources:

Barrie J. Maclachlan Orme, The Piobaireachd of Simon Fraser with Canntaireachd (Edinburgh: [privately printed], 1979); 2nd edition 1985; expanded 3rd edition = 2006 below 

Joan Gillison, "Fraser, Simon Alexander (1845-1934)", Australian dictionary of biography 8 (1981) 

Barrie J. Maclachlan Orme (ed.), Simon Fraser's canntaireachd collection (Melbourne; B. J. Orme, 2003) 

Barrie J. Maclachlan Orme (ed.), Extracts of letters from and about Simon Fraser describing his piobaireachd and heritage . . . taken from letters deposited in the National Library of Scotland MSS 9613-9624 and others (Melbourne; B. J. Orme, 2003) 

Barrie J. Maclachlan Orme (ed.), Ceòl Mòr: in the style of Simon and Hugh Fraser of Australia (Melbourne; B. J. Orme, 2006) 

"This edition has been expanded to include 46 tunes as taught to me by Hugh A. Fraser, Simon's son, during seven years from 1961-1968"

Bridget Mackenzie, "Simon Fraser reconsidered", in Joshua Dickson (ed.), The highland bagpipe: music, history, tradition (Farnham: Ashgate Publishing, 2009), 145-67 (PREVIEW)

[156] [Simon Fraser] himself did not play the pipes seriously until he was 40 [1884-5]. He said he was then the only pupil of Peter Bruce, son of the great piper Alexander Bruce, who had been taught by both Gesto and Donald Ruadh MacCrimmon. Peter left his pipes to Simon in his will, an indication of a close teacher-pupil bond.

"Fraser, Simon Alexander (1845-1934)", Obituaries Australia 

FRAYLING, George Park (George Park FRAYLING; Parke; G. P. FRAYLING)

Violoncellist (pupil of the celebrated John Boatwright)

Born England, 1852; baptised Calne, Wiltshire, 11 July 1852, son of George A. FRAYLING and Sarah GRIMES
Arrived Brisbane, QLD, via Sydney, NSW, 3 September 1879 (per John Duthie, from London via Deal, 22 May)
Married Florence Electra GOSS (d. 1903), Ararat, VIC, Octobler 1897
Died Horsham, VIC, 18 July 1933, aged 81 (TROVE tagged by Australharmony) (shareable link to this entry)

ASSOCIATIONS: Centennial Exhibition Orchestra (player); Marshall-Hall Orchestra (player); Horsham Working Men's College (professor of music)


"ARRIVALS", Australian Town and Country Journal (6 September 1879), 36

September 3. John Duthie, ship, 1031 tons, Captain Levie, from London via Deal May 22. Passengers - Messrs. Emile Mantean, Harry Mobun, Arthur Topseil, Thomas Chambers, Jonathan Soolick, Thomas Plydell, George Park Frayling . . .

[News], The Brisbane Courier (19 September 1879), 2

[Advertisement], The Brisbane Courier (8 May 1880), 1

"Mdlle. Olga Duboin's Concert. TO THE EDITOR", The Brisbane Courier (13 May 1880), 3

"POPULAR CONCERT AT PORT ADELAIDE", South Australian Register (22 August 1882), 5

"THE ORCHESTRA", The Argus (2 August 1888), 5s

[Advertisement], The Sydney Morning Herald (17 May 1889), 2

[Advertisement], The Horsham Times (13 December 1898), 3

"DEATH", The Horsham Times (21 July 1933), 4

FRAYLING. - On Tuesday, July 18, at his residence, Roberts Avenue, Horsham, George Park Frayling.- After a short illness. Aged 81 years.

"OBITUARY", The Horsham Times (21 July 1933), 4 

Although he lived rather a retiring life, the passing of Mr. George Park Frayling, of Roberts Avenue, Horsham, will be regretted, by many very intimate friends, and his death removes one of Victoria's most able 'celloists. The late Mr. Frayling died at his residence on Tuesday morning, his demise being due to heart failure after about a week's illness. Born in Somersetshire, England, 81 years ago, deceased migrated to Australia in 1879, and early gave promise of becoming a master musician. Although he played many other instruments splendidly, his real artistry was fully portrayed with the 'cello, and he travelled Australasia in concert parties for many years. In 1888 he had the honor of playing in Sir Edward Cowan's Centennial Exhibition orchestra in Melbourne. He was also the leading 'celloist in Marshall Hall's orchestra, which was well known throughout Australia. He later commenced a small practice at Ararat as teacher of the violin, 'cello and pianoforte, and was there married in October, 1897, to Miss Florence Electra Goss. She died in 1903. There were no children and deceased had no relatives in Australia. The late Mr. W. H. Goss was one of the builders of Parliament House, Melbourne. Although the late Mr. Frayling travelled throughout the Wimmera teaching music for several years, he did not settle in Horsham until 1908. Among his pupils in his early days here were Messrs. J. R. Baillie (conductor of the Horsham Town Band), Gil Curran and Miss Ada Jeffries. Many concerts of a high order were given by the old maestro in the original Mechanics' Hall, in Firebrace street. He always enjoyed excellent health and was noted for the long distances which he used to cover on foot. Some time ago he told a "Times" representative, that in his younger days he would think nothing of walking from Noradjuha to Horsham because he thought the train too slow. He also walked from Horsham to Stawell and from Stawell to Ararat on many occasions when the train service did not suit him. Until a few weeks ago deceased gave lessons in the main Wimmera towns, where he was a well-known and respected identity. In recent years deceased was active on the business side, importing several pianos. On Wednesday the funeral took. place at the Horsham cemetery. The Rev. W. Reed conducted the service at the graveside. The coffin-bearers were the Rev. E. G. Petherick, Pastor O. Thiele, C. Tregoning, B. Creek, J. Callagan, M. F. Kelley. Messrs. Weight & Sons had charge of the arrangements.

FRAZER, Walter (Mr. Walter FRAZER)


Active Melbourne, VIC, 1854


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

MECHANICS' INSTITUTE . . . Miss Octavia Hamilton has the honor to announce that her
First Benefit Concert in this colony will take place this evening,
Friday, April 28th, 1854.
For which occasion all the available talent in the colony had been secured, including the following distinguished artistes -
Mrs. Testar, Mrs. George Cox, Miss Octavia Hamilton, Mr. Walter Frazer, Mons. Fleury, Signor Maffei, Herr Moritz.
Part I.
Glee - Blow Gentle Gales, Miss Hamilton, Mrs. Cox, and Mr. Frazer - Bishop . . .
Duet - What Fairy like Music? Miss Hamilton and Mr. Frazer - De Pinna . . .
Song - What is the Spell? Mr. Walter Frazer - Rooke . . .
Part II.
Trio - Sleep, Gentle Lady, Miss Hamilton, Mrs. Cox and Mr. Frazer - Bishop . . .
Song - Mr. Walter Frazer . . .

ASSOCIATIONS: Octavia Hamilton

MUSIC: What is the spell (Rooke, from Amilie)

FREDERICKS, Christian (Christian FREDERICKS)

Musician, cornet player, bandmaster

Born Hanover, Germany, c. 1829
? Active Hobart, TAS, by June 1858
Active Sydney, NSW, by July 1859
Died Lambing Flat, Burrangong, NSW, January 1861, age "about 32" (TROVE tagged by Australharmony) (shareable link to this entry)


In July 1859, Fredericks played cornet (with Richard Kohler and Henry Prince) in the orchestra for the Sydney University Musical Festival under Lewis Lavenu. He and Prince were also listed in the band for Charles Packer's orchestral union concert in November, and that same month he was playing orchestra of the Prince of Wales Theatre.

In May 1860, Fredericks (listed as bandmaster, aged 31, native of Hanover) and five colleagues (including Conrad Appel) worked was a ship's band for the voyage of the Malta between Suez and Sydney.

He died at Lambing Flat in January 1861, perhaps having witness the beginnings of the troubles that would lead to the famous anti-Chinese riots in June. "A valuable lot of music and musical instruments . . . the effects . . . of the well-known musician, Mr. Christian Fredericks", was offered at auction in Sydney in September-October.


? [Advertisement], The Courier (30 June 1858), 3 

PART II . . . D'Albert's celebrated War Galop of Sebastapol, for full orchestra - Cornet Obligato - MESSRS. FREDRIC and DUPONT . . .

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

On TUESDAY, July 19th, and THREE FOLLOWING DAYS . . . to celebrate the opening of the HALL of the Sydney University in which the performances will take place . . .
The ORCHESTRA . . . CORNETS-A-PISTON. Mr. Kohler, from Melbourne; Mr. C. Fredericks; Band-Sergeant Prince; And a gentlemen amateur . . .

[Advertisement], The Sydney Morning Herald (24 November 1859), 1

The Second MONSTER CONCERT, for the Benefit of the Dramatic and Musical Artists, late of the Victoria and Prince of Wales Theatres,
will take place THIS EVENING, Thursday, November 24th . . .
Leaders - Messrs. Usher and Eigenschenck . . . Cornetti - Messrs. Prince and Fredericks . . .

INWARD, LIST of the crew and passengers, arrived in the Ship S.S. Malta, of London, Henry Down, master . . . from the Port of Suez to Sydney . . . 10 May 1860; State Records Authority of NSW (PAYWALL)

Christian Fredericks / Bandmaster / 31 / [born] Hanover
Henry Spohr / Musician / 22 / Brunswick
Conrad Appel [Musician] / 35 / Hanover
Henry Rosenkranz / [Musician] / 30 / [Hanover]
Christopher Hause / [Musician] / 30 / [Hanover]
Henry Opperman / [Musician] / 30 / [Hanover] . . .

"LAMBING FLAT ("From our Correspondent"), Empire (28 January 1861), 5

. . . This is emphatically a "poor man's diggings". Great finds are not spoken of, nor expected . . . Diarrhoea has been very prevalent, owing principally to the badness of the water . . . On Sunday, a deceased musician, who is said to have been well known, and distinguished in the orchestras of Sydney, Christian Fredericks, was buried. Several members of the order of Odd Fellows followed, wearing the regalia of their order. The band of which deceased had been the leader, played selections from oratorios during the passage to the grave, the lowering of the coffin, and the filling of the grave. The burial service was read by Dr. Temple, who, by his urbanity, gentlemanly deportment, and reputation for medical skill is winning golden opinions for himself.

[Advertisement], The Sydney Morning Herald (28 September 1861), 9

Preliminary Notice . . . MR. ROBERT MURIEL will sell by public auction, at his old Rooms, Wynyard-street, on "WEDNESDAY next, the 2nd October, at ll o'clock precisely . . .
in the estate of the late Christian Fredericks, musician - A valuable lot of music and musical instruments. Terms, cash.

[Advertisement], The Sydney Morning Herald (1 October 1861), 6

On WEDNESDAY, the 2nd October, at 11 o'clock.
To Leaders of Orchestras, Musicians, and others.
In the Estate of Mr. Christian Fredericks, Professor of Music.
A very valuable Collection of Music, &c., &c.
By order of the Official Assignee, E. A. Mackechnie, Esq.
Also, 300 volumes of Books.
MR. ROBERT MURIEL will sell by public auction, at his old Rooms, Wynyard-street, on
WEDNESDAY, the 2nd of October, at 11 o'clock precisely,
The effects, personal and otherwise. of the well-known musician, Mr. Christian Fredericks.
Terms, cash.


Singing instructor (Tonic Solfa Singing Class; Victorian Tonic Sol-fa Association)

Active Melbourne, VIC, by 1875
Died Melbourne, VIC, March 1943 (shareable link to this entry)


"MELBOURNE HEBREW SCHOOL", The Argus (1 February 1875), 6

"MR. FREDMAN'S CONCERT", Williamstown Chronicle (8 December 1883), 3

"RECENT MEETING", The Argus (19 December 1887), 8

[Advertisement], The Argus (15 February 1890), 16

"DEATHS", The Argus (6 March 1943), 13

Bibliography and resources:

R. M. Fredman, "Joel Fredman", Australian Jewish Historical Society Journal of Proceedings 8 (1979), 345-62



Active Sydney, NSW, 1880 (shareable link to this entry)


"NEW MUSIC", The Sydney Morning Herald (20 February 1880), 6

"A SONG BY THE LATE PETER POSSUM", Illustrated Sydney News (21 February 1880), 9

Musical work:

Before the flowers (words: "Peter Possum"; "sung by Mr. Vernon Reid") (Sydney: W. H. Paling & Co., [1880])

FREYCINET, Louis-Claude Desaulses de (Louis de FREYCINET)

Indigenous culture and music reporter

Born Montélimar, Drôme, France, 7 August 1779
In Australia (1) 1801-03
(2) Port Jackson, Sydney, 19 November-26 December 1819 (on L'Uranie)
Died Saulce-sur-Rhône, Drôme, France, 18 August 1842 (NLA persistent identifier)

Louis de Freycinet (Wikipedia)


See various citations in: 


Violinist, viola (tenor) player (theatrical orchestra), teacher, convict

Born Germany, 1796
Sentenced Central Criminal Court, London, England, 23 October 1837 (7 years transportation)
Arrived Sydney, NSW, 21 July 1838 (convict per Bengal Merchant, from England, 24 March, aged "42", "Jew")
? Married Eliza PHILLIPS (d. SA, 1871), by 1849 (daughter Eliza born NSW 1849)
Died Sydney, NSW, 14 September 1869, aged 72 (BDM NSW 1044/1869) (TROVE tagged by Australharmony) (shareable link to this entry)


"POLICE. GUILDHALL", London Evening Standard (7 September 1837), 4

Yesterday William Friedlander, who resides at Cambridge-heath, and occupies a counting-house ln Lime-street, was brought up by Roe, the city officer, on a charge of obtaining a gold watch by a false pretence, the false pretence being that the acceptors of a bill of exchange drawn in favour of the prisoner were a respectable English firm, when in fact the prisoner himself constituted that firm. A solicitor having briefly stated the nature of the case, Mr. Bernard Lawley, a clock-manufacturer in the Borough, stated that he first saw the prisoner about eight weeks ago. A person named Thomas Field, who sold goods on commission, wished to have three spring clocks away on approbation, and referred him to the prisoner for character. The inquiry was satisfactory, and Field had goods upon bills, which were duly honoured. The prisoner called upon him about the end of July, and selected a lady's gold watch, value 16l., in payment of which he offered a bill of exchange, in the German language, for 24l. 15s., dated the 23d of May, purporting to be drawn by Ludwig M. Gotz, of Leipsic, in favour of William Friedlander, on Andrew Mackie and Co., of Finsbury-chambers and Nag's Head-court, Gracechurch-street. He questioned the prisoner about the bill, and he said that Gotz's was a first-rate house at Leipsic, as good as the Bank of England; that Mackie and Co.'s was a respectable English firm, general merchants, who had imported goods from Leipsic, and so become indebted to Gotz. The bill had been remitted to him (prisoner) to obtain Mackie's acceptance, which he had done. He spoke of the firm as quite distinct from himself. Complainant said, he would make a little inquiry, and the prisoner called again, when complainant told him he could not make out much about Mackie. Prisoner said, it was of little consequence, as the house at Leipsic was so good, and as prisoner himself would become responsible for the money when he endorsed it. Complainant took the bill, giving the prisoner a memorandum to pay him 8l. 15s. (being the balance) when the bill was honoured. He had other dealings with the prisoner. About five weeks ago the prisoner had three watches worth 11l. to see whether they would suit the American market. They were to be returned in fourteen days, but had not been sent back yet.

John Edwards, of Finsbury-chambers, said he saw the prisoner first about a year and a half ago. He applied to rent a counting-house, and presented a card engraved "Andrew Mackie and Co." He then, and also afterwards, understood the prisoner to be Mr. Mackie. He had addressed him as Mr. Mackie, and the prisoner had not explained that he was not the person. The prisoner paid a quarter's rent in advance, and occupied the counting-house several months.

Adolphus Newman, a copper-plate printer, No. 20, Pool-terrace, City-road, said the prisoner came to him, about four months ago, and said his friend, Mr. Gotz, of Leipsic, wanted a form of bill of exchange engraved, and witness executed the order. He gave the prisoner fifty impressions from the plate. The bill produced by the complainant was one of those impressions. He identified a second bill filled up for circulation as another of them.

Mrs. Rebecca. Smith, of No. 43, Lime-street, said, the prisoner came to her to take a counting-house. A shabby-looking man first looked at it, and the next day he brought the prisoner, who passed by the name of Jackson. They took the counting-house and put the name of Strong and Co. on it. She understood the shabby man to be Strong. She knew the prisoner by the name of Friedlander. They held the counting-house from Christmas.

Mr. Porter, of the Hackney-road, commission agent, said he knew the prisoner. The body of the bill produced was written by the prisoner; but he could not speak so positively about the acceptance. Between two and three months ago he saw some blank forms of the Leipsic bills lying on the prisoner's desk in the morning, and in the afternoon he saw one or two of them filled up. He saw also the copper-plate from which they had been printed. The prisoner asked him to fill one up in German, but he refused to do that.

Mr. Head, of the Star, in Nag's Head-court, Gracechurch- street, had let a counting-house to Messrs. Mackie and Co. Was referred to the prisoner, in Lime-street, as to Mackie's respectability. The prisoner had referred persons to Mackie's for his character, and inquiry had been made of him by the party as to who Mr. Mackie was. He had understood another person, and not the prisoner, to be Mackie. Roe, the officer who apprehended the prisoner at his counting-house, found about eighty blank forms of the Leipsic bill of L. M. Gotz. Also some blank forms of foreign bills of the firm of Andrew Mackie and Co., and some blank forms of the house of Alexander Pisani, of Hamburgh.

The solicitor said he had no further evidence to tender then, but he thought he had raised the presumption that the complainant had been defrauded, and that the bill was of no value.

Mr. Alderman Winchester asked the prisoner if he could give any explanation about the various circumstances that had been stated. The prisoner said he wished to have the advice of a solicitor before he replied to the charge, which he had no doubt he could rebut. Mr. Alderman Winchester said he would willingly afford him an opportunity of consulting his lawyer, and remanded the prisoner till the next day.

"WILLIAM FRIEDLANDER, Theft, simple larceny, 23rd October 1837", Old Bailey Online

2441. WILLIAM FRIEDLANDER was indicted for stealing, on the 31st of July, 3 watches, value 9l., the goods of Bernard Lawley . . .
MR. JERNINGHAM conducted the Prosecution.
BERNARD LAWLEY. - I am a watch manufacturer, and live in High-street, Borough. On the 26th of last July I went to the prisoner's counting-house, No. 24, Lime-street - he said he wanted some flat silver watches, to show to a friend of his in Liverpool, to see if they would suit the American market . . . they were to be returned in fourteen days, to a day - I particularly stated that - three of them were worth 15l. - finding they did not come back, about three weeks after, I went to the prisoner's counting house, and asked him if the watches had come back . . .
JOHN ELLIOT - I am a pawnbroker, and live in Kingsland-road. I saw a watch which was pawned by the prisoner, on the 1st of August, for 2l., 10s. in the name of John Delaspie, No. 10, Kingsland-road - I am quite sure it was the prisoner - I know him well.
GEORGE ATTENBOROUGH - I am a pawnbroker, and live in Crown-street, Finsbury-square. I have a silver watch which was pawned by the prisoner on the 1st of August, for 2l., in the name of John Delaspie, Charles-street . . .
MR. PAYNE to BERNARD LAWLEY. Q. Did you ever sell the prisoner a watch on credit? A. I sold him one for which he gave me a forged bill - he was tried on that and acquitted, because I could not bring the present evidence.
GUILTY. Aged 40 [sic] Transported for Seven Years. Before Mr. Sergeant Arabin.

"TICKETS-OF-LEAVE GRANTED", The Australian (24 August 1842), 3 

Principal Superintendent of Convicts' Office, Sydney, 22nd August, 1842.
The undermentioned prisoners of the crown have obtained tickets of leave since the last day of publication, viz.
. . . PORT MACQUARIE . . .
Friedlander William, Bengal Merchant . . .

[Unclaimed letters], Australasian Chronicle (7 January 1843), 4

. . . William Freedlander . . .

Butts of certificates of freedom, October 1844; State Records Authority of NSW (PAYWALL)

CERTIFICATE OF FREEDOM / 44/1554 / Date: 23 October 1844 / Prisoner's No. 38/956 /
Name: William Friedlander / Ship: Bengal Merchant 3 / Master: Bamphill / Year: 1838 / Native Place: Germany /
Trade or Calling: Music Teacher / Offence: Stealing Watches / Place of Trial: Central C. Court / Date of Trial: 23 October 1835 /
Sentence: Seven Years / Year of Birth: 1796 / height; 5 feet 3 3/4 inches / Complexion: Ruddy / Hair: Black mixed with grey / Eyes: Brown . . . Roman Nose Lame of right leg / Ticket of Leave . . . dated 16 August 1842 . . .

"ROYAL VICTORIA THEATRE", The Sydney Morning Herald (12 April 1845), 2

THE public is most respectfully informed, that this Theatre will Re-open for the Winter Season on
MONDAY EVENING, April 14, 1845. The nights of performance are Monday, Tuesday, Thursday, and Saturday . . .
Orchestra - Mr. J. Gibbs, Leader; Mr. S. W. Wallace, Mr. Deane,
Mr. Friedlander, Mr. E. Deane, Mr. W. Deane, Mr. Westroppe, Mr. O'Flaherty, Mr. Turner, Mr. Vaughan, Mr. Adams, and Mr. Wright . . .
T. SIMES, Manager . . .

[Advertisement], Morning Chronicle (28 May 1845), 3

intends giving a GRAND EVENING CONCERT Of Vocal and Instrumental Music at the above Theatre,
ON FRIDAY, MAY 30, 1845 . . . The Theatrical Band will comprehend Messrs. O'Flaherty, Deane, E. Deane. W. Deane, Turner,
Friedlander, Westrip, Adams, Wright, Vaughan; and will be assisted by the Members of St. Patrick's Band, who have kindly consented to give their valuable services upon this occasion . . .

[Advertisement], The Australian (29 November 1845), 1

GRAND CONCERT. MR. MARSH Legs to announce that his Concert will take place on
Orchestra, which will be full and complete, consisting of the following instruments in two New Overtures: -
1st Violins - Messrs. Gibbs, Wallace, John Deane.
2nd Violins - Messrs. O'Flaherty, Strong, Guerin.
Violas - Messrs. Deane, H. Deane, Friedlander.
Violoncello - Messrs. E. Deane, Walker.
Double Bass - Mr. W. Deane . . .

[Advertisement], The Sydney Morning Herald (6 December 1845), 1

HANDEL'S ORATORIO OF THE MESSIAH, With Mozart's additional accompaniments . . .
PRINCIPAL INSTRUMENTAL PERFORMERS - Mr. S. W. Wallace, Mr. Gibbs, Mr. Deane, Mr. J. Deane,
Mr. E. Deane, Mr. W. Deane, Mr. F. Deane Mr. O'Flaherty, Mr. Gearing,
Mr. Friedlander, Mr. Walter, Mr. Wilson, Mr. Strong, Mr. Westropp, assisted by numerous amateurs . . .

[Advertisement], The Sydney Morning Herald (20 June 1846), 3

A GRAND Concert, in aid of the Funds of the Sydney Infirmary and Dispensary . . .
WEDNESDAY EVENING NEXT, 24TH INST., At the City Theatre, Market-street . . .
assisted by the following members of the profession . . .
INSTRUMENTAL - Mr. John Deane, (leader to the Club), Messrs. J. P. E., and W. Deane,
Mr. Friedlander, Mr. Strong, and Mr. Guerin . . .
PROGRAMME. PART I. Overture "D'Otello," (Rossini) - Full Orchestra . . .

[Advertisement], The Sydney Morning Herald (29 July 1846), 1

GRAND EVENING CONCERT . . . MONS. AND MDME. GAUTROT . . . FAREWELL CONCERT . . . THIS DAY, the 29th instant, in the Saloon of the Royal Hotel . . .
Principal Violins - Mr. S. W. Wallace, Mr. Deane, and Mr. J. Deane.
Tenors - Messrs. Deane and Friedlander. Violoncello - Mr. E. Deane. Double Bass - Mr. W. Deane.
Second Violin - Mr. Gearing. With numerous other performers . . .
PROGRAMME. PART I. Overture. - "L'Irato." Mehul - Orchestra . . .
PART II. Overture. - "Fra Diavolo." Auber - Orchestra . . .

"Music", The Spectator (1 August 1846), 333 

. . . The Messrs. Deane, Friedlander, Gearin, and other instrumentalists lent their efficient aid, and the overtures to "L'Irato" and "Fra Diavolo" were performed with admirable effect.

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

This Evening (Wednesday) September 2nd, 1846,
AT THE ROYAL VICTORIA THEATRE, UPON which occasion Mr. Wallace will be assisted by his sister Mrs. Bushelle,
Madame Gautrot, Messrs. J. and F. Howson, Mr. Gibbs, Mr. Deane, Messrs. J. E. and W. Deane,
Walton, Guerin, Friedlander, &c., &c., &c. . . .
PROGRAMME. PART I. Overture - "Der Freyschutz" Weber - Orchestra and Military Band . . .
PART II. Overture - "Zampa" - Orchestra . . .

[Advertisement], The Sydney Morning Herald (5 December 1846), 1

1st Violin - Mr. Gibbs
2nd Violin - Mr. Guerin
Tenor - Mr. Friedlander
Violoncello - Mr. E. Deane
Double Bass - Mr. W. Deane
Leader - Mr. Wallace . . .

[Advertisement], The Sydney Morning Herald (7 February 1849), 3 

MISS HINCKESMANN . . . her FAREWELL CONCERT . . . the above Theatre,
The Orchestra will comprise the following professional gentlemen: -
Monsieur Gautrot, Messrs. Gibbs, Deane, sen., J. Deane, and Deane, jun., Guerin,
Friedlander, Strong, Ducro, Hudson, &c. . . .

[Advertisement], Bell's Life in Sydney (24 March 1849), 3

ROYAL VICTORIA THEATRE, On Friday Evening, 30th March . . .
Mr. Deane will be assisted by . . . Messrs. Deane, Guerin,
Friedlander, Strong, Turner, Vaughan, Hudson, Ducros, Wright . . .

[Advertisement], The Sydney Morning Herald (2 April 1850), 1

GRAND CONCERT . . . MR. [Edward] DEANE . . .
at the Royal Victoria Theatre, on Wednesday Evening, the 3rd of April instant . . .
Mr. Deane will be assisted by . . . Mr. Gibbs, Messrs. Guerin,
Friedlander, Strong, Turner, Vaughan, Vaughan, jun., Hudson, Ducros, Wright . . .

[Advertisement], Empire (31 May 1856), 1 

Benefit to the Victoria Volunteer Fire Company, No. 1.
Mr. and Mrs. JAMES STARK, and the undermentioned Ladies and Gentlemen of the company, have,
in the kindest manner, offered their gratuitous services on the above evening: -
Messrs. J. C. Lambert, C. H. Twight, W. Dind, W. Thompson, August Siegel, Andrew Siegel,
Fritz Cramer, W. Davies, Henry Cramer, Ferdinand Cramer,
F. Friedlander [sic], M. Vaughan, A. Grebet . . .

[Advertisement], Empire (18 December 1856), 1 

OUR LYCEUM THEATRE.- The opening of the above-mentioned Theatre having furnished employment to a number of Actors, Actresses, Artists, Musicians, Carpenters, and others, and Mr. W. H. STEPHENS having been principally instrumental in effecting this great good, it is proposed to give him a COMPLIMENTARY BENEFIT, on THURSDAY Evening, December 18, 1856. All persons employed in "Our Lyceum Theatre" disposed to tender their GRATUITOUS SERVICES on the occasion will please affix their Signatures to this paper immediately. The following Signatures are appended: . . . The Band: Messrs. Wheeler, Davis, Pearson, Friedlander, Wilkinson, Boans, H. Cramer, F. Cramer, Hall, Cramer . . .

[Advertisement], Empire (2 July 1859), 3

On TUESDAY, July 19th, and THREE FOLLOWING DAYS . . . to celebrate the opening of the HALL of the Sydney University in which the performances will take place . . .
Conductor - Mr. L. H. LAVENU.
The ORCHESTRA . . . FIRST VIOLINS- Mr. John Deane, Conductor of the Philharmonic Society; Mr. Eigenshenk,
leader of Orchestra at the Prince of Wales Theatre; Mr. Alfred Usher, leader of Orchestra at the Victoria Theatre . . .
VIOLE. Mr. Walter Rice; Mr. William Friedlander; Mr. Martin Josephson; With the gentlemen amateurs of the Philharmonic Society . . .

Waugh's Australian almanac for the year 1860 (Sydney: Ames William Waugh, 1860), (186) 187

ST. MARY'S COLLEGE, LYNDHRUST (In connection with the Roman Catholic Church).
PROFESSORS AND MASTERS . . . Singing - Rev. J. H. A. Curtis; Pianoforte - Mr. Anderson;
Violin - Mr. Friedlander . . .

[Advertisement], The Sydney Morning Herald (30 December 1861), 1 

MR. NATHAN'S CONCERT, Masonic Hall, THIS EVENING, 30th December, 1861.
That every effort may be given to "Acis and Galatea" and the whole of the music arranged for full orchestra by Mr. Nathan . . .
PROGRAMME . . . PART I . . . Overture - "Don John of Austria" - Nathan . . .
PART II . . . [Acis and Galatea] . . .
Violins - Mr. King, Mr. Ernest King, Mr. F. Howson, Mr. Strong, Mr. Friedlander.
Viola - Mr. Davis. Violoncello-Mr. W. Howson . . .

[Advertisement], Empire (29 January 1862), 1 

Instrumentalists: - Messrs. STANLEY, F. A. and J. HOWSON, junrs., E. KING, FRIEDLANDER . . .

[Advertisement], Freeman's Journal (13 December 1862), 6 

G. PECK'S GRAND CONCERT of VOCAL and INSTRUMENTAL MUSIC, will take place at the Masonic Hall,
On WEDNESDAY EVENING, December 17 . . . Principal Instrumentalists . . .
Messrs. Callen, J. and E. Deane, G. Peck, W. Cordner, A. Moore, J. Bridson, Gallagher, Friedlander . . .

[Advertisement], The Sydney Morning Herald (8 April 1863), 1 

CARD. - WILLIAM FRIEDLANDER, 110, Woolloomooloo-street, Teacher of the Violin; also the German and French languages.

[Advertisement], Freeman's Journal (28 January 1865), 59 


[Advertisement], The Sydney Morning Herald (29 December 1868), 8

COMPLIMENTARY BENEFIT TO MR. FRIEDLANDER. As a token of respect to this gentleman, a Committee, composed of the principal English, French, and German residents of this city, have determined to devote the proceeds of a MUSICAL ENTERTAINMENT for his special benefit.
It is not alone that Mr. Friedlander is now the oldest musician in Sydney, he has attained to a ripe old age, and is, doubtless, on that account worthy of public support; but this appeal on his behalf is now made, not only in recognition of his long and meritorious services, but because, also, unfortunate events have deprived him of his former means of maintenance
. The Committee, therefore, beg to solicit the patronage of the public generally on behalf of this well-known honourable and greatly respected citizen. All available artists, vocal and instrumental, will generously give their assistance.
The Concert will take place on THURSDAY, January 7th, 1869, at the School of Arts, and an attractive programme will be duly announced.

[Advertisement], The Sydney Morning Herald (7 January 1869), 8

COMPLIMENTARY BENEFIT TO MR. FRIEDLANDER, THIS EVENING, January 7th, at the School of Arts. The committee are happy to announce that the Corps Musical of the above benefit consist of Miss Wiseman, Miss James, Miss Horley, Messrs. C. E. Horsley, E. Dean, S. Hodge, Jackson, Fairfax, and all available musical talents of Sydney, Balmain, &c., &c.

"MUSIC AND DRAMA", The Sydney Morning Herald (29 January 1869), 3

On the 7th instant a benefit concert was given to Mr. Friedlander, an aged violinist, who has for many years occupied the position of tutor in this city.

"ECCLESIASTICAL JURISDICTION", New South Wales Government Gazette (21 September 1869), 2380 

In the Supreme Court of New South Wales . . .
In the goods of Samuel Wilhelm Friedlander, late of Sydney, in the Colony of New South Wales, deceased.
NOTICE is hereby given, that after the expiration of fourteen days from the publication hereof, application will be made to this Honorable Court, in its Ecclesiastical Jurisdiction, that administration of the goods, chattels, credits, and effects of the said deceased may be granted to Eliza Friedlander, of Sydney aforesaid, the only child and next of kin of the said deceased. - Dated this twenty-first day of September, 1869.
W. H. PIGOTT, Proctor for the said Eliza Friedlander, 129, King-street, Sydney.

"FRIEDLANDER V. ATKINS", The Sydney Morning Herald (18 December 1869), 7

This was a claim for £4 10s., for rent of a house in Woolloomooloo-street. Plaintiff sued as the administratrix of her father, who died about a week after defendant became tenant of the house. Miss Friedlander stated that after her father's death she went to the house occupied by defendant, and asked for the first week's rent . . . the rent was 10s. per week; her father on his deathbed informed her that Atkins owed a week's rent . . .

[Joseph Michael Forde], "MUMMER MEMOIRS", Sydney Sportsman (16 February 1910), 3 

. . . In the forties the number of musical professors was naturally limited. There was Madame Dudemaine in Park-street, and there was Abraham Emmanuel in Prince-street; Francis Ellard taught and sold music in George-street, and Samuel William Friedlander was to be found at 4 Portobello-place, Goulburn-street; Mr. John Gibbs was In Elizabeth-street . . .

Bibliography and resources:

John Levi, These are the names: Jewish lives in Australia, 1788-1850 (Melbourne: Melbourne University Publishing, 2013), 251-52

. . . Dark sallow complexion; dark hair with grey, brown eyes; lame right leg; lower front teeth irregular. Roman nose. Friedlander had a counting house in Lime Street and took three watches as samples from a watch manufacturer. He then pawned them and could not redeem them. On a previous occasion he had given the manufacturer a forged bill. He was sentenced on 25 October 1837 for the theft of the watches, but was acquitted of the second charge of passing forged notes.

William Friedlander, Convict records

FRITZSCHE, Gotthard Daniel (Gotthard Daniel FRITZSCHE)

Amateur musician, church musician, Lutheran pastor

Born Liebenwerda, Saxony, Germany, 20 June 1797
Arrived Adelaide, SA, 1842 (per Skjold, from Hamburg)
Died Lobethal (Tweedvale), SA, 22 October 1863 (NLA persistent identifier) (shareable link to this entry)


"WOODSIDE", The South Australian Advertiser (4 November 1863), 3

The venerable pastor (G. D. Fritzsche) of the Old Evangelical Lutheran Church, Lobethal, departed this life on Monday last, after a few days' illness, attended with much bodily suffering. He has ministered amongst the people of Lobethal from nearly the commencement of the German settlement there (about 18 years ago). Being lately very infirm, the Church deemed it advisable to engage the services of a pastor from Victoria, who only arrived to enter upon his pastorate in this colony a few days before the decease of his predecessor.

Bibliography and resources:

"TOWNS, PEOPLE, AND THINGS WE OUGHT TO KNOW", Chronicle (12 October 1933), 46 

D. Van Abbè, "Fritzsche, Gotthard Daniel (1797-1863)", Australian dictionary of biography 2 (1967)

. . . [Fritzsche] was distinguished above all for his devotion to the cause of education. He encouraged the pioneer settlements to support schools and build churches. At Lobethal he started in 1842 the first Lutheran theological seminary in Australia. Himself an excellent musician, he encouraged music in his congregations . . .


Musician, cornopean player

Born London, England, c. 1839
Arrived Melbourne, VIC, c. 1854
Died Richmond, VIC, 5 August 1874 (TROVE tagged by Australharmony) (shareable link to this entry)


Froggitt reportedly arrived in Victoria in about 1854. His first three surviving children, by his wife Hannah O'Brien, were baptised together at St. Peter's, Melbourne, on 18 January 1861: Mary Ann, born 10 July 1856 (according to a family history at Buckland, VIC), John James, born 9 August 1858 (at Stanley, VIC), and Sarah, born 5 August 1860, born at Collingwood.


? "THE BUCKLAND RIOTS", Ovens and Murray Advertiser [Beechworth, VIC] (21 July 1857), 

Baptisms solemnized in the parish of St. Peter's Melbourne . . . in the year 1861; register, 1859-1870; St. Peter's Eastern Hill (PAYWALL)

[No.] 4959 / [baptised] January 18th / [born] 5th August 1860 / Sarah / [daughter of] John & Hannah / Froggitt / Collingwood / Musician . . .
4960 / January 18th / 10 July 1856 / Mary Ann / [daughter of] John & Hannah / Froggitt / Collingwood / Musician . . .
4961 / January 18th / 9 August 1858 / John James / [son of] John & Hannah / Froggitt / Collingwood / Musician . . .

[Advertisement], The Star [Ballarat, VIC] (9 February 1863), 3 

MRS. EMMA ABBOTT will make her last appearance on Ballarat on Monday, 9th of February, at LANE'S METROPOLITAN HALL, opposite New Adelphi Theatre, Main road . . . Admission - One Shilling.
MRS. ABBOTT'S BENEFIT TO-NIGHT. - The English Band. - Mr. J. Gigney, Harpist;
Mr. J. Froggett, Cornet; Mr. W. Quinn, Flageolet; Mr. W. Chapman, Leader and Violinist; have kindly tendered their services.

"NEWS OF THE DAY", The Age (6 August 1874), 2 

Yesterday morning, between seven and eight o'clock, a man named John Fogart, an itinerant musician, was taken to the Richmond lockup in a dray, having been found lying in an insensible condition on a footpath in Rule-street. The watchhouse-keeper at once sent for Dr. Ryan, who attended immediately, but found Fogart in articulo mortis, and he died shortly afterwards. From inquiries made by the police it appears that the unfortunate man has been in the habit of playing at night in the bars of public houses, and that he was a hard drinker. On Tuesday night he and a mate named Cleary were playing in the Rose of Richmond Hotel, which place they left about midnight, both being then under the influence of liquor. They went to Cleary's lodging, where they arrived between two and three o'clock and Cleary went to bed, but the deceased went into an outhouse and lay down there. Shortly before seven o'clock Cleary's land lady got up and went to the shed for some wood to light her fire, and found the deceased lying there. She told Cleary, who got up and called deceased, and they went away together. Subsequently they went to the house of a man named Chester, living in Rule-street, and deceased asked to he allowed to go to bed there; but as Chester did not know him he would not permit him to do so, and he then proceeded up the street alone, and was not again noticed until found as described. The deceased appears to have been about forty-five years of age. He was very lightly and wretchedly clad. It is said that he was unmarried, but that there are four children dependent on him. An inquest will be held.

"ACCIDENTS AND OFFENCES", The Australasian (8 August 1874), 21 

A musician named Foggett was picked up at the point of death in Rule-street, Richmond, at 7 o'clock on Wednesday morning. He had not long been left by a companion with whom he had been drinking during the night. Foggett was removed to the Richmond lock-up by the police, but on the arrival of a medical man he was found to be dead. An inquest will be held.

"INQUEST", The Age (7 August 1874), 3 

An inquest was held yesterday by Mr. Candler, at the court house, Richmond, on the body of John Froggitt, a cornopean player, who had died in the watchhouse on Wednesday morning. The evidence showed that deceased had been drinking very heavily for a long time past, that he was very drunk after midnight on Tuesday, and that ahont seven o'clock on Wednesday morning he fell down on the footpath in Rule-street, and struck the back of his head on the kerb stone. He became insensible, was taken in a dray to the lock-up, and died shortly afterwards. A post mortem examination was made by Dr. Ryan, who deposed that the brain and the internal parts of the deceased were all diseased through excessive drinking, and that death had resulted from the rupture of a blood vessel at the base of the brain, which corresponded with a contusion on the exterior of the skull. A verdict of accidental death was returned.

"GENERAL NEWS", Weekly Times (8 August 1874), 12 

An inquest was held, Thursday, by Mr. Candler at the Richmond Court-house on the body of the man John Albert Froggatt, aged thirty-five years, a musician, who was found lying upon the footpath of Rule street on the 5th inst. in a dying condition, and subsequently died at the watchhouse. It was ascertained at the inquest that the deceased was a native of London, and had been out in this colony for the last twenty years. He was a married man, and has left several children. From a post-mortem examination made on the remains by Dr. Ryan, the cause of death was found to have been a rupture of a blood vessel in the head, accidentally caused by a fall. A verdict was returned in accordance with the medical testimony.

FROST, Caroline Coleman (Caroline Coleman ELLIOTT; Mrs. FROST; Mrs. John Thorp FROST)

School teacher, teacher of music and dancing

Born ? Liverpool, England, c. 1813
Married John Thorp FROST (d. 1859), Christ Church, Sydney, NSW, 14 August 1846
Active Sydney, NSW, 1850s
Died Surry Hills, NSW, 6 March 1873, aged 60 (TROVE tagged by Australharmony) (shareable link to this entry)


"MARRIED", The Sydney Morning Herald (15 August 1846), 3 

On Friday, the 14th instant, at Christ Church, by the Rev. R. Allwood, Mr. John Thorp Frost, of this city, to Caroline Coleman, daughter of the late Adam Elliott, Esq., M.D., of Liverpool, Great Britain.

[Advertisement], The Sydney Morning Herald (7 July 1851), 1 

CONDUCTED BY MR. FROST. THE ensuing Quarter at this Establishment will commence on Tuesday, 1st July. Bourke-street, June 27.
MRS. FROST begs to intimate to her friends that she receives a limited number of Young Ladies as daily pupils . . .
Mrs. F. continues to give private instruction in Music, &c.
Mrs. Frost's pupils will re-assemble on Monday, 7th July . . .
Mrs. FROST, Somerset Lodge, Bourke-street, Surry Hills

[Advertisement], The Sydney Morning Herald (3 April 1854), 5 

EDUCATION, Surry Hills. - Mrs. FROST receives a limited number of pupils . . . Mrs. Frost continues to give private instruction in music, drawing, &c. Botany-street, Surry Hills, opposite the Court House.

[Advertisement], The Sydney Morning Herald (6 July 1854), 1 

EDUCATION, SURREY HILLS - Mrs. FROST receives a limited number of pupils, to whom the result of much observation and practical experience enabled her to impart the various branches of a sound, useful, and accomplished education in accordance with the system prevailing at the best schools in England. Mrs. FROST continues to give private tuition in music, dancing, &c. 33, Botany street, South Head Road, opposite the Court House.

[Advertisement], The Sydney Morning Herald (30 July 1859), 10 

LADIES' BOARDING and Day School, Surry Hills. Mrs. FROST receives a limited number of pupils. 345, Crown-street, Surry Hills.

"DEATHS", The Sydney Morning Herald (7 March 1873), 1 

On the 6th instant, at her residence, No. 413, Crown-street, Surry Hills, Mrs. CAROLINE C. FROST, aged 60 years.

FRY, Charles Alfred (Charles Alfred FRY; C. A. FRY)

Concert room proprietor, theatrical and musical agent and manager (Salle de Valentino, Melbourne, 1855)

Active Melbourne, VIC, 1855-59 (TROVE tagged by Australharmony) (shareable link to this entry)


[Advertisement], The Argus (24 May 1854), 8 

MELBOURNE CASINO. - All persons haying claims against the above Establishment are requested to send In their accounts for immediate settlement.

[Advertisement], The Argus (16 January 1855), 7 

SALLE DE VALENTINO.- Sole Lessee, Mr. C. A. Fry. - This favorite place of public resort will shortly Re-Open under entirely new management, completely re-decorated and beautified. An unique, classical, and novel exhibition will be produced, in which a New Company will appear, under the especial superintendence of accomplished and popular artists. Further particulars will be duly announced. - God save the Queen.

[Advertisement], The Argus (27 April 1855), 8 

SALLE DE VALENTINO. - The Proprietor of the above popular place of entertainment, ever anxious to provide for his patrons entertainment of the most varied description, takes great pleasure in informing them that on
Saturday Evening next, April 28th, he intends presenting a series of
Novel and interesting Tableaux, Producing the pleasing and imposing effect of Marble Sculpture.
Represented by M. Turque (his first appearance in the colonies) . . .
The music descriptive of the various passions illustrated by Mons. Fleury.
The whole produced under the immediate direction of Mr. Charles Alfred Fry . . .
SALLE DE VALENTINO. - Promenade Concert and Ball this evening; admission 1s . . .

ASSOCIATIONS: Achille Fleury (violinist, band leader)

[Advertisement], The Star [Ballarat, VIC] (22 September 1855), 1 

Mr. C. A. FRY, in returning his sincere thanks to the ladies and gentlemen of Ballarat who may have honoured him with their presence at the Representations made by his Troupe of POSES PLASTIQUES . . .

Charlie Napier Assembly Rooms . . .
Madame Naej, The Eminent Soprano.
Mr. Small, The Favorite Comic Local Vocalist.
Mons. Pietro Canna, The first Performer in the world, who will perform on twenty Drums.
Mons. Paltzer, The Eminent Violinist, and accomplished Leader, with a select Quadrille Band of Twelve Performers, who will introduce Julien's celebrated Peter the Great Quadrille . . .
MR. C. A. FRY, Acting Manager.

ASSOCIATIONS: Joseph Chambers (dancer); Madame Leon Naej (vocalist); Joe Small (vocalist); Pietro Canna (drummer); Jacques Paltzer (violinist, band leader)

[Advertisement], The Argus (3 April 1857), 8 

TO the Theatrical and Musical Profession.
- MR. C. A. FRY (late Principal Performer and Agent for the celebrated Madame Wharton) begs to make known to the Profession that he has established a
THEATRICAL and MUSICAL AGENCY, located at Tilke's City Hotel, where a Register will be kept, and Negotiations concluded on the most satisfactory terms. Address C. A. Fry, as above.

"THEATRICALS AND MUSIC . . . THE CITY CONCERT HALL", Bell's Life in Victoria and Sporting Chronicle (1 January 1859), 2 

Notwithstanding the many attractions during the holidays at other places, this concert hall has been well attended. The new company, under the management of Mr. C. A. Fry, work harmoniously together.

"THEATRICALS AND MUSIC . . . CRAWFORD'S CITY CONCERT HALL", Bell's Life in Victoria and Sporting Chronicle (19 March 1859), 2 

This establishment has been well attended during the week. On Monday last Mr. C. A Fry, who has been the manager of this establishment for three different proprietors, Messrs. Tilke, M. Cowan, and Crawford, gave a grand concert on the occasion of his benefit. The hall was crowded in every part, and the audience was highly gratified with the performance, the most pleasing of which were the duets, by Mad. Leon Naej and Mr. Percival, of "When rolling Waves," from "Lucia di Lamermoor," and the "Singing Lesson." Mr. F. Leeman acquitted himself to the satisfaction of the audience in many of Russell's popular songs. The funny part of the performance was engrossed by Messrs. T. F. Morris and Dawson, who kept the house in a "roar." The public on this occasion showed their appreciation of Mr. Fry's catering.

ASSOCIATIONS: Frederick Leeman; William Tilke (hotelier)

FRYER, James Robertson (James Robertson FRYER; Mr. FRYER)

Bass vocalist, violinist (Hobart Town Philharmonic Society, Hobart Town Glee Club Concerts)

Born Limehouse, London, England, 1826; baptised St. Dunstan's, Stepney, 18 June 1826, son of John and Mary FRYER
Married Marianne Delve BRIANT (d. 1894), St. Saviour, Southwark, London, England, 20 October 1844
Active Hobart, TAS, 1851
Died Hobart, TAS, 5 February 1897, in his 72nd year (TROVE tagged by Australharmony) (shareable link to this entry)


Baptisms solemnized in the Parish of ST. DUNSTAN, STEPNEY . . . in the year [1826]; register, 1816-26, page 244; London Metropolitan Archives (PAYWALL)

No. 1590 / [1826 June] 18 / James Robertson / [son of] John & Mary / Fryer / Limehouse / Joiner . . .

[Advertisement], The Courier (31 October 1853), 3

THURSDAY, NOVEMBER 3, 1853, A MUSICAL ENTERTAINMENT Will be given under the conduct of MR. SALIER.
PROGRAMME . . . PART II . . . Trio and Chorus - "The Chough and Crow" - Mrs. Dawson, Mr. Fryer, and Mr. Salier - Bishop . . .

"MECHANICS' INSTITUTE . . . GRAND MUSICAL ENTERTAINMENT", Colonial Times (5 November 1853), 2-3

. . . The principal performers were Mrs. Dawson, Miss M. and Miss A. Hall, the former alto, the latter treble; Mr. Fryer, bass and second violinist, Master Tapfield, soprana; Masters W. and H. Henry, the former treble and the latter alto; Mr. Vautin played the violincello. Mr. Russell was the leader, aided by Mr. Harris, who had kindly volunteered his services on the occasion, Mr. Singer performed on the second violin. Mr. Salier conducted and had the management of the whole, as well as performed on the viola . . . The other instruments were an ophecleide and cornopean. The piano part was most ably executed by a lady . . .

. . . The programme was varied and good. The overtures "Caliph of Bagdad" and "Lodoiska," along with Auber's galop "Gustavus," were admirably and harmoniously executed by all the instruments, the galop being given in a spirited and lively manner. The glees "The Fairies," "Come let us all a Maying go," "The May Fly," "Awake, AEolian Lyre," and "Strike the Harp in praise of Bragela," were all well given, as also the chorus, "May Day," by the Misses Hall, Masters Tapfield and the brothers Henry, aided by Mr. Salier and Mr. Fryer, accompanied by the piano and Mr. Russell's violin . . . Mr. Fryer, as base, took necessarily a somewhat prominent part [3] which he very creditably executed

[Advertisement], The Hobart Town Daily (1 June 1860), 3

Hobart Town Philharmonic Society.
MEMBERS are requested to observe that the night of Meeting is changed to FRIDAY,
and are specially invited to be present at Seven o'clock punctually.
J. R. FRYER, Hon. Sec.

[Advertisement], The Cornwall Chronicle (7 July 1860), 2

MECHANICS' HALL . . . CONCERT . . . In aid of the Fund for the LARGE ORGAN . . . JULY 11TH, 1860 . . .
Mr. FRYER, of the Hobart Town Glee Club . . .

"THE CONCERT", Launceston Examiner (31 July 1860), 3

The grand concert in aid of the Organ Fund of the Mechanics' Institute took place last evening in the People's Hall . . . The musical arrangements had been confided to Mr. Robert Sharpe, who acted as conductor . . . The introduction and chorus from Van Bree's "St. Cecilia's Day" . . . was succeeded by Callcott's song "Friend of the Brave," rendered with considerable musical taste by Mr. Fryer . . . Then came Calcott's telling song "The Last Man," which was effectively given by Mr. Fryer, and elicited a loud encore. Mr. Fryer then sung "The Slave Chase," which was much applauded . . .

"TOWN TALK AND TABLE CHAT", The Cornwall Chronicle (1 August 1860), 4

The grand vocal and instrumental concert in aid of the organ fund, so long and anxiously looked forward to was given in the Mechanic's Institute on Monday evening . . . The idea of giving a concert for this purpose originated with Mr. Robert Sharpe, the conductor . . . The Concert commenced with Rossini's overture "Italiana in Algeria," which was very well played (with the exception of a slight discordance in the wind instruments) by an orchestra of about sixteen performers. This was followed by the introduction and chorus from "Cecilia's Day" by Van Bree . . . Next followed "Friend of the Brave" by Calcott, which was sung by Mr. Fryer with very good taste, followed by Mozart's Quartette in G minor for pianoforte, Violin, Viola and Violoncello, to which was added the flute accompaniment . . .

"DEATHS", The Mercury (20 February 1897), 2s

FRYER. - Entered into rest on February 5, 1897, James Robertson Fryer, in the 72nd year of his age.


Non-appearing vocalist, ? shoemaker

? Arrived Hobart Town, VDL (TAS), 27 June 1833 (free per Strathfieldsay, from Dublin, 5 March, with wife and 2 children)
? Died, NSW, 1849, aged "56" (shareable link to this entry) (shareable link to this entry)


A Robert Fullam (Fulham), a shoemaker, from Dublin, and his wife Jane, and two children, arrived in Hobart Town by the Strathfieldsay on 27 June 1833.

The couple appeared at least once before the Hobart bench for being drunk and disorderly.

Robert having predeceased her (described as "late of Sydney"), Jane died in Melbourne in 1873.

In 1854, their daughter, Charlotte (1843-1905), married Leopold Collin.

Fulham's billing, "of the Theatre Royal, Dublin, was perhaps intended to suggest some connection with the veteran Dublin actor and vocalist Michael Fullam (1758-1826).


Arrivals; Tasmanian names index; NAME_INDEXES:423107 and -8; CUS30/1/1 P239 

[News], The Hobart Town Chronicle (2 July 1833), 2 

List of tradesmen by the Strathfieldsay: - . . . Shoemakers - William Fulton, J. O'brien, Robert Fullam, Thomas Kendrick, William Tallon . . .

[News], The Tasmanian (26 July 1833), 5 

We understand that the Concert on Monday next, is expected to be one of the very best ever offered in these Colonies. The bill of fare portends something good, and the entertainment will, no doubt, be satisfactory. The Lion of the day, is, of course, Mr. Peck, of whom we have heard much, although we have never yet witnessed his performance. Messrs. Reichenberg, Russell, Peck, and Fulham, of the Theatre Royal, Dublin, (as the bill states) will, no doubt, each shine in his proper sphere . . .

[Advertisement], The Hobart Town Courier (26 July 1833), 3

MR. DEANE AND MRS. DAVIS'S FOURTH CONCERT, Assisted by MESSRS. REICHENBERG, RUSSELL, PECK, AND FULHAM, (Late of the Theatre Royal Dublin), WILL take place on Monday evening next, July the 29th, at the Court house, Hobart town.

Part First.
Overture, "Tancredi," - Rossini.
Glee, "Chorus of Huntsmen in Der Freischutz," Weber.
Cavatina, "Una Voce poco fa," - Mrs. Davis - Rossini.
Solo - piano forte, "Fall of Paris, with variations," - Miss Deane - Moschelles.
Song, "He was famed for deeds of arms," - Mr. Fulham - Corri.
Solo. - Violin, in which will be introduced some of the peculiaritie of that Celebrated performer Paganini - Mr. Peck - C. De Beriot.
Duett, "My pretty page," - Mrs. Henson and Master Deane - R. H. Bishop [sic].
Song, "Alice Gray," - Miss Barron, a pupil of Mrs. Davis's, only 10 years of age - Hodson.
Glee, "Hark! Apollo strikes the Lyre," - H. R. Bishop.
Part Second . . .

MUSIC: He was famed for deeds of arms (Domenico Corri)

"The Fourth Concert of Mr. Deane and Mrs. Davis . . .", Colonial Times (30 July 1833), 2 

. . . The audience was disappointed that Mr. Fulham did not appear. Every body was enquiring after Mr. Fulham - who and what was he? so that when Mr. Deane stepped forward and said, that Mr. Fulham was indisposed, it put us in mind of the old story, so often told, of Mrs. Dickon's coach breaking down. Mrs. Davis kindly volunteered to sing Mr. Fulham's song, "He was famed for deeds of arms," and we think it was her best performance . . .

"The Concert at the Court House . . .", The Tasmanian (2 August 1833), 6 

. . . Mr. Fulham, "of the Theatre Royal, Dublin," did not appear according to announcement: he was ill, we learnt, from a bad cold; and we regretted his absence, as we were led to expect great amusement from his abilities . . .

[News], The Colonist and Van Diemen's Land Commercial and Agricultural Advertiser (29 October 1833), 2 

The sign board of a humble Crispin residing in Melville-street, presents the following ludicrous inscription: - "R. FULHAM, fancy shoemaker to Her Excellency!" What next?

"DEATHS", The Argus (4 December 1873), 1 

FULLAM. - On the 13th ult., at her daughter's residence, Mrs. L. Colliee [sic, Collin], 2 Holyrood villas, Simpson-street East Melbourne, Jane Rosanna Fullam, wife of the late Robert Fullam, Dublin. Home papers please copy.

"MARRIAGES", Bendigo Advertiser (23 January 1878), 3 

On the 19th August, 1854 [sic], at the Presbyterian Church, Collins-street, Melbourne, by the late Rev. Irving Hetherington, also by the Rev. Dean Slattery, of Warrnambool, Herr Leopold Collin, Professor of Music, to Charlotte Theresa Fullam, daughter of the late Robert Fullam, Sydney.

References (on Michael Fullam):

"LEAVES FROM THE PORTFOLIO OF A MANAGER", The Melbourne Daily News (13 September 1851), 4 

. . . When I first came to Dublin, under the management of Mr. William Abbott, in 1824, Fullam had declined deep in the value of years. He must have been nearly, if not quite, eighty . . .


Musical instrument maker, convict

Born Dublin, 1808; ? baptised St. Andrew (RC), Dublin, 1808, son of William and Catherine FULLARD
Arrived Sydney, NSW, 3 August 1833 (per Waterloo, from England, 11 March)
Married Catherine BARRY, Sydney, NSW, 1836
Active Parramatta, NSW, by 1844 (TROVE tagged by Australharmony) (shareable link to this entry)


Fullard, a 25-year-old musical instrument maker from Dublin, was convicted in the Nottingham Assizes on 10 March 1832 for stealing from his employer, and sentenced to 14 years. He arrived in Sydney on the Waterloo on 3 August 1833, and in 1837 was assigned to the music seller Francis Ellard, also from Dublin.

Fullard was awarded a ticket-of-leave in 1838, but was brought before the police again in Parramatta in 1844 for reselling a cornopean that he had been engaged to repair by James Shannaghan, master of the Band of the 58th Regiment.

His ticket (issued at Maitland) was cancelled in March 1845, "for flagrant dishonesty". Nevertheless, he received his certificate of freedom, on time, in March 1846.

He was last documented at Maitland in 1847, as a piano tuner who sold a flute to, and allegedly stole a watch from, one Robert Oram.


[News], Nottingham Review and General Advertiser for the Midland Counties [England] (4 May 1832), 3

. . . The prisoners capitally convicted at the last assizes for this town, have had the judgment of death against them commuted as follows: Joseph Healey, for stealing a horse out of Lincolnshire, fourteen years' transportation . . .
James Henry Fullard, for stealing some money, musical instruments, and tools, the property of Mr. Garland, the same . . .

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

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

"WATCHES WERE MADE TO GO!", The Star and Working Man's Guardian (28 December 1844), 2 

It is a singular fact that Walton's (the bellman) watch, for making away with which, is one of the charges on which Fullard is Committed for trial, was some time since stolen from him, and a man sentenced, last Quarter Sessions, to three years in irons for the theft.

"PARRAMATTA. POLICE OFFICE", The Australian (28 December 1844), 3

A case of embezzlement, which has occupied the Court off and on for the last fortnight was brought to a close by a committal. Although the evidence is long, the gist of the matter lies in a very small compass. A man named Fullerd (a ticket-of-leave holder for this district, and, who was by trade a musical instrument maker, but not disdaining to turn his hand to anything in watches,) had received from one person a gold watch to regulate; from one of the 58th's Band a cornopean to take a dirge out of; from a second man of the same corps a silver watch to put to rights; and from a fourth person, (a music master), a flute to put some stops on. The watches he made "to go" - the gold one to the room of a Sydney auctioneer, and the silver one to a similar receiving depot in Parramatta, where also the flute was "stopped;" the cornopean being still not forthcoming; whilst the three other articles were produced by their respective baillees, who candidly confessed that they had bought them from the prisoner with the understanding that he was to purchase them back at a certain time, with certain considerations, to the price given. These considerations appear to vary materially in the latitudes of Sydney and Parramatta; in the former the consideration for £1 10s. for a month is 3s., whilst in the latter it is 3s. 6d. for £1 for the same period. The prisoner said nothing in his defence.

"Parramatta. WATCHES WERE MADE TO GO!", The Star and Working Man's Guardian (28 December 1844), 2 

It is a singular fact that Walton's (the bellman) watch, for making away with which, is one of the charges on which Fullard is Committed for trial, was some time since stolen from him, and a man sentenced, last Quarter Sessions, to three years in irons for the theft.

"PARRAMATTA. POLICE OFFICE, 26th DEC., 1844", The Australian (13 February 1845), 4

A case of embezzlement, which has occupied the Court off and on for the last fortnight was brought to a close by a committal. Although the evidence is long, the gist of the matter lies in a very small compass. A man named Fullerd (a ticket-of-leave holder for this district, and, who was by trade a musical instrument maker, but not disdaining to turn his hand to anything in watches,) had received from one person a gold watch to regulate; from one of the 58th's Band a cornopean to take a dirge out of; from a second man of the same corps a silver watch to put to rights; and from a fourth person, (a music master), a flute to put some stops on. The watches he made "to go" - the gold one to the room of a Sydney auctioneer, and the silver one to a similar receiving depot in Parramatta, where also the flute was "stopped;" the cornopean being still not forthcoming; whilst the three other articles were produced by their respective baillees, who candidly confessed that they had bought them from the prisoner with the understanding that he was to purchase them back at a certain time, with certain considerations, to the price given. These considerations appear to vary materially in the latitudes of Sydney and Parramatta; in the former the consideration for £1 10s. for a month is 3s., whilst in the latter it is 3s. 6d. for £1 for the same period. The prisoner said nothing in his defence."

"Police Intelligence. SATURDAY. Night Auctioneering alias Pawnbrokeing", Parramatta Chronicle and Cumberland General Advertiser (28 December 1844), 2 

James H. Fullard, the investigation of whose abilities in the transmutation of watches into current coin was remanded from Thursday until to day, in order to procure the attendance from Sydney of some witnesses, was further gone into. Previous to any evidence being entered on Mr. Carrington besought the permission of the Bench to allow him to appear for the prisoner, who, being a ticket-of-leave holder, could only avail himself of his (Mr. C's) services by their favour. The request was at once accceded.
Mr. F. Rich deposed: I am clerk to Mr. Heydon, the auctioneer of King-street, Sydney; Fullard brought a gold watch, since sworn by Walton, the bell-man, as his property, on the 6th of the month, to me, and told me he wanted an advance upon it, in order to procure articles for his trade; I advanced him £1 13s.; the receipt produced (procured by Walton from the prisoner's wife) is for £1 16s., the three shillings being for commission; the watch, by the receipt, was not to be sold until the 3rd of January; It is now in Mr. Heydon's possession; on the day after the advance had been got Fullard came back, and I heard him tell Mr. Heydon he did not wish the watch sold, and that he would take it back again; but he wanted a further advance, and I perceive by the receipt, that Mr. Heydon gave him 3s. more.
Cross examined by Mr. Carrington: during which the Bench had more than once to put the curb and snaffle on the hard driving the learned counsel was bestowing on his witness, and finally to intimate that there was an "outside" to the Court House, where he might presently find himself, if his impetuosity was not confined within Court-like bounds. The substance of the cross-examination, was that neither Heydon or the witness were licensed pawnbrokers; that the watch was left for sale, and that such sale was not to be made for four weeks; that witness was subpoened to produce the watch, but as it had been left with Heydon, it was impossible for him to do so, it not being in his (the witness') possession; Heydon, who did not wish him to bring the watch, told him the value of the article was about three guineas. About a quarter of an hour was spent in the endeavouring to prove that the 3s. was interest, but the witness stuck to the text that it was merely "commission."
James Shanaghan examined: I am Bandmaster to the 58th Regiment; about the 10th of November I gave Fullard a cornopean to take dinge out of it; I mentioned that I wanted to sell it, and that if anybody should desire to purchase it, to refer them to me; a few days afterwards he came to me and got the case and mouth-piece belonging to the instrument, as he stated some person wanted to buy it. A little time after this he told me he had not removed the dinge, as the person who had offered to purchase it was satisfied with it as it was; I went to the prisoner's shop to see the purchaser, but neither he nor the prisoner were there, and I have not seen the latter since, until to-day; the cornopean was then complete in his shop; on hearing that he had gone to Sydney, I went and enquired about the instrument, and was told by his wife that it had been left at Mr. Smith's; but Mr. S. told me he knew nothing about it; a boy, however, said it had been there a few days, but was taken away by Fullard when he went to Sydney; last Thursday, Mr. Cohen, of George-street, Sydney, admitted to me that he had purchased an instrument answering in description the one in question, for 50s., but that he had subsequently sold it to a perfect stranger; the real value is about six guineas, and which price I told him to mention to any one who might enquire about it; it is the property of Ensign Maine, of the 58th, and I never authorised Fullard to sell it or to procure an advance on it. Mr. Cohen not being in attendance, the case was again remanded until Tuesday.

"NEWS FROM THE INTERIOR. (From our various Correspondent.) PARRAMATTA . . . CHARGE OF FELONY", The Sydney Morning Herald (12 February 1845), 3 

Mr. Edward Daniel Cohen, Jeweller, of George-street, Sydney, was on Monday morning brought before the Police Bench, charged with having unlawfully in his possession a cornupeion, he knowing the same to have been unlawfully converted by one James Henry Fullard.
George Macarthur, Esq., deposed to having purchased the cornupeion produced, of Cohen, for six pounds ten shillings. Mr. Gore was in witness's company, and called his attention to the maker's name, which was the same as that of the maker of an instrument stolen from Lieutenant Mayne, of the 50th [recte 58th]. Witness asked Cohen if the instrument was the same, or could by any possibility be the same, when he said it was not, and seemed very anxious to remove a dinge in the instrument. Mr. S. John Gore, corroborated the above evidence.
James Shanaghan, bandmaster, of the 58th Regt., had given the instrument produced to Fullard to repair, about the middle of October last; he could not get it back from him, and at last, Fullard told him he had sold it for thirty shillings to Mr. Cohen. Witness then went to Sydney, and took a constable of the police with him to Cohen's shop, on the 19th of December, when prisoner acknowledged to having purchased the instrument for fifty shillings; but said, he could not give it up as he had sold it to a person who was a stranger to him, and that he could not be at the trouble of looking after persons who bought goods of him. Witness told Fullard that the instrument was for sale; that the price was six guineas; and if any body wanted to purchase it, to refer them, to him; but he never in the most distant manner authorised Fullard to sell the instrument.
Lieutenant Mayne, of the 58th Regiment, deposed to having given the instrument to the bandmaster to get it repaired.
James Henry Fullard deposed to having received the instrument from the Band Master to repair, and to having sold it shortly afterwards to the prisoner for 50s. Cohen asked no questions about it when he purchased it; he had known me for some years previously.
This closed the evidence, and the prisoner was fully committed to take his trial; but allowed bail, himself in £100, and two sureties in £50 each.

"TICKETS-OF-LEAVE CANCELLED", The Sydney Morning Herald (3 March 1845), 4

The following prisoners of the Crown have had their tickets-of-leave cancelled for the reasons stated against their respective names . . .
Maitland Bench. James Henry Fullard, per Waterloo, for flagrant dishonesty . . .

"LAW INTELLIGENCE. WEDNESDAY. . . . MISDEMEANOR", The Sydney Morning Herald (10 April 1845), 2

Edward Daniel Cohen appeared on the floor of the Court to take his trial, an information having been filed against him for that he, on the 29th January, 1845 -
"unlawfully did receive and have one cornopean of the value of £6 sterling, and one horn of the value of £6 sterling, and one cornopean case of the value of £1 sterling, the property, goods, and chattels of one Robert Main, then lately before unlawfully obtained, and converted by false pretences, from one James Flannaghan. he, the said Edward Daniel Cohen, then and there well knowing the said property, goods, and chattels to have been so unlawfully obtained and converted;" a second count described the, cornopean and case as -
"then lately before entrusted to one James Henry Fullurd, as agent for a special purpose, (to wit,) for the purpose of being repaired, and then exposed to view and inspected by the public, without any authority, either special, general, or discretionary, to sell or to pledge the same, and embezzled and converted by the said James Henry Fullard unlawfully, did receive and have, he, the said Edward Daniel Cohen, then and there well knowing the property, goods, and chattels last aforesaid, of the value aforesaid, to have been so embezzled and converted."
The defendant having pleaded not guilty, The SOLICITOR-GENERAL briefly stated the case, and then called James Flannaghan, band-master of H.M. 58th Regiment, who deposed to the effect, that he had received the cornopean in question from Mr. Main for the purpose of selling; that there was a dint in it, and that he gave it to Fullard, who was a musical instrument maker, and was frequently employed by him, to take the dint out, telling him at the same time that the instrument was for sale, and if he heard of a purchaser to refer to him, and that the lowest price would be six guineas; Fullard at first had the instrument only, but some days afterwards told witness that he had met with a customer, and asked for the case, in order that he might show the whole. Witness afterwards saw the instrument, case and all, at Fullard's shop; he asked Fullard why he had not taken the dint out, and Fullard said that the young man (he believed he said that he was called Gates,) was satisfied with it as it was; witness asked Fullard subsequently whether the young man had made up his mind about it. One day, shortly afterwards, having occasion to go to Fullard's, he found his shop shut up, and his wife said that he had gone to Sydney. The cornopean was now missed, and Fullard was apprehended; in consequence of information received, he, Flannaghan, came to Sydney, and went to Mr. Cohen's shop; the constable enquired if Mr. Cohen had purchased a cornopean from Fullard; Mr. Cohen said he had; the constable said, Mr. Cohen you will have to give it up; Mr. Cohen first replied, "I wont," or "I shan't," and then said that he could not, for he had sold it; the constable said he must say whom he had sold it to; and Mr. Cohen said that he could not, as the young man to whom he had sold it was a perfect stranger to him; witness said to Mr. Cohen "you know that if the instrument had been Fullard's he would not have sold it to you for 30s." Cohen replied "he did not, I gave him 50s. for it." Subsequently witness heard that Mr. George Macarthur had purchased a cornopean, and he went to see it, and found it was the instrument now produced, which, together with the case, were the property of Mr. Main.
Mr. WINDEYER appeared for the defence. The evidence of the witness was not varied by cross-examination.
Mr. G. F. Macarthur, residing at Parramatta, deposed, that on the 29th January he went into Cohen's shop, and on the counter he saw two cornopeans, the one produced and another; he had gone into the shop for another purpose, but having been looking for such an article he made up his mind to purchase it; before doing so, however, in consequence of something said to him by Mr. Gore, who was with him, he questioned Cohen with respect to the cornopean, and referred to the report which had appeared relating to that which had been stolen from Mr. Main, and asked Cohen whether by any possibility this instrument could be the same one that was stolen; Cohen said that it was impossible that it could; he give Cohen a watch, which Cohen valued £5 10s, and ten shillings in silver; the price Cohen asked was £6 10s. When the witness Flannaghan came to him, he immediately went to the Police Magistrate and informed him of the circumstances. Cohen gave him a bill and receipt. He told Cohen his name, in order that the bill might be made out - but it was incorrectly spelt in the bill. Mr. Gore corroborated this evidence.

James Henry Fullard, prisoner of the Crown, under sentence at Cockatoo Island, was next placed in the witness-box: he deposed that he had received the cornopean from Flannaghan, and subsequently the case - (the instrument and case now produced), and had subsequently sold them to Mr. Cohen for 50s.; witness had asked a higher price for it; he believed he did tell Mr. Cohen something about having sold the instrument for £4, and not being able to get the money, and that was the reason why he wanted to sell it again; he had known Mr. Cohen eight or nine years; when he first knew him, witness was himself assigned servant to Mr. Ellard, musical instrument seller; Mr. Cohen knew that he was a musical instrument maker, and that he kept a shop in Parramatta.

The case for the Crown being closed.
Mr. WINDEYER submitted that no case had been made out to go to the Jury.
The SOLICITOR-GUNKUAL said, that he was aware that the first count was not borne out by the evidence, and he should not press it.
Mr. WINDEYER, objected at some length that no such agency had been made out as was contemplated by the statute.
The SOLICITOR-GENERAL having replied, His HONOR decided with Mr. Windeyer, and directed the Jury to return a verdict of acquittal.
The defendant was accordingly acquitted and discharged.

[Advertisement], The Sydney Morning Herald (11 April 1845), 1

[ADVERTISEMENT.] To the Editors of the Sydney Morning Herald. GENTLEMEN, - My friends and the public will have learned from your columns of this day's date, that, on Wednesday last, I appeared at the Supreme Court to take my trial for a misdemeanour . . .
Now I confidently appeal to my numerous friends, and to the public of New South Wales, to whom I am under so many deep obligations, whether my conduct, during the many years I have been before them, ought not of itself to have been carefully weighed against the very remote suspicion attached to my fair and open purchase of the cornopean which Mr. Main was so desirous to sell?
I have no further comments to offer. The case is fairly before the public, and I confidently throw myself upon the result of their severest scrutiny. The evidence, as reported in your journal, is the criterion by which I would have my case judged, and (with the exception of Mr. Flanaghan's making me indulge in a few imaginary expletives, as "I won t," and "I shan't," and " I couldn't",) I have no hesitation in respectfully appealing to that evidence as a full and unqualified refutation of the stain attempted to be thrown upon my character.
I am, Gentlemen, Your obedient servant, EDWARD DANIEL COHEN. George-street, Sydney, April 10.

Butts of certificates of freedom, March, 1846; State Records Authority of NSW (PAYWALL)

CERTIFCATE OF FREEDOM / No. 46/266 / Date: 10 March 1846 / Prisoner's No: 33/1538 / Name: James Henry Fullard /
Ship: Waterloo 3 / Master: Daw / Year: 1833 / Native Place: City of Dublin / Trade or Calling: Musical Instrument Maker /
Offence: Robbing employer / Place of Trial: Nottingham Assizes / Date of Trial: 10 March 1832 / Sentence: 14 years /
Year of Birth: 1808 / Height: 5 feet 7 1/4 inches / Complexion: Fair and pock pitted / Hair: Light brown / Eyes: Grey /
General Remarks: Blind of Right eye, lost two front teeth lower jaw, [? scar] ball of left thumb, another back of forefinger of left hand

[Advertisement], The Maitland Mercury (21 November 1846), 1

"A HINT TO THE MAITLAND POLICE", Bell's Life in Sydney (16 January 1847), 2

It may be in the recollection of our readers that a watch was lately stolen from the public-house of Mr. Oram, known as the Settler's Arms, Castlereagh-street, on the night of the 20th ult. by a lodger, whose name and occupation were not specified in the paragraph alluded to. At the request of the owner of the watch, and for the information of the Maitland Police, we beg to subjoin a detailed report of the occurrence. On Monday the 28th December, a man of gentlemanly exterior and address, named Fullard, a piano-forte tuner by profession, and a resident of Maitland, put up at the "Settler's Arms." He paid for all he had the first night, and requested to be shown a bed-room. In this he was accomodated, and there he slept, the landlord nothing doubting his ability or inclination to pay for all he so magnificently ordered. He remained there on the following day and night, "issuing his sublime commands," much in the air of a German Prince, and being served accordingly. On the following day he offered Mr. Oram, who is an expert musician, a flute, an elegant one of ebony, mounted with silver, and keys of the same metal, for sale, deficient only in the loss of the penultimate joint: this he said he had left with a musical-instrument maker, to have the key adjusted. Mr. Oram consented to be the purchaser, provided he supplied the missing joint, without which the instrument was, of course, perfectly useless. Having gone out for that purpose, he never returned; and it is supposed that he has found his way back to Maitland, where we hope the conservatives of the peace will have a sharp look out for him. He has a "pearl" in his eye - one of great price no doubt, and cannot easily escape detection, if he is the real thief. - However, the watch, which hung upon the mantle piece, disappeared with the ---- C operator, Mr. Fullard, and the owner is particularly anxious to know the "time o'day" by his own time-keeper - verbum sat.

Bibliography and resources:

James Henry Fullerd . . . transported on the Waterloo, 11 March 1833; Convict Records 

FULLER, Alfred (Alfred FULLER)

Organ builder, brewer

Born Kelvedon, near Colchester, England, 2 October 1845; son of John FULLER and Julia RAVEN
Arrived Melbourne, VIC, 27 May 1871 (per Oxford, from London, 8 February)
Married Josephine RICHARDSON (d. 1903), St. Kilda, VIC, 3 August 1874
Died Moonee Ponds, VIC, 10 June 1923, in his 78th year (TROVE tagged by Australharmony) (shareable link to this entry)


"VICTORIA. XI. MUSICAL INSTRUMENTS", The Argus (23 December 1880), 58s

[Advertisement], The Argus (2 April 1881), 12

"NEW CHURCH ORGAN", Bendigo Advertiser (8 November 1882), 3

"ST. PAUL'S CHURCH ORGAN", Bendigo Advertiser (23 April 1883), 2

"SUMMARY OF EVENTS", Illustrated Australian News (8 November 1884), 162

"DESCRIPTION OF THE ORGAN", Oakleigh Leader (18 March 1893), 4

[Advertisement], The West Australian (24 May 1897), 1

"WILLS AND BEQUESTS", The Argus (20 June 1903), 14

"DEATHS", The Argus (11 June 1923), 1 

FULLER. - On the 10th June, at private hospital, Moonee Ponds, Alfred, loving husband of the late Josephine Fuller, beloved father of Florence, Alfred, Harold, and Ernest, of 47 Eglin-ton street, Moonee Ponds. At rest.

Bibliography and resources:

Graeme Rushworth, "Alfred Fuller, Melbourne 19th century organ builder - his life and work", a paper delivered at the O.H.T.A. 5th Annual Conference, Melbourne, 28 August, 1982

FUNK, William (Friedrich Wilhelm FUNK; Wilhelm FUNK; William FUNK; Herr FUNK; mr. FUNK)

Clarinet (clarionet) and violin player, violinist, clarinettist, farmer

Born Hanover, Germany, 5 December 1824 (date on gravestone)
Arrived Melbourne, VIC, 15 January 1855 (per Undine, from Hamburg, 12 September 1854, "Wilh. Funk / 32")
Married Wilhelmina LEMKE (1835-1895), ? Hochkirch (Tarrington), VIC, by 1860
Died Jindera, NSW, 17 May 1887 (TROVE tagged by Australharmony) (shareable link to this entry)


Passenger list, Undine, from Hamburg, arrived Melbourne, 15 January 1855; Public Record Office of Victoria (PAYWALL)

. . . Wilh. Funk [single male] 32 . . .

"STEALING A VIOLIN", The Age (13 February 1855), 5 

At the City Police Court, yesterday, F. W. Funk, a German, was charged by another German with the above offence. The prisoner's solicitor stated that the prisoner, in company with some others of his countrymen, left Germany with a number of musical instruments, for the purpose of organising themselves as a band in Melbourne, and the prisoner on arrival finding that he lie could do better by pursuing his profession on his own account, quitted his companions, taking with him the instrument on which he performed. He had offered to pay double the sum of its cost. The case was remanded till to-morrow.

[Advertisement], The Argus (15 February 1855), 8 

CRITERION PROMENADE CONCERTS, Conductor, Mr. George Chapman, who will perform Solos on the Cornopean and Flageolet nightly.
CRITERION HALL. - Herr Funk, first appearance at the Grand Promenade Concerts, Saturday next, 17th inst.

[Advertisement], The Argus (17 February 1855), 8 

CRITERION HALL.-Grand Promenade Concerts, under the direction of Mr. George Chapman.
Admission - One Shilling.
Overture - Italiana
Quadrille - Hibernian - (Jullien)
Song - The Wishing Gate - Miss Bourne
Solo - Clarionette - Herr Funk
Song - Bonnie Dundee - Miss Graham
Valse - D'Amour - Cornet Obligato by Mr. George Chapman
Song - My Pretty Jane - Mr. Geo. Clifford
Polka - Mont Blanc, with all the original echoes - (Jullien)
Part 2nd.
Quadrille - The Exhibition - (Jullien)
Song - The Miller's Son - Miss Bourne
Solo - Flageolet (by desire) - Mr. G. Chapman
Song - The Death of Nelson - Mr. Geo. Clifford - With full band accompaniment.
Polka - The Eclipse - (Herr Koenig)
Song - When I left my Native Vallies - Miss Graham
Duet - Miss Bourne, Mr. George Clifford
Galop - Spirit of the Ball
God save the Queen . . .

[Advertisement], The Argus (19 February 1855), 8

CRITERION HALL. - Immense Attraction -
To-night, and every evening during the week, Grand Promenade Concerts a la Jullien,
in the spacious and magnificent hall of the Criterion Hotel. An entire change of performance.
One shilling. Admission, one shilling.
Miss Graham, in her admired Scotch ballads; Miss Bourne, the well-known and favorite songstress;
Mr. Geo. Clifford, the unrivalled tenor of the colony;
Herr Funk, the unsurpassed performer on the clarionet, will execute one of his elaborate solos every evening during the week.
Together with Chapman's unrivalled band; comprising all the acknowledged available talent in the colony.
Miss Graham, Miss Bourne, Mr. Clifford, Mr. Chapman,
Herr Funk, Mr. Weston, Mr. Reed, Mr. Mather,
Mr. Weis, Mr. Thorn, Mr. Sims, Mr. Ellis, Herr Keillor, Mons. J. H. Krom . . .

ASSOCIATIONS: George Chapman (cornet player, band leader); George Clifford (vocalist); Thomas Reed (violinist); John Herman Krom (pianist, concertina player)

[Advertisement], The Argus (22 February 1855), 8 

SALLE DE VALENTINO! Fashionable Evening! By desire! Grand Concert and Ball!
Monsieur Fleury, with the assistance of his talented Band, including the celebrated Herr Funk, will this evening have the honor of executing some of the choicest pieces from the old masters.
Concert to commence at 8: Dancing at 9. Doors open at half-past Seven. Admission, 2s. 6d.

[Advertisement], The Argus (16 April 1855), 8

SALLE DE VALENTINO, To Night (Monday evening), and every evening during the week.
Grand Promenade Instrumental Concert and Ball.
Solo Clarionet, Herr Funk.
Solo Cornet-a-Piston, Mons. Sabalestrier [sic, Labalestrier]
Mons. Fleury, Leader and Conductor.
Admission, One Shilling.
C. A. FRY, Proprietor.

ASSOCIATIONS: Charles Alfred Fry (proprietor); Achille Fleury (violinist, band leader); Albert Labalestrier (cornet player)

"OBSCENE LANGUAGE", The Star [Ballarat, VIC] (17 April 1860), 4 

Frederick Funk was charged with using obscene language in a public place. He was fined 5s.

"EASTERN POLICE COURT. Monday, 14th July . . . CAUSE LIST", The Star [Ballarat, VIC] (15 May 1860), 2 

Funke v. Paltzer, £3 10s, a week's wages as a musician at the "Charlie." Defendant said plaintiff had been engaged through him for Signor Bianchi, and the Signor had paid every one what was due to them. The plaintiff commenced work on a Saturday, and on the following Tuesday he was stupidly drunk - (laughter) - and put out of theatre by main force. Order for amount and costs.

ASSOCIATIONS: Jacques Paltzer (violinist, band leader); Eugenio Bianchi (vocalist)

"LAND SELECTIONS", The Albury Banner and Wodonga Express [Albury, NSW] (9 August 1873), 2 

The following selections were taken up at the Albury Land Office, on Thursday last: . . . William Funk, 100 acres, Jindera; John C. Schmidt, 40 acres, Jindera . . .

"FATAL ACCIDENT AT JINDERA", The Albury Banner and Wodonga Express (20 May 1887), 20 

We regret to learn that Mr. Funk, a well-known and highly respected farmer residing at Jindera, died on Wednesday last from the result of an accident. He was, It appears, about commencing to cut chaff with the usual horsepower attachment. Just as the machine was ready to begin, something occurred to start the horse, which went off suddenly at a rapid pace, and Mr. Funk, who was standing in the way, received a blow in the centre of the body of so severe a character as to cause death on the following day. The funeral took place yesterday at Jindera, and was numerously attended.

Bibliography and resources:

"J. F. Wilhelm Funk", Find a grave 

FURLEY, James (James Lettall FURLEY; James FURLEY)

Organist, choirmaster, pianist, composer, arranger (pupil of H. J. Gauntlett and Anthony Le Jeune)

Born Finsbury, England, 3 February 1832; baptised St. Leonard's, Shoreditch, 18 March 1832 ; son of Philip Charles FURLEY (d. Sydney, NSW, 1864) and Sophia ?
Married Eleanor WEBB (c. 1838-1917), London, England, 1855
Arrived Sydney, NSW, 13 April 1860 (per Dirigo from Liverpool)
Died Cronulla, Sydney, NSW, 27 October 1912, "aged 81" (TROVE tagged by Australharmony) (shareable link to this entry)


Baptisms solemnized in the Parish of St. Leonard's Shoreditch in the County of Middlesex in the Year 1832; register, 1831-32, page 155; London Metropolitan Archives (PAYWALL)

No. 1235 / James / [son of] Philip Charles and Sophia / Furley / Long Alley / Gold Beater / [born] 3 Feby. 1832

[Advertisement], The Sydney Morning Herald (16 April 1860), 2 

IMMIGRANTS PER DIRIGO. - The undermentioned persons having arrived per ship DIRIGO, in pursuance of deposits made under the immigration remittance regulations, will be prepared to join their friends . . . the families and single men from on board the ship after inspection by the Immigration Board - at one o'clock, on TUESDAY, 17th April: -
NAME. COUNTY. . . . Furley (or Turley) James, Eleanor, James - MIDDLESEX . . .

[Advertisement], The Sydney Morning Herald (31 May 1860), 1

CHORISTERS. - Wanted Alto, Tenor, and Bass Voices, tor the Choir of St James's Church. Apply by letter to Mr. JAMES FURLEY, organist and choir master, care of Mr. Beaver, St. James's Church.

[Advertisement], The Sydney Morning Herald (27 September 1860), 1 

MR. JAMES FURLEY, Organist and Choir Master of St. James' Church, begs to announce that he is prepared to give LESSONS upon the Pianoforte, Organ, and Composition.
For terms, apply Park Cottage, South Head Road.

[Advertisement], The Sydney Morning Herald (17 December 1860), 1

The FOURTH SUBSCRIPTION CONCERT of the Season will be held in the Temperance Hall, THIS (MONDAY) EVENING.
PROGRAMME. PART I. Christmas Hymn - (First time in Sydney) "Star of the East"- J. Furley, Organist of St. James . . .
Accompanyist - Mr. CHARLES PACKER. Conductor - Mr. CHARLES CHIZLETT . . .

ASSOCIATIONS: Charles Chizlett

[Advertisement], The Sydney Morning Herald (12 June 1861), 1

MR. JAMES FURLEY, Organist, and Director of the Choir of St. James' Church, begs to announce that he has a few
VACANCIES for pupils for the Pianoforte, Harmonium, and Thorough Bass, and attends the following localities -
Paddington, Surry Hills, Redfern, on Mondays, Tuesdays, Thursdays, and Saturdays; Sydney, Tuesdays, Wednesdays, Fridays, and Saturdays.
Hyde Park Cottage, South Head Road, near Lyons-terrace.

"ORDINATION At ST. ANDREW'S", Sydney Mail (15 June 1861), 1 

On Tuesday, being St. Barnabas' Day, the Bishop of Sydney held an Ordination in St. Andrew's temporary cathedral. A very large congregation assembled on the occasion, the church being nearly full before the commencement of the service . . . The full cathedral service was not performed; several of the psalms and hymns in the office for Morning Prayer were, however, chaunted in an effective and highly creditable manner by the choir of St. James's, under the direction of Mr. Furley, the organist of that church . . .

"UNION CONCERT", The Australian Home Companion and Band of Hope Journal (24 August 1861), 371 

A concert was given on Tuesday night at the St. James' Schoolroom, Castlereagh-street, by the various branches of Chizlett's Singing Class, together with the members of the People's Vocal Music Association. The choir, on the occasion, numbered over a hundred voices. Mr. Chizlett was the conductor, and Mr. Furley, organist of St. James', accompanied the selections on the pianoforte with considerable skill, materially aiding the effect. The first part of the concert consisted of choice pieces from some of the best composers of sacred music, and the second part of secular music, consisting of the most standard of our old English glee, madrigal, and part music. The room was crowded in all parts, and the different classes executed the music selected with great skill.

[Advertisement], The Sydney Morning Herald (26 August 1861), 1

"VISITATION OF THE BISHOP OF SYDNEY", Sydney Mail (22 February 1862), 4 

The Bishop of Sydney held a visitation in St. Andrew's church on Wednesday morning. The clergy residing in the counties of Camden and Cumberland had been summoned, and attended in considerable numbers . . . Mr. J. Furley officiated as organist at the service, assisted by a portion of the choir of St. James' Church.

[Advertisement], The Sydney Morning Herald (29 March 1862), 12

. . . In the Press . . . A "Nunc Dimittis," by Mr. James Furley, organist and choir master, St. James' Church, Sydney . . .
J. R. CLARKE, music publisher, 356, George-street.

"MUSIC", The Sydney Morning Herald (28 April 1862), 4

A musical composition, composed expressly for the choir of St. James's Church, by Mr. James Furley, has been published by Mr. J. R. Clarke, of George-street. It is the "Nunc Dimittis" from an evening cathedral service, arranged for four voices, with an accompaniment for the organ or pianoforte.

[Advertisement], The Sydney Morning Herald (2 June 1863), 1 

ST. JAMES'S CHURCH CHOIR. - A Class, in connection with the above Choir, for the instruction and practice of Chope's Hymnal or Olden Church Music, Church Services, chanting, &c., meet at the Church on the evenings of TUESDAY, at 7; and FRIDAY, at half-past 8. Any lady or gentleman desirous of becoming members of the choir are invited to attend on the above evenings. JAMES FURLEY, organist and choir master.

"LECTURE ON HYMNOLOGY AND CHURCH MUSIC", Sydney Mail (25 March 1865), 4 

On Thursday, the Rev. G. H. Moreton delivered a lecture on "Hynmology and Church Music" to a crowded audience assembled in St. James's Schoolroom . . . The lecturer here referred more at length to the merits of a new hymn-book which has lately been introduced in the congregation attending St. James' Church, and he spoke with commendation and thankfulness of the organist and the members of the choir for the interest they had taken in the matter. The speaker then delivered some observations on part singing, and, in compliance with his request, the choir sang, with good effect, a verse of a hymn, first in unison, and then in harmony. He next noticed some of the leading characteristics of the music of the ancient Latin Church; and the choir, accompanied by the organist, sang verses of several hymns remarkable for their deep toned piety, intense earnestness, simplicity, and grandeur. He next adverted to the religious poetry of Germany, in which there was a degree of sturdy masculine force which corresponded well with the character of the people. The Latin hymns might be compared to the breath of the gentle evening zephyr; the German to the voice of a mighty wind, which almost astonished and startled us. The choir sang a verse of "Luther's hymn," and some selections from the "Lyra Germanica."

The lecturer then spoke of the hymn writers of the English Church, and he dwelt at considerable length on the old version of the Psalms arranged in the reign of Queen Elizabeth by Sternhold and Hopkins, and the new version arranged by Brady and Tait in the time of William of Orange. The poetry of the latter was, as a whole, most miserable, and a great deal of the theology was bad. The Saviour's name was never once mentioned, and, however appropriate the paraphrases might be in a Jewish congregation, they were altogether unsuited to the devotions of a Christian Church. They were associated in his mind with high-backed pews and a sleepy congregations; while the Psalms of the old version suggested an idea of low benches where you saw devout and prayerful worshippers. The names of Ken, Toplady, Heber, Newton, and Cowper (the joint authors of the Olney Hymns), and of Keeble were mentioned as hymn-writers of acknowledged ability, and Toplady's "Rock of Ages" was rendered by the choir. He regarded Dr. Watts as the chief of Nonconformist hymn writers. There was much that was beautiful, much of real poetry in his productions; some of his hymns would last as long as time, but there were many not worth retaining. The choir sang "When I survey the wondrous Cross," as an example of one of his best paraphrases. With reference to the poetry of Charles and John Wesley, the lecturer had not time to say more than that the hymns of the Wesleys contained much of deep piety and earnestness, but at the same time much poetry which was objectionable. The remark might appear sweeping to some, but he expressed his opinion with all kindness. As a general rule, the poetry of Charles Wesley was exceedingly good, but he sometimes fell below himself; and, as a general rule, that of John was not good, although he sometimes rose above himself. The choir here sang the hymn beginning with the words, "A charge to keep I have," - the lecturer remarking that it appeared to him to be a fair model of the deep piety of the better class of Wesley's hymns. The compositions of Oliver, the Welsh blacksmith, were next referred to, and a verse of one of his hymns, "Lo! He comes with clouds descending," was sung by the choir.

The reverend gentleman concluded his address by some remarks about hymns in general. He thought hymns should be always addressed to one of the Persons of the Trinity; that such sentiments as were contained in the hymns "It is a point I long to know," and "Prayer is the soul's sincere desire," were more fitted for the private devotions of the closet than for public worship - that each line, if not each verse, should contain some distinct idea - ("Jesus! name of wondrous love," was an apt illustration of his remarks on this point) - and that hymns, whether of prayer, praise, or thanksgiving, should be the outbursting expression of the whole soul. The choir sang the 130th hymn in the book to which reference had been previously made, in illustration of the last remark. The chairman (the Rev. Canon Allwood) presented the thanks of the meeting to the lecturer; and he also expressed the obligations of the audience, and of himself, to Mr. Furley, the organist, and to the ladies and gentlemen of St. James's choir, for the very sweet and scientific manner in which they had illustrated the lecture.

MUSIC: The congregational hymn & tune book (Richard Chope)

"A MUSICAL ENTERTAINMENT AT RANDWICK", Sydney Mail (9 September 1865), 4 

Mr. Furley and the choir of St. James' Church, Sydney, gave a musical entertainment in St. Jude's schoolhouse, at Randwick, on Thursday, in the presence of a numerous and well-pleased audience. The concert was given in aid of the school fund, and was considered to be a great success. The programme was divided into two portions, the first part being devoted to sacred, and the second to secular music. The concert began with Kent's fine anthem, "Hear my prayer," which was well rendered - especially by Miss James and another lady amateur - although the full effect of the accompaniment could scarcely be given with the harmonium. In the solo of Glover, "Consider the lilies," a gentleman amateur acquitted himself very creditably, and was heartily applauded. The favourite anthem, "In Jewry is God known" was also well received. The anthem was followed by Mendelssohn's solo, "O rest in the Lord," and Scott's anthem, "Praise the Lord, O Jerusalem," - the latter piece being admirably executed by the choir. Perhaps the best thing of all, however, was Dyke's exquisite chorale "In the hour of Trial," which was sung with a precision and feeling that was universally appreciated. The first part concluded with Jackson's "Te Deum" in E fiat. In the second division of the programme, part songs, solos, and duets, from some of the most eminent musical composers succeeded each other with a gratifying variety, and a power of execution which gave obvious satisfaction to the audience. Owing to the length of the programme the concert was not brought to a termination until a rather late hour.

[Advertisement], The Sydney Morning Herald (9 December 1865), 12 

MR. FURLEY and the Choir of St. James's Church will (D.V.) give a Musical Entertainment in St. Jude's School-room, Randwick, in aid of the Church Fund, on MONDAY EVENING next, December 11th, to commence at 8 o'clock.

[Advertisement], The Sydney Morning Herald (17 November 1865), 6 

ST. JAMES'S CHOIR.-Required two Treble Voices, Ladies, and one Tenor Voice. Apply to the Organist, on Friday evening, after Divine Service. Mr. FURLEY attends the Choir every Tuesday evening, from 7.30 until 9, for the purpose of giving gratuitous instruction in Church Music. The Choir will be open on that evening to any lady or gentleman who may wish to obtain a knowledge of the above.

"ST. JAMES'S MUTUAL IMPORVEMENT SOCIETY", Empire (19 January 1866), 4 

A complimentary entertainment, literary and musical, was given on Wednesday evening last, in St. James's Schoolroom, as a token of respect to Mr. James Furley, organist of St. James's Church, by the above society, assisted by the choir of St. James's. The first part of the programme consisted of addresses by the Rev. Mr. Moreton and vice-president Mr. W. Hemming. After which, the anthem of Kent "Hear my Prayer," was well given by the choir, Miss James and a lady amateur sustaining the verse parts, and Mr. Furley ably officiating at the fine organ formally belonging to the Philharmonic Society. After which Mendelssohn's "O Rest in the Lord," was sweetly sung by a lady member of the choir. A prize essay was next read by Mr. Botts. Anthem - "In Jewry is God known," finely sung by the choir. This was followed by two recitations, "The Peri of the Pavilion," by Mr. Macaulay, and "My Lost Youth," by Mr. Lees. "O Salutaris Hostia" (by Weiss), was sung by Mr. Waller and deservedly applauded. The first part concluded with a solo entitled "To Late." The second part of the programme consisted of solos, dialogues, duets, recitations, and songs. - Communicated.

"ST. PETER'S CHURCH, WOOLLOOMOOLOO CONCERT", The Sydney Morning Herald (4 April 1866), 4 

A very numerously attended concert was given yesterday evening, by the choir of St. James's Church, assisted by several lady and gentleman amateurs, in St. James's Schoolroom, Castlereagh-street, the proceeds being devoted to the building fund of the new Anglican church of St. Peter in Woolloomooloo . . . much was evidently due to the able manner in which the accompanyment, rendered by Mr. Furley, the organist of St. James's, who took care to give the time and to support the singers . . .

"ST. ANDREW'S ORGAN", Empire (13 August 1867), 4

"ST. JOHN'S, BISHOPTHORPE", The Sydney Morning Herald (9 March 1868), 4

"NEW MUSIC", Empire (13 September 1870), 2

A new publication has been sent out by Mr. Clarke, of 23, Hunter-street- "The Pilgrims of the Night"- written by the Rev. F. Faber, D.D., and cleverly arranged in G for the piano by Mr. J. A. Wade. It has also been set for four voices, with accompaniment for organ or harmonium, by Mr. James Furley, the talented organist of St. James's Church, and is, thus, presented in a dual aspect before the musical world. The extraordinary merits of Dr. Faber's versification will also commend the publication, to the non-musical portion of the community.

"DEATHS", The Sydney Morning Herald (28 October 1912), 8

FURLEY. - October 27, at Summerlees, Nicholson-parade, Cronulla, James Furley, aged 81 years.

"DEATH OF MR. JAMES FURLEY. VETERAN ORGANIST", The Daily Telegraph (28 October 1912), 10 

Mr. James Furley, died yesterday morning at "Summerlees," Nicholson-parade, Cronulla. He was taken ill about two months ago, and was then compelled to relinquish his position as organist and choirmaster of St. Silas', Waterloo, which he had held for 20 years. Mr. Furley had the honor of taking part in "The Cathedral Organ performances" in St. Andrew's, on Saturday, August 10, 1865. The word "recital" was not then used. The performances commenced at 3 in the afternoon. There were three organists - Messrs. John Hill, Edwin Cobley, and James Furley.

The late Mr. Furley remembered the days of "the parson and the clerk." He studied under the late Dr. Gauntlet [sic] and Anthony Le Jeune, organist of St. Mary's R.C. Cathedral, Moorefield, London. He arrived in this city in I860, and a week after his arrival was appointed organist and choirmaster of St. James' Church Sydney, which position he held for 15 years. At that time only the Psalms (metrical) at the end of the Prayer Book were used, there being no hymns sung save the morning and evening hymns. (The first hymnal used in Sydney was known as Chope's Hymnal.) The choir of St. James's at that period was considered to be very efficient, and rendered the oratorio of "The Messiah" at a concert, also introduced many new services by Dr. Arnold, Dr. King, Bridgewater, Jackson, and others. Mr. Furley acted as organist at the laying of the foundation-stone of St. John's, Glebe, and afterwards for a period became organist of that church. During the visit of the Duke of Edinburgh in 1868 the old gentleman conducted the singing of the children of Mount Carmel R.C., St. Silas's Church of England, and Wesley Church. Mr. Furley had also been organist of St. Johns, Parramatta; St. John's, Balmain; and St. Matthew's, Manly. Mr. Furley, who was in his 82nd year, was a native of Finsbury, London, and the only son of the late Philip Furley, of Ashford-street, Hoxton. He leaves a widow, one son, and five daughters. The interment will lake place this afternoon in the Church of England portion of the Woronora Cemetery, Sutherland.

"MUSICAL AND DRAMATIC", The West Australian (9 November 1912), 9

The death is announced in Sydney of Mr. James Furley, the veteran organist of St. Silas's Church of England, Waterloo. The late Mr. Furley came to Sydney about 50 years ago, and when the Duke of Edinburgh visited that city in 1868 was appointed to conduct the singing by the children of the united churches. He was for some years organist of St. James's, Sydney.

Musical works:

Christmas hymn: Star of the east ([by the] "Organist of St. James"; "first time in Sydney") (December 1860)


Nunc dimittis (by Mr. James Furley, organist and choir master, St. James' Church, Sydney) (Sydney: J. R. Clarke, [1862]) 

The pilgrims of the night (sacred song written by F. Faber; for four voices with accompaniment of the organ or harmonium arranged by James Furley, Organist of St. James Church) (Sydney: J. R. Clarke, [1870])

Bibliography and resources:

Graeme D. Rushworth, Historic organs of New South Wales: the instruments, their makers and players 1791-1940 (Sydney: Hale and Iremonger, 1988)367-68

FURLONG, William Romauld (William Romauld FURLONG; W. R. FURLONG)

Bass vocalist, choral conductor, composer

Born 1844; son of William FURLONG and Mary Josephine GREEN
Active Melbourne, VIC, by November 1868
Died Melbourne, VIC, 1931, aged 87 (NLA persistent identifier)


[News], The Argus (20 April 1869), 5

[Advertisement], The Argus (15 July 1869), 8

[News], The Argus (21 December 1872), 5

"THE TOWN HALL. NATIONAL CONCERT", The Argus (18 March 1878), 7

"ST. PATRICK'S CATHEDRAL", The Argus (24 October 1887), 9

Musical works:"W.+R.+Furlong" 

Bibliography and resources:

The State Library of Victoria holds a large collection of music (more than 180 items), sacred and secular, including printed and MS items associated with the choir of St. Francis's Church, Melbourne, much of it belonging originally to W. R. Furlong, and donated by the Furlong family; search on "Furlong family" (including "") under the Music tab in Trove.

FURRIAN, Henry (Henry Harding FURRIAN)

Actor, vocalist (with the Wiseman Family)

Born 1831; baptised St. John, Hampstead, Camden, 20 July 1831
Active VIC, 1857-61; Sydney, NSW, 1886 (TROVE tagged by Australharmony)


In 1841, Furrian was living, as a singing boy, with William Hawes (1785-1801), master of the choristers of the Chapel Royal and St. Paul's Cathedral, London.

In Australia he appeared in 1858 with Linly Norman's opera company, and later with, among others, Fanny Wiseman (1846-1933) and her sister Emily (1844-1881).


Baptisms solemnized in the Parish of St. John Hampstead . . . in the year 1831; register 1813-40, page 81; London Metropolitan Archives (PAYWALL)

[1831] July 20 / No. 644 / Henry Harding / [son of] George & Maria / Furrian / Hampstead labourer / Bricklayer

1841 England census; Middlesex, St. Martin in the Fields, Charring Cross, District 19, pages 6-7; UK National Archives, HO 107 / 739 / 6


Adelaide Terrace / William Hawes / 55 / Musician . . .
Maria [Hawes] / 20 / Musician
John [Hawes] / 20 / Music seller . . .
George [Mulliner] / 12 / Singing Boy
[page 7] Marcellus Higgs / 14 / Singing Boy
William Lyon / 14 / [Singing Boy]
Theodore Genge / 13 / [Singing Boy]
George Woodhatch / 11 / [Singing Boy]
Edgar Ray / 12 / [Singing Boy]
William Rivett / 10 / [Singing Boy]
William Miller / 11 / [Singing Boy]
Henry Furrian / 10 / [Singing Boy]


. . . The Hallelujah Chorus was then chanted by the full choir, and in a style which filled every listener with admiration and delight. The royal procession then departed iv the same order in which they had entered the choir.
We must not omit to mention that the Amens in the Service were given so softly and sweetly by the full choir as to produce the very finest effect.
The vocal department, which combined the strength of the Chapel Royal and St. James's, consisted of the following gentlemen: -
W. Knyvett, J. B. Sale, T. Vaughan, R. Clark, T. Welsh, E. Hawkins, J. Hobbs, O. Bradbury, T. Francis, J. Bennett, F. Horncastle, J. Roberts, H. Wylde, E. Chapman, and W. Hawes;
with the following boys from the Chapel Royal: -
Masters W. C. Lyon, H. Deane, T. Genge, G. Mullineux, G. Woodhatch, E. Ray, W. Rivett, W. Miller, H. Furrian, T. Baker;
with the vicars of St. George - Messrs. Salmon, Turner, Palmer, Smith, Harris, Coveney, French, West;
and choristers, Messrs. R. Boden, J. Brion, J. Forster, H. Manners, H. Schroeder, H. Therham, A. Winterbottom, F. Menten, W. Stapleton, J. Hawkins.
The instrumental band, which was accommodated in the organ gallery, consisted of Violins.
- Leader, Mr. Cramer, Master of the Household band ; Messrs. Anderson, T. Cooke, Loder, Blagrove, W. Cramer, Wagstaff, and Loder, Jun. Violas. - Messrs. Moralt and Calkin. Violoncello. - Mr. Lucas.
Trumpets. - Messrs. Harper and Irwin. Trombone. - Messrs. Smithie. Dr. Elvey presided at the organ . . .

[Advertisement], The Argus (4 March 1857), 8 

DUDLEY'S ASSEMBLY ROOM, North Williamstown. -
A Series of Three GRAND CONCERTS will be given as above, Thursday, Friday, and Saturday, the 5th, 6th, and 7th inst, under the patronage of Captain Pascoe, R. N., P. M.
Artistes - Mesdames Annie Vitelli and Mrs. McDougal and Messrs. Gregg, Norton, Furrian.
Pianist, Mrs. Mackie; Conductor, Mr. Vitelli. Admission, front seats, 3s.; back, 2s.

"THE NEWS OF THE DAY", The Age (2 March 1858), 4 

Mr. Wallace, of the Star at Beechworth, has engaged an operatic company, and the theatre adjoining the hotel has been refitted for their performances.
The company comprises Miss Julia Harland, Mrs. Hancock, Mrs. Williamson, Miss Williamson, Mr. Farqaharson, Mr. Sherwin, Mr. Hancock, Mr. Hoskins, Mr. Furrian, &c., &c.
Already the "Bohemian Girl," "Lucia di Lammermoor," "Norma," and other operas, have been performed with decided success; and we understand that "Maritana" and other operas are in preparation.

"THE STAR THEATRE", Ovens and Murray Advertiser (11 March 1858), 2 

The entertainment provided last evening at the Star was an entire change upon previous performances. Dibdin's Opera, "The Waterman" formed the leading piece, and from the manner in which it was got through afforded general satisfaction. Miss Harland was in better voice than we have yet heard her, and in "Sound the Pibroch" was deservedly encored. In this song Miss Harland's powers are heard with more effective beauty than in anything she has attempted on the Beechworth stage, and although it is not any part of the piece itself, but introduced only as an extraneous ornament, it is in itself a sufficient excuse for any one to pay a visit to the Star. Mrs. Williamson as Mrs. Bundle was also most successful in eliciting well merited applause, and Mr. Furrian far surpassed expectation. With a little care this gentleman will take a high position in light comedy, which is evidently his forte. His song to Wilhelmina was cleverly rendered, and we were glad Mr. Furrian's efforts were rewarded with an encore . . .

"MUNICIPAL POLICE COURT. WAGES", Bendigo Advertiser (15 September 1858), 3 

Henry Furrian summoned Charles Henry Rignold for L.3 2s. 6d., wages alleged to be due. The evidence for and against was of such a contradictory character, and on both sides was stamped with such a want of veracity, that the Bench summarily dismissed the case.

Playbill, Lamplough, VIC, Theatre Royal, 12 November 1859 

Theatre Royal, Scandinavian Crescent . . . Saturday November 12, 1859 the performances will commence with the far-famed musical drama The miller and his men! . . .

Playbill, Lamplough, VIC, Royal Garrick Theatre, 7 January 1860 

This evening, Saturday, January 7 [1860] the performance will commence with the beautiful and thrilling drama of intense interest, entitled The poachers, or, Love and revenge! . . . Burlesque song, Mr. Furrian . . .

"ABBOTT'S LYCEUM", Bendigo Advertiser (7 September 1860), 2 

"THE THEATRE", Mount Alexander Mail (7 January 1861), 3 

? [Advertisement], South Wales Daily News (9 September 1872), 1

GOOD HANDWRITING. SMART'S SYSTEM TAUGHT by Mr. H. FURRIAN, who will guarantee a Beautiful Handwriting in eight Lessons.
Proficiency in Bookkeeping, &c. Academy Open Daily. 12, St. John-street, Cardiff.

[Advertisement], Globe (2 February 1886), 1 

FUSSELL, James (James Coldham FUSSELL; James FUSSELL; J. C. FUSSELL)

Music publisher, newspaper proprietor and publisher, bookseller, printer, bookbinder

Born Owslebury, Hampshire, England, 1810; baptised Owslebury, 22 April 1810, son of James FUSSELL and Cecilia VINET
Married Sarah MOORE (WELLS) (d. 1874), St. Mary, Islington, 24 November 1835
Arrived Melbourne, VIC, 29 May 1853 (passenger per Marco Polo, from Liverpool, 14 March)
Active Sydney, NSW, by 1853
Active as music publisher (as "J. C. Fussell"), from c. late 1860 to early 1863
Died Sydney, NSW, 19 January 1876, aged 65 (TROVE tagged by Australharmony) (shareable link to this entry)


Marriages solemnized in the parish of St. Mary Islington in the county of Middlesex in the year 1835; register, 1843-37, page 186; London Metropolitan Archives (PAYWALL)

No. 556 / James Fussell of this Parish Bachelor / and Sarah Wells of the same Parish Widow / were married in this Church by Banns this [24 November 1835] . . .

"INSOLVENCY COURT", The Sydney Morning Herald (12 May 1859), 3

On the petition of Gordon Gwynne, of Parramatta, gentleman, a rule nisi was granted, returnable on Friday, the 20th instant, calling upon James Fussell, of Sydney, part proprietor of the newspaper called "The Sydney Evening Mail," to show cause why his estate should not be sequestrated for the benefit of his creditors. - Mr. Morris, official assignee.

[Advertisement], The Sydney Morning Herald (14 February 1861), 6 

JUST PUBLISHED, THE AUSTRALIAN MUSICAL BOUQUET, edited by E. H. Cobley, containing the Volunteers Polka Mazurka, Lost Marguirite [sic], and the Nativity Christmas Hymn. Price 2s.; yearly subscribers, 1s. 6d. J. C. FUSSELL, Crescent House, near Prince street.

ASSOCIATIONS: Edwin Harry Cobley

"THE AUSTRALIAN MUSICAL BOUQUET", The Sydney Morning Herald (25 February 1861), 5 

The January number of the Australian Musical Bouquet - a collection of popular songs, operatic airs, &c., for the voice and the pianoforte, edited by Mr. Edwin H. Cobley, professor of music, Glebe Point Road - has been published by the proprietor, Mr. James C. Fussell, of Prince-street. The contents are: - A Volunteer Polka Mazurka, composed by the editor, Mr. Cobley; and a new Song, "Lost Marguerite," words by Mr. Henry Halloran, and music by Mr. Glentworth Addison. The third and last piece of music in this number (very neatly engraved by Mr. Engel) is a Christmas Hymn, as sung at Christ Church, in this city. The music and poetry of this elegant little serial are colonial; the whole thing is very prettily got up, and the price reasonable.

ASSOCIATIONS: Glentworth Addison (composer); John Alexander Engel (engraver)

[Advertisement], The Sydney Morning Herald (28 February 1861), 1 

WANTED, two respectable MEN of good address, to canvass for subscribers to the "Australian Musical Bouquet" in the country: security required Apply to Mr. FUSSELL, at 5 o'clock p.m., Crescent House, near Prince-street.

"MUSICAL", Empire (5 March 1861), 5 

Some activity is apparent in the publication of new music, the engravers and printers being engaged in some artistic productions. In the meantime a new number of the "Musical Bouqaet," has been issued, and it appears under new auspices. This is, we believe, the edition formerly issued by Mr. Peck; it is now published by Mr. Fussell, and edited by Mr. Cobley. These cheap musical publications are of great utility in the country, and will be the means of extending music to the cottages of every village. The present number contains "the Volunteers' Polka Mazurka," by the Editor, a song, "the Lost Marguerite," composed by Mr. G. Addison, and the "Nativity Christmas Hymn." It is well engraved on good music paper.

[Advertisement], Goulburn Herald (6 April 1861), 4 

Australian Musical Bouquet. CAUTION.
HENRY HOLLIS, who is said to be representing his name to be HYLLER or HYLIER, and who has been employed to canvass for Fussell's Australian Musical Bouquet, not having communicated with his principal, the public are hereby cautioned against paying him any money on account of the same.
He is supposed to be in the neighborhood of Goulburn, Yass, or the Lambing Flat.

[Advertisement], Empire (19 April 1861), 8 

JUST PUBLISHED. FUSSELL'S AUSTRALIAN MUSICAL BOUQUET, containing a selection from the opera of Lucretia Borgia, My Johnny was a Shoemaker (as sung by Lady Don), and original chaunts by E. H. Cobley, Esq.
It can be had of all booksellers. Price, 2s. Yearly subscribers, 1s. 6d.
per copy, J. C. FUSSELL, Crescent House, near Prince-street.

"THE AUSTRALIAN MUSICAL BOUQUET", Empire (29 April 1861), 4 

A Collection of choice Popular Songs, Operatic Airs, &c., for the Voice and Pianoforte
Edited by EDWIN H. COBLEY. Published by JAMES C. FUSSELL, &c., &c.

PART 5 of this monthly publication is now before us, and for various reasons, which we shall presently unfold, calls for somewhat more than cursory notice at our hands. Its contents are thus described on the title page: - "A collection (why not selection?) from the beautiful opera of Lucretia Borgia; My Johnnie was a Shoemaker, as sung by Lady Don; and Original Chants by Edwin H. Cobley, Organist of St. John's, Bishopthorpe."

With reference to the selection from the Lucrezia, which, by-the-bye, is really a misnomer, since it only includes one air, the chorus "Senti, la danza," we have nothing to say, save to remark that it is taken, without acknowledgment, from an arrangement of the opera by Osten or Diabelli. But let this pass. We have far heavier charges in store for the editor of this musical brochure. The second item in the list of contents, manifestly intended to be the bonne bouche of the publication, is the song which Lady Don has lately rendered so popular, "My Johnnie was a Shoemaker." It may be in the recollection of our readers that we noticed, a short time since, the publication of this song, by Messrs. Johnson and Co., of Pitt-street; and adverted, in deservedly laudatory terms, to its exquisite arrangement by that very talented musician, Mr. C. Packer. They will, therefore, participate in our astonishment when we inform them that this song has been pirated and inserted, note for note, without the slightest acknowledgment, in this publication. We are well aware that such malpractices are by no means uncommon at home; but there, in order to elude the provisions of the Copyright Act, some error is intentionally inserted in the pirated edition. Even this subterfuge has not been resorted to in the case before us, and we can hardly find language sufficiently strong in which to reprobate conduct which is obviously so disingenuous, and so injurious to the interests both of the composer and the publisher. It is true that publishers in this colony are not protected by any Copyright Act, but the practice to which we have drawn attention seems so utterly opposed to that honourable and liberal feeling which should characterise the guilds of literature and art, that we have not hesitated to express, perhaps somewhat severely, our opinion upon the subject. It is plainly one upon which immediate legislation is required; and in the interim, let us hope that the editor of the Musical Bouquet will not provoke, by a similar course of action, any reiteration of our complaints.

The Psalm Tune and Chants which figure on the last sheet of this publication almost defy criticism, since they betray such a poverty of harmonic resources, to say nothing of the cool violation of the commonest rules of counterpoint which is manifest throughout them. We need only instance in the Psalm Tune, the open octaves between the alto and bass between the first and second bars of the second part of the tune; and again, the octaves between the treble and bass, and the consecutive fifths between the tenor and bass part of the first part of the tune. We pass over the first of the three Double Chants, as not containing any very egregious errors in composition, except the general poverty of construction, especially perceptible between the second and third bars of the second part. The second Chant appears to be a rifacciamento of Robinson's well-known Chant. But we are at a loss to appreciate the composer's sang froid in furnishing us with two consecutive fifths between the treble and alto parts in the two last bars of the second section of the Chant, the consecutive fifths occurring between the tenor and bass in the two following bars, and the open octaves between the alto and bass in the second bar of the third part of the same Chant, as well as the chord of the sixth and fourth passing into the chord of the seventh, fifth, and third, which forms the rather unusual cadence at the end of the third section of the Chant. The two first sections of the last Chant do not call for any especial comment, either in the way of stricture or commendation, but in the third and fourth sections we are again presented with a somewhat alarming chaos of queer progressions, discords without preparation - very unecclesiastical, by-the-bye, in their character - and resolutions which, we think, would make the Regius Professor of Music at Oxford elevate his eyebrows and whistle for very wonderment.

Let us counsel Mr. Cobley, before he again "rushes into print," and offers to the public any of his musical lucubrations, either to "undergo a course" of counterpoint, judiciously administered, or to submit his compositions for revision to any duly qualified musician, who, will at least enable him to correct such glaring errors as those which figure in his last contribution to the Musical Bouquet, a periodical which claims for itself the title of being "the clearest, best, and cheapest musical publication ever produced in the Australian colonies."

"MUSIC", The Sydney Morning Herald (17 July 1861), 5 

Three selections - one from Beethoven's op. 14, "We'll smile and be happy," from Traviata, and Parish Alvar's "L'Adieu," - arranged by Mr. Cobley, have been published in a compact form by Mr. Fussell, of Crescent House, Prince-street.

[Advertisement], Empire (26 July 1861), 8

MUSIC. - Just published, "Andante from Sonata," by Beethoven; "Parish Alvers l'Adieu," arranged for the Pianoforte, by Edwin H. Cobley; Song, "We'll smile and be happy," from the opera of Traviata, by Verdi, price 2s. 6d.
Will appear early in August, "The Night March of the Volunteers," poetry by Mark Lemon, music by Balfe; "Satanella Valse," by Henry Laurent. Price, 2s. 6d.; subscribers to the " Musical Bouquet," only 1s. 6d.
In the press, and will be published for the author, Madame F. Sach, "The Volunteer's Song," price 2s. -
Also, on sale - Song, "Come shining forth, my dearest," arranged by Spagnoletti; "The Singing Polka;" and "The Youthful Heart," ballad, by Rimbault, published by Alonzo Grocott, price 2s. 6d.
The whole of these can be had of all Booksellers, and
J. C. FUSSELL, Publisher, Crescent House, Crescent-street, near Prince-street, Sydney.
N.B. - PIANOFORTES for SALE; one at £50, one at £45, £38, and £15.

ASSOCIATIONS: Florentina Sachs (composer); Alonzo Grocott (printer, publisher)

"MUSIC", The Sydney Morning Herald (12 August 1861), 5 

Mr. Fussell has published two popular pieces of music in one issue, "The Volunteer's March," the music by Balfe, and the poetry by Mark Lemon; and the "Satanella Valse," by Henri Laurent.

"THE AUSTRALIAN MUSICAL BOUQUET", Empire (16 August 1861), 8 

The last number of this popular monthly publication has been received. It contains Balfe's much admired song, "The Night March of the Volunteers," the words by Mark Lemon, which will, doubtless, find favour in the eyes of our doughty colonial warriors and their ladye-loves; and also Laurent's very pretty valse, founded on two of the airs from Balfe's Opera of "Satanella." This musical brochure is very creditable to the publisher, Mr. James C. Fussell and it may be anticipated, will meet with general acceptance amongst those who are in search of musical compositions which are facile of execution, and at the same time attractive in character.

[Advertisement], The Sydney Morning Herald (29 August 1861), 1 

MUSIC - Just published, The Australian Volunteers' Song, by Madame F. Sachs; price 2s.
J. C. FUSSELL, publisher, Crescent House, Crescent-street, near Prince-etreet, Sydney.

"MUSIC", The Armidale Express and New England General Advertiser [Armidale, NSW] (7 September 1861), 2 

[Advertisement], Empire (14 October 1861), 1 

JUST PUBLISHED. - SONG, "Take a glass of Sparkling Wine," from Lurline. Price, 2s. 6d., and in FUSSELL'S Musical Bouquet.

[Advertisement], The Sydney Morning Herald (16 November 1861), 12 

JUST PUBLISHED, Song, "Love's Minstrel," price 2s. 6d.; also in the BOUQUET. J. C. FUSSELL, Crescent-street

[Advertisement], The Sydney Morning Herald (30 November 1861), 1 

NEW MUSIC - Tapping at the Window, Peeping o'er the Blind, words by C. Swain, music by Miss Davis, Pyrmont. Love's Minstrel, or Gentle Troubadour; and Take this Glass of Sparkling Wine, by Wallace, 2s. 6d. each. A pianoforte piece, the Minstrel Boy, will be published immediately.
J. C. FUSSELL, Crescent-street, Sydney.

[Advertisement], The Sydney Morning Herald (11 January 1862), 10 

NEW MUSIC - "Tapping at the Window," words by C. Swain, music by Miss Davis; "Take this Glass of Sparkling Wine," by Wallace, and "Gentle Troubadour," from the Opera of Lurline ; 2s. 6d. each.
And will be published in a few days, "Love me, and fear not," from the Opera of the Amber Witch; solo, "Ogni Cura Si Doni Al Dilleto," from Verdi's new Opera in Maschera, price 2s. 6d.; and in the Bouquet.
J. C. FUSSELL, publisher, Crescent House, Crescent-street, near Prince-street, Sydney.

[Advertisement], The Sydney Morning Herald (31 March 1862), 8 

JUST PUBLISHED, having been unavoidably delayed, subscribers wishing the number before we can deliver, can receive it by calling at the office. Contents: song, "I'd Choose to be a Daisy," and a pianoforte arrangement "Ecoutez-moi."
J. C. FUSSELL, Crescent-street.

[Advertisement], The Sydney Morning Herald (7 May 1862), 1 

LACHLAN GOLD-FIELDS. - A person of good character and address can clear his expenses in going to the above, by taking subscribers for the new Map of New South Wales and the Musical Bouquet . . . J. C. FUSSELL, Crescent-street.

"NEW MUSIC", Empire (26 May 1862), 4 

Two very pleasing compositions have just been sent to us for review. One is entitled the "Maiden's Prayer," a ballad, sung by Miss Louisa Pyne, and "Rosalie, the Prairie Flower," by M. Hobson. These compositions have both attained a celebrity, which will doubtless make their publication by Mr. Fussell, of Princes-street, remunerative to him. We may also notice that the lithography of some new music called the "Waitematta Polka," composed by Baron de Thierry, in allusion to a river of that name in New Zealand, has been most creditably executed by the same publisher, for Webb's eminent Music Hall, at Auckland.

ASSOCIATIONS: Charles de Thierry (composer)

[Advertisement], Empire (4 July 1862), 1 

MUSIC - Just published, a Sacred Song, the Hebrew Mother, by Mrs. Hemans; and Keble's Evening Hymn, 2s. 6d.; and the Waitemata Polka, by Baron de Thierry, 3s. J. C. FUSSELL, Crescent-street.

[Advertisement], The Sydney Morning Herald (24 November 1862), 8 

NEW MUSIC - Four Waltzes, by E. H. Cobley, Esq. (organist at St. Philip's Church), price 3s.
Subscribers' to the Musical Bouquet will receive it in the next number.
J. C. FUSSELL, Crescent-street, Church-hill.

"NEW MUSIC", Empire (17 December 1862), 5 

. . . Mr. Fussell has just issued a double Christmas number of his "Australian Musical Bouquet," a very useful and fairly printed publication, containing original and reprinted vocal and instrumental music. But we think the price- five shillings - will be a bar to a very extensive sale, - particularly as the appearance and contents of the work scarcely bear favourable comparison with many musical works of the day. Cheapness should be the aim of proprietors of musical publications, or competition will be useless. The present number contains three pieces; the first is a set of four waltzes, by Mr. E. H. Cobley, of this city; they might have been by Mr. Jones, or Mr. Smith : that is to say, for their extreme simplicity and want of originality, any amateur, without knowing much of the principles of composition, or the grammar of music, might easily fall into such strains, whilst sitting down extemporising in the dusky-twilight. Excepting the change of key they are all so much alike (we all know the story of the likeness between Cuffy and Sambo, 'specially Sambo), that on hearing one, we are reminded of having heard something precisely similar, and find that it is the number preceding. The melody, however, is pleasing. The second piece in the bouquet is an exceedingly pretty song by the talented composer of opera and song, Mr. Howard Glover, entitled, "She may smile on many;" it is within the compass of all voices ranging between D and F, and will certainly be heard with pleasure. No. 3 is the ballad of "The Banks of Allan Water," but the quaint old melody has been slightly altered.

"TO THE EDITOR OF THE . . .", Empire (19 December 1862), 3 

SIR, - In your review of the last number of the Musical Bouquet, you think the price high at 5s. It contains eight pages, which is 3s. for the waltzes, and 2s. for the song; but the subscribers are only charged 3s, it being a double number, it would not be fair to the subscribers to charge the same for a single copy. I have them published separately for the public.
Your publishing this explanation will oblige your humble servant.
J. C. FUSSELL. Crescent-street, December 17.

[Advertisement], The Sydney Morning Herald (18 February 1863), 8 

MUSICAL BOUQUET - Those persons owing small amounts will oblige by paying the collector, otherwise summonses will be issued, as calling so often does not pay. J. C FUSSELL.

[Advertisement], The Sydney Morning Herald (19 December 1863), 4 

NATIVITY, Christmas hymn, 1s.; Flanagan's History of New South Wales, 25s.; there will be none to be had in a short time.
J. C. FUSSELL, Crescent-street.

[Advertisement], The Sydney Morning Herald (30 December 1863), 1 

WANTED, a respectable YOUTH to collect accounts and sell music (after 4). J. C. FUSSELL, Crescent-street.

"DEATHS", The Sydney Morning Herald (20 January 1876), 1

FUSSELL. - January 19, at his residence, suddenly, of disease of the heart, James Fussell, Esq., twenty-three years of this city, second son of James Fussell, Esq., Gentleman Commoner of All Souls and Magdalen College, Oxford, aged 65 years, leaving five children, seventeen grand-children, and two great-grandchildren.

[Advertisement], The Sydney Morning Herald (1 February 1876), 2

FUSSELL, late of No. 227, George-street, Sydney, Importer of Books, deceased, intestate.
NOTICE is hereby given that, at the expiration of fourteen days from the publication hereof, application will be made to this Honorable Court, for Letters of Administration of the goods, chattels, credits, and effects of the abovenamed JAMES FUSSELL, deceased, to be granted to CECILIA JANE LANGLEY, of George-street, aforesaid, a daughter of the said deceased.
Dated this thirty-first day of January, 1876.

[J. M. Forde], "Old Chum", "OLD SYDNEY. No. 256", Truth (15 September 1912), 12 

. . . James Fussell, an old book agent, died on the 19th [January 1876], aged 65 years. Mr. Fussell was of Crabbe Hall, Owlsbury, Hants, born in March, 1810 [recte 1820], and sailed for Melbourne, in 1853, in the Marco Polo, Captain Forbes (the same who ran the Schomberg at the Barwon Heads a couple of years afterwards). His family followed in 1854. Mr. Fussell came from a good Hampshire family, one of his ancestors being organist to the historic Winchester Cathedral . . .

Extant musical publications:

Fussell appears to have been actively involved in publishing and selling music only from late 1860 until early 1863; hie extant musical publications in the Australian bibliographic record can be found by clicking on this link: (TROVE tagged by Australharmony)

Fussell published the series "Australian musical bouquet", in 1861-62, earlier published by George Peck, musicseller, and Alonzo Grocott, printer (TROVE tagged by Australharmony)

See here for a prospectus for The Australian musical bouquet and list of Fussell's musical publications (? c. 1862): 

Bibliography and resources:

Prue Neidorf, A guide to dating music published in Sydney and Melbourne, 1800-1899 (M.A. thesis, University of Wollongong, 1999), 171

© Graeme Skinner 2014 - 2020